Jankibai of Allahabad: A Voice That Echoed Through Time

Curated by Kasturi Joshi

Introduction – 

Jankibai of Allahabad (1880–1934) was one of the first female Indian classical vocalists to be commercially recorded. Known as “Chhappan Chhuri” for her commanding presence and fearless spirit, she was deeply rooted in the thumri, dadra, and khayal traditions. Her recordings were among the most popular gramophone records in early 20th-century India and paved the way for women in Hindustani music.

Jankibai’s singing emerged in a time before microphones, where her voice had to carry across open courtyards and intimate gatherings. Her art, shaped by the aesthetics of the early 1900s, represents a unique blend of classical training and folk music. The texture of her voice embodies both resilience and refinement, conveying a sense of honesty that transcends time.

Early Life – 

Janaki Bai was born in Benaras in 1880, the daughter of a wrestler who abandoned her and her mother, Manki, for his mistress. Manki was later betrayed by someone she considered a friend and was sold to a kotha (a brothel) in Allahabad.

It was in Allahabad that Manki discovered Janaki’s fondness for music and her natural talent. She appointed Hassu Khan as Janaki’s teacher. Janaki received an education in which she learned Persian, Urdu, Sanskrit, and English. This knowledge undoubtedly enriched her musical performances. Later in her life, she wrote poetry and eventually published a diwan, or collection, of her work.

Jankibai. Image courtesy: Bajanama

‘You’re not an artist some of the time, remember this. You’re an artist all the time, in sleep and in waking. You breathe in your medium as a fish breathes in water. It is your chief reason for existing. It steers your ears and your eyes and the coursings of your blood. Whether the world accepts or rejects you is immaterial. The element you inhabit and stay all awash in fills your days and nights with purpose, with the promise of truth. The achievement of that one perfect note is God’s currency whereby you are unexpectedly and serendipitously paid.’


(Reference – A quote by Jankibai’s Guru – Ustad Hassu khan, mentioned in the book Requiem in Raga Janki)

Gauhar Jan

The training was incredibly effective, and Janki quickly emerged as a star, excelling not only in traditional performance settings such as salons and courts but also in modern venues like gramophones and concerts. Like her contemporary Gauhar Jaan from Calcutta, she became a highly sought-after gramophone artist, recording several discs during her career, which spanned over two decades.

At a time when female artists of Marg Sangeet were often in conflict with one another, the bond between these two women served as a remarkable example of camaraderie. In 1911, Janaki and Gauhar Jaan performed a special song together, titled “Yeh Jalsa Tajposhi Ka Mubarak Ho,” at the Delhi Darbar, which was held to celebrate the arrival of Emperor George V in India. As an honour for their performance, Janaki and Gauhar were each presented with 100 gold guineas..

In this early recording of the kajri titled “Rumjhum Badarva Barse”,  Janki Bai showcases her talent for expressing the emotional depth of the lyrics, highlighting the intense longing of the heroine for her lover amidst the dark monsoon clouds looming over the summer skies. At the end, take note of the subdued phrase, “Mera naam Janki Bai Allahabad.”

रुमझुम बदरवा बरसे

आली उन बिन जियारा तरसे 

चालत पुरवाई छुम छन नन नन नन  

झिंगुरवा बोले झूम झन नन नन  

ऊँची महलया बिकुवा बोले 

करत [खनक?] कंगनवा खड़के  

रुमझुम बदरवा बरसे

Hori is a semi-classical genre like Thumri, Dadra, Chaiti, Kajri, etc. Like Chaiti and Kajri, Hori too is seasonal. It is sung during the festival of Holi. Usually, all the songs are related to Radha-Krishna Leela and the Gopis. In this recording, Janakibai has presented a rare Hori where lord Ram is playing Hori on the banks of the Yamuna river. Please, note how beautifully she emotes “daud daud pichkari chalaavat” with subtle murkis and behlaava. Janakibai has also used many folk elements in this Hori.

In perhaps her most tender recording, “Saiyaan nikas gaye main na ladi thi,” a dadra, Jankibai expresses the vulnerability of longing and innocent denial. The relaxed rhythm, along with her ability to let silences linger between phrases, demonstrates her mastery of subtlety, a hallmark of the finest semi-classical singers. She avoids unnecessary embellishments; instead, she reveals the emotions that need to be felt.

Final Words –

Jankibai’s art encourages us to listen more attentively and engage with a voice that resonates through time. Her legacy is not defined by grandeur but by grace; her ability to stay grounded in the raag while conveying emotion delicately with each note is what truly sets her apart.

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