O Gaanewali by Avanti Patel pays tribute to the legacy of tawaifs

The live show came together quite unexpectedly. I received a performance grant during the pandemic to develop a theme-based musical presentation. I pitched an idea to celebrate thumri, dadra, ghazal and the women who made these forms popular — tawaifs. I’ve always felt passionate about hindustani semi-classical music and this grant was a boon. However, the narratives around tawaifs are often written by men and shaped by the male gaze. As a woman in music, I still see how far we have to go in creating equitable spaces. Writing this show became deeply personal. I wanted O Gaanewali to honour the tawaifs’ musical contributions while offering historical and socio-political context.

While myth-busting is part of it, our primary focus is on showcasing their musical legacy. Ask people about thumri or ghazal singers and you’ll often hear names like Bade Ghulam Ali Khan, Mehdi Hasan or Jagjit Singh — all incredible male artistes. But what about Gauhar Jaan, Janki Bai, Rasoolan Bai, Siddheshwari Devi or Shobha Gurtu? These women were pioneers, yet many have been erased from mainstream history. O Gaanewali seeks to restore its place in our musical and cultural consciousness.

It’s been transformative. The show is primarily musical but includes storytelling and interactive elements. Our directors helped us navigate the world of theatre, enhancing our performance skills beyond music. The audience engagement has been phenomenal. Unlike typical concerts where phones are out and attention is scattered, O Gaanewali invites full presence. Many attendees return for multiple shows and we often change the setlist and script to keep things fresh. What started as a creative exercise became a way to keep both performers and audiences engaged.

Honestly, it was the audience that prompted it. After nearly every show, people asked where they could hear the songs again. While we often pointed them to original recordings by legends like Begum Akhtar and Gauhar Jaan, many wanted to hear our renditions. We finally decided to record some tracks that had resonated most with our listeners. There’s never a perfect time — but this just felt right for us.

That balance was essential. Traditional music is often perceived as static, but it’s always evolving. Our goal was to remain authentic while embracing the realities of modern listening platforms. Social media has made music more accessible, but also noisier. We hope to offer listeners a moment of mindful engagement amidst that chaos.

We open with Muddat Hui Hai — a romantic ghazal by Mirza Ghalib, made popular by Iqbal Bano. Then comes Ka Karu Na, a thumri in raag sohani sung by my co-vocalist Rutuja Lad — very cinematic, with string arrangements that add depth. Rangi Sari follows, reimagined playfully as a duet. Next is Ja Bairi Ja, originally by Shobha Gurtu and probably our most contemporary-sounding track. Aan Baan, popularised by Gauhar Jaan, brings a sense of nostalgia. Finally, Chha Rahi Kali Ghata — a live, one-take recording that lasts over nine minutes — closes the EP.

A lot is in the pipeline! We recently performed at Prithvi Theatre in Mumbai on September 9 and 10. We’re also launching a special edition — O Gaanewali: The Ghazal Edition — which explores how tawaifs contributed to the transformation of ghazal into a musical genre, not just a literary form. This journey has only just begun, and we’re excited to keep bringing these powerful voices and timeless music to wider audiences.