Mah Laqa Bai Chanda – the 18th century poet, courtesan was included in the ranks of the highest nobility with 500-foot soldiers and drummers to announce her entrance. Her status also helped elevate the status of other tawaifs across Hyderabad
Heeramandi is being criticised for glorifying courtesans – however history is testimony to beautiful courtesans who were rich, powerful & talented and many continue to be legendary in popular culture. Hyderabad’s very own – poet, political strategist and philanthropist and known to be a sought after 18th century courtesan Mah Laqa Bai Chanda immortalized in art and poetry is testimony to the power they held during their times.
Heeramandi – Is it glamourising courtesans lives?
Sanjay Leela Bhansali’s web series Heeramandi based on the lives of the tawaifs or the courtesans of Lahore brought forth praise and criticism – the latter directed at the master craft man of the director who is being accused of glamourising the lives of courtesans. The critics refer to the dark side of the courtesan culture that even Kashmir Files director Vivek Agnihotri criticised calling out SLB for glamourising human suffering…In his words – Brothels have never been places of opulence, glamour or beauty – these are monuments of human injustice and suffering.
However, he is not entirely correct. History is proof of the fact that these mohallas that have come into demise post the British followed by independent India and Pakistan’s laws criminalising the profession – were once indeed centres of art, dance, music and opulence. Tawaifs of yore had one advantage denied to the otherwise noble women – education and training in arts.
Many historians vouch for the learned and intelligent courtesans who not only engaged their rich patrons via their art but also held engaging conversations, were privy to political strategies and held their sway in decision making.
It cannot be denied that these centres of riches and power are bound to be having a darker side to it – in terms of politics of supremacy, hierarchy and inheritance – not to mention the commodification of women / prostitution which was deemed unlawful by the English in the 20th century – which is believed to be the demise of the culture and with it the art.
While the argument over the good and bad side of the demise of courtesans and their lifestyle & traditions is neither new nor it was Bhansali’s Heeramandi that began this decades old argument.
Hyderabad’s Powerful Courtesan, Poet
But surely one cannot deny history. Back home in Hyderabad there was a courtesan Mah Laqa Bai Chanda, who was poetess, a philanthropist and a political strategist no less.
Heeramandi is being criticised for glorifying courtesans – however history is testimony to beautiful courtesans who were rich, powerful & talented and many continue to be legendary in popular culture. Hyderabad’s very own – poet, political strategist and philanthropist and known to be a sought after 18th century courtesan Mah Laqa Bai Chanda immortalized in art and poetry is testimony to the power they held during their times.
dil meñ mere phir ḳhayāl aatā hai aaj
koī dilbar be-misāl aatā hai aaj
kyuuñ paḌā behosh uTh hātif se ab
hai nidā sāhab-e-jamāl aatā hai aaj
sañg-e-rah huuñ ek Thokar ke liye
tis pe vo dāman sambhāl aatā hai aaj
These beautiful shers (couplets) from a ghazal are written by Mah Laqa Bai Chanda – the 18th century courtesan and poet during the reign of the Nizams in Hyderabad.
She was the daughter (adaopted) of a Courtesan Raj Kanwar Bai and a much sought after on her own. So much was her importance that she was included in the ranks of the highest nobility with 500-foot soldiers and drummers to announce her entrance. Her status also helped elevate the status of other tawaifs across Hyderabad who got special privileges. She was good at javelin throw and archery by the age of 14 and is known to have fought along side Nizam’s army in male attire. In addition to being a great artist, a warrior, poet, her sharp mind and diplomatic skills kept her an important part of administration. She lived in a grand haveli where there would be music classes on one side, and huge prayer meetings during muharrum on the other.
Mah Laqa learned singing and classical Indian music from Khushhal Khan a master musician of her time, and great grandson of Tansen.
She was the first woman to publish a collection of Urdu ghazals and upon her death donated all her money towards causes like girls’ education and women.
Originally Chanda Bibi she was bestowed the title Mah Laqa Bai that means ‘moon-faced’ by Asaf Jaah II Mir Nizam Ali Khan. There was poetry written about her beauty, a biography of her that was published after her death and a beautiful mausoleum built in her memory. Her legacy lives on and is an integral part of Hyderabad history. And, her life filled with art, poetry & music, her courage in breaking barriers, her tales of generosity and her affiliation towards empowering women with knowledge and education are inspiring, and she was immortalized in paintings, and literature.
The Mah Laqa Bai Tomb in Moulali – Secunderabad which is close to the famous Moula Ali Dargah was restored and stands proud as testimony to the grandeur of the past and a tribute to the talented artist and human being who was also a powerful courtesan of her time.
Popular theatre actor and director Vinay Varma’s biographical play Mah Laqa Bai Chanda pays tribute to the extraordinary poetess.
