The First Indian Woman To Hold a Concert: How Padma Bhushan Hirabai Transformed Music
20 DEC 2024
Hirabai Barodekar, a name synonymous with Hindustani classical music and the Kirana Gharana, was a pathbreaker for women in music. As a recipient of the Padma Bhushan, she defied societal norms that discouraged women from performing in public and became the first woman to hold a paid concert in India.
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Hirabai Barodekar, a name synonymous with Hindustani classical music and the Kirana Gharana, was a pathbreaker for women in music. As a recipient of the Padma Bhushan, she defied societal norms that discouraged women from performing in public and became the first woman to hold a paid concert in India. Her immense talent and contributions to music earned her widespread recognition, and she trained several students who went on to become prominent names in the industry, including Padma Shri awardee Prabha Atre, Vrinda Limaye, Bakul Pandit, Saraswati Rane, and many more.
Long before contemporary performers nowdays, Hirabai Barodekar captivated audiences with her powerful renditions. She was a pioneering figure in social change. Her decision to organize a paid concert marked a significant shift in the 1900s, challenging the traditional barriers that restricted women from taking the stage. In his book Drama Queens: Women Who Created History on Stage, Veejay Sai describes her as a figure who drove the narrative of women in the arts.
Hirabai’s passion for music began early. She gave her first public performance at the age of 16 in Bombay (now Mumbai), and by 1937, she had made her mark at the All-India Music Conference in Calcutta (now Kolkata). But it was in 1947, the year of India’s independence, that her career reached its zenith. She was chosen to perform the national song Vande Mataram at the Red Fort during the Independence Day celebrations, an honor that evoked a sense of patriotism and unity. Hirabai regarded this as one of the most rewarding experiences of her life.
Describing her music, Ramakrishna Buva Vaze, a prominent figure of the Gwalior Gharana, once said, "When your mind is troubled and distraught, you could do no better than to listen to Hirabai’s music. It has an uncanny quality of conveying a sense of peace."
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Hirabai was born in May 1905 in Miraj, Maharashtra, to Ustad Abdul Karim Khan and Tarabai Mane, both of whom were deeply rooted in classical music. Despite being born prematurely and facing early health challenges, Hirabai survived and was destined to become a force in the world of music. As a young child, Hirabai’s mother hoped she would become a doctor. However, Hirabai, drawn to music from an early age, secretly learned from her brother Sureshbabu Mane, who was studying music under Abdul Karim Khan. Eventually, her mother recognized her talent and allowed her to pursue music, setting the stage for her illustrious career.
Under the tutelage of her uncle, Abdul Wahid Khan of the Kirana Gharana, Hirabai immersed herself in the art of classical music. Her dedication was evident in her rigorous practice, sometimes spending months on a single raga, like Patdeep, to master it fully. Despite personal challenges, such as her parents' separation when she was a teenager, Hirabai stayed focused on her musical journey, with her mother’s support.
At a time when it was taboo for women to perform on stage, Hirabai fearlessly pursued her training. She studied under several respected gurus, including her brother, Sureshbabu Mane, Pandit Ramkrishnabuwa Vaze, and Pandit Govindrao Tembe. The Kirana Gharana, known for its swara and tone-oriented approach, influenced Hirabai’s style, and she became known for her emotionally rich renditions. She quickly gained popularity with her rendition of Taar Shadaj, which helped elevate the status of the Kirana Gharana. Though her forte was khayal singing, Hirabai also excelled in thumri, bhajan, bhavgeet, and natyageet.
Hirabai’s career took off in 1921 when she performed at the anniversary celebrations of Gandharva Mahavidyalaya in Bombay. She later explored other artistic avenues, including drama, films, and radio. By featuring plays with performers from different castes, she broke societal barriers and demonstrated her commitment to social reform. Hirabai acted in films like Pratibha, Janabai, and Suvarna Mandir, and also founded the Nutan Sangeet Natak Mandali, a platform for budding female artists.
Her contributions to music and culture earned her accolades, including the title of ‘Star Broadcaster’ from All India Radio, where she recorded over 200 pieces. Hirabai’s efforts to make classical music more accessible to the general public were groundbreaking. She proved that music could transcend barriers, bringing it to audiences who might otherwise never have had the opportunity to experience it. Her disciples, including Prabha Atre, Vrinda Limaye, Bakul Pandit, and Saraswati Rane, carried forward her legacy, continuing to shape the future of Indian classical music. Hirabai was awarded the Padma Bhushan, India’s third-highest civilian award, and the Sangeet Natak Akademi Award for her contributions. In recognition of her immense contribution to music, the nightingale Sarojini Naidu conferred upon her the title of ‘Gaan Kokila.’
As her health declined in later years, Hirabai spent ten years bedridden due to paralysis. She passed away at the age of 84, but her music and legacy live on, inspiring generations of musicians and artists. Marathi novelist Phadke summed up Hirabai’s life beautifully, saying, "She does not create music; she just flowers into it as naturally as does the vast universe into a starlit night."
