This presentation focuses on three periodsThe Formative period, 1724 – 1857 ( The first four Nizams) The transitional phase : the period of reform, 1857 – 1883 ( Asaf Jah V and VI) The The new women : On the threshold of modernity – 1884 – 1948 ( Asaf jah VI and VII)

1. Women In Hyderabad State- a
Historical analysis
Rekha Pande
University of Hyderabad

2. Structure of the Talk
• The Asaf Jahis- a historical background
• Need for women’s History
• The Formative period, 1724 – 1857 ( The first four
Nizams)
• The transitional phase : the period of reform, 1857 –
1883 ( Asaf Jah V and VI)
• The The new women : On the threshold of modernity
– 1884 – 1948 ( Asaf jah VI and VII)

3. The Asaf Jahis
• The Asaf Jahis were of Turkish origin from the region around Samarkand
in modern day Uzbekistan and came to India in the late 17th century, and
became employees of the Mughals.
• As the Mughals were great patron of Persian culture, language, literature:
the family found a ready patronage.
• In 1763, after a gap of nearly seventy six years Hyderabad regained its lost
glory when Nizam Ali Khan, the second Asaf Jahi ruler moved the capital
back from Aurangabad to Hyderabad.
• The period saw hostilities between the French and the English and in AD
1758 on the outbreak of Seven years war in Europe in AD 1756.
• As a result, the French lost their power in India and consequently it also
lost influence at Hyderabad.

4. The formative period
Nizam 1 , 1724-1748A.D.
Mir Qamaruddin Chin Qilij
Khan
Nizam 11, 1762-1803
Nizam Ali Khan

5. Nizam III, 1803 – 1829 Nizam IV, 1829-1857
Mir Akbar Ali Khan Sikander Jah Mir Farkhunda Ali Khan Nasir-ud-Daula

6. Transition phase
Asaf Jah Nizam VI, 1869-1911
Asaf jah - Nizam V 1857 – 1869
Mir Tahniat Ali Khan Afzal-ud-Daula Mir Mahboob Ali Khan

7. The threshold of
Modernity
Asaf Jah VII -
Nizam VII
1911 - 1948
Mir Osman Ali
Khan

8. How are women studied
It is always men who have defined women and
their views have had an important and pervasive
influence on human thought.
Women are examined as semi humans unable to
speak for themselves.
Women are only looked at and rarely did they do
their own looking.
Women are studies as anomalies

9. Women in traditional disciplines
Kum Bhawani uses the concept of EDIT.
E Erasure of total contributions.
D - Denial of women's contribution
I- Invisibility from frontier areas of
Knowledge.
T- Tokenism- only few women visible at
the heights

10. Why women have no history
Women are ignored in history because of the
assumption that they did not play a part and were
behind the scenes.
We continue to get a partial picture of His- Story
and not Her- Story. Unless we add this our
understanding of the past will continue to be partial
and biased and we will never get Our- Story.

11. 1st Phase , Formative period
1724-1857
This period did not see any progress in
Hyderabad.
In fact Hyderabad state was far less
progressive state when compared to the
other princely states of British India.
The Nizams were subordinate to the
paramount as the British guided the state.

12. Financial crisis
The Nizam’s state was forced into a series of wars which
resulted in the total chaos in state. The administration
collapsed and state was facing financial bankruptcy.
To bring financial stability, a bank called “Palmer & Company”
was established to advance loan to the state government. But
it resulted in one of the biggest financial scandal of the time.
Sikandar Jah, was a puppet ruler, while the defacto ruler was
the British.
The period was marked by complete chaos until the
appointment of Salar Jung – I as the Prime Minister of
Hyderabad state.

13. Women in private domain
Women were confined to the four walls. A women’s
place was primarily in the home and it’s her destiny to
organize the household and to rare children.
Thus the early women were by and large in private
domain. few women who came to public space by
crossing the boundaries of private and they were not
regarded as ‘respectable women’.
In rural societies women were participating in the
agriculture fields along with their men for they had
to work for a living.

14. The Tawaifs
The women who were in public arena in urban
centers were ‘courtesans’, ‘tawaifs’, ‘annas’ and
‘mamas’ (zanana servants).
These women were trained in the long standing
tradition of skilled entertainment and were artists
with skill.
During any happy occasion it was these tawaifs
who provided entertainment and performed
especially on marriage and birth of male child among
aristocrats and elites.

15. Walters Art Museum,
Baltimore Maryland
The Nizam patronised the
Twaifs by establishing an
office known as, Dafter-e-
Arbab Nishat.
During the period of Nizam
Ali khan, a sum of rupees
twelve was spent per month
towards salaries of tawaifs.

16. Importance of the Tawaif
In Hyderabad society tawaif held a respectable place and were
known for decency, politeness, manners and culture. Many
elite families send their boys to their doors for the learning of
culture.
Due to this many women from north India migrated to
Hyderabad and adopted the profession.
The singing and dancing girls performs in mehfils and behind
from purdha the ladies of zanana also enjoyed, their
performances.
It was compulsory for tawaifs to sing in the marriage functions
and after the nikah a group photo was taken for the sake of
remembrance and in the group tawaif also given place

17. Mahlaqa Chanda
One very important twaif was Mahalaqa Chanda. She had
already compiled her first collection of poetry and attained
fame when legendary Urdu poet Mirza Ghalib was just a year
old.
She was associated with six royal courts starting from
Ruknuddaula, followed by Nizam Ali Khan to Sikandar Jah,
Arastu Jah, Maharaja Chandulal Shadaan and Raja Rao
Rambha.
She was a famous Urdu poet of Deccan was a contemporary of
renowned poets like Mir Taqi Mir, Sauda and Dard in North
India.

18. Maha laqa’s Family
Her father Bahadur Khan belonged to an illustrious family. Her
mother Maida Bibi also came from a family of repute in Gujarat.
Mahalaqa was born in 1776 A.D.
 Maida Bibi was the youngest of three sisters. Her father was an
administrative officer under the Mughal governor of
Ahmadabad.
He wasted the governor’s money and was threatened with
arrest and he fled abandoning his family.
 His wife was reduced to utter poverty left Ahmadabad with
her three daughters and two young sons. They were adopted by
a roving band that sang and danced for a living – probably
Hindus of a gypsy character ( bhagtiyan).

19. Maha Laqa’s early life
• Maha Laqa grew up in the lap of her elder step-sister, who
raised her in a mansion called Zenana Dewdi .
• She must have received the best aesthetic education that
money and prestige could buy. She was taught Persian, wrote
poetry in Urdu, learned dance and studied classical music
under her Ustad, Huš Hal Han Kalawant. He was a Shi‘i
musician who, as indicated by his title Kalawant was an
exponent of Dhrupad and Khayal styles.
• She also associated with her mother’s old friend, Šah Tajalli
‘Ali, the poet, historian and illustrator. As she matured and
began to Courting ‘Ali.

20. Maha laqa

21. Her Library
• Mahlaqa's library was well-known for her
collection of rare books and scripts. She had a
number of writers, 'Kaatibs', in her personal
service, for copying texts for her library.
Whenever she heard of a new or rare book,
she would somehow get hold of it and ask the
Kaatibs to prepare a fresh copy for her library
• She was renowned for her mastery on
dhrupad apart from khayal tappa.

22. Wealthy women
• Maha laqa was one of the richest woman of her period.
• A prominent personality, she lived in Khasa Mahal with hundreds of
khadims at her disposal.
• Mahlaqa's estate was spread over Syedpalli, Chanderguda, Chandapeth,
Ali Bagh and several other areas.
• She was a generous woman who spent lavishly on the preparations for
Khat Darshan Mela and Gyarahvin Sharif. For Muharram and Jashn-e-
Haidari, she prepared for months in advance.
• She threw banquets in the honour of visiting poets and also
patronized poets and artists.

23. Purdah
• Among the early women strict pardah was prevalent. During
the early years of Nizam rule, the practice of pardha was
prevalent in every class of women’s especially among elite
class.
• Even the ‘mama’ (maid servant) wore pardah while going to
the market. The pardah was very strict in Hyderabad, but the
unmarried daughters of the Nizam were exempted from its
rule.
• They attended palaces and residency parties and
accompanied their father in race. They did not participate in
any public functions.

24. Transitional Phase
• Women. during the transitional phase in the
Hyderabad state during the period of reform.
The period from 1853 – 1883 was very
significant in the history of Asaf Jahs, during
this time Hyderabad state was transforming
from medieval to modern state.

25. Women’s Education
• The census of state was conducted in 1881.The state’s education system was
formed. There was no progress in female education until the coming of Salarjung –
I. The first girl’s school was opened in this period.
• Girls were taught household skills and got religious education.
• The society started its move towards progress but there was no progress of
women.
• At this time elite women were given formal education at their palaces and deodies.
• For a middle class woman an enlighten outlook was developed towards their
education.
• This period can be described as the background for the upcoming era of women’s
emancipation in the history of Nizam state.

26. 2nd Phase, The period of Transition,
1853-1883
• During this time Hyderabad state was transforming from
medieval to modern state.
• It was in 1853, Mir Turab Ali Khan Salarjung – I was appointed
as the Diwan of the Nizam state and with his appointment an
array of hope rose in Hyderabad.
• Salar Jung introduced many reforms for the betterment of the
Nizam state, which marked the beginning of a new era of
modernization.
• He was the prime-minister of three Nizams i.e. Nizam-iv, v, vi
from 1853 to 1883.

27. 3rd Phase, On the threshold of
modernity, 1884-1948
• In the year 1884 Mehboob Ali Pasha Nizam VI assumed the
sovereign power, as he attained 18 years and regency rule
came to an end.
• The policies and progress initiated by Salarjung was carried on
by Nizam VI and VII which resulted in the attainment of
administrative and financial stability.
• The period witnesses an all round development of Hyderabad
state, an enlighten outlook was developed towards the cause
of women, which led to the progress of the women.

28. Education bringing a change
• Education brought in a new life to women,
which in turn helped them to see the outside
world with new eyes.
• Thus the new Nizami women especially elite
muslim women were able to cross the
boundaries of private and public domain,
contrary to Nizami women of the early period.

29. Prosperity in the state
• This was a very prosperous period.not only economically but also
culturally.
• The Asaf Jahi rulers from the beginning were great patrons of literature,
art, architecture, and culture, and rich food. The Nizams patronized
Persian art, architecture and culture.
• The Nizam was known for his wealth and the last Nizam had been the
richest man in the world.
• The Nizams also developed the railway, and the introduction of electricity;
developed roads, airways, irrigation and reservoirs; in fact, all major public
buildings in Hyderabad City were built during his reign during this period.
• Hyderabad State had its own army, airline, telecommunication system,
railway network, postal system, currency and radio broadcasting service.

30. Osman Ali Khan
• Osman Ali Khan (1911-1948), was
the last Nizam of Asaf Jahi dynasty
and last ruler of Hyderabad state. By
this time the British had strongly
established themselves in one of the
biggest princely state of India.
• He was one of the richest men in the
world. The Nizam Jewels under his
possession were estimated to be
worth four hundred million, which
includes Diamonds, Emeralds,
Sapphires, Rubies and Pearls etc.
• “He used for paperweight, a Jacob
Diamond of 17 carat, which was in
the size of a small lemon .
•

31. Princess Niloufer
and Durru Shewar
• On Nov 1931 Osman Ali khans sons , Azam
Jah was married to Princess Durru Shehwar
and Moazzam Jah was married to Niloufer,
daughter of ex. Sultan Abdul Majeed Khan,
Caliph of Muslims and Princess (niece of ex.
Sultan) respectively at Nice in France. .
• If Princess Niloufer was the nagina, Princess
Durru was the heera (diamond).

32. Celebrations
When the two royal couples returned to Hyderabad after a
long journey, there was a tumultuous welcome. The city was
decked up. It is said that all communities joined to
contribute to the building of a "shadikhana" as a permanent
memorial. People from neighbouring villages poured into
the city to catch a glimpse of the newly married couples.
The royal reception was in the stately Chowmohalla palace
and the then British Resident, Lt. Col. T. H. Keyes, proposed a
toast.
Nizam declared a holiday in Hyderabad and newspapers
printed special editions.

33. The two Princesses
• Although the marriages didn’t bring a rich dowry (for the
Caliph had already been deposed), they earned the Nizam a
diplomatic alliance with the Turkish aristocracy.
• The Nizam encouraged both princesses to take part in
sports, such as tennis and horse-riding.
• He sent them on tours of Europe so they could broaden
their mind and also pick up works of art for his museums and
this was a dissemination of royal ideology through
institutions.
• There was a large scale engagement with photography.

34. Durru Shevaar

35. Early life of Durru Shevaar
• The princess was born in Uskudar, Istanbul when the Ottoman
Empire was passing through its last phase.
• Her father, Caliph Abdulmecid II, went into exile in Paris after
the abolition of the Caliphate by Mustafa Kemal Ataturkin 1924.
• Upon the family's exile to France , she was sought as a bride for
Prince Azam Shah (1907–1970), the eldest son and heir of the
last Nizam of Hyderabad State Osman Ali khan.
• The marriage took place in Nice, France, on 12 November 1931
• The confidence and poise of the women in he photo shows the
nuanced adjustment with modernity that eluded even povincials
in Europe.

36. Importance of the marriage
• It was believed at that time that the matrimonial alliance between the
Nizam, the richest ruler in the world of his time, and the deposed Caliph
would lead to the emergence of a Muslim ruler who could be acceptable
to the world powers in place of the Ottoman sultans.
• Durru Shahvar, whose father was raised by a branch of the Ottoman
monarchy deeply interested in modernizing reforms and believed in
modern education for women including his wives and daughter, became a
popular public figure after her arrival in Hyderabad.
• These modern views had a lot of impact on her.
• She believed that women should earn their own living, and helped to
remove the practice of purdah.
• She ran the household in her palace when the other women of the family
dared not venture into the men’s domain

37. Marriage photo

38. Her two sons
• Following the birth of her sons Prince Mukarram Jah in 1933
and Prince Muffakham Jah in 1939, Durru Sehwar took charge
of their upbringing, The two princes were educated in Britain
and also married Turkish ladies. The last Nizam later bypassed
his own son and nominated her first son and his grandson, as
his successor.
• The Princess became the first woman to inaugurate an airport
when she inaugurated the airport in Hyderabad in the 1940s.
She is also credited with inaugurating the Osmania general
Hospital.
• She set up the Durru Shehvar Children’s and women’s
Hospital for women and children in the old city of Hyderabad.

39. Durru Shevaar

40. Her other works
• She also inaugurated the famous Ajmal Khan
Tibbiya College Hospital at Aligarh Muslim
University Aligarh in 1939.
• Her last public appearance in the city was
when she presided over the opening
ceremony of the Nizam’s Silver Jubilee
Museum in 2000.
• She last visited Hyderabad in 2004.

41. Durru Shevaar

42. The Princess other skills
• These Princess were better educated” among the Nizam’s
family. They were also good sportswomen, skilled in tennis
and handball.
• The Nizam threw lavish parties where he showed off his
daughters-in-laws.
• The Princess dazzled in them and was the most sought after.
• The princesses were visible in the Bombay party circuit, too,
though they apparently did not dance. In keeping with the
Nizam’s status, they kept their distance, projecting an alluring
mix of oriental tradition and western freedom.

43. A priceless pearl
• Durru Shevar is described by the media as the "priceless
pearl," having her own list of accomplishments that included
mastering European languages, besides Urdu.
• She had the honour of being the first royal lady from the
Nizam's family to attend a public function when she
presented a silver cup to the winning team of Public Garden
Tennis Tournament in 1933.
• Her marriage was widely hailed as a "union of two great
dynasties" linking Europe and Asia.

44. Her last days
• She was upset about Turkish Government's attitude against her family
members after declaration of the republic. Despite being member of
Ottoman royal family she refused to be buried in Turkey since she was
upset that the Turkish Government refused in 1944 her father's burial in
Istanbul.
• She was conferred the title of Durgana Begum, Princess of Berar by the
Nizam. The Princess used to live alone at her house in Queens Street,
London. For the last six months, she was very ill, it is said.
• She died in London on 7th February 2006 and was buried there itself. Her
husband, Azam Jah pre-deceased her in 1974.

45. Early life of Princess Niloufer
• Princess Niloufer was born on 4th January, 1916, in the
Goztepe Palace in Istanbul in Turkey. Her mother was Adile
Sultan, a grand-daughter of Sultan Murad V, who had been
deposed on the grounds of purported mental illness.
• At the age of eight, Niloufer moved to Nice in France. This
was not a voluntary move. Turkey had lost its bearings during
the First World War. When the war ended, the mighty
Ottoman empire was divided, and all that was left of it was
Turkey itself. Kemal Ataturk, the revolutionary leader, decided
to modernize the country.

46. Her Exquisite looks and clothing
• Princess Niloufer’s exquisite looks
and clothes were a talking point
across the country and in the cities
of Europe.
• She caught the public imagination
with her beauty and style.
• Her clothing collection took on a
more European style with Mlle
Fernande Cecire designing her
saris and dresses.

47. Her beauty
• Princess Nilüfer seems to have attracted quite as much
admiration as her cousin.
• “Her violet eyes and blue-black Circassian hair were enough
to ruin a man’s appetite,” remarked the British official Sir
Conrad Corfield, who declared her “the loveliest creature I
had ever set my eyes on”.
• When she accompanied the Nizam to Delhi, the Viceroy, Lord
Willingdon, was equally enchanted, much to the annoyance of
his wife.

48. Her saree’s
• Her sari were ornamented with
beads metallic embroidery on
chiffon, crepe and net, with
sequins, the floral designs
falling in the front or over the
left shoulder.
• Many of these saris were
designed by a Frenchman,
Fernande Cecire, and
embroidered in India.

49. Niloufer’s public role
• While Niolufer's private life seemed empty due to lack of
children, she compensated by making her public life very
glittering.
• Unlike other ladies in her family who felt that their dignity
and honour lay in not making public spectacles of themselves,
Niloufer preferred to move about the city quite freely, leaving
the zenana of the palace frequently to attend public
engagements, cocktail parties and late-night revels in addition
to her charity work.
• She attended many functions and also inaugurated several
events, often unveiled.

50. Her Beauty
• As no other lady of the Hyderabad royal family had
ever moved about unveiled or attended cocktail parties
or even public events, Niloufer came to be regarded as
a torch-bearer for women's advancement.
• Her beauty and active public life received mention in
the press, and she was featured on the cover pages of
magazines. She was judged one of the 10 most
beautiful women in the world, and was even offered
several roles in films.
• The confidence of the women is reflected in the
artefacts.

51. Niloufer Hospital
• When did not conceive after marriage she wanted to be treated. . She
found that there were no specialist doctors in Hyderabad whom she
could consult. She had to travel to Europe to consult doctors.
• During this time, one of her maids died in Hyderabad during childbirth,
again as a result of the lack of medical facilities. At that time, there was
no specialized hospital for children and mothers in Hyderabad. Childbirth
took place mostly at home and even simple complications could prove
fatal for mother or child.
• Niloufer made known to her father-in-law the problems arising due to
this lack of medical facilities and as a result, a speciality hospital for
women and children was built in the Red Hills area of the city. Indeed,
the hospital was named Niloufer Hospital in her honour.

52. Divorce
• In 1948, 17 years after his marriage to Niloufer, her husband Moazzam took a
second wife, Razia Begum, daughter of local aristocracy in Hyderabad.
• The second marriage was quickly blessed with children and three daughters
were born within four years.
• Eventually, in 1952, after 21 years of marriage, Niloufer and her husband were
divorced and she left for France. She continued to live in Paris, with her
mother, in a flat.
• Since she was only 36, she continued to attract a lot of attention, and had
some of the most famous people as friends. She was offered yet another role
in a Hollywood film, but she turned it down again.

53. Her last days
• When India became independent, Niloufer was in a peculiar
position. Hyderabad had yet to decide on joining the Indian Union. As
this situation dragged on, eventually Hyderabad was amalgamated into
the Indian Union by a “Police Action”. Although the Nizam was retained as
the Head of the State, he was just a shadow of his former self.
• Niloufer died in Paris on June 12th, 1989 and was buried next to her
mother.
• Both these princess had a lot of impact on the socio cultural landscape of
Hyderabad and this had an impact for women.

54. Patronage to artists
• The Nizam had also invited many talented artists who
performed at his Durbar , famous among them were Ustad
Bade Ghulam Ali Khan , Fayyaz Khan , Hirabai Barodekar ,
Saraswati Rane and DV Paluskar etc .
• The famous bhajan singer Jutika Roy of Bengal gave a
performance at the Zamrud Mahal theatres in 1945 . The
program was meant for a charity . She was accomodated at
a guest house of Raja Saheb . She reached the theatre early
for rehearsal and found Sarojini Naidu sitting on a sofa
along with her daughter Padmaja Naidu

55. Other artists
• The notable singer Miss Angurbala of Calcutta was
invited for a performance at the royal court as a
guest of the Nizam . Her famous ghazal ' inhe
dhoondh rahi aankhein meri ' and ' toone gher liya
yaar mujhe ghere me ' were extremely popular with
the old timers .
• A singer of repute she also acted in several Bengali
and Hindi movies in the thirties . Due to the political
developments in later years the priorities shifted to
administrative matters and music at the royal court
took a back seat .

58. Courtesans

59. Courtesan in early 19th century in Deccan
• Prince Muazam Jah Bahadur Miss Akhtari
Bai Faizabadi to Hyderabad . She stayed as a
guest of the prince for a full fortnight at Rs
2000 a day with all her expenses covered in
full .He gifterd her jewelery which was
estimated at Rs 25,000 . The prince was
almost bankrupt much to the annoyance of
the Nizam who had to pay off for his
extravaganza .
Josh Malihabadi , Fani Badayuni , Maharul
Qadri and Sidq Jaisi were some of the
famous poets who witnessed the singing
sessions of Akhtari Bai as royal courtiers of
the prince ..

61. Music
• Music became the main source of making the khilafat movement
populist and bring awareness among the common masses .
• Bi Amma was one of the noted singers of those days whose songs
supporting the khilafat movement and criticizing the British were
heard all over the state .
• Many songs started with the words boli amma Hussaini ki . The
qawwali programmes were organized in various localities . The
sessions would start around 9-10 at night and last until dawn . The
expenditure was met by some well to do members of the locality
• women organized their separate gatherings . They engaged
Siddanis , also known as Habshis ( black African Arab women ) for
singing sessions . The only musical instrument they used was Dhol
( a percussion )

62. New Zenana School
• In Hyderabad , the New Zenana, later the Mahabubia Girls'
school was established in 1907, primarily for Muslim girls
belonging to sharif families, under the patronage of the
Nizam.
• The work of the school really started in 1909, when Florence
Marya Wyld arrived from England with three faculty members
to take up the post of the principle.
• On the first day only four girls turned up all between the age
of 6-10. Six more arrived in the next few days and they
arrived in school any time between 9 to 12 noon.

63. Men’s involvement
• With the spread of education, social reform came more quickly among the
Muslim women. Like elsewhere here to the men who were enlightened
encouraged their women to read and write.
• The Muslim social reform movement produced a number of husband-wife
teams who were both equally involved in raising questions related to the
community and who served as models of social reform
• There are a number of examples of journals for women started by these
reformist couples. For example, Sayyid Mumtaz Ali and his wife
Muhammadi Begum (who served as the editor till her untimely
death)started Tahzib un-Niswan (The Civilized Woman) in 1898 from
Lahore. In a similar vein,
• Shaikh Abdullah and his wife Wahid Jahan Begum of Aligarh starting a
magazine for women, Khatun (The Lady), in 1904 . The main purpose of the
magazine was to advocate women’s education and to convince men of the
need for it.

64. Spread of girls education
• Ms.Wyld found a lot of support in Khujitsa Begum, the Indian
representative assigned by the British government to interact
with Indian families.
• She also tried to pursue the Nizam Mahbub Ali to bestow his
name to the school in the hope of getting patronagre from
him.
• By the time Ms. Wyld left Hyderbad in 1919, Mahbubia
school, as it was known had 100 students.
• By 1930,s there were 79 schools in Hyderabad and the
Muslim students were twice the number of Hindu students.
22% of the girls in these schools were daughters of
government officials

65. Begum Sughra Humayun Mirza
• Begum Sughra Humayun Mirza (1884-1958) was one of the important figures who
worked for issues related to Muslim women’s education,
• She was the daughter of Captain Haji Safdar Hussain and Mariyam Begum. During
her childhood in Hyderabad, learnt Urdu and Persian from her parents.
• After her marriage, she travelled widely and was quite well-read and
knowledgeable.
• Begum Mirza served as the editor of many journals related to women. They include
Annisa (The Woman) and Zebunnisa (The Beautiful Woman).
• She was quite prolific writer and wrote, Musheer-e-Niswan (Women’s Advisor,
1920), Mohini (1931) Safarnamah-e-Iraq(Travelogue of Iraq, 1915), Majmuah-yi-
Nuhahjat (A Collection of Elegies,, 1989) Mukhtasar Halat Hazrat Bibi Fatima (A
Short Life History of Hazrat Bibi Fatima, 1940) and Nasihat ke Moti: Majmuah-yi-
Nasaeh (Pearls of Instructions: A Collection of Advice,1955).
• Most of them were written using her pen name “Haya.”

66. Annisa (The Woman)

67. Sugra Humayun Mirza
Begum Sughra
Humayun Mirza ,
established Safdaria
Girls School as part
of her campaign to
create awareness
among Muslim girls
and impart
education to them.

68. Good woman
• A reading of these journals gives us a very interesting insight into the
society. The journals became a very important tool for propagating the
idea of the “good woman.”
• This was also being continuously enforced ons, religion, etc. The good
woman was supposed to be educated in affairs to do with the home, her
children, Islam, and sometimes, on her special community identity, as a
Deccani.
• In the 1880s the discussion on women’s education was only just
beginning, but this did not prevent Muhibb-e-Hussain and his magazine
from taking up controversial topics for discussion, including purdah..

69. Women’s organisations
• There were many women’s organisations, including Muslim women’s
organisations which were started during this period by various elite
women, often under the influence of their husbands, who encouraged
literacy among women.
• Sughra HumayunMirza must have been influenced by the Tayyiba Begum
Khediev Jung (1873-1921), a social reformer who was her contemporary.
• She also frequently acknowledged her husband’s influence in her life
choices.
• The magazine’s audience was not limited to the Deccan region. It spread
throughout the mainland of British India, which included Lahore, Delhi,
Lucknow and Aligarh, as can be inferred from the introduction of writers
or references to earlier writings in the magazine itself

70. Annisa
• Annisa was printed at different presses including Matba-e-
Nizam-e-Dakin, Taj, Gangasagar, Shamsul Islam, Moin-e-Dakin,
Matba-.Mufeel-e-Dakin, Imad, Matba-e-Rahbar-e-Dakin, etc.
• Most of these presses were in Chatta Bazar, where even today
printing is done.
• Annisa had the subtitle Women’s and Girl’s Monthly Urdu
Journal and had around forty pages in a standard issue.
• The usual fare included childcare, health and hygiene,
cooking, home management, religious thoughts, recipes,
discipline, travelogues, novels, poetry, biographies along with
reformist and educational information.

71. Magazines and Organizations
• Writing contests for women writers were organised and prizes
distributed.
• Various organisations for Muslim women were also spreading
throughout the country during the same time, and the
magazine should be seen in this context. Very often, these
journals served as mouthpieces for the organisations.
• An example of such an organisation was the Anjuman-e-
khavatin-e-Islam (Association of Muslim Women).
• A nuanced reading of these magazines suggests that there
evolved a new language of patronage where women were
active patrons.

72. Muslim identity
• Yet, as a minority community, the Muslims in colonial India
and Deccan could not ignore the specific identity of their
community. We see this being forged through efforts like
Annisa.
• However, it was not an assertion or revival of older traditions
that was happening at that time.
• The most important function that the magazine and perhaps
Muslim social reformers of those times took upon themselves
was to mould a special identity, that of the modern Muslim
community. .Annisa was in the forefront of this enterprise.

73. Understanding of modernity
• Also evident is the imagining of a “modern” individual through the pages
of the magazine. This modern individual is built by discarding what is
useless and “backward” in tradition.
• An example would be the article “Tark-e-Rasumat-e-Fuzool” (“Get Rid of
Bad Customs”),which warns the women of the community to get rid of
useless customs and move forward with times
• While the first surprise comes with the fact that women alone are
identified as the culprits responsible for the backwardness of the
community, the next one comes with the listing of avoidable customs.
Most of these are quite local in character and had become a way of life
before modernity. Moreover, they are also customs related to women’s
lives.

74. Refashioning local Islam
• Thus, viladat, or customs related to birth, rozah kushai, the function
when the child opens her/his first fast during Ramadan, mangni or
engagement ceremony, mehndi or ritually putting henna on the
hands of the bride, chawthi or the bride and the groom putting
colours on each other, etc. are all seen to be an unnecessary waste
of money and un-Islamic.
• The understanding of “wasteful” expenditure for feudal customs
shows a shift towards capitalism and modernity with puritan values.
We can also see that the move to get rid of useless customs was
taking the community towards a more “modern,” i.e. scriptural,
tradition of Islam that was refashioning local Islams.
•

75. Anti Colonial sentiment
• Another point to be noted is the curious intermixture of Islam, India and
the West that the magazine and perhaps Islamic reform movements
themselves were advocating. It was not at all a complete and
unproblematic acceptance of Western ideas.
• On the contrary, there are clearly anti-colonial sentiments expressed in
the magazine, very often as an assertion of Islamic identity. These also
appear in perhaps unexpected areas.
• For instance, in a travelogue, “London ka Ajaebkhanah” (“The London
Museum”), an author, while describing the London Museum (perhaps the
British Museum?) and the wonder she encounters there, notes that the
museum showcases almost all the glories of the Islamic world.

76. Advocacy of modernity
• While taking note of Tipu’s sword, kept in display, she feels it
is Islam’s very sword which is taken from its roots and
displayed in the museum.
• In fact, the advocacy of modernity in these pages, rather than
blindly following of the West is the imagination of an Islamic
modernity
• As mentioned earlier, the magazine originates at a time when
Hindu-Muslim unity is talked about and is tried out in the
national scene, and yet the special identity of a minority
community is visible even at that time.
• The importance of social concerns, expressed in terms of
community, is very often pointed out in the magazine’s
discussions.

77. Alternative modernity
• There is an effort to build alternative roads to modernity
other than those imposed by British colonialism. The point
seems to be that when the rest of the world, including the
Western world, was in darkness; the Islamic world was
blooming in the Middle Ages. The identity of the community
is built through constant comparisons, especially with
Western colonizers
• There are direct comparisons with the British in many article.
An example occurs in an article on women’s education where
the writer brings in a direct reference to European women,
who are perceived to be able to do everything as well as their
men.
•

78. Comparisons at work
• There are comparisons at work, mostly with the rest of the
elite communities in India with whom middle-class Muslims
may have been competing.
• In a piece of fiction titled “Ladki Tumhari Ghar Mehman Hai”
(“A Girl is a Guest in Your House”), again on the methods of
education, a “modern” Muslim father admonishes his wife for
the brutal methods she uses in imparting religious education
to their daughter (Annisa, Ladki Tumhari Ghar Mehman Hai,
1925, 1-8).
• He compares his house, where the mother is shouting at the
daughter for being such a fool, to the more “sophisticated
”Bengali Hindu friend’s house in Calcutta.

79. Modern identity
• The effort to build a modern identity is visible in the pages of the
magazine. This effort does not constitute a total acceptance of the
Western way of life; neither does it totally replicate the Hindu upper caste
campaign for reform.
• The Islamic identity expressed is quite specific in the sense that it
attempts to build a global Muslim identity which is constructed in
comparison, contrast, and sometimes in alliance with many other
communities.
• Thus, while the global Muslimis an ally, the West sometimes appears as a
category worthy of emulation, and sometimes as a competitor. Other
elite communities also serve the function of fashioning elite Muslim
identity.

80. Patriarchal arguments
• In fact, the argument isquite patriarchal. The greater importance of women’s
education is derived from the view of women as the first educators of men. Such
arguments underline the importance of the female roles of wife and, above all,
mother. Sometimes men take more responsible stances regarding women and
their education.
• An article, “Kya Purdah Nashinan-e-Hind ki Taleem Angrezi Zaban ke Zarieh
Zaroori Hai?” (“Should the Education of India’s Veiled Women Necessarily be
through the English Language?”) takes the position that women need not be
given an English education(Annisa , Kya Purdah Nashinan-e-Hind ki Taleem
Angrezi Zaban ke Zarieh Zaroori Hai?, 1922, 4-9).
• What prompts the author is not the usual expectation that women should not
surpass men; he is clear that women have a right to English education. Instead,
his driving force is practicality: he argues that women have very little time for
education from the age of eight till he age of fifteen, when they would be
removed from school due to marriage. He takes the stand that it is not wise to
expect them to become proficient in another language and also acquire a decent
education in mothertounge.

81. Class Bias
• The contradictions of charity are clearly visible in the “Shazrat” (“Editor’s
Comment”) of one issue of the magazine.
• The author mentions the increase in the number of beggars and recounts how forty
beggars, most of the m women and children, died due to starvation in Bombay. She
is also concerned about how many more will die from diseases.
• While she says it is important to wipe out begging, she also describes a group of
beggars who are out to exploit the hard-working and generous people from good
families.
• The phrase she uses to describe these beggars in Urdu is hatte, katte mustande
‘hale and hearty.’ The contradiction between this and her own observation that so
many beggars are dying from diseases is not noticed by the author. She goes on to
criticise thecustom of khairat or giving alms to beggars propagated by Islam.
• The class identification of its contributors and readers clearly defines its ideology.

82. Conclusions
• Therefore the long history of the Asaf Jahis shows us that the
woman of Hyderabad state slowly coming into their own.
• Initially there was no question of any reform and women
were in the private realm and the early women during the
formative period had to face a lot of restrictions.
• It was during the transition period when the basis for
modernizing the state of Hyderabad were laid the question of
reform for women also arose.

83. Paradox of reform
• The fact that women were taking up the pen for the first time, using
print media as editors, publishers, and writers would make them
inscribe themselves as subjects into a hitherto male sphere.
• But that they primarily spoke of matters related to the private realm, or
were mainly concerned with the creation of a private realm of a
particular shape, made the use of print media a contradictory step for
women.
• This was the paradox for they tried to create a modern woman who
was sufficiently domesticated.
• However, for the first time we see that certain space was created for
the women and they formed networks and associations and met many
like minded women outside their family and to whom they were not
connected through their family and hence used these spaces very
creatively.

84. Thank You