The research aims to present a nuanced and intersectional reading of the lived realities of women actresses in Jatra Pala, highlighting the structural inequalities they navigate while also acknowledging their resistance and resilience within a patriarchal cultural structure as in other areas of Bengali culture, the female roles in the Jatra stage were mainly played by male actors, who were called ‘male queens’ or ‘female impersonators.’ The participation of female actors is a significant evolution in the history of the journey of Jatra. In this context, the rise of Jyotsna Dutta as the first female actor and her transition from a refugee to a journey of ‘jatra samragnee’ or ‘Empress of jatra’ is a paradigm shift. In the field of opera, since the 1960s, actresses such as Jyotsna Dutta, Tararani Pal, Chitra Mallick, Firozabala, Jayshree Mukherjee, Chanda Chatterjee, Bina Dasgupta, Bela Sarkar, Lata Desai, Mahua Bhattacharya, and Kakoli Choudhury, Champa Halder have played the leading female roles and taken the medium to new heights. However, the advent of female actors in the amateur journey or Sakher Jatra of rural Bengal happened relatively late. This article mainly analyses the evolution of performance in the professional journey and the history of the place and participation of these female actors. Drawing on a rich corpus of visual and textual sources like jatra posters, jatra scripts, interviews, first-hand testimonies form the actresses and archival materials, this work will seek to provides a feminist analysis of the lives, struggles, and agencies of women actors of the Jatra industry.  In this regard, the main role has been played by the literature and newspaper elements such as Jatra Loka, Jatra Jagat, Jugantar, Anandalok, Jatra Academy Patrika, etc. The article attempts to explain the gendered politics of travel, the creative role of women, and the traditional dominance of men from the perspective of feminist research methods.