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Heermandi: Let’s move beyond glorifying ‘tawaifs’ and ‘kothas’; non-consensual sex deserves no applause

The Sanjay Leela Bhansali school of filmmaking is renowned for its grandeur, with beautiful actresses adorned in intricate jewelry and costumes. Over the years, Bhansali’s fans have often celebrated this aspect of his movies. However, it is important to recognize that the women in Bhansali’s world are more than just their looks, despite being compared to ‘devis.’ Unfortunately, the portrayal of women in Bhansali’s latest web series, “Heeramandi,” raises doubts about this claim. “Heeramandi” introduces us to women who work as ‘tawaifs’ (courtesans). These women perform elegant song and dance routines, incorporating a touch of seduction.
Being a regular visitor at their ‘kothas’ is seen as a status symbol for the ‘nawabs.’ While they are not mistresses or lovers, they do teach the art of lovemaking, which is not viewed as a transactional affair. One might assume that women living in this era and working as ‘tawaifs’ face significant challenges. However, throughout the series, Bhansali repeatedly asserts that the ‘tawaifs’ are the ‘lahore ki raniyan’ (queens of Lahore). A character even claims that the ‘tawaifs’ hold immense power and are the true decision-makers behind the ‘nawabs.’
Unfortunately, in the world of the show, this portrayal is far from the truth. Alamzeb, a tawaif-in-training, has no interest in following in her mother’s footsteps. In a world where women seemingly hold all the cards, we discover that it is only Mallikajaan who wields decision-making power, and that too, solely over her subordinates. Mallikajaan determines when the most popular tawaif in her ‘kotha’ must retire and holds the final say in disputes between tawaifs over the same man. However, this is not a world where women possess true power.
It is a dysfunctional society where one woman has assumed an authoritarian role, while those around her strive to break free and rebel in their own ways. Beyond the confines of ‘Shahi Mahal,’ these women have no power, not even Mallikajaan. The ‘nawabs’ can boycott them at will, and the police can subject them to rape without any recourse. It is essential to critically examine the portrayal of women in “Heeramandi” and question the power dynamics presented. While the series may showcase the opulence and beauty associated with Bhansali’s work, it fails to address the harsh realities and lack of agency faced by these women.

Ziya Khan

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