Professional Documents
Culture Documents
of Courageous Women
Edition:
1,000
Date of Publication:
September 2004
Publisher:
Interactive Resource Theater, Lahore
2
Contents
Preamble 04
Glossary 156
3
Preamble
4
Next, two workshops were conducted with the local theater
groups to develop the four stories into plays through
improvisation. As most of the members of these groups were
performing for the first time, a series of refresher courses was
also organized for them. Under the Project, all the groups were
required to perform four times in their communities and finally
at a festival titled Journey through the Lives of Courageous
Women. However, only fifteen out of a total of twenty
performances could be held because of unavoidable reasons.
5
Taking this opportunity, I want to thank all the participating
organizations and theater groups without whose support this
project could never have been implemented. Similarly, I am
thankful to the DFID-UK for providing financial assistance for
this venture. Acknowledgement is also due to the four
courageous women – Kalsoom, Bilqees, Sakina and Najma –
who provided the basic motivation for this book.
Mohammad Waseem
Executive Director,
Interactive Resource Center.
6
Gender Equality Project
G
ender Equality Project (GEP) is a DFID-UK funded,
British Council managed five-year project (2002-2006).
Its overall goal is to contribute towards a sustainable
reduction in the gender gap in Pakistan. As an umbrella fund,
GEP provides a flexible framework to support government and
civil society organizations working to promote gender equality in
Pakistan, in the key areas of women’s economic, legal and
political empowerment as well as protection from violence.
7
Introduction to the IRC Project
Project Purposes:
To support the struggle of women by highlighting the
struggling women as role models in communities and
mass media;
Generating a debate on violence against women using
interactive theater, thus providing communities with
ample space to think and reflect on social issues/taboos.
8
Interactive Resource Center
9
Participating Organizations
and Theater Groups
Sangtani Women Rural Development Organization
(Sangtani Theater Group), Rajanpur
10
schools, and free Sangtani Computer and Internet Center;
organizing women’s groups; Sangtani Theater Group; and Legal
Consciousness and Awareness Program.
11
contains useful books on theater and other issues. KRC is being
managed without any external support, both financial and
technical. It has also trained 14 theater groups, in collaboration
with various local and national organizations, so far. Now, these
trained groups are performing all across the country.
12
like violence against women, children’s rights, and women’s
participation in economic and political processes.
13
groups which cater to the needs of students and perform for their
development. Moreover, promotional material like T-shirts and
cups is also made with a view to promote constructive youth
activism in the country.
14
Introduction to Interactive Theater
15
find out more solutions to the problem. However, when a solid
reason or argument is given by the spect-actor or spect-actress it
is accepted and more people are invited for the same process.
16
The Story of Kalsoom
Performed by Sangtani Theater Group,
Sangtani Women Rural Development
Organization, Rajanpur
17
Characters
RASHIDA Narrator
KALSOOM
18
RASHIDA: Today, we’re going to enact before you a real
story which is twenty-two years old. The
protagonist is a woman who made her mark
through bold decisions in the face of crises.
Let’s see this story!
SCENE I
[A song is heard in the background.]
19
SAMIA: What?
NABEELA: She is marrying someone outside the family.
SAMIA: Then what? When our religion allows this, she
has every right to do so!
NABEELA: (gesturing with both her hands) At least I don’t
approve of this.
KALSOOM: And then my father said:
ASLAM: What am I hearing? You would marry a man of
your choice? You want to insult me before the
whole biradari? From today, you are not
allowed to go outside this house. I’m going to
discuss your marriage with your uncle. I would
marry you with whomsoever I wish. That’s all!
ZAHID: You need not worry. I’m with you. You’ll enjoy
life with me. I’ll keep you very happy. I’m
giving you all my property in mehr and also
20
getting a bungalow constructed for you. We’ll
live there. There’ll be servants to do household
chores for you and you’ll have plenty of time to
relax. This is my promise.
KALSOOM: This was my husband (pointing at QASIM and
SAIF) and my in-laws…
SAIF: (to QASIM) Do you know that Zahid has taken
away the papers of property and jewelry for his
wife. She is not even our relative.
SCENE II
[A song is heard in the background. The scene changes during
the song to that of ZAHID’S home. His sister BILQEES is
making rotis right stage. A neighbor woman SAJIDA enters.]
SAJIDA: Bilqees!
BILQEES: (making rotis) Yes?
SAJIDA: Give me the match box!
BILQEES: Wait for a moment! You’ll just have it.
21
SAJIDA: I’ve heard something.
BILQEES: What’s that?
SAJIDA: Your brother Zahid…
BILQEES: What?
SAJIDA: He has married someone outside the biradari.
BILQEES: So what if he has married outside the biradari?
SAJIDA: (surprised) Would your parents allow him to
give property to his wife?
BILQEES: What would they say? It’s his property. If he is
giving it to his wife, it would remain very much
here. She won’t give it to her family.
SAJIDA: I can smell rat.
BILQEES: (raising her hand) What the hell are you talking
about? What about you own house? Are we
blind? Get lost!
22
SAJIDA: (ashamed) When would Zahid and his bride
come?
BILQEES: (looking up to calculate time) They would be
here any minute!
SAJIDA: I’ll first see the bride and then leave.
BILQEES: (irritated) As you wish!
[KALSOOM and ZAHID enter from the left and stand center
stage. ZAHID is on the left and KALSOOM is on the right.]
ZAHID: Baji!
23
[SAJIDA bends down on her knees and lifts KALSOOM’S
ghoongat. She also gives a few rupees in her hand.]
24
[SAJIDA first touches BILQEES' shoulder and then
KALSOOM’S.]
SAJIDA: I’ll tell how the bride looks to the whole village.
[SAJIDA picks up the match box and exits from the right.
BILQEES and KALSOOM are still sitting center stage.
BILQEES places a hand on KALSOOM’S shoulder and explains
something to her in a whispering tone.]
25
KALSOOM: Baji?
BILQEES: Yes?
KALSOOM: Where’s the washroom? I want to wash my
hands.
BILQEES: (pointing at the tap) Wash your hands where
you washed the clothes.
KALSOOM: (perplexed) Baji… Baji… I wanted…
[BILQEES keeps her left hand on her ear and waves the right
one.]
[Out of nowhere, from the left, SAIF and QASIM enter beating
ZAHID who falls on the ground. SAIF gives another powerful
blow to ZAHID. KALSOOM comes in the way with her hands
clasped. BILQEES is also standing behind her. SAIF raises a
stick to give another blow to ZAHID.]
26
QASIM: As if you don’t know anything! He has given all
the property and jewelry to you. Return
everything at once!
BILQEES: What’re you doing? My brother has just been
married. Why are you being so cruel?
QASIM: This is no cruelty. He has been cruel to himself.
He has married someone outside the biradari,
and has given all the property and jewelry to his
wife. Return them at once!
ZAHID: The property and jewelry were mine. I gave
them to her myself.
QASIM: You can’t become owner of this property in my
life. This is my property and will remain mine
till my death. (To SAIF) Beat him!
[KALSOOM imprints her thumb on the paper and also signs it.]
27
[QASIM and SAIF exit from the left and BILQEES from the
right. KALSOOM gets up and sits alongside ZAHID with one
hand placed on his shoulder and the other on his knee.]
28
KALSOOM: I am thinking that now we should’ve a toilet and
bathroom in our house. Please ask the mason!
ZAHID: Don’t worry! I’ll ask him. They’ll be ready in a
day or two.
[BOY 1 and BOY 2 enter from the left, sit front stage and start
reciting the Holy Quran.]
[WOMAN 1 AND WOMAN 2 enter from the right, sit front stage
and start doing embroidery. Kalsoom’s daughter NARJIS also
comes and sits behind them.]
29
[KALSOOM embraces NARJIS.]
30
WOMAN 2: Kalsoom, don’t insist! Your husband has also
turned against you. I advise you to forget about
this.
BOY 1: Her daughter will study in college with boys and
that also in city. She’ll go alone in buses.
BOY 2: (surprised) One wonders!
NARJIS: (almost crying) I shall study in college. I shall
seek higher education.
KALSOOM: (placing a hand on NARJIS’ shoulder) My
daughter, I shall surely get you admitted to
college. Just don’t worry!
ZAHID: (angrily shaking his hand) Why are you so
obsessed with this higher education? When I
took such a step in the past, the whole biradari
insulted me. Now, you want me to be insulted
again by allowing her to study further.
KALSOOM: What does the insult of your biradari matter?
My daughter shall seek higher education.
ZAHID: (waving his hand in an affirmative manner) I’ve
already said no to you, then why are you
repeating this crap?
[ZAHID slaps KALSOOM with the full force of his right hand.
KALSOOM lets out a cry and falls down. NARJIS also falls down
with her. KALSOOM starts crying with a hand on her mouth.]
31
[NARJIS starts crying with a hand on her mouth. KALSOOM
also gets up crying.]
____________________________________________________
Hereafter, follow the selected interactions made by the
audience after two performances of this play: Interaction 1
took place at Rojhan, Rajanpur District on 15 March 2004;
and Interaction 2 took place at Hassan Shah, Rajanpur
District on 16 March 2004. Space constraints and editorial
reasons do not allow us to reproduce inputs of all
audiences verbatim, but a sincere attempt has been made to
capture the essence of their discussion.
32
Kalsoom (Interaction 1)
[JOKER enters clapping.]
33
KALSOOM: I’ll take my daughter with me.
JOKER: Is it possible in our society for a woman
to leave the house only because her
husband doesn’t allow their daughter to
study in college?
SPECT-ACTRESS 5: Not at all.
JOKER: Where would she live?
SPECT-ACTRESS 6: She shouldn’t leave her house.
JOKER: Even at the cost of daughter’s
education?
SPECT-ACTRESS 6: Yes, even at the cost of her daughter’s
education.
JOKER: This is what you say, but most of us are
in favor of her daughter’s education. (To
KALSOOM) You’ve decided to leave
the house, but where would you go?
KALSOOM: Wherever I may go, my daughter shall
study further.
JOKER: But our society wouldn’t allow you to
do this.
KALSOOM: I damn care.
JOKER: Now we ask from Zahid what he’ll do if
his wife and daughter decide to leave the
house.
ZAHID: I would let my wife go, but not my
daughter.
JOKER: But she is going with her mother.
ZAHID: I’ll stop her.
JOKER: How? She has already left.
34
[Silence.]
35
SPECT-ACTRESS 11: They should’ve a college in the village.
JOKER: This is government’s job. We can only
request the government for a college,
can’t open it ourselves. Here, we should
only focus on what we can do ourselves.
SPECT-ACTRESS 10: They can involve the biradari to decide
upon this issue.
JOKER: The biradari would never agree.
Besides, we’ve to make decisions
ourselves. When we take a step, people
somehow consent.
SPECT-ACTRESS 10: She should compromise with her
husband for the sake of her daughter’s
education.
JOKER: Would she be right in compromising
with her husband?
SPECT-ACTRESS 12: Yes, she would be right.
JOKER: The compromise could be submitting to
her husband’s wish and not allowing her
daughter to study.
SPECT-ACTRESS 12: No, she should allow her daughter to
study by convincing her husband.
JOKER: But how? Please tell us! Is there a
college in the village? Are girls allowed
to study?
SPECT-ACTRESS 12: Yes, girls are allowed to study.
SPECT-ACTRESS 9: These days they are allowed to study,
especially in the educated families.
JOKER: It’s great that they are allowed to do so.
Do you want to say anything else that
has not been said by anyone?
36
[Silence.]
37
Kalsoom (Interaction 2)
[JOKER enters clapping.]
38
JOKER: Is this accepted in our society?
SPECT-ACTRESS 5: No.
JOKER: What does the society say?
SPECT-ACTRESS 6: The society looks down upon a woman
living separately from her husband.
JOKER: Any other solution. One is that she can
live separately. Those who are brave can
certainly afford to do so. But is there
any other solution which is possible
within that very house?
SPECT-ACTRESS 6: (standing up) She should compromise
with her husband. She should try to
make him realize the fact that it was due
to her education that she lent him a
helping hand. Similarly, if their daughter
was well educated, she would be able to
bear her own burden in hard times.
JOKER: But he doesn’t agree to this logic. In this
scenario, a possible compromise could
be Kalsoom’s submission to her
husband’s wish.
SPECT-ACTRESS 6: No, she’ll have to make him agree. If he
gets offended, she may ask him to leave
the house and stay there herself.
JOKER: Would that man leave his house?
SPECT-ACTRESS 7: No, he won’t.
SPECT-ACTRESS 8: No way.
JOKER: Would he go somewhere else?
SPECT-ACTRESS 9: No.
SPECT-ACTRESS 10: Never.
39
SPECT-ACTRESS 6: But that man could be convinced
gradually if his wife keeps on telling
him about the importance of education.
JOKER: For your kind information, he is himself
a teacher. The benefits of education are
taught to those who are unaware of
them. What’s the use of teaching
someone who is not only educated but a
teacher himself?
SPECT-ACTRESS 6: Of course we can’t teach him, but can at
least share our point of view.
JOKER: All right, this is one solution. Do we
have any other solution?
SPECT-ACTRESS 6: The father has to give in if all the
children support their mother.
SPECT-ACTRESS 11: Daughters can do nothing. They aren’t
only oppressed but are also helpless.
JOKER: Do you really think that daughters can
do nothing?
SPECT-ACTRESS 12: Yes.
SPECT-ACTRESS 13: In our society, daughters can do nothing.
JOKER: All right. Do you want to say anything
else that has not been said by anyone?
(Silence.) All right, I thank you all for
being here to watch this play!
40
The Story of Bilqees
Performed by Kook Theater Group,
Kook Resource Center, Haripur
41
Characters
AMIR Narrator
SHAHID
MAULVI
42
SCENE I
[AMIR enters singing a folk song. Other characters follow him.
He keeps on singing front stage and the rest sit behind him.]
AMIR: All right, I’ve already told you the age of the
girl. Well, the bridegroom was about ten, twelve
years older… What’re you looking at? We
intend not only to amaze, but to perplex you as
well. It’s a fact that thirty five or forty years old
men can easily find brides for themselves in our
society. Haven’t you heard of man and horse
never growing old? So, join in and let’s see this
marriage!
[SHAHID and BILQEES remain center stage and the rest sit
behind them.]
43
of this house. Forget about your parent’s abode!
My mother is your mother. Respect her! Never
answer her back even if she says something to
your dislike! Yes, another thing… I don’t like
your being with friends. Your duty is towards
your home. I’ll fulfill the rest of your needs.
Understood?
SHAHID: All right then, you take care of the house! I’m
going out for a stroll.
[AMIR goes behind and sits down. BILQEES is busy with her
children who cry one after the other. She soothes them in her lap
and pats them to sleep. After this, she busies herself with
household chores. In the background, everyone sings a sad folk
song highlighting women’s plight.]
44
[During the song, BILQEES first sweeps the floor and then
washes up her hands by running on the hand pump. Wiping
hands with her dupatta, she sets the stove on fire for cooking.
Fire turns on with difficulty and, in doing so, her eyes catch
smoke. She tastes the broth by spilling some of it on her palm.
Satisfied, she puts water in the pot and leaves it to cook. Then,
she begins to churn milk. SHAHID enters coughing badly.
BILQEES puts aside the milk.]
45
BILQEES: What’re you saying? May God you live long!
SHAHID: (heaving a sigh in despair) I had been to the
doctor. My days are numbered. May God help!
SCENE II
[BILQEES is glancing through papers of the property. NASIR
sneaks in softly to stand behind her and tries to read them.]
46
BILQEES: Your brother had given these to me.
NASIR: The property is ours and the papers are with you.
It seems to me that you killed our brother.
BILQEES: Why should I kill him? Give these papers to me!
(She tries to snatch the papers from NASIR.)
NASIR: You won’t get these papers. Take your children
and get lost!
BILQEES: No, I won’t go.
NASIR: Who told you so?
BILQEES: I won’t go.
NASIR: I say, be off with your children!
BILQEES: I won’t go.
NASIR: I bet…
[NASIR goes behind. After a while, he comes front stage with his
friends ASIF and ASLAM. One after the other, NASIR stands on
the right, ASLAM in the middle and ASIF on the left. BILQEES is
sitting down.]
47
NASIR: I’ve already got back the bank’s copy, but the
property is in her and her children’s name.
ASIF: We should plan something to make sure that
your property remains with you.
ASLAM: I would advise you to call the Jirgah and marry
her off. This way, both the property and the
children would remain with you.
BILQEES: (standing up) Come what may, I’ll stay here
with my children. This is my home and no one
could force me out of here. (She sits down.)
NASIR: I think that we’ve to teach her a lesson. Spread
rumors about her character in the village!
ASIF: Why don’t you ask one of your friends to call
her every day?
ASLAM: I would rather suggest that you call elders of the
biradari and force her out of the house after
humiliating her.
AMIR: (coming forward) You’ve seen the plight of
Bilqees, but she didn’t lose hope and decided to
stay in that very house with her children. She
also stuck to her decision against all odds.
SCENE III
[BILQEES is sewing clothes. TAHIRA and MUSARRAT, sitting
on her right and left, are doing embroidery.]
48
save some money but our daughters are also
getting education.
BILQEES: We’ve made this possible through collective
effort. These days, I’m thinking about my
daughter. She is in fifth class. Where would I get
her admitted after that because there is no
Middle school in this village?
MUSARRAT: Bilqees, I think that five classes are enough. Is it
any use getting her to study further?
TAHIRA: Bilqees is right. Had we been educated, we
would have been able to do a number of jobs.
Education is a must for girls!
BILQEES: I’m thinking of jointly applying to the
Education Department for a Middle school in
our village.
TAHIRA: Please do that! We’re with you.
SCENE V
[BILQEES is leading an election rally. MUSARRAT and
TAHIRA are also with her along with many men. The
49
participants are raising slogans in favor of BILQEES. Finally,
they stop at a point. BILQEES is standing in the middle with
MUSARRAT and TAHIRA on her both sides. The men –
including ASIF, ASLAM, NASIR and MAULVI – are standing
behind them.]
50
[NASIR, ASIF and ASLAM start to pelt stones at the supporters
of BILQEES, who cover their heads with hands in order to
protect themselves.]
____________________________________________________
Hereafter, follow the selected interactions made by the
audience after two performances of this play: Interaction 1
took place at Haripur on 18 March 2004; and Interaction
2 took place at Islamabad during the 3rd Theater Festival
titled Journey through the Lives of Courageous Women,
held from 12 to 14 April 2004. Space constraints and
editorial reasons do not allow us to reproduce inputs of all
audiences verbatim, but a sincere attempt has been made to
capture the essence of their discussion.
51
Bilqees (Interaction 1)
[JOKER enters clapping.]
52
[The play starts again with SPECT-ACTOR 1 taking the role of
BILQEES.]
53
JOKER: (pointing at the women) You were
saying that Bilqees had made the right
decision, but this Bilqees over here
(pointing at SPECT-ACTOR 1) is
making her own decisions. Would you
like to suggest her anything?
SPECT-ACTRESS 1: (to BILQEES) You should say that you
would neither leave the children nor this
house because you’ve the share in it.
JOKER: Listen to what she is saying! Your
children are still young, you shouldn’t
leave the house. Why are you after the
elections? Better concentrate on rearing
up your children.
BILQEES: The children are already being reared up
in the house. Who would drive them
out? They are the owners of this house.
SPECT-ACTOR 2: (pointing at NASIR) He is also the
owner of this house.
NASIR: Bilqees, try to understand! We live in a
village and women don’t contest
elections in the villages.
BILQEES: But now they will because government
has acknowledged this right of women.
NASIR: The government also says that we
should educate our girls. Do we comply
with it?
BILQEES: One has to move ahead…
JOKER: Just a minute! Please listen! You want a
Middle school in the village. We’ll all
meet with the concerned official of the
Education Department and get this work
54
done. Then why do you need to become
a councilor? Aren’t you doing all this
for education?
BILQEES: The whole village won’t go to meet with
the concerned official. The councilors
are there for this very purpose.
SPECT-ACTOR 3: Don’t we have male councilors for this?
BILQEES: Then why are women being made
councilors? Don’t they have any rights?
JOKER: All right! (Pointing at SPECT-ACTOR
1) This Bilqees has decided once and for
all. (To NASIR) What would you do
now?
NASIR: We’ll not cast her votes.
BILQEES: There are many others to cast votes for
me even if you don’t.
JOKER: (clapping) Thank you very much!
55
JOKER: What’s our general opinion about
working women, particularly the poor
ones? What do we think about them?
SPECT-ACTOR 3: We don’t think well about them because
it’s wrong for the women to work
outside the house.
JOKER: We say that it’s wrong whereas it’s her
need also. Who is wrong then?
SPECT-ACTOR 3: We’re wrong who say that it’s wrong.
JOKER: Now, I’ll take you a little back in time
and ask from you why all this happened.
Why Bilqees had to face all these
hardships? Was it her luck or her
parent’s decision to marry her at a
young age with an aged person? Who is
responsible: Bilqees, her parents or all
of us? Why do parents marry their
young daughters to aged men: for
money, property or is it because they
consider them to be a burden?
SPECT-ACTRESS 4: They do this to save their honor.
JOKER: All right! Marrying daughters at a tender
age also deprives them of education.
Now tell me, who is more capable of
dealing with adverse situations: a literate
girl or an illiterate one?
SPECT-ACTRESS 5: The literate girl.
SPECT-ACTOR 2: The one who is literate.
JOKER: Then, why don’t all the girls of this
village go to school? Do we have
anything else to say? Is there any other
solution that you would like to offer?
56
[Silence.]
57
Bilqees (Interaction 2)
[SPECT-ACTRESS 1 comes onto the stage and takes the role
of BILQEES. The play starts from where BILQEES is
glancing through papers of the property and NASIR sneaks in
softly to stand behind her.]
58
NASIR: But, don’t I run the household?
BILQEES: It’s true that you run the household, but
from now onwards I’ll also do job. As
the children are growing up, I also need
to earn money.
59
BILQEES: Earlier she was living in the house as a
maid, but now she commands respect.
JOKER: This lady here thinks that, through better
communication and persuasion, it’s
possible for Bilqees to live with dignity
in that house. (Addressing the audience)
What do you think? Does it happen in
reality? Would anyone come and tell?
60
MAULVI: This is against the teachings of Islam.
BILQEES: How come?
TAHIRA: Bilqees, the women of this village don’t
go outside their home.
MUSARRAT: People will rebuke your children when
they would grow up.
BILQEES: What about the women who work in the
fields? Do they stay inside their home?
JOKER: Can a woman act like this in the rural
setting?
SPECT-ACTRESS 2: Yes, she can.
SPECT-ACTRESS 3: I would like to say that the women of
Haripur who are in politics are quite
empowered. In my view, the situation in
Haripur District is such that some
women can afford to act like this.
61
[The play starts from the last scene.]
62
JOKER: (to Bilqees) Why are you obsessed with
education when girls only have to eat?
BILQEES: An educated mother contributes to the
prosperity of the whole family.
MAULVI: My mother was illiterate, but she made
me know the Holy Quran by heart. Am I
illiterate?
BILQEES: No, not at all. I only mean to say that an
educated mother can be more productive
in the present context.
JOKER: (to BILQEES) Thank you very much!
(To the audience) Do you have any
other solution to this problem?
63
ARSHAD: It’s understandable in the case of boys
that they need to study in order to get
jobs. I fail to understand why girls need
education because their right place is
inside the house.
BILQEES: But we don’t even have a boys’ school.
TAHIRA: Why do girls need to study? They only
have to make rotis and sweep the floor.
My daughter shall have to do these
chores even if she was educated.
BILQEES: She would at least be a good mother.
MAULVI: She is after corrupting the women.
Don’t let them mix with her!
64
The Story of Sakina
Performed by Kohat Theater Group,
Youth Welfare and Younger Blood Donor
Association, Kohat
65
Characters
SAKINA
THREE BARATIS
66
SCENE I
[SAKINA is playing a game while singing. Her brother SAJID
enters from the left.]
SAJID: Sakina!
67
SAJID: Sardar, come inside!
SAKINA: Salam-o-Alaikum!
[SAKINA goes inside. SARDAR and SAJID sit down left stage.]
68
running a gambling den, his house wouldn’t
have been in this condition. I’ve especially
brought you here, so that you can see for
yourself.
[SAKINA enters from the right carrying a tea tray. SAJID takes
the tray from her and put it in front of SARDAR. The latter
presents a cup to SAEED KHAN, who is eyeing SAKINA
voluptuously. KAMAL gets a hang of SAEED KHAN’S look and
signals SAKINA, who had stopped on her way back after giving
the tea tray to SAJID, to go inside with his hand.]
69
[Worried, SAKINA veils her head with dupatta and goes inside.
SAEED KHAN takes the cup of tea from SARDAR and presents it
to MALIK SAHIB. Then, he takes another cup for himself.
KAMAL keeps on smoking, and SAEED KHAN and MALIK
SAHIB start having tea. Suddenly, KAMAL starts coughing.]
70
KAMAL: God be with you! Thank you so much! Where
are you going, Malik Sahib?
MALIK: Let me see the guest of.
71
KAMAL: But why? Malik Sahib, isn’t she still too young
to be married?
MALIK: (tapping KAMAL’S shoulder with his hand)
Who cares for the age of a girl? Haven’t you
seen even younger girls married?
KAMAL: Yes, yes… If you say so, then it’s all right.
MALIK: That’s like it!
72
KAMAL: Don’t be offended, Malik Sahib! It’s my
responsibility to get it done.
MALIK: (tapping KAMAL’S shoulder) Kamal, I’m happy
that you’ve made a good decision. It’ll suit you
very well. And another thing, they want the
marriage to take place on coming Friday.
[KAMAL puts his hand in the empty front pocket and then takes
it out.]
SCENE II
[A barat enters from the left. SAEED KHAN is wearing a garland
and has a handkerchief on his nose. Along with him and MALIK
SAHIB, there are three people in the barat. The other baratis and
MALIK SAHIB start singing a traditional marriage song. The
bridegroom and baratis stand center stage. MALIK SAHIB and
one barati move forward and continue to sing while dancing in a
traditional manner. After completing the song, MALIK SAHIB
places a hand on SAEED KHAN’S shoulder and makes him sit
down. With him, all the baratis also sit down. KAMAL enters
from the left and raises his hand to greet them.]
73
KAMAL: Salam-o-Alaikum, Malik Sahib!
[KAMAL goes inside and MALIK SAHIB sits down with other
baratis. After some time, KAMAL enters holding SAKINA who is
dressed as a bride. SAJID is covering her head with the Holy
Quran. A wedding song, highlighting the bride’s grief on leaving
her parents’ abode, is heard in the background. All the baratis
leave one after the other. SAKINA, walking slowly alongside
SAEED KHAN, exits from the right after them. KAMAL wipes his
tears with his and exits from the left following SAJID.]
SCENE III
[SAEED KHAN enters from the right holding SAKINA. He
makes her sit down center stage and exits from the right after
taking off the garland from his neck. After some time, he again
enters from the right. Fully drunk, he takes off his waistcoat with
one hand and falls down in front of SAKINA on all fours. As this
happens all of a sudden, she lets out a cry and keeps both hands
on her cheeks trembling. Her hands move to her eyes and she
starts crying bitterly. After some time, she wipes her tears and
helps SAEED KHAN stand on his feet by holding his shoulder.
With her support, he exits from the left. After a while, SAKINA
again enters from the left and starts sweeping the floor.
Meanwhile, ASGHAR enters from the left and addresses her.]
74
ASGHAR: (in a harsh tone) You!
75
with you. Otherwise, he’ll force me out of the
house.
SAJID: I’m willing to make this sacrifice for your sake.
ASGHAR: This is not all: as my son-in-law, you’ll have to
live in this house.
SAJID: I’m willing to accept even this condition.
ASGHAR: (to SAEED KHAN) Should we go now?
SAEED: Yes.
[ASGHAR and SAEED KHAN exit from the right following each
other. SAJID and SAKINA also exit from the right and the left
respectively.]
SCENE IV
[SAKINA enters from the left carrying a tray. she sits down near
the stove and starts making rotis. SAEED KHAN enters from the
left in an angry mood and points both his hands towards her.]
76
[SAEED KHAN slaps SAKINA with the full force of his left hand.
She falls down on the ground after letting out a cry and starts
crying with a hand on her mouth. SAEED KHAN picks up his
waistcoat and exits from the left. SAKINA also gets up.]
SCENE V
[Kamal’s house. SAKINA enters from the right crying.]
[SAKINA sits down crying. KAMAL enters from the left and sits
down near SAKINA to her left.]
77
SAJID: She is right.
KAMAL: Malik Sahib also told me that he had divorced
his first wife.
SAJID: I’ve talked to him. He is coming right now.
78
KAMAL: If this is your decision, then I’m also with you.
MALIK: (raising his hand) Listen to me carefully! He is a
very powerful policeman and can land your
family in a big problem. (Pointing at SAKINA)
Her life is already ruined; then, both of you
wouldn’t find any respite either. Consider all
these factors before making any decision.
KAMAL: Yes… Malik Sahib is right. You better go to
your husband’s house. I…
MALIK: (placing a hand on SAKINA’S head) Yes
daughter, you better go!
SAKINA: (coming forward) I don’t want to cause
problems for you people. If this is your decision,
then I’m going to that house. (She starts crying.)
____________________________________________________
Hereafter, follow the selected interactions made by the
audience after two performances of this play: Interaction 1
took place at Kohat on 18 March 2004; and Interaction 2
took place at Islamabad during the 3rd Theater Festival
titled Journey through the Lives of Courageous Women,
held from 12 to 14 April 2004. Space constraints and
editorial reasons do not allow us to reproduce inputs of all
audiences verbatim, but a sincere attempt has been made to
capture the essence of their discussion.
79
Sakina (Interaction 1)
JOKER: Sakina has made a decision that she’ll
return to her husband’s house as he
could create problems for her family.
Has she made the right decision?
[Clapping.]
80
SPECT-ACTOR 1: We are in favor of women’s rights, but
not at the cost of our values and
traditions. So, I wouldn’t suggest Sakina
to leave her husband’s house.
JOKER: Do all of you agree that she should
spend her whole life in that hell?
81
JOKER: From where would you like to start?
SPECT-ACTOR 2: I would like to start from the point when
Sajid agrees to marry Saeed Khan’s
sister for the sake of Sakina.
ASGHAR: (to SAKINA) I want to marry my
daughter to your brother. Has your
father considered this proposal?
SAKINA: No, it’s not possible. Your daughter is
double the age of my brother.
SAEED: How dare you talk like this to my
father? I’ll slap you now.
SAJID: For God’s sake, don’t beat my sister! I’ll
comply with your wish.
ASGHAR: As my son-in-law, you’ll have to live in
this house. Do you agree?
SAJID: I agree to whatever you say, but don’t
maltreat my sister.
SAKINA: Wait for a moment! I want to leave this
house and study further.
SAJID: I also want you to study further, but it’s
up to your husband to decide.
SAKINA: But, I don’t want both of us to ruin our
future. Please back my decision!
SAJID: Certainly, I’ll. You’ve the right to make
your own decisions in life.
JOKER: (to SAEED KHAN) How come that
Sakina’s brother is making decisions
when you are very much here?
SAEED: She’ll only be allowed to live in this
house if she accepts my conditions.
82
SAKINA: But who wants to live in this house?
83
JOKER: (to SPECT-ACTOR 2) Thank you!
84
KAMAL: Malik Sahib, you know very well that
people caste evil eyes on a divorcee if
she goes out of her home.
MALIK: But this won’t solve your problem.
SAJID: Malik Sahib, my sister is innocent. After
all, she is a human being. How could
she tolerate such humiliation?
KAMAL: Her in-laws are so cruel that they beat
this little girl almost every day.
MALIK: First of all, parents should be wise
enough to marry their daughters after
proper investigation.
SAJID: But you were the one who forced my
father to agree to this marriage.
KAMAL: Malik Sahib, when you came with Saeed
Khan’s proposal, you had said that there
was good news for me.
MALIK: I only had good intentions that you
would be relieved of the burden of
marrying your daughter.
JOKER: But you knew very well that Saeed
Khan was already married and what
kind of a person he was.
MALIK: I admit my mistake, but now I’ll do my
best to help Sakina. I’ll arrange financial
assistance for her and also pursue her
case with the higher authorities for a
suitable agreement.
JOKER: (to MALIK SAHIB) Thank you!
85
JOKER: (to SAKINA) They are deciding your
future. What would you like to say?
SAKINA: Firstly, I would never want anything bad
to happen to my father and brother; and
secondly, I’ll like to study further.
JOKER: The play staged here is based on actual
events. Sakina went through all this in
real life, but didn’t lose courage and is
now leading a decent life. In the end, I
thank you all for being here to watch
this play!
86
Sakina (Interaction 2)
JOKER: Do you think that Sakina’s decision is
right? Should she go back to her
husband’s house?
SPECT-ACTRESS 1: No, she shouldn’t.
JOKER: What should she do then? Do keep in
mind that we are not in Islamabad, but a
village near Kohat. Please come and tell.
Whose role would you like to take?
SPECT-ACTRESS 1: Sajid’s.
87
SAJID: All right, but at least give us some time
to think over it.
KAMAL: In any case, my decision shall be final.
JOKER: (to SAJID) Have you been able to avoid
the problem this way? Why did you ask
for time?
SAJID: To go somewhere else without bringing
it to anyone’s notice.
JOKER: (to SAKINA) Would you go with him?
SAKINA: I don’t want to bring disrepute to my
father and family.
JOKER: Look! She isn’t willing to go with you.
SAJID: But I’ll be able to convince her.
JOKER: Let’s see how!
SAJID: Our father’s reputation is bound to
suffer anyway after marrying you to that
policeman. He would’ve never asked for
your hand had he been a gentleman.
You are my sister. Don’t you have faith
in me?
SAKINA: I do have faith in you, but I don’t want
to leave our father alone either.
JOKER: Also keep in mind that your brother
doesn’t earn anything. Where would he
take you?
SAJID: Sakina, I shall do anything for you. You
aren’t going alone; I’m with you. You
should believe in me.
JOKER: But he is unemployed…
SAKINA: So is my father.
88
[Clapping from the audience.]
89
KAMAL: He would be doing this to his wife.
SAJID: His wife, but also my sister and your
daughter. When she would come crying
with marks on her face, how would you
feel? After all, she is your daughter. I
won’t let this happen even if you or I
had to go to jail for this.
MALIK: He is being too emotional.
KAMAL: He is an idiot. He doesn’t understand…
SAJID: You may say whatever you feel like, but
I won’t let this happen.
KAMAL: Look! Saeed Khan is a policeman. He
would beat you to death.
SAJID: I would rather shoot him and go to jail
than marry my sister to him.
90
JOKER: I think she is right because Sakina is
also doomed if her brother goes to jail.
Anyone else who has a solution?
91
JOKER: Is it possible for a girl of that area to
move the court?
SPECT-ACTOR 2: No, it’s simply not possible.
JOKER: So what should she do: continue to
suffer without any protest, and abide by
the wishes of her father and husband?
SPECT-ACTRESS 4: No way.
SPECT-ACTRESS 5: But she has no other choice. This poor
girl is totally helpless.
SPECT-ACTOR 3: This society and culture doesn’t allow a
woman to speak up for her rights.
SPECT-ACTOR 4: Still, someone has to make the first
move to bring about a change.
JOKER: We’ve come across many solutions from
the audience. This play is based on
actual events and, in real life, Sakina put
up an excellent show to overcome her
problems. Now, she is living a happy
life. I thank you all for being here to
watch this play!
92
The Story of Najma
Performed by Bargad Theater Group,
Bargad, Gujranwala
93
Characters
NAJMA
94
[The stage is set in a simple manner. Only a charpai covered
with a sheet is lying left stage. NAJMA enters from the right and
stands front center stage.]
[NAJMA busies herself with work. She sweeps the floor and then
adjusts the sheet on the charpai. SHAUKAT, who is wearing pair
of trousers and shirt, enters from the right. He appears to be
half-insane and has one hand on his mouth. He stands center
front stage. NAJMA comes and stands beside him.]
[SHAUKAT puts a finger in his mouth and sits down beside the
charpai like an insane person.]
95
ARIF: No, this is my notebook.
JAMAL: Give this notebook to me!
ARIF: (hiding the notebook behind his back) No, this is
my notebook.
JAMAL: Give it back! You took it from me just yesterday
and now you are not returning it.
ARIF: No, I won’t give it to you. My name is written
on it.
[ARIF and JAMAL sit right stage and start having their food.]
96
KHALIDA: Najma, haven’t you left for school yet?
97
[KHALIDA keeps on crying.]
98
him is when he beats my mother or maltreats
her. I could do nothing about it. I’m so helpless.
KHALIDA: Najma?
99
[NAJMA exits from the left. AKRAM enters from the right
coughing.]
[ARIF and JAMAL start fighting for the notebook once again.
AKRAM sits down and starts rolling a joint.]
[SHAUKAT gets up and exits from the left. AKRAM again busies
himself with the joint. KHALIDA sits down close to him.]
100
AKRAM: (slipping aside a little) When did I break that
promise? I do need at least this much. I hardly
smoke one joint in the whole day.
[KHALIDA is terrified.]
AKRAM: You don’t let me sell the land on the one hand
and, on the other, keeps coming up with new
expenses day in and day out. Tell me what
should I do if I don’t sell drugs?
101
[AKRAM starts rolling another joint.]
[AKRAM gets up angrily while taking out a match box from his
pocket to light the cigarette. Other shrinks back terrified.]
NAJMA: Abbu!
[AKRAM puts off the cigarette under his shoe while coughing.]
102
[NAJMA and KHALIDA start crying again.]
103
JAMAL: Will she take admission in the college now?
KHALIDA: Why not? She has passed her Matric in good
grades. She should take admission in the college.
ARIF: No, the college is too far. How would she go?
NAJMA: If you are so worried about me, then one of you
may escort me to college.
JAMAL: No, I can’t do this. I feel embarrassed. Do
whatever you want to, but on your own.
ARIF: I can’t do this either.
NAJMA: Around the time my admission in college was
being discussed, my father also came back home
after completing his sentence.
104
AKRAM: How come? What would I do?
NAJMA: You can sell a part of the land we own and start
the shop again.
AKRAM: I can’t work hard now. I just don’t have the
stamina. How would I run the shop?
[NAJMA goes near ARIF and JAMAL, and places a hand on the
latter’s shoulder.]
105
NAJMA: My mother and I tried our best to convince him,
but to no avail. However, I decided in my heart
that I shall take admission in the college come
what may. I went on hunger strike.
[NAJMA turns away her face to the other side. SHAUKAT comes
in front of her.]
SHAUKAT: Baji, have your food! (He sits down.) Have some
food, Baji! Baji…
106
[NAJMA faints because of weakness. KHALIDA runs towards
AKRAM and folds her hands in front of him.]
107
[NAJMA and MUQADAS get up.]
[MUQADAS exits.]
AKRAM: Job?
KHALIDA: Then what? It’s a girls’ school.
AKRAM: This is how you’ve spoiled her. If you are doing
things your way, why do you need to ask me?
108
MUQADAS: Najma, congratulations!
NAJMA: For what?
MUQADAS: Your appointment letter. Your job has been
confirmed. From day after tomorrow, you’ll go
to the office. I’ll come some day to take treat
from you.
NAJMA: Sure, sure.
MUQADAS: All right, now I’ll leave.
[MUQADAS exits.]
[AKRAM slaps NAJMA hard. She lets out a cry and falls down.
Everyone starts pleading with AKRAM to show restraint.]
109
SHAUKAT: Abbu…
110
Hereafter, follow the selected interactions made by the
audience after four performances of this play: Interaction
1 took place at Gujranwala on 01 March 2004;
Interaction 2 took place at Raiwind on 08 March 2004;
Interaction 3 took place at Lahore Press Club on 09
March 2004; and Interaction 4 took place at Islamabad
during the 3rd Theater Festival titled Journey through the
Lives of Courageous Women, held from 12 to 14 April
2004. Space constraints and editorial reasons do not allow
us to reproduce inputs of all audiences verbatim, but a
sincere attempt has been made to capture the essence of
their discussion.
111
Najma (Interaction 1)
[NAJMA starts crying and JOKER enters clapping.]
112
NAJMA: I’ve to do a job because this is the only
way we can run the household. I also
have to get Shaukat admitted to hospital,
and Arif and Jamal in school.
AKRAM: What am I for then?
NAJMA: To take drugs. What else can you do?
AKRAM: I can sell the piece of land that I own.
NAJMA: For how long would you be able to
manage from that?
AKRAM: I can’t let you do a job because the
biradari would humiliate me.
NAJMA: Doesn’t the biradari humiliate you for
taking and selling drugs?
JOKER: Just for a moment! Najma’s mother
wants to say something.
KHALIDA: I don’t want my daughter to do a job.
She is competing with her father.
NAJMA: She is afraid of her husband. All right, I
won’t compete with my father in the
future if I’m allowed to do a job.
KHALIDA: If you are doing it now, you’ll do it in
the future as well.
JOKER: (to SPECT-ACTRESS 1) Thank you!
113
SPECT-ACTRESS 3: I don’t think it’s insolence to speak for
one’s rights.
JOKER: Would anyone tell how Najma’s mother
should cope with this situation?
SPECT-ACTRESS 4: She should protest.
JOKER: Please come onto the stage and tell how!
114
JOKER: But how? Please come and tell!
115
[SPECT-ACTRESS 8 comes onto the stage.]
116
SPECT-ACTRESS 9: That’s what I’m saying. Had your father
been supportive, you could’ve stopped
your marriage.
JOKER: And what about your mother?
SPECT-ACTRESS 8: She also supported my marriage as she
wanted to marry me in her lifetime.
JOKER: Are you happy with your marriage?
SPECT-ACTRESS 8: Yes, I’m quite happy and bravely facing
the problems that come my way.
JOKER: Great! (Claps) Thank you very much!
117
[SPECT-ACTRESS 7, who had taken the role of NAJMA, goes
back to her seat.]
118
JOKER: Aren’t they too young for this?
SPECT-ACTRESS 11: They are so sharp that they can even
drive their father out of the house.
SPECT-ACTRESS 10: They were also opposed to their sister’s
admission in the college.
SPECT-ACTRESS 11: If they can talk like elders, they can do
anything.
JOKER: All right. This is a true story of a girl of
your area. Najma had to face all this in
real life. But, through courage and
determination, she achieved her goal
and is a role model for others. I thank
you all for being here to watch this play!
119
Najma (Interaction 2)
JOKER: Does it all happen in real life?
SPECT-ACTOR 1: Yes, it does.
JOKER: Who is the oppressor in this play? Is
Najma oppressor or oppressed?
SPECT-ACTOR 2: She is oppressed.
JOKER: And her mother Khalida?
SPECT-ACTOR 3: She is also oppressed.
JOKER: Akram, her father?
MANY VOICES: He is the oppressor.
JOKER: And her brothers Arif and Jamal?
SPECT-ACTRESS 1: They are cowards.
JOKER: What about Shaukat, her insane brother?
SPECT-ACTRESS 2: He is helpless.
JOKER: Okay. Now if it all does happen in real
life, then has Najma taken the right
decision? If you think that her decision
is wrong, then here is an opportunity to
change this story. (To SPECT-ACTOR
1) You think that her decision is wrong.
Please come onto the stage and tell how
you would’ve coped with this situation.
120
NAJMA: What has the biradari given us? If you
want to save my life and change your
future for the good, then give a damn to
the biradari.
121
AKRAM: Not in my lifetime.
JOKER: Just for a minute! We’ve seen in the
original play that one way to get
permission is to go on a hunger strike.
This Najma on the stage has another
idea, but it doesn’t matter much because
Najma got the permission to take
admission in the college in the original
play. The real crisis comes later when
she decides to do job in an office. (to
SPECT-ACTOR 1) Thank you very
much!
122
AKRAM: As you deem it right, but I won’t let you
do a job. I don’t want to lose my respect
in the biradari.
NAJMA: Then the biradari will take care of you
after we have left.
JOKER: Now let’s ask Najma’s mother what she
has to say!
KHALIDA: Najma, you shouldn’t have competed
with your father in this manner. Where
would we go without him? After all, he
is your father.
123
SPECT-ACTOR 4: Because the society is like this.
JOKER: But it’s we who make this society. My
question is that what are the factors that
compelled us to clap when she refused
to go with her daughter?
SPECT-ACTRESS 5: Probably because we wanted Najma and
her mother to stay in the house and try
to change the father.
JOKER: Why don’t you come and try to change
the father yourself?
124
JOKER: Character… although to marry or not is
entirely her personal matter. Tell me, if
a husband beats his wife is it their
personal matter or one of the society’s?
SPECT-ACTOR 5: It concerns the whole society.
SPECT-ACTRESS 7: It’s their personal matter.
JOKER: By saying that it’s their personal matter,
you are in a way giving a license to this
man that he may beat his wife as much
as he likes. (To SPECT-ACTRESS 5)
Thank you very much for your input!
125
NAJMA: People can just talk, they can’t offer
solutions to problems. They would talk
for a day or two and then shut up.
JOKER: (to AKRAM) Now what would you do?
AKRAM: I’ll break her legs. I know how to do this
pretty well. She’ll regret if she took
even a step out of this house.
KHALIDA: You’ve not been kind to me in the past
either, so I don’t care much and will go
with my daughter.
JOKER: Would anyone like to come and take the
role of Najma’s father?
126
JOKER: This is a real story and Najma had to
struggle really hard to do things her own
way. Ultimately, she succeeded in
realizing her dreams. In the end, I thank
you all for being here to watch this play!
127
Najma (Interaction 3)
JOKER: Does it all happen around us in real life
or is this story a mere fiction?
MANY VOICES: Yes, it does happen in real life.
JOKER: If it does, then has this girl Najma taken
the right decision by deciding not to do
a job?
MANY VOICES: No, her decision is wrong.
SPECT-ACTRESS 1: She should do a job.
JOKER: Please come and tell what you would’ve
done had you been in her place!
128
[Mixed reaction from the audience.]
129
AKRAM: There’ll be people of all sorts in offices.
Will you work with men?
NAJMA: Aren’t you a man? They are men just
like you.
JOKER: Just a minute! (To SPECT-ACTRESS 2)
Thank you very much!
130
[SPECT-ACTRESS 3, who had taken the role of NAJMA, goes
back to her seat.]
131
Najma (Interaction 4)
JOKER: Is Najma’s decision of not doing a job
right? Bearing in mind her context, what
decision should she take?
SPECT-ACTRESS 1: For the time being, she should forget
about doing any job or she may think of
doing something at home.
SPECT-ACTOR 1: I think that she should do a job.
JOKER: Please come and tell how!
132
NAJMA: Ammi, ask him to leave this house.
AKRAM: (to KHALIDA) That’s why I used to
warn you against her education. Look at
the way she is talking to me! You’ve
never raised your voice in front of me.
This is all because of education.
NAJMA: Do you want my mother to take off her
shoe and give you a thrashing?
133
JOKER: No let’s see what she intends to do!
134
GRANDFATHER: What would happen to her if she works
with men?
AKRAM: One never knows. The biradari will also
look down upon me if she does a job.
GRANDFATHER: Why are you so afraid of the biradari?
Has it ever given us anything?
JOKER: (pointing at SPECT-ACTOR 2) Do we
find grandfathers like him in real life?
SPECT-ACTRESS 3: No.
SPECT-ACTOR 3: They are normally even more rigid than
the father.
JOKER: (to SPEC-ACTRESS 2, SPECT-ACTOR
2 and SPECT-ACTRESS 3) Thank you!
135
KHALIDA: No, I won’t move the court. I don’t want
to take divorce from my husband.
136
Kalsoom’s Case Study
137
Coming to Kalsoom’s personal life, she had four children in all:
two girls and two boys. She celebrated the birth of her first child,
a girl born after two years of marriage. This was something new
for the people who used to mourn the birth of a daughter. Her
husband, who was himself literate and also believed in women’s
rights to a certain extent, did not object to their elder daughter’s
education till Primary. However, he was against educating Narjis
any further. Despite opposition from him, Kalsoom remained
adamant and got her admitted in the High school.
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On her return to the village, Kalsoom formed Sangtani Women
Rural Development Organization (SWRDO) with the basic
purpose of creating an enabling environment for women
whereby they could enjoy full human rights. Sangtani is a
Saraiki word which means courageous women who can fight for
their rights. With time, the scope and outreach of the
organization’s work kept on enhancing and it became the only
group working at the district level in Rajanpur.
Kalsoom was able to achieve all this after years of hard work and
struggle. She had to face tough opposition, especially from the
feudal lords, at every step from the very beginning. She even had
to go through hardships with regard to her personal life. Despite
this, she did not abandon social work or compromise on her
ideals at any stage.
Kalsoom has been a success story all the way. She has
practically been the first drop of rain. When she sent Narjis to
the college, it was unheard of in the area. But, following her
example, the same people who used to criticize her for doing so
now come to her seeking guidance about their own daughters’
education. Similarly, many local women are now successful
entrepreneurs following in her footsteps. She is like a mentor to
the women of her area because she has made her mark against all
odds. Even the men widely acknowledge her enormous services
to the community.
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Now, Kalsoom is enjoying her retired life for the last two years
after serving as the headmistress of the village school for almost
twenty-five years. This has helped her focus more on SWRDO’s
activities. Narjis, who is doing her Master’s in Women Studies,
helps her mother as the organization’s coordinator. The sons of
Kalsoom are doing their Bachelors and Diploma in Commerce
respectively while her younger daughter is in Intermediate.
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Bilqees’ Case Study
Bilqees’ husband was pretty nice to her, but the attitude of his
other family members towards her was contemptuous. When he
was in the house, they treated Bilqees politely but when he was
out, they dealt with her with derision. She was not allowed to go
out of the house and was introduced to the people as a maid. She
did not question this and remained silent because she had to
support her younger brothers and sisters.
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Bilqees’ husband had done a good thing by giving her the power
of attorney of his property during his lifetime. Her in-laws
wanted to grab this property, especially the house in Abbottabad.
In order to do so, they tried their best to get rid of Bilqees. Her
brother-in-law even took the power of attorney of the property
from her by force, but she didn’t succumb to pressure and stayed
in that very house.
Bilqees always believed that had she been educated, she would
have better faced the hardships of life. So, one of her aims in life
was to educate her children, especially the girls, in the best
possible manner. Unfortunately, the village only had a Primary
school and higher education was not possible there. That was
one reason that most of girls could not study beyond the fifth
grade despite having a desire to do so.
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electricity or a road linking it to the highway. There was a dearth
of healthcare facilities as well. Bilqees’ first husband also had a
flair for social work and he used to contest elections regularly.
Whatever little development work had been undertaken in the
area in the past was a direct outcome of his efforts.
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need. Now, these organizations have about thirty members each
and are working hard for the political, economic and social
empowerment of the local women.
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Sakina’s Case Study
In the external context Sakina was placed in, women were never
accorded the status of equal human beings. A girl was
considered to be a burden on her parents and they were always in
a hurry to marry her off. Sakina’s parents were no exception and
as soon as she attained puberty, her mother conveyed this ‘good
news’ to her father. She was in the eighth grade at that time.
Sakina’s husband was not only much older than her but already
married too. His mother had married him again only to teach his
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first wife a lesson and Sakina was used as a sacrificial animal. In
fact, he had cheated her family by assuring them that he had
divorced his first wife. However, now she had no choice but to
bear with this silently.
Like most other policemen, Sakina’s husband had all the vices
one could name and he also used to beat her a lot. Only after two
weeks of their marriage, he brought back his first wife. As if this
was not all, there were other problems in that house for Sakina as
well. Two of her brother’s sisters, both over forty, used to live
with them. One of them was a divorcee while the other was a
spinster. As they wanted her to serve them as a servant, they
made life miserable for her in collusion with their mother.
The next demand of Sakina’s in-laws was that her brother would
also live in their house. As no other option was available, the
poor chap also complied with this demand. Had he taken his wife
to his house after the marriage, Sakina’s in-laws would have
been under compulsion to treat her nicely. Hence, there was no
change in their attitude towards her while, at the same time, her
brother’s life was also ruined.
When Sakina was expecting for the first time, she was seriously
injured after being beaten by her husband. She came back to her
parents’ house with her brother. There, she gave birth to a dead
child and decided not to return to her husband’s house. Her
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brother also made a similar commitment. It was crisis situation
for them in a way because they had no source of livelihood.
When Sakina got married, she was in the eighth grade. She
wanted to continue with her studies, but her husband did not
allow her. After she joined YWYBDO, her seniors motivated her
to at least do her Matriculation. She took it as a challenge and
passed the exam in the second attempt. This qualification helped
her in getting selected for the 18-month Lady Health Worker
training at Peshawar. As there is a Basic Health Unit in Khushal
Garh, the organization plans to get her appointed there on
completion of her training.
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Now, Sakina has got divorce from her husband while her
brother’s case is still pending in the court. He also wants to
divorce his wife if she does not agree to live in his house.
Because of the bitter experience of first marriage, Sakina does
not intend to marry again. However, her colleagues try to drive
home the point that earlier she was financially dependent on her
husband but now, as she earns herself, she would be free to make
her decisions.
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Najma’s Case Study
The suffering of her mother at the hands of her father had a deep
impression on Najma’s personality. As a result of this, from the
very beginning she had an urge in her to get education so that
she could change this situation. Although the local context was
not very supportive to the girls’ education, she was one
exception. She stood first in every class and that provided her
with enough reason to continue further.
After Najma did her Matriculation, almost the same story was
repeated again though the opposition to her education was much
stronger this time. The idea of a girl going to the college was
repulsive to the whole family, but Najma did not budge an inch
from her stance. Finally, she was given the permission but on the
condition that she would meet her own expenses. One of her
very close friends supported her financially to take admission in
the college while later she started giving tuitions to children.
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The experience of going to college was a very empowering one
for Najma as it refined her ability to analyze things. As luck
would have it, one of her cousins worked with Bargad, a
Gujranwala-based NGO. Because of this reference, she also
joined the organization as a volunteer and got opportunities to
attend a number of workshops and other training events. This
was not very well received by her family, especially her brothers.
Najma took the interview for a job with Kashf Foundation and
was selected as a Loan Officer. She was particularly happy on
her selection because now she could financially support the
deserving women of her area. As the credit program of the
organization had an in-built component of social advocacy, it
also provided her with an opportunity to bring about a change in
the attitudes and behavior of her community. When she had to go
to Lahore for the first time, there was opposition from all sides
but once again her cousin’s support came in handy.
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Meanwhile Najma’s family underwent a financial crisis as her
father’s shop was closed down. In this situation, she took the
leadership role and guided the members of her family. First of
all, she encouraged her father to quit addiction. It was a long
process as he had been using drugs for many years, but she
remained patient and helped him at every stage. She also made
one of her younger brothers leave his studies to manage the shop
owned by their father. With this, the financial situation of the
family started to improve gradually.
Najma has achieved a lot at a very young age and in a very short
span of time. As a result, she had already become a role model in
her community. She did job in adverse circumstances, made her
father quit drugs and arranged resources so that her brothers
could continue their education. Now, no one in her family
objects to her education or job, and she only needs to inform her
family when traveling to other cities. Today, she is widely
respected and her views are sought in every community issue.
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The Last Word
The first and the foremost lesson – which comes out clearly in
the stories of Kalsoom, Bilqees, Sakina and Najma – is that the
women have to make their own decisions in order to change their
situation for the good. Often, they are faced with situations
where they have no choice but to silently agree to their parents’
decisions in order to keep their honor intact. Whether it is the
issue of their education, marriage or job, they are bound to
consent to their parents’ decisions. So, on the one hand, they
have to fight with the society while on the other, they have to
fight within their homes for their rights.
Mostly girls are married at a pretty tender age in the rural areas
of Pakistan. It is very difficult for a girl to take a stand against
this as she herself is too young to understand the consequences.
In fact, as soon as a girl reaches her puberty this news is
disclosed to the whole family and efforts begin to find a suitable
match for her. In case the family is poverty-stricken (like those
of Bilqees and Sakina), the parents eagerly anticipate this so that
the marriage of their daughter could relieve them of financial
worries. However, brave girls like Najma take a stand even at
this stage because of their education.
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and day out leaves the poor girl with only one conclusion: either
not to marry or marry only when she is not dependent on her
husband financially.
The four women on whom these plays have been based are
torch-bearers of women’s rights. They are the harbingers of
change. They are like beacons of light to others who are faced
with similar situations and don’t have an answer. They instill
confidence in others and motivate them to effect change like the
way they did. On the encouraging note, once the process of
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change is initiated it keeps on gaining momentum. Very soon,
the same people who used to criticize start praising your efforts.
Another lesson a reader can draw is that one should first gain the
confidence of the community by taking strategic decisions and
then make any major move. Kalsoom first taught the Holy Quran
to children because that was the only way she could have
communicated with her new community that was against the
education of girls. Another lesson is that one should never close
his or her channels of communication. Najma’s success speaks
for the fact that through effective communication, understanding
and at times resolution of differences becomes possible.
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They are open to possibilities provided these options
don’t clash with their principles.
They believe that actions speak louder than words
(community service by Kalsoom, Bilqees and Najma).
They make their moves strategically and employ all
resources at their disposal (emotional blackmailing and
hunger strike by Najma to take admission in the college).
They love to take on challenges and are not afraid of the
opposition at any stage.
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GLOSSARY
Abbu: Father (Papa, Daddy)
Ammi: Mother (Mummy)
Baji: Elder sister
Barat: Marriage procession
Barati(s): Marriage guest(s)
Bhabi: Brother’s wife; Sister-in-law
Bhayya: Brother
Biradari: Extended family
Chaddar Shawl
Charas Pot (Hashish)
Charpai: Cot; Bed
Dupatta: Shoulder wrap
Ghoongat: Veil
Jirgah: Tribal jury
Maulvi(s): Muslim priest(s)
Mehr: Money settled upon the wife
Patwari: Revenue Officer
Roti: Bread (Meal)
Rukhsati: Sending out daughter as bride
Sahib: Mr. (Courtesy title put at the
end of a man’s name)
Salami: Present made to bride
Salam-o-Alaikum: Peace be with you!
Wa-Alaikum-us-Salam: And peace be on you!
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