For verification of this paper, please visit on http://www.socialresearchfoundation.com/anthology.php#8

Foreigners have been connected with Calcutta since the birth of this historical city. But in that period foreigners were mainly interested in fulfilling their economic needs, protecting commercial interests and expanding their influence in India. Apart from the British and the French, Dutch, Portuguese and Armenians came to Bengal at that time. However, among these foreigners, the French and the English have written their experiences about contemporary Bengal and India in their diaries. Especially among the French and the English, many have explained the country’s men and women, rivers-mountains, folk reforms, folk festivals, entertainment, music-dance and the Baijis. The term Baaji means professional dancer or singer. They perform dances in return for remuneration by organizing gatherings at their homes or being invited to the Mehfil Durbar in various festivals. In the first half of the 19th century, foreigners were attracted by the Baiji dance of colocial Bengal. George Parbury, Reginald Heber, Mrs. Parlabi, Captain Mandy, and James Rose Hutchison were came to colonial Bengal for the administrative purposes and saw the Baiji Nautch of Bengal and mentioned that experiences in their writings. George Parbury mentioned in his Hand Book of India “Perhaps there is nothing in India to which the stranger looks forward with more interest than the Nautches.” Reginald Heber first saw Niki’s dance in Calcutta in 1824. He also wrote that date in his diary on 24th November 1824, the place was Ruparam Mallick's house. Rupram Mallick organized a housewarming dance at opening of his new home. The description of the dance was not written by Heber, it was written by Mrs. Heber. Mrs. Heber mentions Lady MacNaughton among the distinguished guests at that dance. Mrs. Heber was amazed to see Rupram Mallick's new house and the lights outside that house. The house was like a palace, right in the middle of it is the dance hall Chandeliers hang from the ceiling, and precious carpet leaves on the floor. Two galleries in the hall, the front of the upper gallery covered with Venetian glass. All the men and women used to watch the dance through glass. Mrs. Parlabi liked the Bengali Baiji dance, but did not like the song. Captain Mandy praised the Baiji dance of Bengal and their costumes. Being French by race, he was familiar with classical dance. He writes that the costumes of Indian dancers are more beautiful than those of Italian or French dancers. He said... “The dress of an Indian dancing girl is infinitely more decent than that of our French or Italian figurants....” In the 19th century, the Bengali zaminders used to invite foreign gentlemen on the occasion of various events and festivals to establish their social status. And on those occasions Bengali Babus used to organize all kinds of domestic entertainment. The best singers and best dancers of that time accompanied the pouring of drinks and food. But the attraction for which the foreign Sahebs used to appear at the invitation of the native Babus was the drinking of a different type of Sura or alcohols which was more attractive than the Baiji dance.

The general aim of the present study is to make a historiography of Baiji dance during the period of 19th century Bengal. The specific aims of the present study are. 1. The study of Baiji in Indian culture. 2. To explore the tearful stories of the Baiji’s. 3. To identify the Bengali babus and their position in society. 3. To explore the foreigners views on Bengali Babus and Baiji.

1. Chandi Lahiri revealed the foreigners interst of their economic needs, commercial interests, Bengali babu calture and Baiji dance.

2.  Ratnali Chatterjee remarked that Baijis were migrated to Bengal from different parts of India with Wazed Ali Shah, the exiled ruler of Ayodhya.

3.  Mrs. Heber mentions Rupram Mallick's new house and the lights outside that house.  A house is like a palace, right in the middle of it is the dance hall Chandeliers hang from the ceiling, and precious carpet leaves on the floor. 

4. Captain Mandy praised the Baiji dance of Bengal and their costumes.  Being French by race, he was familiar with classical dance. He writes that the costumes of Indian dancers are more beautiful than those of Italian or French dancers.

5. James Rose Hatchison had collected only two or four of the words Bengali Babus  Were applied to the dancer in an excited voice. Like sabbas, baah baah, kay-baat Etc.  Later he knew that these words are not prepositions, they are meaningful. Sabbas means happiness to you; baah baah means admirable, kya-baat means

Charming.

6. Atul Sur had made an attempt to dipict the story of Bengali Babus used to organize all kinds of domestic entertainment. The best singers and best dancers of that time accompanied the pouring of drinks and food. But the attraction for which the foreign Sahebs used to appear at the invitation of the native Babus was the drinking of a different type of Sura or alcohols was more attractive than the Baiji dance.

By combining the Hindi word bai with ji, the word baaiji has become popular in India. The term Baaji means professional dancer or singer. They perform dances in return for remuneration by organizing gatherings at their homes or being invited to the Mehfil Durbar in various festivals.  In the past, under the patronage of the Bengali Nawabs, Kings, Maharajas, Zamindars and Bureaucrats, used to Baaiji dances were organized domestic functions, in Rangamahals, Bagan houses, Pramod Vihar.

 At the end of the eighteenth century, Baijis arrived in Bengal, especially in Calcutta.  Many Baijis arrived from different places based on the musical meeting that started during the exiled Nawab Wazed Ali Shah of Ayodhya in the Metiabruz area of ​​ Calcutta.  Most of the Baijis studied raga music, classical dance especially Kathak dance. Baiji Nach or dance is called Mujra.  Again it’s also called Mehefil. Some Baijis got regular monthly salaries from the court of the Nawabs, Raja, and Maharaja without participating in the Mehefil.

 Some Nawab, King, Maharaja or singular rich men's family and financial life were ruined due to infatuation with Baiji Nach-song. Places like Lucknow, Allahabad, Benares, Kanpur, Agra, Calcutta, Delhi etc. were known for the Baiji dance from the contemporary times till the beginning of the 19th century.  Nikki, Asarun, Jennat, Hingula, Begum Jan, Harun, Mirza Jan, Nanijan were notable among the early famous Baijis. In the first half of the 19th century, Niki Baiji attracted the attention of foreigners in Bengal, and even in other countries of the East.

 George Parbury mentioned in his Hand Book of India “Perhaps there is nothing in India to which the stranger looks forward with more interest than the Nautches.”  That is, you went to Calcutta but did not see the dance there?  But what else did you see in Calcutta? In fact, there was a time in Calcutta when to buy name as elite in society, dance parties were arranged at home. This was the easiest way to ascend.  And being invited to the dance was recognition of one’s importance. It was customary to invite the wives of distinguished gentlemen to attend.

 Many Europeans have described the dances in their books.  Not all of them liked to watch dance.  Although the dance was good, none of them appreciated the song. Parlabi came to Calcutta in1823. He was invited to Rammohan's house to watch the Baiji nautch. At that time Rammohan was not yet ‘Raja’, then he was just a Bengali Babu. The dance Parlvi saw was a group dance of many dancers. Their lower petticoats were a hundred yards wide, a transparent veil of white muslin, studded with gold and silver work. They were dressed in trousers up to the feet, dopatta with gold and silver chumki on the head, hands and neck studded with native jewels. Paralbi felt unique up to the toes of the dancers. To the rhythm of the dance, gold goes to the nupur-nikkan, and to the rhythm of it the native musicians are playing their strange musical instruments.  All in all, this Baiji dance of Bengal was not very bad for Parlvi. But listening to the song, he felt that the sound was coming out of the nose, not the voice.

 Reginald Heber was an English bishop and hymn writer. After serving as a priest for 16 years, he assumed the duties of the Bishop of Calcutta and held that position for 42 years until his sudden death. The Heber family originated from the area of Yorkshire of England. Heber, the son of a noble landed family in England, married Emily on 9th April 1809 after completing degree from the Oxford University. He then travelled to various places in Scandinavia, Russia and Central Europe.

 After the death of Middleton, the first Bishop of Calcutta, in July 1822, Reginald Heber was requested to take over charge as Bishop of Calcutta.  At first, Heber refused to accept the position, but after consulting with other members of the travel-loving Heber family, he sent a message indicating his consent to the British King George IV.  And immediately Heber left for Calcutta with his wife and daughter Emily.  In October 1823, he officially took over charge as the Bishop of Calcutta.

 Heber first saw Niki’s dance in Calcutta in 1824. He also wrote that date in his diary on 24th November 1824, the place was Ruparam Mallick's house.  Rupram Mallick organized a housewarming dance at opening of his new home. The description of the dance was not written by Heber, it was written by Mrs. Heber.  Mrs. Heber mentions Lady MacNaughton among the distinguished guests at that dance. Mrs. Heber was amazed to see Rupram Mallick's new house and the lights outside that house.  The house was like a palace, right in the middle of it is the dance hall Chandeliers hang from the ceiling, and precious carpet leaves on the floor.  Two galleries in the hall, the front of the upper gallery covered with Venetian glass.  All the men and women used to watch the dance through the class.

 Mrs. Parlabi liked the Bengali Baiji dance, but did not like the song.  But Mrs. Heber felt just the opposite.  She liked the song, but she has expressed considerable doubt whether the voicing movement of hands and head can be called dance.  But yes, she has accepted the bravery of the dancers. This is a wonderful feature of Hindustani dance.  Moreover, he praised the actress's clothes in this context; she said that “'I never saw public dancing in England so free from everything approaching to indecency. Their dress was modesty itself, nothing but their faces, feet and hands being exposed to view.”

 Captain Mandy was a marine officer of the French Company serving in India.  He had a reputation in Bengal as a warrior, on the other hand the culture of Bangladesh attracted him.  It is known that once on the way from Calcutta to Chittagong, he saw a folk festival of Bengal in a village of Sundarbans. Again, he did not make a mistake to watch the Baiji dance of Bengal.  Actually Captain Mandi was a philanthropist and a humorous person. He praised the Baiji dance of Bengal and their costumes.  Being French by race, he was familiar with classical dance. He writes that the costumes of Indian dancers are more beautiful than those of Italian or French dancers. He said... “The dress of an Indian dancing girl is infinitely more decent than that of our French or Italian figurants....”

 Captain Mandi truly has eyes to see.  He had equal attention not only to Baiji, but also to her old companion. Regarding the old woman, he wrote that she carries precious ornaments, dresses, collects and keeps the gold seals that are seen in the gathering.  She has a keen eye for the dancer's health, and is even more vigilant about protecting his character.  And he kept an ear on what the assembled ladies were saying about the dancer's dance and looks.

 British-born James Rose Hutchison was one of India's poets and writers in the 19th century. He held several posts in colonial India. He was also the secretary and sergeant of the Bangladesh Medical Board. On the other hand, he was the personal secretary of the President of India. Employed as a doctor, he treated Indian jail inmates for cholera. About his experience he wrote 'Observation of the general & medical management of Indian Jails'; 'On the treatment of some of the Principal diseases which Infect them'. In this article he shows that the British government was serious enough to treat the Indian prisoners.

 James Rose Hutchison had given medical services in colonial India. Therefore, he had the fortune to see the Baiji dance of Bengal. His views on watching Baiji dance were introspective. He went to the dance party with his eyes and mind open. By the time he went to see the famous Baiji Niki’s dance, his luster had faded, the enchanting sweetness of his voice no longer there.  But like other Saheb he could not understand any Hindustani dance or song. But perhaps he had collected only two or four of the words Bengali Babus had applied to the dancer in an excited voice. Like sabbas, baah baah, kay-baat etc.  Later he knew that these words are not prepositions, they are meaningful. Sabbas means happiness to you; baah baah means admirable, kya-baat means charming.

 But sabbas sound of Bengali Babu's was not a blessing in the life of Dancer; it was a curse for them.  Mr. Hutchison tried a lot and collected a lot of information to reveal the secret of this dancer’s life in Bengal. The information he collected was as thrilling as it was tear-jerkingly sad. But Hutchison's book was edited and published by a principled clergyman. He considered it unethical to delight the reader by reading one's tearful stories.  So he published the book by excluding the ludicrous part from the printed book. Therefore, in this book, the sad and tearful way of life of the Bengali dancers has been omitted.

 At that time the dancers of Calcutta were living in a dark lane in the Bura Bazaar. Under stricter restrictions than the harem of the Nawabs, their air became heavy with long sighs behind iron bars. In this hidden room, a few timid and tender-hearted women were counting the days in the hope of liberation. But who will save them from the strict discipline of a group of impotent old men with blood eyes? The hapless, the sarcastic lascivious beauty, continues to abuse the youthful sweetness of her youthful appearance on the soft material of Velvet.  There is not even a breath of fresh air in the heat of summer. Their only companion in the sultry, silent daylight is the fragrant hookah and the sweet drink.

 Dancers had a dream to see the outside light. But they were deprived of their rights. Their only right is to carry out their duties with the Hindustani Sitar. It was prohibited to make any comments according to religion and culture. They knew that this world is not them; this world has been removed from their path since childhood..!

 On 2^nd September 1819 a Durga Puja was described in the Calcutta Journal, an English newspaper run by Europeans.  Maharaja Ram Chandra Roy, Babu Neelmani and Baishtomdas Mallik Mahashay were also invited as per custom on the occasion of Durga Puja. Those who have heard the tender or mesmerizing melody of Niki's magical voice or the lotus sweet song of Asharun at this event need not be urged to re-enter the mesmerizing magic of the sweet melody. The festival of service was significant because the organizers of the festival were the first to present to the public a new oriental demand and that charming young adorable Baiji's name is Nurbaks. All those who have seen this adorable Baiji are full of admiration for her form.

Baijees who performed in the court of Nawab Abdul Gani included Piyari Bai, Heera Bai, Wamu Bai, Abedi Bai, Annu Nannu and Nawabin Bai, the last three of whom were sisters, and were also involved in staging of dramas at Dhaka in the 1880s. Batani, Jamurad, Panna, Himani, Amirjan, Rajlaksmi, Kani and Absan were among the other famous baijees of Dhaka. Malkajan Bulbuli, Malkajan Agrawali, Janaki Bai, Gaharjan, Jaddan Bai, Harimati and others also used to come to Dhaka from Calcutta occasionally with mujro. Among them, Gaharjan (1873-1929) took part in a marriage ceremony at Kazi Bari of Dhaka in the 1890s. She was the first artiste in the subcontinent to record her voice in a gramophone record. The record was given the number P-1 (His Masters' Voice). Jaddan Bai was involved in films. Nargis, the famous film actress of India, is her daughter. In the 1920s and 1930s, another baijee named Devi Bai was an actress in the first voiceless film of Dhaka The Last Kiss (1931). Harimati Baijee won the hearts of the audience by rendering songs, particularly nazrul songs in gramophone records in the 1930s and 1940s. Many of them were involved in social welfare activities. Baijee culture got extinct from the late 1940s. In the 19th century, the Bengali jaminders used to invite foreign gentlemen on the occasion of various events and festivals to establish their social status. And on those occasions Bengali Babus used to organize all kinds of domestic entertainment. The best singers and best dancers of that time accompanied the pouring of drinks and food. But the attraction for which the foreign Sahebs used to appear at the invitation of the native Babus was the drinking of a different type of Sura or alcohols which was more attractive than the Baiji dance.

1. Chandi Lahiri, ‘Bideshider Chokhe Bangla’ Indian Association Publishing Cong Private Ltd. Kolkata. Page 119 2. Chatterjee Ratnali, 'The Queens' Daughters: Prostitutes as an Outcast Group in Colonial India'; Bergen, December 1992. Page no. 3 3. Ibid, ‘Bideshider Chokhe Bangla’, Indian Association Publishing Con.Private Ltd. Kolkata. Page 119 4. "Bisop Heber, poet and chief missionary to the East second Lord Bishop of Culcutta” John Murry, Ahbemarle Street, Londo, 1895, Page no. 179-80 5. Loc.cit, ‘Bideshider Chokhe Bangla’ Indian Association Publishing Con. Private Ltd. Kolkata. Page 119 6. Lawrence Dundas Cambell : ''The Asiatic Annual Register for the year 1805'' G. Sidney Printer, Northernland Street, Strand. Page no. 153 7. Loc.cit, ‘Bideshider Chokhe Bangla’ Indian Association Publishing Con. Private Ltd. Kolkata. Page 119-20 8. Edited by Gibson Mary Ellis: 'Anglophone Poetry in Colonial India: 1780-1913, A Critical Anthology', Ohio University Press Books, United States of America, 1952, Page no. 133-34 9. Loc.cit, ‘Bideshider Chokhe Bangla’ Indian Association Publishing Con. Private Ltd. Kolkata. Page 120-121 10. Sur Atul, ‘Bangla O Bangalir Bibarton’ 4th Edition, 2008, Sahityaloke, Kolkata, Page- 335