Prayagraj की जानकी बाई कैसे बनीं ‘छप्पन छुरी’? Akbar Allahabadi, Chappan Churi के किस्से । Tarikh

Tarikh Episode 909
In Prayagraj’s Adarsh Nagar, a forgotten mazaar stands as a silent testament to the extraordinary life of Chhappan Chhuri, a singer who defied societal norms and carved a place for herself in Indian music history. Born as Janki Bai in Varanasi, she faced abandonment by her father and was later sold to a brothel owner in Allahabad. Determined to rise above her circumstances, her mother ensured that she trained under Hasu Khan of Lucknow, which led to her becoming a renowned singer. Her talent brought her into the limelight, and in 1911, she performed for King George V alongside Gauhar Jaan, earning royal admiration. However, her life took a dark turn when a British soldier, Ramanand Dubey, obsessed with her, attacked her 56 times with a knife, permanently scarring her face. From then on, she sang from behind a curtain, earning the name Chhappan Chhuri (Fifty-Six Knives), yet she continued to rule the gramophone industry for over two decades, becoming one of the first Indian women to have her voice recorded.
Janki Bai was not alone in carrying Allahabad’s literary and artistic legacy-her close advisor was the famous poet Akbar Allahabadi, whose sharp wit and satire shook the political elite. While she used music to challenge the limitations imposed on courtesans, Akbar Allahabadi used poetry as a weapon, often targeting British colonialism and societal hypocrisy. He famously responded to Allama Iqbal’s "Sare Jahan Se Achha" with biting sarcasm, questioning blind patriotism. His poetry also criticized Western influences on Indian society, often blending humor with profound social critique. Despite growing political divisions of the time, Akbar advocated for Hindu-Muslim unity, earning both admiration and criticism. Today, while Janki Bai’s mazaar crumbles in obscurity, her music and Akbar’s satire remain etched in history, reminding us of a time when art and resistance walked hand in hand in Allahabad.
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