Heeramandi, historically known as the ‘red light area’ of Lahore, was once a bustling center of culture, art, and etiquette. As viewers around the world immerse themselves in Sanjay Leela Bhansali’s period drama series ‘Heeramandi,’ it’s essential to delve into the rich history of this cultural space to fully appreciate the narrative’s period context.
A Director of Grandeur and Elegance
When we think of a filmmaker capable of capturing the grandeur, culture, art, and royalty of India, Sanjay Leela Bhansali invariably comes to mind. His extensive repertoire, including opulent films like ‘Devdas,’ ‘Bajirao Mastani,’ and ‘Padmavat,’ now extends to the digital realm with his debut on an OTT platform. This project, more than a decade in the making since its inception by his friend Moin Beg, premiered on Netflix on May 1st. The series comprises eight episodes, each brimming with lavish visuals, grand architecture, and a refined elegance.
Heeramandi, translating to “diamond market,” is situated in Lahore near the Taxali Gate and Badshahi Mosque. The name’s origin is debated, with some attributing it to Heera Singh Dogra, son of Dhian Singh Dogra, who served as Prime Minister during Maharaja Ranjit Singh’s reign. Heera Singh envisioned transforming the Shahi Mohalla near the royal court into an economic hub that also housed tawaifs, thus coining ‘Heera Singh di mandi.’
Under Mughal rule, women artisans from Afghanistan and Uzbekistan were brought to Heeramandi to entertain the royal court. These women were trained in various classical arts, including kathak, mujra, thumri, ghazal, and dadra. They epitomized manners, art, and etiquette, akin to royalty. Upon mastering these classical forms, they became tawaifs, performing in kothas for royal guests.
The Role of Tawaifs in Society
It is believed that young nawabs were sent to these kothas to learn Urdu, manners, and etiquette from the tawaifs, a detail Bhansali’s series emphasizes repeatedly. Tawaifs, although unmarried, often engaged in romantic relationships with their patrons, forming mutually respectful and often loyal bonds. During this period, tawaifs were highly esteemed entertainers, serving the royalty and nobility and significantly contributing to the cultural fabric of their time.
The British Raj and the Changing Perception of Tawaifs
The arrival of the British brought a shift in the perception and status of tawaifs. The Victorian perspective of the British did not afford tawaifs the same respect they once commanded; instead, they were viewed as licentious. Referred to derogatorily as ‘nautch girls’ by the British—a term believed to stem from the anglicized corruption of ‘naach,’ meaning dance—they were not seen as patrons of culture but as mere entertainers for British soldiers. The British established brothels near the Taxali Gate in Heeramandi to entertain soldiers, leading to the area being referred to as ‘Baazar-e-Husn’ (market of beauty).
Over time, tawaifs lost the status and respect they once held and were eventually coerced into prostitution. Despite this decline, tawaifs played a significant role in the struggle against colonial rule, with some using their wealth to support anti-British movements. Kothas became clandestine meeting places and hiding spots, though the British eventually categorized these establishments as brothels.
The Decline and Legacy of Culture
The institution of the tawaifs persisted until 1947, producing some of the finest artists who became renowned singers, dancers, and actresses, including the celebrated Gauhar Jaan, one of the first singers to record music in India. However, following independence and partition, the tawaif culture faced complete extinction. Influenced by Victorian morality and the evolving values of both nations regarding chastity, tawaifs experienced a decline in their status as artisans, increasingly equated with courtesans and prostitutes, shaping the modern-day perception of tawaifs.
After partition, many tawaifs transitioned into the film industry, becoming actresses and singers who achieved fame and fortune. Gradually, tawaifs vanished, and kothas ceased to be centers of art and culture, instead becoming associated with the pleasure trade. During Muhammad Zia-ul-Haq’s era, there was a crackdown on music and dance establishments linked to prostitution. Heeramandi, once a hub of art and culture, now stands silent, echoing the lost grandeur of the tawaif culture. The area has since transformed into a bustling market with shops and restaurants, erasing traces of its cultural past.
The new Netflix series “Heeramandi” raises an intriguing question: Did these women play a significant role in the freedom struggle? The series delves into their lives and challenges while also highlighting their potential impact on one of history’s most pivotal movements.
Who were the real Tawaifs?
Azeezunbai: A brave courtesan, played a vital role in the Great Revolt of 1857. Disguised in male clothing and armed with pistols, she inspired sepoys and assisted in their healing during battles. Her house served as a key meeting place for rebels, making her an essential figure in the War of Independence. Although her story isn’t featured in school textbooks, it survives in local legends, archives, and specialized research.
Hussaini: The Cawnpore (Kanpur) was a significant tawaif in the 1857 mutiny and is often linked to the Bibighar massacre, which resulted in the deaths of over 100 British women and children. Husna Bai, trained by Thakur Prasad Mishra and sarangi player Pt Shambhunath Mishra, later led the Tawaif Sabha in Varanasi during the non-cooperation movement (1920-1922). Under her leadership, members wore iron chains instead of jewelry, boycotted foreign goods, and supported the independence struggle.
Tawaifs and India’s Freedom Struggle
Tawaifs played a significant role in India’s independence movement, offering financial help and inspiring freedom fighters. As anger against the East India Company spread, courtesans provided their establishments, known as kothas, as meeting places and hideouts for rebels. For instance, Azeezunbai, a tawaif from Kanpur, actively participated in the 1857 uprising against the British. She was noted for her role in supporting sepoys, providing arms and ammunition, and cheering on the men in arms.
Similarly, Begum Hazrat Mahal, the wife of the last Nawab of Awadh, Wajid Ali Shah, led the Indian fighters in Lucknow during the mutiny after her husband was exiled. She transformed from a courtesan to a leader who seized control of Lucknow, albeit briefly. Courtesans also played roles in the non-cooperation movement, with some forming the Tawaif Sabha to support the independence struggle.
Following the 1857 mutiny, the British crackdown on courtesans intensified. They destroyed kothas, broke furniture, and pulled down curtains, physically dismembering the tawaif culture. Their influence and position significantly declined under British rule, facing discrimination and oppression from both society and the state. By the early 1900s, courtesans’ social status had decimated compared to their glory days in the 19th century, yet they continued to contribute to India’s independence.
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Heeramandi’s transformation from a cultural heartland to a red-light district and then to a bustling market reflects the dynamic and often turbulent history of the tawaif culture. Bhansali’s ‘Heeramandi’ aims to revive this lost grandeur, shedding light on the intricate lives of tawaifs and their contributions to art, culture, and the freedom struggle. As viewers delve into this series, understanding the historical context enriches the experience, providing a deeper appreciation of the complex tapestry of Heeramandi’s past.
