It is not strange that art, music, and cultural expression – including literature – have once thrived in the glamorous world of the Haveli-styled Kotha or in today’s often bleak and neglected red-light districts in South Asia. These areas have made unmatched contributions to the entertainment industry, with many prominent figures in the field tracing their roots to these areas. However, the cultural vibrancy that once characterised these spaces has been overshadowed with the rise of a lately new phenomena; mixed cultural shows.
Fauiza Saeed, in her PhD thesis later published by Oxford University Press (OUP) under the title Taboo, meticulously traces the evolution of the famous red-light district of the Subcontinent, Heera Mandi in Lahore. She illustrates how the culture of the district has shifted over time—from a centre of art, grace, and sophistication to a place where bodies are commodified. She also debunked the myth that Tawaifs were forced into this profession as shallowly portrayed in films, arguing instead that it has long been a family-run business, passed down through generations, much like any other traditional family enterprise.
Historically, Tawaifs were not merely sex workers; they were highly educated and refined women, trained from childhood to entertain the influential—emotionally, intellectually, and socially—within the noble, elite, and ruling classes. They were well-versed in a wide array of subjects, from politics and conspiracies to art, literature, and performing arts, including singing, dancing, and poetry. Their role was not just to perform; they were skilled conversationalists and cultural icons who could engage with the most powerful figures of their time on a wide variety of topics.
This shift in entertainment culture has had long-lasting consequences. The real talent that once flourished in these spaces has been stifled, and the area’s rich cultural history has been neglected
A Tawaif can be compared to the courtesans of Europe, or to the Geisha of Japan, who undergo similar training and serve as confidantes to rulers and business tycoons. As Altaf Sheikh explains in his translated work Geisha Girl of Tokyo, the geisha undergo a rigorous training process, offering emotional support and helping their clients overcome personal challenges. Unlike wives, who may engage in petty conversations that could discomfort their husbands, Geishas remain neutral, offering intelligent and insightful dialogue that fosters a comfortable environment for their clients to discuss personal and professional issues.
This cultural role of courtesans has existed throughout royal courts worldwide, particularly in the Subcontinent. The Mughal era, for example, saw courtesans wielding significant power and influence, with some becoming central figures in the imperial court. One such woman was Nur Jehan, originally named Mehr-un-Nissa, or "Sun Among Women." She was highly educated in Arabic, Persian, and literature and rose to an unprecedented level of power as the Mughal empress, wielding influence over the emperor and participating actively in statecraft. Her rise to power illustrates the high social standing and political significance that Tawaifs could achieve.
The culture of the Tawaif flourished under state patronage. It was a time when art and performance were viewed as an essential part of court life. However, with the decline of the nawabs, emperors, and royal courts, this once-thriving culture began to wither. The centres of entertainment, art, and culture that had characterised these districts were gradually replaced by markets where the sale of bodies became the primary industry. The former elegance of these districts was replaced by a harsh reality—where exploitation, degradation, and commodification took centre stage.
During the late 1970s and 80s in Pakistan, state-imposed restrictions on these areas forced many women and businesses to relocate or go underground. This marked the beginning of a new era in the entertainment industry—one characterised by the rise of “mixed-cultural shows.” These shows, which often combined vulgar mujras (traditional dances) and adult-themed comedies, emerged as a crude imitation of the once-sophisticated cultural performances. The focus shifted away from artistic merit and cultural significance to sensationalism and commercial appeal. Women were commodified, often portrayed as objects of lustful desire rather than being celebrated for their artistic talents.
This shift in entertainment culture has had long-lasting consequences. The real talent that once flourished in these spaces has been stifled, and the area’s rich cultural history has been neglected. Businesses that once thrived—particularly those tied to traditional arts, such as the crafting of musical instruments—have also been severely affected. Music shops, which were once a hallmark of these areas, have been replaced by paan shops, eateries, and other low-end businesses, further contributing to the cultural and economic decline.
The rise of mixed-cultural shows and the decline of traditional artistic performances have further eroded the significance of these once-vibrant districts, transforming them into commercial food streets with little regard for their rich artistic history. The women and businesses that once thrived here have been marginalised, their contributions largely forgotten, while the sex industry continues to dominate. Such places, which were once at the zenith of cultural exchange and artistic expression, have now become a symbol of cultural decay.
To address this issue, a more pragmatic and out-of-the-box approach is needed to capitalise on the unique cultural resources available. By promoting and preserving the true cultural heritage of these areas, a more inclusive society could be materialised that boosts the economy; and protect the artistic traditions that once flourished in these districts. It is time to recognise the value of these cultural gems and ensure that they continue to thrive in a modern context, offering both artistic enrichment and economic benefits for the country.