Vidyasundari Bangalore Nagarathnamma

3 November 1878 – 19 May 1952

Cultural Activist, Scholar Publisher, and Courtesan
Text by Mamta Sagar

 

Poet: Mamta Sagar, Designed: Archana Hande

Tyagaraja Aradhana and Vidyasundari Nagarathnamma

KUMBHABISHEKAM 7-01-1925

The image is for representation purposes only. Courtesy: internet

Vidyasundari Bangalore Nagarathnamma an Indian Carnatic singer, cultural activist, scholar, and courtesan, probably the last Devdasi from Mysore or Tamilnadu. A descendant of courtesans, she was also a patron of the arts and a historian. Her special musical forte included Harikatha. Nagarathnamma is one of the true precursors to feminist criticism in India. She fought for women’s rights all through. Writings on Nagarathnamma reveal that she fought for the right for women to perform at Tyagaraja Aradhana.

Her talent in dance attracted the attention of the Mysore ruler Jayachamarajendra Wodeyar who, impressed with her talent, made her the Asthana Vidushi (court dancer) in Mysore. Following the death of the ruler, she moved to Bangalore. She attained popularity in Bangalore not only in music but also in dance. She was also patronized by many other royal houses such as those of Travancore, Bobbili, and Vijayanagaram. Narahari Rao, a judge in the High Court of Mysore, was one of Nagarathnamma's patrons and he suggested to her to move to Madras to further her career as a musician and dancer. She shifted to there as it was considered the "Mecca of Carnatic music" and her musical talent was further developed. Here, she specifically identified herself as Bangalore Nagarathnamma. All her records in the end she would sign off by saying Bangalore Nagarathnamma in a hurry.

The twenties to the early fifties of the twentieth century was a period of reformist movements. During this period, women’s writing was prominently seen in Kannada, Hindi, and many other Indian languages. Women edited and published magazines, which carried articles by women containing creative writing as well as discussions of issues related to women. Most importantly, they argued for the need to acknowledge individual emotions as well as duties, something that received a great deal of attention in the new genre of social novels. Women Writers of the period highlighted the importance of women in the family and in society. In the process, as they brought out the problems faced by women to the forefront, women writers constructed the notion of a ‘new woman’. Their writings and ideas are available in the literature's and magazines written and edited by women during that period. They reveal certain important aspects regarding new kinds of subjectivities constructed by women. These subjectivities were composed of special qualities like courage, boldness, patriotism, and dedication to the nation as concerned citizens. Women moulded new subjectivities for themselves through their writings. This was very important for them, as it gave them an opportunity to represent themselves as citizens of a new spiritually strong nation. The ‘ideal Indian woman’ in turn, represented this spiritual strength. The concept of ‘Arya Mahila’ the Aryan woman, portrayed by Tirumalamba in Kannada and Mahadevi Verma in Hindi, talked about the notion of the self-dependent strong woman dedicated to her tradition yet not simply a shadow of the man. Women’s writing can be read as a resistance narrative shaped under the prevailing patriarchies. 

 

Poet: Mamta Sagar, Designed: Archana Hande
Bengaluru Suddi | SWATCH BHARAT
Bangalore Nagarathnamma

The image is for representation purposes only.
From the album Anuradha Ranganath's photos Courtesy: internet

Thirumalamba (AMMANYAKKA) Narayana Iyengar (Vrittamani) (1887-1982)

is the first woman novelist, poet, critic, editor, and publisher in Kannada. She edited magazines for women in Kannada like ‘Karnataka Nandini’, ‘Sanmaargadarshini’, ‘Veeramathe’. 

One of Tirumalamba’s articles written in the 1920s demonstrates such differences of opinion. She said – 

 

There have been differences of opinion among male writers regarding women’s progress and its downfalls. The reason for such differences in my opinion is the incomplete knowledge that men have about the natural structure and character of women’s mind, their intellect and intuitions. Men have not taken into consideration the constant conditioning and orientation of women’s minds by so many thousand years.

Sheshagirirao, L.S., ed. Srimathi Nanjanagudu Tirumalamba Jeevana 

Mathu Sahitya. Bangalore: IBH Prakashana, 1987 p. 32

The image is for representation purposes only. Courtesy: internet

Belegere Janakamma (1912 – 1966)
In the poem, ‘Ganda’ (The Husband) she refers to the domestic violence women go through. Having an agreement with the husband she says, is like –

The frog seeking shelter under the shadow of a snake. If he gets angry he is nothing but ‘an incarnation of Yama (the God of Death)’. He has the power to decide whether one should float or sink. For a man, wife is just a commodity... Man is so powerful that he can do anything… Man is extremely powerful… If you do not listen to him, he can even break your neck… He is the punisher and he is the protector and so, he is your God!

Nemichandra, 1988, p. 77. Translated by Mamta Sagar.