Source: TW
Born in an orthodox Madhwa family, C. Saraswathi Bai rose to become a pioneering cultural force and is remembered as the first Lady Bhagavatar. Restricted by the social norms of her time, early marriage, and the absence of formal musical training, her exceptional talent might have remained unrecognised but for the discerning vision of Tiruvaiyaru Krishnachar, a musician, Harikatha exponent, and Sanskrit teacher at Madras Christian College. Recognising her innate genius, Krishnachar relocated her family to Madras and mentored her, shaping the course of her artistic life.
Saraswathi Bai became the first woman to perform Harikatha professionally, entering a field that had long been the preserve of eminent male performers such as Harikesanallur Muthiah Bhagavatar and Mangudi Chidambara Bhagavatar. Gifted with a powerful and resonant voice, she established a distinctive presence in this demanding art form and eventually outlived and outshone many of her contemporaries. She came to be regarded as the last great representative of the golden age of Harikatha. In 1911, at the age of twenty two, she embarked on a highly successful tour across India and Sri Lanka, firmly establishing herself among the foremost Harikatha performers of her era. Between 1913 and the nineteen thirties, she travelled extensively, often delivering performances lasting six to seven hours each night in town after town. Her popularity was unprecedented. She recorded nine acclaimed discs for Odeon, appeared frequently on radio, and was in constant demand for concerts and ceremonial performances, including weddings.
Her illustrious career was marked by numerous honours and recognitions. In 1936, the Indian Fine Arts Society conferred upon her the title Harikatha Prasanga Marga Darsini. Her portrait was unveiled at the Jagannatha Bhakta Sabha in 1939, and she was among the very few women invited to perform at the All India Music Conference in 1927. The Music Academy honoured her by recognising her as the first woman artiste on its distinguished platform.
Saraswathi Bai earned admiration across cultural, intellectual, and political circles. She was commended by Lady Willingdon, hailed by Vishnu Digambar Paluskar as Gayanapatu, and described by Bal Gangadhar Tilak as Keertanapatu. She enjoyed close associations with leading musicians of her time, including Ariyakkudi Ramanuja Iyengar, and inspired generations of artistes who followed.
A true pioneer, Saraswathi Bai dismantled entrenched barriers of caste and gender, making Harikatha accessible to both Brahmins and non Brahmins. Reflecting on her transformative role, F. G. Natesa Iyer observed in 1939, “Saraswathi Bai is a pioneer, and today, as a result of her sacrifices, Brahmins and non Brahmins walk freely over the once forbidden ground. C. Saraswathi Bai has achieved this miracle.”
Her life and work also attracted scholarly attention. In her interviews with Milton Singer, later documented in his seminal work When a Great Tradition Modernises, Saraswathi Bai articulated how classical Indian traditions could adapt to modern urban and institutional contexts. She exemplified the dynamic balance between continuity and change, remaining rooted in tradition while embracing new platforms such as public concerts, recordings, radio, and academic engagement.
Her legacy paved the way for iconic performers such as M. S. Subbulakshmi, and her portrait continues to grace the halls of the Music Academy in Chennai. In 1964, the Sangeet Natak Akademi conferred upon her its prestigious Fellowship, presented by President Sarvepalli Radhakrishnan.
On her 52nd death anniversary, I feel deeply honoured to remember her not only as a towering figure in India’s cultural history but also, personally, as her great grandson. More than a century ago, C. Saraswathi Bai embodied the ideals of artistic excellence and courage leaving behind a legacy that continues to inspire artistes, scholars, and society at large.