3. Music and dancing.
Both music and dancing, like others of the arts, probably originated as part of a religious or magical service or ritual, and hence would come to be practised by the women attached to temples. And it would soon be realised what potent attractions these arts possessed when displayed by women, and in course of time they would be valued as accomplishments in themselves, and either acquired independently by other courtesans or divorced from a sole application to religious ritual. In this manner music, singing and dancing may have grown to be considered as the regular attractions of the courtesan and hence immoral in themselves, and not suitable for display by respectable women. The Emperor Shāh Jahān is said to have delighted in the performances of the Tawāif or Muhammadan singing and dancing girls, who at that time lived in bands and occupied mansions as large as palaces.[7] Aurāngzeb ordered them all to be married or banished from his dominions, but they did not submit without a protest; and one morning as the Emperor was going to the mosque he saw a vast crowd of mourners marching in file behind a bier, and filling the air with screams and lamentations. He asked what it meant, and was told that they were going to bury Music; their mother had been executed, and they were weeping over her loss. ‘Bury her deep,’ the Emperor cried, ‘she must never rise again.’