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Abstract

This dissertation focuses on the unique trend of nautch-girl (Indian dancing girl) artworks that emerged in Britain during her colonial clasp on India, which coincided with the increasing exploration of (and changing attitudes towards) the role of women in British society. The nautch girl was considered a controversial figure in Britain, particularly since she was associated (usually erroneously) with sexually immoral behaviour and prostitution, while also being patronised widely by members of Britain’s high society within India and Britain. The attention paid towards the body, performance and sexual character of the nautch girl, which spanned across art forms and was particularly resonant and vivid in the visual arts and musical entertainment, appeared to simultaneously promote acts of voyeurism and disparagement. Most notably, however, the process of culturally locating the nautch girl in British artworks not only bolstered (or occasionally condemned) imperialist intentions, but also demonstrated how Britain was susceptible to the processes of transculturality in the adoption of the “art” of the nautch girl within its own artistic and cultural practices.