Ghazala Javed, popular Pashto singer killed in 2012 by her ex-husband
I recently submitted an essay about the history of Courtesans in South Asia. It’s quite lengthy, but I thought it would be of interest to those interested in how notions of gender and sexuality changed dramatically with regards to modernity. Here is a brief summary of some key issues:
1. Notions of gender and sexuality in Non-Western parts of the world were quite relaxed and fluid compared to today’s context.
2. Colonialism projected European discourses of gender and sexuality onto the world and posited prude Victorian morality as ‘superior.’ These discourses were adopted and internalized by many leaders of the non-West.
3. To understand the ‘strict’ norms of sexuality in certain parts of the non-West today, one must look at how colonialism changed former notions of gender and sexuality.
My own interest in this topic was sparked by common stereotypes that I hear about men from South Asia or Islamic parts of the world. More often than once, I encounter white-European clients whom are often quite shocked when I tell them that my lovers of the past and present have been Muslim men — they become more shocked when I tell them that I prefer men from my own culture, or similar backgrounds. The common thing I hear is, “But don’t Muslim, or brown men, treat their women terribly?“ I usually giggle slightly and say something along the lines of, “My dear, that’s not true. There are good and bad in all people” And then, if they are interested to hear, I give them a little history about how the Western media is obsessed with portraying the non-West (mainly the Islamic world) as oppressive, especially towards women. It is an unfortunate reality that many people have accepted incorrect discourses (constructed stereotypes) towards certain cultures, which has inspired myself and many others to challenge this narrative.
I started my essay by talking about the 2012 murder of a popular Pashto singer, Ghazala Javed, and how her death can easily fall into the widespread “Oppressive Brown/Muslim Man” narrative. Ghazala was killed by her ex-husband, allegedly on the grounds that her career as a mujra, a combination of both singing and dancing, was considered morally shameful for a woman. Yet contrary to popular Western narratives, female entertainers like Ghazala Javed, historically more broadly known as courtesans, were once held with cultural significance and social esteem in many parts of South Asia. Ghazala Javed was of Pashtun descent, an ethnic group in Pakistan and Afghanistan, more recently known for their affiliation with the Taliban. Pashtuns, in particular, are often stereotyped for their rigid control over women, which became more pronounced with their association with Taliban fundamentalism.
The media’s portrayal of certain Islamic/South Asian cultures as cesspools of male violence against women is an ongoing trend, a continuation of Orientalism. In 1978, professor Edward Said wrote Orientalism, in which he argues how knowledge of the non-Western world, the Orient, was imagined through a Western lens. Western writings about the Orient, which Said called Orientalism, were presented as objective knowledge — meaning, they were presented as factual. In reality, however, European Orientalist writings about the Orient were shaped by dominant European ideologies, such as social Darwinism. In Orientalist writings, cultures of the non-West were viewed as static, or unchanging, and essentialist, meaning peoples of the non-West were all essentially the same. The framework of Orientalism helps to show how dominant Western stereotypes about women in South Asia do not depict the reality necessarily. Many stereotypes today about the non-West stem from colonialism, which portrayed peoples of the non-West as ‘inferior’ and thereby valourizing the West as ‘superior.’ Such stereotypes had a powerful effect, and manifested in various forms of colonial rule. In essence, colonialism irreversibly changed the roles of men and women in colonized parts of the world. It is particularly interesting to note how colonialism changed notions of gender and sexuality in colonized parts of the world. For this post, I will focus on how colonialism degraded the status of the esteemed courtesan.
Depiction of Courtesans relaxing in the kotha
South Asian Courtesans Before British Colonial Rule
Prior to high noon of British colonialism, courtesans were esteemed in the sense that they were able to attain wealth, exercise power and hold status in society independently of male control. The memoir of the Lucknow courtesan Umrao Jaan, provides one insight into the life of courtesan before and after the establishment of the British Raj in 1858. Historian Veena Talwar-Oldenburg attributes how Umrao Jaan’s elevated lifestyle coincides with testimonies of other courtesans of the early colonial period. As Talwar notes, courtesans constituted a matriarchy, where they were able to run their lives, thereby subverting patriarchal norms that existed outside the kotha. The kotha, or female apartments, were spaces where females held authority, where they could exercise their agency over men, such as clients, musicians, male servants, etc. Many courtesans were highly skilled in Urdu and Persian literature, kathak dancing, singing and various other arts. In many parts of precolonial India, the arts of the courtesan were highly praised and patronized by the wider society. For instance, a courtesan was not only courted by men, but courtesans were also summoned by women to perform at weddings, ceremonies, etc. From these snap-shots, it seems courtesans were not simply sexual objects with no significance, but were instead valourized as artists, offering an amalgam of entertainments beyond just sex. The historical role of these women is in stark contrast with their fate after colonial rule and independence.
Bollywood’s adaptation of a life of a courtesan in “Pakeezah,” starring the lovely Meena Kumari. A courtesan could seduce and mesmerize her audience whilst fully dressed, and therefore was not an insignificant object.
From 1858 onwards, British colonial rule fundamentally changed the social fabric of South Asian society. Many British narratives expressed the urgency to bring ‘civilization’ to uplift Indians from their alleged primitiveness. The very idea of ‘civilizations’ stems from social Darwinist theory, in which cultures were ranked on an evolutionary scale. In this European ideology, Europeans were ranked at the top as racially ‘superior’ whilst peoples of non-West were considered primitive, backwards, inferior, uncivilized. The British often posited their ‘superior’ treatment of women as a justification for their superiority. In British colonial India, the British expressed ‘humanitarian’ agendas to ‘uplift’ Indian women from ‘barbaric’ cultural practices, such as child marriage, polygyny, and the esteemed courtesan tradition. If these practices were deemed ‘inferior’ then it indirectly was juxtaposing the British Victorian womanhood as ideal. Such colonial discourses were influential in the 19th century, because the British had the imperial power to assert their dominance on a global scale. Said’s framework of Orientalism, however, shows another dimension to British narratives of ‘protecting the brown woman.’ Many European discourses were strategic in denouncing cultures of the non-West, as stereotypes were powerful ideological tools to maintain imperial interests. In other words, in order to gain support for imperial exploitation of the South Asia, the British had to use portray their missions as ‘humanitarian’– to bring ‘civilization’ to people of the non-West. While social Darwinist ideology is dismissed as pseudo-science today, it is important to note how influential such stereotypes would become when pertaining to gender. In the mid-19th century onwards, Indian male nationalists, fearing to fall behind on the so-called evolutionary scale, were keen to show that their women were ‘civilized’ along British ideals of womanhood. The ‘ideal’ Indian woman became redefined along the lines of Victorian morality — she was now domestic, chaste, and hailed as the ‘Goddess’ of the house. This new ‘ideal’ woman was in conflict with former notions of gender, especially for the courtesan, whose livelihood gradually became constructed as ‘immoral.’
Oil Painting Depiction of Elegantly Attired Indian Courtesans
This new ‘ideal’ woman, projected by British colonial discourses, became internalized and promoted by Indian male nationalists from the 19th century onwards. These new gender ideals also became institutionalized, and resultantly had dire implications for courtesans. One major blow to courtesan tradition was 1864 Contagious Diseases Act, a British law that mandated state regulation and control over the bodies of courtesans, subjecting them to mandatory testing, thereby reducing their agency and reducing them to what the British envisaged as a common prostitute. The Contagious Diseases Act was propagated to protect women from sexual diseases, but it also indirectly functioned to stigmatize ‘unregulated’ sex as ‘unhygienic,’ thus giving prostitutes a stigma of being ‘dirty.’ In 1892, the Anti Natch Movement was another aim to stop the courtesan traditional, and had wide support by both the British and educated Hindu elite who collaborated with the British. In 1893, in The Wrongs of Indian Womanhood, Mrs. Marcus B. Fuller, a British woman, dedicated an entire chapter to denounce the ‘natch’ tradition and embrace the Anti-Natch Movement. In her words, she described natch girls (courtesans) as “rich, beautiful and very attractive, besides being witty and pleasant in conversation; and they are the only women that move freely.” Ironically, this description she gives of courtesans is what she considers immoral, or “disgraceful” and overall, a danger to social harmony. It was during the late 19th century when prostitutes became posited as ‘The Great Social Evil.’ Clearly, Mrs. Fuller was an advocate of colonial ideals of ‘ideal’ womanhood. Interestingly, she posits the clients, or patrons, of courtesans, as victims of the courtesan’s seductive power and thereby men are “wasting” their money on these women. Mrs. Fuller’s account was not out of the ordinary, as even British men related to her view. In 1851, the infamous British explorer Richard Burton wrote about courtesans whom thrived in Sindh, and like Mrs. Fuller, he seemed quite displeased at the social esteem given to these women. Accounts like Burton and Fuller echo the prevailing Victorian discourse of gender and sexuality that ‘ideal’ women should be chaste, domestic. Indian male nationalists, keen to prove they were ‘civilized,’ often supported campaigns against courtesans too. In effect, laws and campaigns to regulate women’s bodies gradually lead to the degradation of South Asian courtesans. Despite crackdowns, however, the courtesan culture continued to exist, yet now marginal, criminalized and stigmatized due to new colonial realities.
European critiques of South Asian culture were not without protest. In fact, many nationalists saw reviving their cultural traditions as form of anti-colonial protest. While the courtesan represented elements of traditional culture in South Asian society, revivalists, however, seldom embraced the once noble courtesan tradition. One would assume being anti-colonial would mean rejecting the colonial gender discourses that were projected onto South Asia, yet ironically anti-colonial discourses were often propagated by Western-educated Indian elite, who’s views were heavily fused with European ideologies. Hindu revivalists, for instance, often wanted to revert back to an imagined ‘pure’ ancient Hindu past, and European notions of what it meant to be ‘pure’ heavily influenced their modern interpretations of ‘purity.’ Because the recent courtesan tradition was associated with elite Islamic culture, Hindu revivalists often discredited acts from the Islamic period as not part of the ‘pure’ Hindu past. Even Mahatma Gandhi adopted this flaw; he was determined in his anti-colonial stance, yet was not keen the courtesan tradition. Tula and Pande explain this irony, “nationalists saw them [courtesans] embodying everything that a modern, educated Hindu woman would not do.” Rather ironic, yet many nationalists and their supporters, including women, adhered to new discourses of ‘ideal’ womanhood. These attitudes continued into the post-1947 contexts of independent India and Pakistan, and thus the modern nation-state is not without its colonial legacies. As historian Shahnaz Khan notes in “Zina and the Moral Regulation of Pakistani Women,” women became, “the biological and cultural reproducers of the nation. As such, their sexuality is a valuable resource that is utilized to service their families and the nation” In other words, Khan highlights how gender control became vital to the nation-state, as it’s instrumentally used to retain hegemonic power. Therefore, any potential support for the courtesan tradition would be undermined because it poses a challenge to the prevalent and internalized discourses of ‘ideal’ womanhood. In any case, women who continued to entertain or sell themselves did not have much of a voice, but instead those in power were deciding their fates. The practice of silencing a group, and stereotyping them was, however, a strategic practice from colonialism onwards.
Pashtun Tribals in the 19th century
The colonial discourses on the Pashtun people provide an interesting insight as they were often stereotyped as the most culturally ruthless groups in South Asia. In many contemporary and colonial Western accounts, their violent ‘nature’ was often described in essentialist ways. For instance, R. E. Newman’s Pathan Tribal Patterns describes how Pashtun culture follows a strict adherence to a code of honor, or Pakhtunwali. In reference to them, he notes, “The tribal people are most renowned for their physical acts of violence.” Newman also notes how women are tied to the code of honor, where “zan, zar, and zamin (woman, gold, and land)” are part of a man’s honor. In Newman’s view, it’s as if the Pashtun ‘code of honor’ remains static, ahistorical. Recent scholarship, however, has shown how and why such stereotypes came about. In The Pathan Unarmed, Mukilika Bannerjee makes used of Said’s Orientalism to explain how the British colonial discourses were influential in demonizing the Pashtuns of Afghanistan and colonial India. In 1840, British attempts to conquer Kabul were defeated by the Pashtuns, and thus arose British discourses vilifying Pashtun people. In other words, the British, with their imperial arrogance, had to show ‘face’ by showing that they were only defeated because the Pashtuns were culturally ‘barbaric, brutal, violent,’ etc. This does not mean the Pashtun were actually hostile people, yet the British constructed them in negatives ways to uphold British status-quo. Unfortunately, these stereotypes were widely disseminated. Popular literature, such as Rudyard Kiplings Kim, for instance, echoed this stereotype of the ‘fierce’ Pashtun tribal man. These stereotypes of Pashtuns continue today and were reinforced in new ways with the Talibanization of North-West Frontier provinces after 9/11.
Unlike today, Pashtun notions of honor were different when considering they were once able to accommodate and even valourize the existence of courtesans. Therefore, notions of honor that remain today cannot be considered culturally ahistorical. As historian A.T. Fildis notes, “honour is a relative term and can be defined and redefined in various socio-economic and cultural contexts with different attributes and its sources and meanings varying from culture to culture.” In “Dancing Girls of Swat Valley,” Shaheen Buneri compares the historical esteem of courtesans in Swat, Pakistan to their position today, where such women are held with contempt by the public society. Buneri interviews a woman named Nagina, a modern mujra, who states “We don’t have any respect in society (…) Generally we are not considered morally good people.” The fact that modern ‘dancing girls’ do not have any social respect is quite puzzling, given courtesans of Swat, in particular, once were held with high regard. Before the inception of Pakistan, the region of Swat was a princely state, ruled by a Wali. Under the Wali of Swat, the arts of the courtesan were patronized and embraced, and even the Wali, himself, is said to have married a courtesan. Even the writings of colonial moralist Mrs. Fuller, despite condemning courtesans, noted that courtesans of the North-West Frontier provinces were “treated with as much courtesy as if she were a princess descended from a distinguished royal line.” Like other parts of India, courtesans in Swat were subject to the same gradual degradation that came with colonial influence. Like Indian male nationalists, Pashtun men also became courted by the allure of nationalism, with its European ideological underpinnings, between 1930 and 1947. And of course, women came to be redefined by nationalists as the bearers of culture and nation. Thus, new notions of womanhood also shifted Pashtun notions of honor with regards to new realities.
Iqbal Hussain Painting of Heera Mandi prostitutes in their ‘down-time.’ Iqbal Hussain is a famous painter known for his ‘un-glamorous’ portrayals of tragic, modern prostitutes in Heera Mandi. Interestingly, he is the son of a former courtesan from Heera Mandi in Lahore.
From Artist to Object
In Pakistan, as with India, the former tawaif (courtesan) tradition gradually died out in terms of its traditional function within society. It transformed into a degraded state of commercial sex work, with some women also providing imitations of the courtesan tradition by way of singing and dancing along with selling sex. In “Performance, Status and Hybridity in a Pakistani Red-Light District: The Cultural Production of the Courtesan,” Louise Brown provides an ethnographic account of more recent sex-work in the once thriving kotha district of Heera Mandi in Lahore. Brown’s research shows how realities in independent Pakistan, where prostitution was made illegal in 1960, shapes the lives of the women who continue to live and work in Heera Mandi. Brown notes that some of these women do attain wealth and prestige for short periods in their youth, yet wider social attitudes towards these women remain hostile. Thus, even if a courtesan is desired or gains wealth, it remains in secret and as Brown notes, “it is highly unlikely to be translated into power and status outside the brothel quarter.” Unlike the past, Brown also notes how most clients of today’s courtesans do not have an appreciation for the traditional arts of the courtesan, which coincides with Buneri’s interview with Nagina, a mujra who claims her clients are “more interested in my body rather than in my art.” It’s clear that modern courtesans are in a degraded state, which is an implication of colonialism and aftermath. What is more unfortunate is the overwhelming majority of women in Heera Mandi, according to Brown, were selling their services to overcome economic hardships. Buneri’s research also highlights how many Pashtun women from Swat, due to the poverty after the Taliban insurgency after 9/11, fled to Peshawar where many had to sell their bodies along with singing and dancing to survive. The popular Pashto singer Ghazala Javed, also from Swat, moved to Peshawar and is said to have resorted to singing and dancing to escape poverty. The current unfortunate realities of courtesans and sex-workers stem from the colonial period and the resulting powers that intensified the role of the ‘ideal’ woman within society.
The Impact of Fundamentalism on Gender and Sexuality
Like the Hindu-fundamentalist revivalism that started in the nationalist period in India, post-independent Pakistani leaders also had their own Islamic fundamentalist agendas. In 1979, General Zia al-Haq implemented Zina Laws, aiming to criminalize any sexual acts outside of marriage. As Shahnaz Khan notes in “Zina and the moral regulation of Pakistani women,” Zina laws were part of the 1979 Hadood Ordinances, which was General Zia al-Haq’s “first step in his Islamization policies.” As Khan notes, Zina laws were intended to create a ‘moral’ and just society in Pakistan, yet her and others have argued that it was a process of the state aiming to regulate the bodies of women. In other words, Islamic fundamentalism has nothing to do with the true ideals of Islam as a religion — it is important to note the difference, since fundamentalist agendas re-interpret religion for political motives. With regards to sex-workers in Pakistan, the Zina Laws were not entirely enforced, yet it compelled sex workers to be more discreet, made them vulnerable to criminalization and overall, further discredited their livelihoods. After September 11th 2011, when the U.S. launched war on the Taliban in Afghanistan, the Taliban fled to the Swat Valley region of Pakistan. In Swat, the Taliban were extreme towards women, in that women were not allowed to go to school or work. These measures were the Taliban’s interpretation of a ‘pure’ Islamic society. Yet again, Taliban fundamentalism was a political movement that contradicted true Islamic ideals. For courtesans in Swat, the Taliban insurgency is said to have drastically disrupted their roles, as “women and villagers affiliated with the arts” were first targeted and banned. Given that Islamic fundamentalism was widespread, it would indeed influence social attitudes. One can speculate that Ghazala Javed’s ex-husband, her murderer, internalized fundamentalist rhetoric, and likely saw her career as a singer and dancer as ‘un-Islamic.’ Yet how can female entertainers be considered ‘un-Islamic’ if they once were tolerated in pre-colonial Islamic societies? The Taliban, therefore, like other fundamentalists, are painting their discourses with colonial gender ideologies. Moreover, when fundamentalists condemn courtesans or other female performers, they fail to note how many of these women are resorting to this work out of economic hardship. Shahnaz Khan notes how poverty plays a role in contemporary Pakistani society: “Families with little means to cope with increasingly inflation and chronic unemployment often find that their daughter’s sexuality is a valuable asset.” Islamic fundamentalism, like Hindu fundamentalism, is a consequence of European colonialism and has been intensified by new post-colonial global realities. The implications are that women, today, are left in a vulnerable position, as there seems to be no fight against discourses of using women as cultural markers. With regards to Pakistani women, Tahmina Rashid depicts murky position within society: “In Pakistan, the female body has been politicized to such an extent that it functions as a battleground for ideological, philosophical, and religious debates and agendas between pseudo-modernist military regimes and traditionalist mullahs.”
The 2012 murder of Ghazala Javed highlights how certain women are in South Asia are caught in the deadly rift between new state regulations and fundamentalist agendas, both implications from colonialism. The media propagates the vulnerability of South Asian women as a cultural problem, yet media representations ignore historical and socio-economic aspects that have made the conditions for violence against women to occur. Without historical analysis, then Ghazala Javed’s murder will be considered just another ‘honor killing’ that’s typical of South Asian/Islamic cultures. If this notion is accepted, then it takes away from the fact that European colonialism and it’s legacy caused social disruption to such an extent that it played a defining role in establishing the conditions for violence against women today. Cultural essentialist notions on the oppression of women indirectly, as Eva Reimer notes, posits the West as a role model for better treatment of women, thereby ignoring how Western women too are subjected to oppression within the nation-state setting. It’s clear that Orientalist stereotypes still holds sway and continues to valourize the West as the ‘ideal’ to aspire too. The fact that contemporary courtesans today, seen as ‘dishonorable’ were once the most esteemed of women in many parts of precolonial South Asia makes cultural essentialist narratives invalid. Therefore, it is the onset of colonial discourses that disrupted former notions of gender and lead to the problems today. And unfortunately, the colonial ‘legacies’ of gender are still yet to be untangled. Yet at least with more understanding of how gender is constructed, shaped, changed and remade, then individuals can be more accepting of those who do not fit with the current ‘ideal.’ Perhaps Ghazala Javed would still be alive if her ex-husband and her community were aware of how notions of gender and sexuality were once embracing of women in her position, rather than see them as women ‘with no honor.’
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