Image and narrative points contributed by Mehak Thakur, Mumbai
This photograph is of my grandmother Damyanti dancing on the occasion of her youngest brother’s marriage on the porch of our ancestral house designed in traditional Himalayan Kath Kuni architecture in Nitther, a small village in Kullu District, Himachal Pradesh.
My grandmother says she was dancing the Pahadi Nati, a folk Pahari Dance. The traditional dress of Kullu is Reesta, an attire that was inspired by the British gown, a combination of a long kameez (shirt) tucked inside a long heavily pleated skirt accompanied with a Sluka (Jacket). Alternately, it is also made in a tunic form with woolen fabric to be worn over in winters, which my grandmother wears in this picture.
Ancestrally, my family were Zamindars (land owners) and like many land owners of the time cultivated Opium up until the early 20th century for the British until its prohibition and drop in trade. Opium consumption in the subcontinent was common and was (in some places still is) also fed in small quantities to babies, mixed in milk, and while they slept their mothers do the house chores and work in the farms. After Opium was dropped, landowners began cultivating other crops and ours grew Basmati Rice and formed Apples and Cherry Orchards.
My grandmother Damyanti Goswami Pandit (later Thakur) was born in 1947. She was the second child to a family of two sisters and three brothers. However as unspoken tradition was within several families in the subcontinent, she was offered for adoption to relatives within the family who had no children of their own. My grandmother was deeply loved and pampered, so much so that she did no house chores. As an adult and after her adopted parents passed, regional hereditary laws favoured my grandmother, because unlike much of the subcontinent at the time, daughters in our custom could inherit property and assets of their parents. Right after high school, my grandmother got married at the age of 16. I wonder about the generational irony though – she had enough sources to have gone abroad and continue her education, yet she chose a life of a wife and delivered her first child at a young age, my dad, at the age of 17. She was still a young girl herself, and there were stories of how she would be off to play with her friends while her mother took care of her grandchild, her daughter’s first born. In a following years my grandparents had four children, two sons and two daughters.
My grandfather came from a Rajput family in the same village. He was educated and the only one in the entire village to have graduated and work with government services. Interestingly unlike most women, my grandmother didn’t adapt to traditional roles of motherhood, and their four children were mostly taken care of by my grandfather while he was posted in Simla, because good education was only available in bigger towns. My grandmother, on the other hand, chose to live in the village and actively take care of her lands and farming businesses with frequent visits to Simla. The children grew up to be in the Armed Forces, Farming land and in Government services.
This photograph literally symbolizes my grandmother. I remember her dressing up like a bride whenever she got a chance and dance. My father inherited the same love for dressing well and would spend his entire pocket money on having the latest fashion copied for himself. Needless to say, their love and quest for dressing up well has been passed on to me.
Both my grandparents now stay on and off between Simla and the farm land. My grandmother is now 71, she is still immensely loved and adored by everyone in the village. She continues to actively looks after her lands and she still loves to dress up and dance like she is 16.
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Image and Text contributed by Aparna Datta, Bangalore
This is a picture of my maternal grandmother, Monica Guha, (née Roy Chowdhury). The photograph was recently gifted to me by my aunt, my mother’s first-cousin. My aunt had found this classic studio portrait, complete with potted plants and painted canvas backdrop, amongst a collection of photographs belonging to her late father, Monica’s brother.
On the reverse of the photograph is a rubber stamp with a date ‘3.11.25’, with ink that hasn’t yet faded. The photograph had been taken at Dass Studio, P 21/A Russa Road North, Calcutta. The rubber stamp stated “Copy can be obtain at any time. Please quote the number.” Endearingly, there is also a name “Monu”, her family nick name, hand-written in Bengali.
While looking at the photograph I noticed she wore no bindi and no sindoor – symbols that a married woman would wear. Laden with jewellery, top to bottom, this simply had to be a rite-of-passage ‘portrait of a debutante’, a matrimonial image, intended to be shown to prospective grooms and their families. As a time-honoured ritual in arranged marriages, the significance of such a photograph, as a cultural artefact, was inescapable. I call this picture the ‘Barefoot Princess’.
The picture and the date-stamp had a rabbit-hole effect on me, drawing me in, coaxing me to contextualise the image. My mother had passed away, so I dredged the recesses of my mind, trying to recall bits of family history she had shared with me over the years. I spent weeks tracking down near and distant relatives all over India, picking up strands to weave into a narrative.
Monica was born in July of 1912, at Lucknow, United Provinces (now Uttar Pradesh). Her father, Nirupam Roy Chowdhury, was the son of the Zamindar of Ghalghallia, Taki, located in the North 24 Parganas, a District of West Bengal. Taki is a town on the banks of the Ichhamati River, that borders Bangladesh. The Roy Chowdhurys were descendants of Raja Basanta Roy of Jessore, uncle of Raja Pratapaditya, one of the twelve ‘bhuiyans‘ or enlightened chieftains who ruled the Sultanate of Bengal (1336–1576 C.E.). Raja Pratapaditya had fought against the Mughal imperial army during its attempts to make inroads into Bengal in the early 16th century. By 1574 he had declared his independence from the Mughals and established an independent Hindu state in Bengal.
Nirupam Roy Chowdhury was a civil engineer and served with the Government of the then undivided Bengal. His postings took him all over the province. Monica’s mother was Kanak Lata, daughter of Rai Bahadur Dr. Mohendra Nath Ohdedar, the first Indian Civil Surgeon of the United Provinces.
During early 20th century (and for some, even until now), it was customary for women to go to their mamabari (mother’s home) to give birth, and so all Kanak Lata’s ten children – six sons and four daughters, were born in Lucknow, at the home of their maternal grandfather.
As the eldest girl, Monica was destined for an early marriage. Education would have certainly featured in her life, however I am not so sure if they formally attended school or were home schooled, and much of their young lives were spent travelling between their paternal and maternal grandparents’ homes.
Indeed, at the age of 13, in 1926, just months after this photograph sitting, Monica did find a suitable husband, a doctor, Dr. Ajit Kumar Guha. She along with her husband (my grandfather) moved to her husband’s and in-laws’ home at Motihari, Bihar. Soon after, my mother was born in 1929, the eldest of five children, four daughters and one son. Monica and Dr. Ajit and the whole family moved to Patna around 1935 and settled there.
Monica, my grandmother’s life was serene and was spent as an efficient home maker. She passed away peacefully in January 1993, in the same house where she ran her own world, her sansar and where she had lived for 58 years. The grace and poise I see in the portrait characterised her all her life.
Image and Text contributed by Somdev Thakur, Kolkata
My grandfather, Shobhendra Nath Tagore, had a very charismatic personality. He was a lawyer in the High Court, a theatrecian, an adventurer and a government employed hunter (to hunt animals that had turned rogue and attacked villages).
Image & Text contributed by Sawant Singh, Mumbai
This is an image of my grandmother Kanwarani Danesh Kumari photographed in Patiala, Punjab around 1933.
She would have been 20 or 21 years old at the time. It was photographed by R.R. Verma, a Photo artist from Cawnpore (Kanpur). Formally, she was addressed as ‘Rajkumari Bibiji Danesh Kumari Sahiba’. This is the only photograph I have of her in my possession, even though my memory of her is vastly different from it.
I remember her as a simply clad, dignified, exceptionally proud woman, who would spend her time gardening, shopping for groceries in the market, or chatting away with the gardener & her domestic staff or entertaining friends from out of town in Dehradun, (now in Uttarakhand); many of whom were people who belonged to royalty or influential circles. Her home “Sawant Villa”, named after my great grand father, was an open house with people constantly streaming in and out.
My grandmother was fondly called ‘Brownie’ by her family and friends. She was the wife of the late Maharaja Kumar Aman Singh of Bijawar (now in Madhya Pradesh) and the daughter of Maharaja Bhupinder Singh of Patiala (Punjab) who was known as ‘the proud owner of the world famous “Patiala Necklace‘ manufactured by Cartier.
Brownie or as I called her, ‘Dadu‘, was brought up in the lap of great luxury but she understood and adapted to the simple life very well. A beautiful, strong, non-judgmental woman, she wouldn’t suffer fools and was known to never mince her words. The only thing that impressed her was a good education and believed that it was the only way one could change their lives for the better. She thus ensured that all her children and grandchildren would appreciate the value of literacy and education.
Dadu was a very social woman and loved going into the city to meet her friends. Everyone knew her in Dehradun. I remember her dragging me to meet her dear friend, Mrs. Vijaylaxmi Pandit and they would spend hours chatting away while she would keep tucking my hair away from my forehead and eyes. She was as comfortable in a Rolls Royce as she was in a local bus in Dehradun. The latter was how she travelled to visit me when I was studying at the Doon School. She insisted on teaching us how to walk barefoot on Bajri (pebbled) pathways and chew on a Datun (Neem twig commonly used to clean teeth), in retrospect I think it was to prepare us for the real world.
I also remember, a few of her interesting obsessions were collecting imported soaps and canvas shopping bags. Anyone who ever travelled abroad had to bring back bars of soaps, canvas bags and chocolates. I remember one soap in particular in her bathroom was shaped like a fish. It seems that her quirky fascination with soaps may have passed on to me.
After an accidental fall in the early 90s, her health began to fail and she passed away in her sleep, peacefully in 2005.
This photograph of my grandmother is framed and hung in my dining room. While I never saw her dressed like this, the dignity and pride I see in it, is alive and inspiring.
Image and Text contributed by Jayakar Alva, Bangalore
My father Shankar Alva graduated in B.Sc from the University of Edinburgh, Scotland, in 1923. He then returned to India and took on the role of the Chief Forest Officer and Assistant to the Dewan of Koraput, from 1928-1941. He was based at the outskirts of Jeypore, a city south of Vishakhapatnam (now Vizag) in Orissa.
This image of my father hunting for Game, with his staff was probably taken in 1929. The Wild bull was shot by my father, as there was permissions at the time to hunt wild animals, albeit selectively, and especially if they were on a rampage. Animals would roam around freely and you can even see a wild elephant in the background of the image. I was a little boy then, and I lived in the forest with my father for only about 5 years.
After the death of one brother due to a cerebral malaria epidemic in the village in 1941, my father quit his job. He then returned and retired to his native place, Shiruvagim, a village he owned.
My mother Kamla Alva was a well known social worker and worked with many institutions, in Mangalore as well as Jeypore, with organisations focusing on women’s health care and rights. I worked in marketing & research industry for the defense sector for many years and then I became a teacher. I now live in a senior citizen’s home in Bangalore.
Image and Text contributed by Madhu Reddy
This is a portrait of my mother’s family. My grandfather was an MLA (Member of Legislative Assembly) at the time from this constituency and had moved recently from Sankireddypalli where they still maintained their ancestral home. My three uncles are in the top line. (from left) Jagdeesh Reddy, Janardhan Reddy and my youngest uncle SriRam Reddy. In the middle is (left) my eldest aunt Vijita Reddy , my grandfather Padbhanabam Reddy, Pramila Devi my grandmother, my youngest aunt Saraswati and Revati Reddy my other aunt. My mom Indira Reddy sits in the front. In the foreground is Raghavlu as he is known, who was part of the family and studied with my uncles.
All my aunts and uncles are now live in Hyderabad, most of their children in the US, Canada and India. There are four original copies of this photograph. I’m hoping that one day I can manage to get my hands on at least one of them.