ঠাকুরবাড়ির নারীকণ্ঠে সুরের আলাপন/ A Melodic Dialogue in the Voices of the Women of the Tagore Household

Abstract

This study explores the historical and cultural contributions of the women of the Jorasanko Tagore family (Thakurbari) during the 19th-century Bengal Renaissance, focusing specifically on their musical and creative endeavors. While mainstream historical discourse has long centered on the male luminaries of the family, the artistic agency of the women within the inner courtyard (andarmahal) remained largely marginalized. Drawing upon the theoretical frameworks of Friedrich Engels, Kate Millett, and Simone de Beauvoir, this paper examines how patriarchal structures historically restricted female creativity, relegated women to domestic servitude, and socially stigmatized their musical practices by associating public performance with courtesan culture—a historical phenomenon analyzed by Sukumari Bhattacharji. Against this restrictive social landscape, where female literacy was actively discouraged by superstitions, the Jorasanko Tagore family emerged as a progressive anomaly. Initiated by Maharshi Debendranath Tagore, who introduced formal musical training and instruments into the household, a structured, intellectually stimulating environment was established. This enabled the women of the house to transcend the role of mere hobbyists and emerge as active cultural creators, lyricists, and music theorists.

Through a detailed analysis, this paper reconstructs the comprehensive narrative of the musical sadhana of the Thakurbari women, highlighting the groundbreaking contributions of three pivotal figures: Swarnakumari Devi, Sarala Devi Chaudhurani, and Indira Devi Chaudhurani. Swarnakumari Devi (1855–1932) was a trailblazing editor and litterateur who pioneered Bengali musical opera with Basanta Utsav and published meticulously annotated musical notations, challenging patriarchal exclusivity in the arts. Her daughter, Sarala Devi Chaudhurani (1872–1945), a multi-instrumentalist and composer, collected provincial folk and Carnatic melodies that directly inspired iconic Rabindra Sangeet compositions. She also completed the musical score for Bankim Chandra Chatterjee’s Vande Mataram, composed numerous nationalistic songs, and published the compilation Gititrishati. Finally, Indira Devi Chaudhurani remains a seminal figure celebrated for her contributions to music theory, notation preparation, and the systemic preservation of Rabindra Sangeet. Ultimately, this paper demonstrates that the creative expressions of these women were not accidental historical footnotes, but deliberate, historic acts of self-actualization, agency, and resistance against patriarchal confinement.