At an event titled “Nabo Anande Jaago: The Legacy of Thakurbari,” hosted by the Indira Gandhi Cultural Centre, High Commission of India, Dhaka, in partnership with the Fashion Design Council of Bangladesh, Rabindranath Tagore’s 165th birth anniversary was commemorated from a fresh perspective. Instead of solely spotlighting the poet himself, the occasion showcased music, recitation, archival content, and fashion to shed light on the women of the Tagore family.
This shift held significance as Rabindranath Tagore is deeply ingrained in Bengali cultural memory, often overshadowing those around him who risk being relegated to mere historical footnotes. Particularly the women, who tend to be reduced to portraits, names, or fleeting mentions.
According to Maheen Khan, the founder and president of the Fashion Design Council of Bangladesh, the objective of this project was not only homage but also a form of reclamation. She expressed, “We have long contemplated a project that would illuminate the iconic women of Bengal.” For her, the women of Thakurbari symbolized more than just literary eminence.
“They belonged to the landed gentry; they were a family of intellectual depth,” Khan emphasized, noting that their progressive lifestyle accorded the women of the household a unique cultural standing.
The event not only articulated this concept verbally but also through design. Swarnakumari Devi, often remembered solely as Rabindranath’s sister, was highlighted for her substantial contributions beyond familial ties. She hailed from one of Bengal’s most intellectually vibrant families and founded Sakhi Samiti, a women’s association that empowered widows and underprivileged women during a time when such endeavors were not in vogue.
“This was during the 1870s-1880s,” Khan pointed out. “We are still grappling with this today, providing individuals with skills to earn a livelihood.” This recognition places Swarnakumari within the progressive ethos of her era and underscores her relevance even in contemporary discourse on women’s empowerment.
If Swarnakumari embodies one facet of Thakurbari’s female heritage, Indira Devi Chaudhurani epitomizes another: education shaped by exposure. Described as one of the first female graduates of the Tagore family, Indira Devi symbolizes a departure from traditional notions of Bengali femininity, rooted solely in domesticity and restraint, by embracing a broader transnational modernity.
Among the women highlighted by Maheen Khan, Protima Devi stood out for her multifaceted contributions. Renowned as Rabindranath Tagore’s daughter-in-law, Protima’s significance lies not in her relationships but in her substantive work within the art department at Visva-Bharati and her involvement in dance dramas, shaping the visual and performative language of the Tagore circle.
Devika Rani, Rabindranath’s grand-niece, represents another form of cultural endeavor. Educated in music, architecture, and textile design, she ventured into filmmaking, co-establishing Bombay Talkies, a pioneering studio in early Indian cinema. Devika’s trajectory, alongside Protima’s, exemplifies the cultural synthesis of early 20th-century India, blending Indian aesthetics with global modernity.
Maheen Khan’s overarching message underscores that the women of the Tagore family were integral to Bengal’s intellectual awakening, embodying its tensions and possibilities. She emphasized the importance of sharing their stories to illuminate not just their outward appearances but also their lifestyles and cultural contributions, affirming that Thakurbari was a collective creation, not solely attributed to Rabindranath Tagore.
[Photo: Silvia Mahjabeen/Courtesy]