There is Light at the End of the Tunnel

There is Light at the End of the Tunnel

Translation, Editing and Compilation Nadia Anwar

Mustafa Nazir Ahmad

Interactive Resource Center

Title: There is Light at the End of the Tunnel Translation, Editing and Compilation: (English) Nadia Anwar & Mustafa Nazir Ahmad (Urdu, Punjabi, Saraiki and Hindko) Munir Gujjar Title & Design: Sabir Nazar Edition: 1,000 Date of Publication: September 2004 Publisher: Interactive Resource Theater, Lahore All rights of this publication are reserved with the publisher. However, its portions can be reproduced for review and research purposes as well as for non-profit activities provided the source is duly acknowledged.

This publication has been made as an activity of the GENDER EQUALITY PROJECT

INTERACTIVE RESOURCE CENTER 50-N, Model Town, Lahore.

Tel: +92-42-5162874, 5173759 Fax: +92-42-5173765 Email: [email protected]

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mailto:[email protected]

Contents Preamble 04 Gender Equality Project 07 Introduction to the IRC Project 08 Interactive Resource Center 09 Participating Organizations and Theater Groups 10 Introduction to Interactive Theater 15 The Story of Kalsoom 17 The Story of Bilqees 41 The Story of Sakina 65 The Story of Najma 93 Kalsoom’s Case Study 137 Bilqees’ Case Study 141 Sakina’s Case Study 145 Najma’s Case Study 149 The Last Word 152 Glossary 156

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Preamble

n order to support and strengthen the women’s movement, one needs not only to depict their miseries but also portray their successes. With the realization that “depiction of hope”

is vital for a positive change with regard to the situation of women in Pakistan, Interactive Resource Center (IRC) decided to do a pilot project around selected women who had achieved success through their commitment and struggle. IRC is the pioneer and leading exponent of Interactive Theater (also known as Forum Theater) in the country. It has introduced this technique to generate debate on various issues, especially violence against women and legislative changes, and has so far rendered more than 200 community stories into plays with success. In line with this, the organization implemented its seven -month pilot project titled Attitudinal Transformation and Women’s Empowerment through Interactive Theater, supported under Gender Equality Project (GEP) by DFID-UK. As a first step, four partner organizations were selected and the whole idea was shared with them to seek their opinion. Even at this stage, an important outcome was that in many areas the local theater groups joined hands with each other to implement the Project. The next step was the selection of “success stories of struggling women” from GEP’s gender network. Detailed interviews were conducted with the four selected women in order to develop their case studies. Interviews of two of these women, who were not afraid of revealing their identity and coming on the stage, were also recorded and released as CDs. The identity of the other two had to be concealed because of their local context. This adjustment was vital as their stories were deemed more important than their identities. An important outcome was that during the course of the Project one more woman gained courage to come on the stage and be interviewed.

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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. Coming to the outcomes of the Project, it provided IRC with an opportunity to work in collaboration with and learn from the experiences of other civil society organizations, in particular theater activist groups, working in the country. Another outcome of this initiative is that now other organizations are also taking interest in the success stories of struggling women. Similarly, an important learning is that new communication tools like cable networks can be used to share the message with larger audiences. An important objective of the Project was to build the characters of the four selected women as role models. In this regard, the support of media is especially worth mentioning. Pakistan Television telecast a program on these women titled Dastaan-i-Azm in its series Khawateen Time. Similarly, ARY One World channel interviewed three of these four women in its 50-minute program named Aamna Samna. The publication in your hands is another of the outcomes of the Project. It is being presented bilingually (in English as well as the local language: Urdu, Punjabi, Saraiki or Hindko) and also comes with DVDs of the original performances, interactions and interviews of protagonists. It is, to our knowledge, the first work of this nature in Pakistan. Considering this, we sincerely hope that it would help other civil society organizations in employing the technique of Interactive Theater in their advocacy programs as well as serve as a useful resource material for theater trainers.

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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. It would not be out of place to express my heartfelt gratitude to the civil society organizations and groups as well as individuals who have been supportive to IRC’s initiatives and activities. The continued recognition of our work by media persons comes as a pleasant surprise to and I am genuinely indebted to them for supporting our cause. I am also obliged to the IRC staff members for their untiring efforts during the implementation of the Project. They not only improvised and directed these plays, but also did the joking during them. Similarly, the video team undertook its responsibility of recording, editing and multi-media production of these plays diligently. Finally, I have no words of praise for Nadia Anwar and Mustafa Nazir Ahmad who prepared the English text of this publication employing the best of their skills. Mohammad Waseem Executive Director, Interactive Resource Center.

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Gender Equality Project

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. The Project covers a wide spectrum of partners ranging from government, media and civil society organizations to higher institutes of learning and academia. Interactive Resource Center was provided with financial support to conduct its seven-month project titled Attitudinal Transformation and Women’s Empowerment through Interactive Theater under this facility.

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Introduction to the IRC Project

he goals/objectives of the seven-month project titled Attitudinal Transformation and Women’s Empowerment through Interactive Theater, implemented by Interactive

Resource Center under Gender Equality Project, are as follows:

Contribute to building of a conducive and enabling environment for women, and support their rights-based struggles;

Facilitate CBOs/NGOs in their advocacy programs related to human and women’s rights;

Play a pivotal role in bringing about a change in societal attitudes, behaviors and community practices by active participation and involvement of both men and women;

Capacity building of CBOs/NGOs to help them use theater as a tool in their advocacy programs on women’s rights, gender, etc.; and

Engage new means/mediums of communication, like cable networks, for wider coverage of development and human rights issues.

Project Goal: Bridging the communication void and empowering women by presenting role plays of struggling women through interactive theater, thus strengthening their struggle at both micro and macro levels. 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.

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Interactive Resource Center

nteractive Resource Center (IRC) is a Lahore-based initiative to explore new avenues for community mobilization and dialogue, in order to assist people in their struggle to regain

their collective power and strength. The major aim of the organization, therefore, is to employ innovative strategies like Interactive Theater technique for the development of deprived and marginalized communities in Pakistan, and support their rights-based struggles. The main objectives of IRC are as follows:

Increasing awareness of the marginalized communities on wider national issues and facilitating attitudinal change in them;

Promoting the performing arts and multimedia as important training and capacity building tools; and

Forming new community theater groups in Pakistan. Employing the technique of Interactive Theater, IRC creates playful and fun environments, which inspire the audience’s imagination while acting as fora for serious reflection, debate and change. In today’s society, in which people are so often isolated from each other and their communities, the simple act of relating face-to-face has become more important than ever. IRC’s emphasis is on bringing out the creativity of each audience and creating a collective imagination, which we all can play within, to discover new ways of behavior and also have a lot of fun. So far, the organization has been able to form a network of about 50 community theater groups through length and breadth of the country.

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Participating Organizations and Theater Groups

Sangtani Women Rural Development Organization (Sangtani Theater Group), Rajanpur

angtani Women Rural Development Organization (SWRDO) was formed in 1993 although it started working on regular

basis around three years later. In 1997, SWRDO got registered under the Social Welfare Act 1961 and became the first women’s organization in Rajanpur District. SWRDO envisions a society without gender discrimination, where every man and woman has equal opportunities to prosper and live independently. Its main objective is to work for the development of downtrodden and backward sections of women, and increase their involvement in the decision-making processes by eradicating discriminatory attitudes, traditions, values and customs against them. Other objectives of SWRDO include the following:

Promoting gender equality;

Increasing women’s awareness about their political, social, economic and legal rights;

Starting informal schools for girls education;

Establishing health centers for women to provide them with maternal facilities; and

Setting up training centers for women to impart them different skills.

SWRDO’s present activities include conducting research programs; running legal aid and health centers, non-formal

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schools, and free Sangtani Computer and Internet Center; organizing women’s groups; Sangtani Theater Group; and Legal Consciousness and Awareness Program. In future, SWRDO plans to implement the following activities for women’s empowerment in all walks of life:

Training programs on Practices of Business for women to ensure their economic empowerment;

Asylum center for the women affected by customs;

Research on women’s issues; and

Theater for women’s development. Kook Resource Center (Kook Theater Group), Haripur

n December 1998, Sungi Development Foundation invited a few people from local organizations of Haripur District for

theater training by Lok Rehas, Lahore. The objective of this event was to use theater as a tool for awareness-raising and human rights education in Haripur. To achieve this end, a theater group comprising 10 boys was formed. This group prepared and performed plays on various issues in different parts of the area. The warm appreciation from the audience encouraged the group’s members tremendously and they formalized it as Kook Theater Group (KTG). Presently, KTG has 22 members: 14 males and eight females. To date, it has performed more than 100 plays on different themes like Peace, Farmers’ Rights, Food Security, Women’s Rights, Labor Rights, Education, Social Mobilization, Forestry, Sexual Harassment, Children’s Rights, Human Rights and Rape. Now, KTG is working formally as an organization named Kook Resource Center (KRC) with its office in Haripur. Its library

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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. Youth Welfare and Younger Blood Donor Association (Kohat Theater Group), Kohat

outh Welfare and Younger Blood Donor Association (YWYBDA) started working in 1984. To begin with, it

focused on children suffering from cancer and its members contacted well-to-do people for donations. The money raised through their efforts helped set up a blood bank and arrange free medical camps in various areas. Gradually, YWYBDA also started to focus on burning issues and formed a survey team to identify problems of the area. Moreover, its goals and purposes were determined. The organization was formally registered in 1996. Presently, the number of its active members is 25 while its overall membership is 786 (674 males and 112 females). So far, YWYBDA has implemented a number of projects on self-help basis. Some of its major initiatives include setting up of: vocational center for women; mother and child health center; vaccination center; blood bank; ward for treatment of drug addicts; women’s crafts center; and non-formal schools. In addition, the organization has also imparted sectoral trainings to women on various themes. In 1997, YWYBDA formed a theater group to use this medium in its awareness-raising programs. Theater performances of this group on social issues like marriages of exchange, drug abuse, child marriages, etc. were warmly received by the local audience. Presently, the focus of the organization is on issues

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like violence against women, children’s rights, and women’s participation in economic and political processes. Bargad (Bargad Theater Group), Gujranwala

ounded in 1997, Bargad is a Gujranwala-based forum to promote cooperation among youth, especially the student

communities, through building their curricular and co-curricular capabilities. It holds the values of human dignity, creative thinking, justice, equity and peace. Bargad, a registered non-profit entity, is managed by a team of five professionals. In addition, the organization has a pool of more than 100 students from various colleges and universities of the country. Its governing body, the board of directors, comprises young leaders from various disciplines and professions. Similarly, its advisory committee includes five senior academicians from various universities. Bargad has extensive links with various civil society organizations, government bodies, and public and private educational institutions: universities, colleges and schools. Presently, the number of students who have directly benefited from its projects exceeds 6,000. To meet its objectives, the organization has instituted four program areas which are briefly discussed in the following: The Youth Peace Program seeks to enable students for peace-building through group formation and utilization of the existing resource of co-curricular activities in university campuses. For that, cordial relations have been established with educationists and administration of universities. The Media and Publication Program publishes a quarterly magazine, periodicals and reports as well as issues press statements from time to time. It also has puppet and theater

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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. The Training Program focuses on imparting various skills to youth for its empowerment and in order to ensure that it has a better understanding of social issues. Some of the related activities include training workshops in job skills and research methodology; and foundational workshops and seminars on peace, human rights, gender, etc. A one-year fellowship program has also been initiated for selected post-graduate students, so that they can learn about multi-disciplinary perspectives through periodic training events. The Arts and Crafts Program imparts skills like paper-making and recycling to local women, in order to provide them with opportunities of sustainable livelihoods. It has directly benefited a number of rural women who had no other means of making their living.

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Introduction to Interactive Theater

articipating in drama and theater allows connections to unconscious and emotional processes to be made.

Participation is seen to satisfy human needs to play and create. The festive act of people coming together through drama and theater is seen to have social and psychological importance. Theater is an activity set apart from everyday reality, but also has a vital function in reflecting upon and reacting to that reality. A form of theater has been sought by practitioners such as Grotowski, Brook and Boal which can bring people together and can comment upon and deeply affect their feelings, their politics and their ways of living. For the first time, Brazilian dramatist Augusto Boal introduced the concept of Interactive Theater in which the people are not spectators; rather they are spect-actors. At the conclusion of the play, the protagonist (lead character) deliberately makes a political or social error and audiences are asked whether they agree with the solution, presented by the protagonist, or not. As people have always different opinions, so the answer is usually no. At this point the play is performed again, exactly as it was performed before, and at the point where anyone amongst the audience feels that play must be changed with some other solution, he/she has the freedom to stop it there. The actors perform again and he who has some other solution is then requested to come onto the stage to present his/her solution for the problem by taking the role of the protagonist. Interestingly, when anyone from amongst the audience comes onto the stage to present the solution, all the characters of the play turn into oppressors and oppose the new-presented solutions. This does not mean that they do not accept the given solution; rather it is a way to generate debate on the issue and to

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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. Interactive Theater’s methodology enables exploration of an issue or concern rather than delivering a message. It is not an approach that offers teaching or immediate solutions to a situation, and in this way it differs from other theater approaches. With this methodology, the possibility of directly changing someone’s attitude is unlikely, but there is a strong chance that a person will see a situation or someone else in a new way through hearing and seeing the experience of another. The telling and re-enactment of a story creates the opportunity for a new perspective on the meaning and implications of the story to be opened up, and for new and different responses to emerge. With Interactive theater the main point is not an attempt to move a community towards something, but a working towards a comprehensive understanding and expression of what is occurring and the underlying social values. There is a mirroring effect, which brings the hidden values or questions to the surface and to people’s awareness. In this way, the community gets a richer and more complex view of its own nature. Any movement towards change is grounded in the reality as expressed by the members of a community through the telling of their stories and it emerges from a change in perspective on the part of individuals or the community as a whole. In Interactive Theater, the process that contributes best to local communities that resist homogeneity and seek to influence change is one where theater participants work together collaboratively and their diverse contributions are valued in shaping a product that reflects their creative collaboration as unique but connected people. It enables both personal growth and the self-directed community.

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The Story of Kalsoom

Performed by Sangtani Theater Group, Sangtani Women Rural Development

Organization, Rajanpur

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Characters RASHIDA Narrator KALSOOM BUSHRA Kalsoom’s mother NABEELA Kalsoom’s neighbor SAMIA Kalsoom’s neighbor ASLAM Kalsoom’s father ZAHID Kalsoom’s husband SAIF Zahid’s brother QASIM Zahid’s father SAJIDA Zahid’s neighbor BILQEES Zahid’s sister WOMAN 1 Kalsoom’s student WOMAN 2 Kalsoom’s student NARJIS Kalsoom’s daughter BOY 1 Kalsoom’s student BOY 2 Kalsoom’s student

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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.] [KALSOOM enters from the right with her husband ZAHID. From the left, Zahid’s father QASIM and his brother SAIF enter and stand left stage. QASIM is wearing a white turban. He raises his right hand at the level of his shoulder and SAIF raises both his hands in front of him. From the right, behind KALSOOM and ZAHID, Kalsoom’s mother BUSHRA, her father ASLAM and two neighbor women NABEELA and SAMIA enter. BUSHRA sits down on the floor. ASLAM stands on her right and points his left hand towards KALSOOM. He is wearing a white turban. NABEELA and SAMIA stand behind them. KALSOOM and ZAHID are standing center stage. KALSOOM comes front stage and begins to narrate her story.] KALSOOM: I’m Kalsoom. I was only twenty two then and

used to teach at a school. I wanted to make my own decisions in life and when I hinted to my mother (pointing at BUSHRA) that I wanted to marry a man of my choice…

BUSHRA: (surprisingly) Kalsoom, what’re you saying? You want to disgrace me by marrying someone outside the biradari?

NABEELA: (to SAMIA) Have you heard something?

SAMIA: What’s it?

NABEELA: This teacher! She…

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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!

[ASLAM assumes his earlier posture.] KALSOOM: I stuck to my decision. [BUSHRA gets up and points her hand towards KALSOOM.] BUSHRA: We disown you if this is your final decision!

ASLAM: Our doors are closed for you! [Both BUSHRA and ASLAM freeze with their hands pointed towards KALSOOM.] KALSOOM: I decided to marry the man I wanted to. [KALSOOM’S husband ZAHID moves forward to stand alongside KALSOOM.] 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

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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.

[SAIF freezes with both his hands in front of him.] QASIM: Don’t worry, my son! Don’t worry! Let them

come. Where else would they go? I’ll get the papers and jewelry from them and then show them the door.

SAIF: (surprised) But how?

QASIM: How? (Laughs wickedly) Only time will tell!

KALSOOM: Finally, I reached my husband’s home with him.

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. [SAJIDA sits near BILQEES on her left.]

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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!

[BILQEES points the door to SAJIDA and again busies herself with making rotis.] SAJIDA: (in a flattering tone) Please don’t get angry! It

just slipped out of my tongue because everyone is discussing it.

BILQEES: (imitating SAJIDA) It just slipped out of my tongue… You offended me by bringing this topic into discussion.

SAJIDA: To tell the truth, I’m very happy.

BILQEES: You are very happy… First you irritated me and now you are saying that you are very happy. (Gesturing her to leave with both hands) Please get lost!

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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! [BILQEES gets up.] SAJIDA: Bilqees, your brother is here! [SAJIDA also gets up. BILQEES steps forward and embraces KALSOOM.] BILQEES: Congratulations, Zahid!

ZAHID: Same to you, Baji! [SAJIDA, surprised, keeps one hand on her shoulder and touches her chin with the other. BILQEES holds KALSOOM and makes her sit down to her left. SAJIDA also walks slowly and comes to stand behind BILQEES and KALSOOM.] BILQEES: (with a hand on her forehead) Oh, I forgot to tell

you that Abbu was calling you outside. [SAJIDA bends down and touches BILQEES’ shoulder.] SAJIDA: (smiling) Congratulations!

BILQEES: Same to you! Same to you!

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[SAJIDA bends down on her knees and lifts KALSOOM’S ghoongat. She also gives a few rupees in her hand.] SAJIDA: This is your salami. [KALSOOM takes the money from SAJIDA. After giving the money, SAJIDA seems to be pissed off and masks her face with an artificial smile. Finally, she touches BILQEES’ shoulder.] SAJIDA: May I say something?

BILQEES: You may.

SAJIDA: Don’t get angry!

BILQEES: Why would I be angry? [SAJIDA again looks at KALSOOM and makes a bad face.] SAJIDA: She is not that beautiful to be given all the

property! [KALSOOM lowers her face in a worried manner. SAJIDA, bending down on her knees, keeps her right hand on her hip and the left one on her cheek.] BILQEES: She is not that beautiful… You’ve come to see

the bride or find faults with her? Get lost!

SAJIDA: (placing a hand on BILQEES’ shoulder) Don’t get angry and give me the match box!

BILQEES: (pointing at the stove) It’s there. Go and get it! [SAJIDA get up to leave, but stops half way.] SAJIDA: May I say something more?

BILQEES: What’s it, now?

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[SAJIDA first touches BILQEES' shoulder and then KALSOOM’S.] SAJIDA: I’ll tell how the bride looks to the whole village. [BILQEES waves her hand in the air.] BILQEES: Go and tell! That’s what you are up to! [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.] BILQEES: Bhabi, now you are a part of this family. You’ve

to take charge of this house because my brother boasts of a lot, but couldn’t even utter a word before his father. You are also from another biradari and that’s why the whole biradari is against you. You’ve to face them as well as control your husband. But, don’t worry! I’m with you. (Looking up) I’m getting late for prayers. Meanwhile, you can do some household chores.

[BILQEES starts offering prayers right stage and KALSOOM gets busy in work. A song is heard in the background.] [During the song, KALSOOM first does sweeping, then throws the garbage outside and washes her hands. After this, she picks up the utensils lying near BILQEES and sits near the tap left stage to wash them. Then, she keeps the utensils rear stage and covers them with a sheet. She again sits near the tap and washes clothes. Then, she rinses them and places then on the wire for drying. Finally, she dries her hands with her dupatta and moves towards BILQEES who is telling her beads.]

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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.] BILQEES: All right, now I got it. It’s a village. We go once

in the morning and then in the evening when all the men return to their homes. We’ll go together in the evening.

KALSOOM: (keeping her right hand on the chin as if surprised) What?

BILQEES: Develop this habit now and get to work! [KALSOOM, as if at a loss to understand something, waves her hand and sits to the left of BILQEES a little behind her. She starts doing embroidery. Meanwhile, BILQEES keeps on telling her beads. The same song is heard in the background.] [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.] KALSOOM: Why are you beating him?

QASIM: Just look at this girl’s innocence!

KALSOOM: What has he done?

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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!

[SAIF gives another powerful blow to ZAHID.] KALSOOM: (clasping her hands) Don’t beat him! Take this

jewelry! [KALSOOM hands over the jewelry she is wearing in her hands and ears to SAIF, who then brings the papers of the property in front of her.] SAIF: Your thumb impression here! [KALSOOM imprints her thumb on the paper and also signs it.] SAIF: That’s it! [QASIM gestures to KALSOOM and BILQEES to go outside.] QASIM: This is just a beginning. Let’s see what happens

with you in the future. (To SAIF) Let’s go!

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[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.] KALSOOM: You need not worry. I’m with you. Even if

they’ve taken the jewelry and property, we’ll still jointly manage our home.

[ZAHID, who is sitting worried, raises his head.] ZAHID: I earn only two thousand rupees a month. Tell

me, what can we do in this? [KALSOOM gets up.] KALSOOM: I’ll work in the school here because it’s without

a teacher. I’ll manage the expenses by working there.

ZAHID: The people of the village are already against you because you are from outside the biradari. Then how would they let you teach their children?

[KALSOOM sits down and places one hand on ZAHID’S shoulder and the other on his knee.] KALSOOM: Now, when I’ve settled here, I’ll convince them

to let me teach their children. Don’t worry and go to your work!

ZAHID: As you wish! [ZAHID gets up to leave. KALSOOM also gets up.] KALSOOM: Wait, listen to me!

ZAHID: (stopping) Yes?

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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.

[ZAHID exits from the left and KALSOOM addresses the audience.] KALSOOM: I went to the people of the village and tried to

persuade them to let me teach their children, but to no avail. However, I didn’t lose hope and started teaching the Holy Quran to children.

[BOY 1 and BOY 2 enter from the left, sit front stage and start reciting the Holy Quran.] KALSOOM: At the same time, I started giving lessons in

sewing and embroidery to women. [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.] [A song is heard in the background. During the song, KALSOOM gives lesson to the two boys and then gets up and goes to NARJIS to help her with embroidery. She also helps the two women one by one with their embroidery and then comes center stage to address the audience.] KALSOOM: I gave birth to four children. Time went on

slowly and my eldest daughter did her Matric. [NARJIS comes racing gleefully towards KALSOOM and stands on her right.] NARJIS: I’ve stood first in the whole school in Matric.

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[KALSOOM embraces NARJIS.] KALSOOM: Well done, my daughter! This was my dream.

Now, I shall get you admitted to college.

NARJIS: Yes, but would father agree?

WOMAN 1: Congratulations, your daughter has passed the exam!

KALSOOM: (to NARJIS) Why wouldn’t he agree? I teach daughters of other people, why wouldn’t I let my own daughter study further? You need not worry. I’ll convince your father.

WOMAN 2: Congratulations on the success of your daughter!

KALSOOM: Same to you! I’ll get some sweets for you when her father comes.

[ZAHID enters from the left.] ZAHID: What’s it that you seem very happy today?

KALSOOM: Our daughter has stood first in Matric.

ZAHID: That’s great! Congratulations!

KALSOOM: Same to you! Now, I shall get her admitted to college.

ZAHID: (angrily) What? Get her admitted to college? And that also in city?

KALSOOM: What’s wrong with this?

WOMAN 1: Kalsoom, Matric is enough. The people of the village are already against you. Why are you further provoking them?

KALSOOM: Why should I deprive my daughter of education? Someone has to make the first move.

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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.] ZAHID: (pointing his hand towards floored KALSOOM)

This is my last warning. Beware, I’ll stop giving you money and force you out of the house if you don’t take this decision back!

NARJIS: (with her hands raised as if resisting) Don’t say anything to my mother! I won’t study further.

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[NARJIS starts crying with a hand on her mouth. KALSOOM also gets up crying.] KALSOOM: All right, if you want this, my daughter wouldn’t

study further! ____________________________________________________

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.

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Kalsoom (Interaction 1) [JOKER enters clapping.] JOKER: Kalsoom has made a decision that she

won’t send her daughter to college. Is she right?

SPECT-ACTRESS 1: No.

JOKER: Has she made the right decision?


JOKER: What should she do then?

SPECT-ACTRESS 3: She should allow her daughter to study.

JOKER: So, you want Kalsoom to allow her daughter to study. Why don’t you come on the stage and do it yourself?

[SPECT-ACTRESS 3 comes onto the stage and takes the role of KALSOOM.] KALSOOM: My daughter shall study, come what

may. I would rather leave your house than deprive my daughter of education.

ZAHID: If this is your decision, then get out of my house!

[SPECT-ACTRESS 3 starts going back, but the JOKER stops her.] JOKER: Should she leave the house?


JOKER: (to KALSOOM) Would you go alone or also take your daughter with you?

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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.

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[Silence.] JOKER: (pointing at ZAHID) Look, he has no

answer! [Clapping from the audience.] JOKER: (to SPECT-ACTRESS 3) Thank you! [SPECT-ACTRESS 3, who had taken the role of KALSOOM, goes back to her seat.] JOKER: She has offered a solution, but it might

not work in our social context as leaving her house for a woman is considered sinful. Do we have another solution whereby she could remain in her husband’s house and her daughter also studies further?

SPECT-ACTRESS 7: She could be taught privately.

JOKER: Is there someone to teach her privately?


JOKER: Then how would she study?

SPECT-ACTRESS 9: There must be an educated person to teach her.

JOKER: But no one has studied beyond Matric in that village.

SPECT-ACTRESS 10: What about the school teacher?

JOKER: She has to go to college, not school. How would the school teacher be able to help her? Anyway, this is another solution that she could be taught privately. Do we have any other idea?

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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?

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[Silence.] JOKER: The play staged here is not fiction. It’s a

true story of a woman who actually went through all this and made her own decisions in life. This story doesn’t end here, but continues further. The woman is still alive and has respect in the society. In the end, I thank you all for being here to watch this play!

37

Kalsoom (Interaction 2) [JOKER enters clapping.] JOKER: Kalsoom has made a decision that she

won’t send her daughter to college. Has she taken the right decision?


SPECT-ACTRESS 2: It’s wrong.

JOKER: You tell how?

SPECT-ACTRESS 2: (standing up) It’s wrong because she shouldn’t have compromised upon her daughter’s education. Even if her husband doesn’t agree, she should work hard once again to make sure that her daughter goes to college.

JOKER: For your kind information, she is already running the household. Despite this, if she allows her daughter to study, her husband would drive her out of the house.

SPECT-ACTRESS 2: Let him do that.

JOKER: But where would she go? Is there any place where she could live?


SPECT-ACTRESS 4: She may live in her parent’s house.

JOKER: For how long would they bear with her considering that she is accompanied by her children?

SPECT-ACTRESS 2: She can also rent a separate house to live in.

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JOKER: Is this accepted in our society?


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 10: Never.

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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

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Characters AMIR Narrator SHAHID BILQEES Shahid’s wife NASIR Shahid’s younger brother ASIF Nasir’s friend ASLAM Nasir’s friend TAHIRA Bilqees’ friend MUSARRAT Bilqees’ friend TAHIR Bilqees’ supporter ARSHAD Bilqees’ supporter MAULVI

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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: (as he completes the song) Clapping! [All the characters including AMIR and the audience clap.] AMIR: Today, we’re going to enact before you story of

a fourteen years old girl whose marriage preparations are underway.

[AMIR starts dancing. In the background, the others are singing a traditional marriage song while clapping.] [AMIR stops dancing.] 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!

[Everyone stands up and while performing a traditional dance sings the same marriage song.] [SHAHID and BILQEES remain center stage and the rest sit behind them.] SHAHID: Bilqees, listen to me carefully! From now

onwards, consider yourself to be my honor and

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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?

[BILQEES nods in the affirmative.] SHAHID: All right then, you take care of the house! I’m

going out for a stroll. [SHAHID goes out. AMIR gets up and comes front stage.] AMIR: So, here we had the marriage and the lecture as

well. You need not to be told because you must have heard it yourself. In fact, every man would have lectured somewhere or the other and those who haven’t, must be preparing for one… Time passed on. A child was born (a child is heard crying). And then, the second (a child is heard crying again). In the same manner, the third child was born (once again, crying of a child is heard). This way, nine years of their married life elapsed. You must be aware how difficult it’s to rear up kids and, at the same time, do household chores. But this is difficult for us, girls somehow manage this.

[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.]

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[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.] BILQEES: What’s the matter? You’ve come earlier today.

SHAHID: I’m feeling extremely bad. [SHAHID sits down coughing almost as if falling down.] BILQEES: What’s it?

SHAHID: Oh… it’s just…

BILQEES: Wait! Let me bring your medicine. (Turns back to get the medicine.)

SHAHID: Leave the medicine and listen to me! [BILQEES sits close by SHAHID, who takes out some papers from his pocket and gives them to her.] SHAHID: I went to the Patwari and have brought papers of

the property.

BILQEES: (holding the papers) What’re these papers? Why are you giving these to me?

SHAHID: These are papers of the property with bank’s copy. Keep them safely! These are for you and your children.

[BILQEES changes her side restlessly and puts her hand on SHAHID’S shoulder.]

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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!

[SHAHID starts coughing badly. Trying to get up, he tumbles down facing the floor instead. BILQEES turns him straight by holding his shoulder. SHAHID is dead.] BILQEES: What has happened? (Wails) Oh God, what on

earth has happened? (Putting hands on her head, she cries bitterly and other characters also join her in this lamentation.)

AMIR: See, her husband has died. Anyway, life and death are in the hands of God. Shahid had to die some day. Now, let’s see what treatment is being meted out to Bilqees by her in-laws after his death!

SCENE II

[BILQEES is glancing through papers of the property. NASIR sneaks in softly to stand behind her and tries to read them.] NASIR: Bhabi, what’re these papers?

BILQEES: (trying to hide the papers) Nothing.

NASIR: Just show them to me! [NASIR snatches the papers from BILQEES and goes to a side to read them. BILQEES gets up and goes behind him briskly.] BILQEES: No, no, I won’t give these papers to you.

NASIR: So, this is your new trick? What’re these papers of the property doing with you?

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 advances to beat BILQEES, who slides back a little. He advances again and BILQEES moves back a little more.] NASIR: Away you go! [NASIR forcefully pushes BILQEES to ground. She gets up crying after some time.] BILQEES: I’ll see who dares to show me the door? I won’t

go nowhere.

NASIR: You won’t listen this way. I better do something about you.

[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.]

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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.] MUSARRAT: Bilqees, you’ve really shown great courage.

With you, we’ve also struggled hard and are now meeting our household expenses.

TAHIRA: She is right, Bilqees. By doing embroidery and weaving crochet, not only have we been able to

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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. [Amir comes front stage.] AMIR: These women thought that they would get a

positive reply from the Education Department, but they were dodged by being asked to produce one paper or the other. Finally, their application was refused on the ground that the number of girls in their village was less than required. Meanwhile, fate offered them another opportunity in the form of local bodies’ elections – if they could win a seat, their dream of a Middle school in the village could materialize.

SCENE V

[BILQEES is leading an election rally. MUSARRAT and TAHIRA are also with her along with many men. The

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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.] ASIF: (moving to a side and touching his ears) God

forbid! Now, women will contest the elections. This will result in shamelessness.

TAHIR: (coming forward from the other side) What has it to do with shamelessness? If women have been provided with an opportunity to contest the elections by the government, they should definitely do so.

ASLAM: (going to ZAHID’S side) This is not a city; this is a village. We won’t allow anyone to spread vulgarity here.

MAULVI: The right place of women is inside the house. They’ve nothing to do with public activity.

BILQEES: Come what may, I shall definitely have a Middle school in the village.

MUSARRAT: Bilqees, we’re with you.

ASIF: (wickedly) Look, they are in favor of educating girls! If girls were educated, they would write letters to boys and shamelessness would spread.

ARSHAD: You are not making sense. Only education will enable girls to properly bring up their children.

MAULVI: Education of girls is an un-Islamic idea. You are corrupting the environment of the village.

BILQEES: Come what may, I shall definitely reach my goal.

MUSARRAT: Bilqees, we’re with you!

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[NASIR, ASIF and ASLAM start to pelt stones at the supporters of BILQEES, who cover their heads with hands in order to protect themselves.] TAHIR: Bilqees, don’t worry! All of us are with you.

ASIF: (pointing at BILQEES) The biradari will cut off all relations with you.

NASIR: Bilqees, we would all drive you out of the house if you don’t drop the idea of contesting the elections.

[BILQEES comes front stage and assumes a self-defeating tone.] BILQEES: Please don’t cut off relations with me and don’t

drive me out of the house! I’ll comply with your wishes. I don’t need a school nor will I contest the elections.

____________________________________________________

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.

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Bilqees (Interaction 1) [JOKER enters clapping.] JOKER: I’ve a question for you: does this happen

in real life or is it just a fabricated story? (Listening to the audience) All right, it does happen. If it does happen, then has Bilqees made the right decision? (Again listening to the audience) So, you are saying that she has made the right decision by not contesting the elections and dropping the idea of Middle school. Is it the right decision?

SPECT-ACTOR 1: No, it’s wrong.

JOKER: (addressing the audience) What do you think? Is it the right decision?

[Many men from amongst the audience simultaneously respond in the negative.] JOKER: All right, it’s wrong. (Pointing at the

women) My sisters here are of the view that Bilqees’ decision is right while my brothers deem it wrong. Would anyone tell what should’ve been her decision? For this, you would’ve to come onto the stage and take the role of Bilqees. Who would come first?

[SPECT-ACTOR 1 comes onto the stage amid applause.] JOKER: The play can be altered from wherever

you feel like changing it. Should we alter it from the end?

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[The play starts again with SPECT-ACTOR 1 taking the role of BILQEES.] NASIR: Bilqees, we would all drive you out of

the house if you contested the elections.

BILQEES: I’ll definitely contest the elections. You don’t have the right to drive me out of this house. It’s mine and my children’s.

NASIR: How can this house be yours? Everything owned by my brother is mine now.

BILQEES: It’s true that Shahid was your brother, but also don’t forget that he was married to me. His children are the true heirs to his property.

[Clapping from the audience.] SPECT-ACTOR 2: Look at your style! Is it the right way to

talk to men?

BILQEES: I don’t see a problem with this. If men can talk like this, then why can’t we?

NASIR: I warned you earlier that she is sharp-tongued and talks before men.

BILQEES: This is not about talking before men. This is about demanding one’s rights.

SPECT-ACTOR 3: Bilqees, listen to me! You’ve young children. If the whole biradari is against your contesting the elections, then why don’t you change your mind?

BILQEES: It’s a right of women to contest the elections.

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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

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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! [SPECT-ACTOR 1, who had taken the role of BILQEES, goes back to his seat.] JOKER: Now the question is that how would she

bring up her children without her husband, his property and the income that it generates. She can’t leave the house either. Then, how would she meet her expenses? Would anyone tell?

SPECT-ACTRESS 2: Surely, she would’ve to do some work.

JOKER: For that, she would’ve to come out of the house.

SPECT-ACTRESS 3: What else could she do?

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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?

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[Silence.] JOKER: We’ve discussed Bilqees’ story at

length. Now, the question is whether she should contest the elections or concentrate on her household. In real life, Bilqees coped with this situation with great courage and made her mark. Surely, this wouldn’t have been possible had Bilqees decided not to contest the elections and stayed inside her home. In the end, I thank you all for being here to watch this play!

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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.] NASIR: Bhabi, what’re these papers?

BILQEES: These are papers of the property and this house.

NASIR: Show them to me!

BILQEES: Why do you want to see them?

NASIR: (trying to snatch the papers from BILQEES) Just show them to me!

BILQEES: But why? Your brother gave them to me for the children. They are the real owners of this house.

NASIR: But I’m also his brother. I’ve the first right because the children are still too young.

BILQEES: I agree that you also have right over your brother’s property. We can all live in this house and no one needs to go anywhere else. We’ll all live together.

NASIR: But I’ll keep the papers with me till the children reach their adolescence.

BILQEES: No, we’ll keep these papers with someone else, some elder of the family.

NASIR: I’m the elder of the family now.

BILQEES: No, you are younger than me. You are my brother-in-law.

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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.

[Clapping from the audience.] JOKER: (to BILQEES) Just for a minute! He has

taken the papers from you. How would you get them back?

BILQEES: No, I won’t get them back from him because it has been settled that all of us will live in this house.

JOKER: (to NASIR) Have you agreed that she can live in this house with her children?

NASIR: Provided she doesn’t create problems for me.

BILQEES: He has agreed. You see, he has agreed. [The audience clap once again.] NASIR: I mean to say that if she doesn’t insist on

contesting the elections…

BILQEES: We’ll see to it later.

JOKER: So, it’s fine for the moment.

BILQEES: At least, the first hurdle has been cleared.

JOKER: But even in the original play, Bilqees managed to stay in the house despite all the opposition from her in-laws. So, what change have you brought about?

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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?

[SPECT-ACTRESS 1, who had taken the role of BILQEES, goes back to her seat and SPECT-ACTOR 1 comes onto the stage and takes the role of BILQEES.] JOKER: He wants to come in the last scene of the

play when Bilqees decided that she would contest the elections and Nasir threatened her with dire consequences. Let’s start!

NASIR: Maulvi Sahib, I’ve already warned her that if she contested the elections and polluted the environment of the village like this, we’ll throw her out.

BILQEES: You are unaware of my position. I would get you landed in jail if you drove me out of the house.

MAULVI: Look at this woman! She is so sharp-tongued. That is probably the cause of all the problems.

BILQEES: You need not worry; it’s my business.

MAULVI: Bilqees, listen to me! The right place of a woman is inside her home.

BILQEES: All the women don’t remain inside the house; there are many who work also.

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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.

[Clapping from the audience.] JOKER: There are many solutions to a single

problem. Do you any other solution which can be applied here?

[SPECT-ACTOR 1, who had taken the role of BILQEES, goes back to his seat and SPECT-ACTRESS 4 comes onto the stage and takes the role of BILQEES.) JOKER: (to SPECT-ACTRESS 4) Please take this

dupatta because it symbolizes Bilqees’ limitations and status in the society. We’ve to come out of Islamabad and make decisions keeping in view the village environment.

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[The play starts from the last scene.] NASIR: Maulvi Sahib, I’ve already warned her

that if she contested the elections and polluted the environment of the village like this, we’ll throw her out.

BILQEES: It’s my duty to contest the elections and open a Middle school in the village. It’ll benefit all of us. Your children will be educated and the village would prosper.

MAULVI: Bilqees, you are right but we do have other problems also – there is no road, water, electricity, etc. First, we need to solve these problems.

BILQEES: I totally agree with you that these problems should also be solved, but I need your cooperation for this. I request all of you to work along with me, so that the whole village benefits.

TAHIR: Bilqees we’re with you, but we also think that first there should be a road. After this, we’ll also work on the school.

BILQEES: I’ve no problem with this. We’ll jointly decide what should be our first priority.

MAULVI: My vote is for the road.

TAHIR: Mine too.

ARSHAD: To me, our first priority should be electricity. Later, if need be, a Middle school can also be opened.

NASIR: (Mockingly) I wonder how illiterate girls used to manage in the past. After all, they only have to eat.

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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?

[SPECT-ACTRESS 4, who had taken the role of BILQEES, goes back to her seat and SPECT-ACTRESS 5 comes onto the stage and takes the role of BILQEES. Once again, the pay starts from the last scene.) NASIR: Maulvi Sahib, I’ve already warned her

that if she contested the elections and polluted the environment of the village like this, we’ll throw her out.

BILQEES: Do you think that I’m after the school only for my own children? Don’t you have children, Maulvi Sahib?

MAULVI: Yes, I do have children but they are in a seminary with the grace of God.

BILQEES: Don’t you want them to study in good schools, get good jobs and progress?

MAULVI: They will study the Holy Quran and manage the mosque after me. What else do they want?

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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!

[Clapping from the audience.] JOKER: We’ve at least been able to find a new

solution. (Addressing Tahira) Earlier, you wanted Bilqees to open a school so that your children could study. Now, why are you not taking sides with her?

TAHIRA: I’m being pressurized by the men. In our village, women don’t have much say.

JOKER: We’ve to consider the local context before making any judgment. (To Musarrat) Why are you supporting Bilqees? Aren’t you afraid?

MUSARRAT: What’s there to be afraid of?

JOKER: So, one feels the pressure and the other doesn’t. Do we have anything else to say? (Silence.) All right, I thank you all for being here to watch this play!

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The Story of Sakina

Performed by Kohat Theater Group, Youth Welfare and Younger Blood Donor

Association, Kohat

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Characters SAKINA SAJID Sakina’s elder brother SARDAR Sajid’s friend KAMAL Sakina’s father MALIK SAHIB Councilor SAEED KHAN Policeman ASGHAR Saeed Khan’s father THREE BARATIS

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SCENE I [SAKINA is playing a game while singing. Her brother SAJID enters from the left.] SAJID: Sakina! [SAKINA stops playing and goes near SAJID.] SAKINA: Bhayya, do you know that I’ve stood first in the

eighth class?

SAJID: Really? Congratulations!

SAKINA: I’ve also been awarded a scholarship.

SAJID: Great!

SAKINA: Now I’ll become a teacher.

SAJID: That’s a good idea. You’ll be able to teach other children.

SAKINA: Bhayya, what’s the matter? You seem to be worried about something.

SAJID: Well… the police…

SAKINA: (tapping her forehead with hand) Has the police has again arrested Abbu?

SAJID: Yes.

SAKINA: Why don’t you stop him from smoking charas openly?

SAJID: You better do this yourself when he comes back. I’m already sick and tired of trying to persuade him against smoking charas, but to no avail.

[All of a sudden, SAJID remembers that his friend SARDAR came with him and is standing outside.]

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SAJID: Sardar, come inside! [SARDAR enters from the left.] SAKINA: Salam-o-Alaikum! [SARDAR answers SAKINA with a nod of his head.] SAKINA: Please go and do something for Abbu!

SAJID: Malik Sahib has already gone to the police station. Now, they must be on their way back. (Putting a hand on SAKINA’S head) Go and get some tea for us!

[SAKINA goes inside. SARDAR and SAJID sit down left stage.] SAJID: I’m fed up of trying to persuade him. I don’t

know what to do. One wonders if Malik Sahib would get him out today or not!

SARDAR: Don’t worry! Malik Sahib has gone after him. May God help! It’s not a serious case. They’ll be here any minute.

[KAMAL, SAEED KHAN and MALIK SAHIB enter from the right. SAJID and SARDAR get up to greet them.] KAMAL: (to SAEED KHAN and MALIK SAHIB) Come!

Please come! [SAEED KHAN and MALIK SAHIB shake hands with SARDAR, and SAJID greets them by a gesture of hand. All of them sit down: SARDAR and SAJID on the left, SAEED KHAN and MALIK SAHIB in the center, and KAMAL on the right.] MALIK: Saeed Khan, didn’t I tell you about the condition

of his house. Had he been a drug peddler or

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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.

[Meanwhile, KAMAL takes out a cigarette from the upper pocket of his shirt. Then, he takes out a match box from his side pocket and lights the cigarette.] SAEED: (interrupting MALIK SAHIB by a gesture of

hand) Look Malik Sahib! It’s people like you who first file complaints in the police station that charas and heroin are being sold here, and then come to us seeking favors for the culprits. (Pointing at KAMAL) Look at him! He was smoking charas openly. Tell me, what should I do with him?

MALIK: Charas is smoked everywhere; he isn’t the only one to do so. (KAMAL starts coughing. He seems to be in pain.) Have you ever seen a rich man being arrested like this? You must’ve seen the condition of this house by now.

[SAEED KHAN nods his head in the affirmative, as if satisfied.] KAMAL: (to SAJID) Haven’t you arranged for any tea?

SAJID: Yes, yes, we’ve. Sakina! [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.] KAMAL: Get lost! Go and veil yourself!

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[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.] SAEED: Kamal, the purpose of my coming to your house

has been served.

KAMAL: (without understanding) Yes… Yes…

SAEED: Just let me know if someone bothers you again.

KAMAL: (nodding his head vigorously) All right, all right.

SAEED: But you should also be a bit careful. Don’t smoke charas in open places!

KAMAL: As you say.

SAEED: Malik Sahib, Should we leave? [SAEED KHAN and MALIK SAHIB get up and come front stage. The former says something secretively to the latter and points at Kamal’s house.] MALIK: Don’t worry about it. I’ll pressurize them and

have your wish fulfilled.

SAEED: All right then, it’s your responsibility now.

MALIK: Rest assured! I’ll get it done.

SAEED: (to KAMAL) I take leave now. [KAMAL gets up and shakes hand with SAEED KHAN.] SAEED: Nobody will bother you now. [KAMAL pays salutations by raising his hand. SAEED KHAN and MALIK exit from the right as KAMAL keeps on speaking.]

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KAMAL: God be with you! Thank you so much! Where are you going, Malik Sahib?

MALIK: Let me see the guest of. [KAMAL adjusts the chaddar on his shoulder and coughs. MALIK SAHIB enters again.] MALIK: Listen Kamal!

KAMAL: Yes?

MALIK: I’ve great news for you.

KAMAL: Really! Good news for me?

MALIK: Yes.

KAMAL: What’s it?

MALIK: The good news is that Saeed Khan wants to establish relationship with you.

KAMAL: (surprisingly) What? He wants to establish relationship with me?

MALIK: Yes.

KAMAL: Why?

MALIK: Because he had divorced his wife two years ago.

KAMAL: (says with least interest after realizing what Malik Sahib was suggesting) What’s the good news in this for me?

MALIK: The good news for you is that he wants to…

KAMAL: Yes, yes…

MALIK: He wants to marry Sakina.

KAMAL: My daughter Sakina?

MALIK: Yes.

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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! [At this point, SAJID and SARDAR get up.] SAJID: How can this be right? She is too young. She is

still studying. [KAMAL touches MALIK SAHIB’S shoulder in order to have his attention.] KAMAL: Malik Sahib, I think that he is right. If she is

studying right now, then…

MALIK: O fool, he is honoring you. He is so powerful that he could get you implicated in a big case.

SAJID: Do you think that it’s so easy?

KAMAL: (angrily to SAJID) Shut up! I’ll be in trouble, not you. Tell me, who would bail me out then?

MALIK: Listen! It’s your choice. I came only to advise you which I’ve done. Now, it’s up to you whether you marry Sakina with Saeed Khan or not.

SAJID: (waving the hand forcefully) We won’t.

KAMAL: (to SAJID) Be off! Get lost from here! [SAJID and SARDAR exit from the left. KAMAL addresses MALIK SAHIB in a flattering tone.]

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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.] KAMAL: But Malik Sahib, I’ve got nothing.

MALIK: You need not do anything. Everything will be ready by itself. You just have to inform your relatives.

KAMAL: All right.

MALIK: Now I’ll leave. You inform your relatives and start preparations!

[KAMAL raises his hands obediently. MALIK SAHIB exits from the right. KAMAL exits from the left coughing and adjusting his chaddar.]

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.]

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KAMAL: Salam-o-Alaikum, Malik Sahib! [MALIK SAHIB gets up and embraces KAMAL.] MALIK: Wa-Alaikum-us-Salam! Have you arranged for

the rukhsati?

KAMAL: Yes.

MALIK: (looking at his watch) Then, hurry up! (Pointing at SAEED KHAN) He has to arrange dinner for the guests at his place also.

KAMAL: All right, as you wish. [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.]

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ASGHAR: (in a harsh tone) You! [SAKINA is stunned to hear such a harsh voice out of the blue and falls down on the ground with fear. Meanwhile, SAEED KHAN also enters from the left and stands alongside ASGHAR with both hands on his hips. ASGHAR raises his hand and addresses SAKINA.] ASGHAR: I had asked you… [SAKINA gets up seemingly frightened with both hands on her chest.] ASGHAR: … to convince your father to agree to my

daughter’s marriage with your brother. What does he say?

SAKINA: (frightened) Your daughter is double the age of my brother. This is no match. I…

[SAEED KHAN raises his hand to slap SAKINA.] SAEED: (angrily) How dare you say this to my father?

I’ll slap you. [SAKINA is frightened. SAJID enters from the right walking briskly and places his hand on her head.] SAJID: What has she done? [SAEED KHAN points at SAKINA.] SAEED: Better ask her.

SAJID: What’s it, Sakina?

SAKINA: (pointing at ASGHAR while crying bitterly) He wants me to arrange his daughter’s marriage

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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.] SAEED: You are still making rotis! [SAKINA falls down on the ground with fear.] SAEED: Have you cleaned my room? [SAKINA gets up.] SAKINA: I work like a servant to keep you and your

parents happy and… (She starts to cry bitterly with hands on her face.) …you are bringing your first wife back. Didn’t you say that you had divorced her?

SAEED: Shut up!

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[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.] SAKINA: (in a decisive tone) I shall not stay in this house.

I’m leaving. [SAKINA exits from the right walking briskly.]

SCENE V [Kamal’s house. SAKINA enters from the right crying.] SAKINA: Abbu… Abbu… [SAKINA sits down crying. KAMAL enters from the left and sits down near SAKINA to her left.] KAMAL: Why are you crying? What has happened?

SAKINA: (crying) I’ve left that house.

KAMAL: Why? What’s the reason?

SAKINA: They’ve forced me out of the house. [SAJID enters from the right and stands near SAKINA.] KAMAL: Why? You must’ve done something.

SAKINA: No, I didn’t.

KAMAL: Sajid has already agreed to their demand. What do they want now?

SAKINA: (crying) Now, Saeed is bringing back his first wife. Hadn’t he divorced her? Then why is he bringing her back?

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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. [There is a knock on the door and MALIK SAHIB enters from the right.] MALIK: Kamal, what’s it? Is everything fine?

KAMAL: (pointing at SAKINA) Saeed has beaten her and she has left the house.

MALIK: She must’ve done something wrong.

KAMAL: It’s because Saeed is bringing back his first wife.

MALIK: These are routine matters. They happen in almost every house.

SAJID: This is not a routine matter. I’m there for most of the time. He beats her every day.

MALIK: Remember, it takes two to make a row! You should’ve understood the sensitivity of the issue and consoled your sister. (Keeping a hand on SAKINA’S head) Listen to me, daughter!

[SAKINA gets up crying.] MALIK: It’s our tradition that a woman has to stay in her

husband’s house till death.

SAKINA: (waving her hand decisively) I shall not go there, come what may!

SAJID: Yes, don’t go there. I’ll with you through thick and thin.

[KAMAL gets up with hands on his knees.]

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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.

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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?

[Mixed reaction from the audience.] JOKER: Those of you who think that Sakina

hasn’t made the right decision, do you have any other solution to offer?

SPECT-ACTRESS 1: She should concentrate on making her career after studying further.

JOKER: But how would she manage this? Would her father allow this? (To KAMAL) Please tell?

KAMAL: From where would the resources come for this? She better go to her real home.

JOKER: She has suggested that Sakina should study further in order to make her career. Do we have any other solution?

SPECT-ACTRESS 2: A better solution is that her father should leave addiction.

JOKER: I don’t think it’s not possible for us to reform him. Any other solution?

SPECT-ACTOR 1: Sakina is a married woman. She should be talented enough to reform her own house because it’s not considered appropriate in our society to leave one’s husband.

[Clapping.]

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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?

[Many members of the audience respond in negative.] JOKER: Why don’t we give her the right to make

her own decisions in life? If she is not happy in her husband’s house, she should’ve the choice…

SPECT-ACTOR 1: But this is not the solution.

JOKER: So you want Sakina to change herself and her house. Why can’t the husband who beats her and the father-in-law who maltreats her bring about a change in themselves? Why do we always expect women to mould themselves according to a situation and not men?

SPECT-ACTOR 1: Probably you’ve got me wrong. I’m saying that Sakina should be capable enough to change the whole society.

JOKER: But it’s not only her responsibility to change the whole society.

SPECT-ACTOR 1: First, she should concentrate on her house; the society would come later.

JOKER: (to SPECT-ACTOR 1) Thank you! Do we have any other solution?

[SPECT-ACTOR 2 comes onto the stage and takes the role of SAKINA.]

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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.

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SAKINA: But who wants to live in this house? [Clapping from the audience.] SAEED: You’ve to accept my conditions... (To

SAJID) Warn your sister! I can make your life miserable.

SAKINA: If you are a policeman, I also know about my right to take divorce from you. I only need my brother’s backing

JOKER: (to SAJID) Are you with her?

SAJID: Yes, I’m very much with her. [Clapping from the audience.] JOKER: Sakina and her brother have decided that

they’ll leave your house. What would you do now?

SAEED: I’ll send their father to jail as he is a drug addict.

JOKER: He can surely do that. (To SAKINA) Do you have anything to say?

SAKINA: I think that jail is the best place for my good-for-nothing father.

[Clapping from the audience.] JOKER: She is the first daughter who considers

jail to be the best place for her father.

SAKINA: If my father can be so insensitive to marry me off at such a tender age…

[Roaring applause from the audience.]

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JOKER: (to SPECT-ACTOR 2) Thank you! [SPECT-ACTOR 2, who had taken the role of SAKINA, goes back to his seat.] JOKER: Is there any other solution that we

haven’t discussed?

SPECT-ACTOR 3: My solution is based on a new situation: if Sajid marries Sakina’s sister-in-law, he might be able to solve this problem with the help of his wife.

JOKER: How should he go about it?

SPECT-ACTOR 3: He should take his wife into confidence and pretend to maltreat her when Sakina’s husband does so. If Saeed Khan can be cruel to Sakina, Sajid may also be cruel to his sister.

[Roaring applause from the audience.] JOKER: He has offered another solution. Still,

the question remains that would they be able to reform Sakina’s husband who is both a policeman and an alcoholic. Is there anyone else with a solution?

[SPECT-ACTOR 4 comes onto the stage and takes the role of MALIK SAHIB. The play starts again from the last scene.] JOKER: What solution do you have?

MEMBER: There are many organizations that offer solutions to such problems.

JOKER: (to KAMAL) Would you like to seek support from these organizations?

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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! [SPECT-ACTOR 4, who had taken the role of MALIK SAHIB, goes back to his seat.]

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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!

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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. [SPECT-ACTRESS 1 comes onto the stage and takes the role of SAJID. The play starts from the point where KAMAL agrees to marry off SAKINA to SAEED KHAN.] SAJID: Abbu, you can’t do this! If you don’t put

off this idea, we’ll both leave this house.

KAMAL: Where would you go without any money or property to sell?

SAJID: We’ll earn our living. We are not willing to suffer because of your mistakes. We’ve nothing to do with you.

KAMAL: Remember that the decisions of elders always turn out to be right!

SAJID: This marriage is simply not possible. I’ll support my sister at all costs.

MALIK: (to KAMAL) Don’t forget that maulvis are in power in this province. He might create a new problem for us. Stop him!

KAMAL: Stop this nonsense at once, you stupid fellow!

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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.

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[Clapping from the audience.] JOKER: You are right. Does it mean that your

brother’s solution is possible?

SAKINA: Yes, it’s quite possible.

JOKER: (to SPECT-ACTRESS 1) Thank you very much! You may take your seat now.

[SPECT-ACTRESS 1, who had taken the role of SAJID, goes back to her seat.] JOKER: We’ve been offered a solution to this

problem. Now, let’s ask the real Sajid why he didn’t think about this solution!

SAJID: I don’t think it’s practical in the context of our village. People wouldn’t even exchange greetings with me if I sought such a solution.

JOKER: He is probably right, but at least we’ve found a solution that the brother and sister could go somewhere else. Is there any other solution you could think of?

[SPECT-ACTOR 1 comes onto the stage and takes the role of SAJID. The play starts from the same point.] SAJID: I won’t let this happen even if I had to

go to jail. Only that policeman isn’t powerful; we’ve also got a gun. Nobody could blackmail us into marrying Sakina to him. (To KAMAL) Abbu, try to understand! If he is threatening you now, what would he do to your daughter tomorrow. Have you thought about this for once?

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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.

[Clapping from the audience.] JOKER: Another solution to this problem has

been offered. If there are more brothers like him (pointing at SPECT-ACTOR 1), this might not happen as frequently. Thank you very much!

[SPECT-ACTOR 1, who had taken the role of SAJID, goes back to his seat.] JOKER: This also leads us to another question: is

it possible for Sakina to bring about a change all by herself?

SPECT-ACTRESS 2: There is a lot she can do on her own. I also want to say that the brother shouldn’t be so violent.

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JOKER: I think she is right because Sakina is also doomed if her brother goes to jail. Anyone else who has a solution?

[SPECT-ACTRESS 3 comes onto the stage and takes the role of SAKINA. The play starts from near the end.] MALIK: It’s our tradition that a woman has to

stay in her husband’s house till death. He is a very powerful policeman and can land your family in a big problem.

KAMAL: (to SAKINA) Please return to your husband’s house.

SAKINA: My life is in problem, not yours. There is no way that I could lead a happy life with him. That’s why, I’ve decided to seek justice from the court.

MALIK: You won’t get anything out of it and your father would also end up in jail.

SAKINA: He should’ve thought about it earlier. If he is my father, this doesn’t mean that he could suppress me forever.

SAJID: Sakina, have you gone mad? What would the people say?

KAMAL: Do you have the resources to fight your case in the court?

SAKINA: I’ve got the solution to this as well. I’ll seek legal aid from some lawyer. This is my life and I’ll make my own decisions.

JOKER: Thank you very much for your input! [SPECT-ACTRESS 3, who had taken the role of SAKINA, goes back to her seat.]

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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!

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The Story of Najma

Performed by Bargad Theater Group, Bargad, Gujranwala

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Characters NAJMA SHAUKAT Najma’s elder brother ARIF Najma’s younger brother JAMAL Najma’s youngest brother KHALIDA Najma’s mother AKRAM Najma’s father MUQADAS Najma’s friend

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[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: I’m Najma and I want to relate my story to you.

It’s a long story, but I’ll start from whence my result for the eighth class was about to be declared. I was hurrying with the household chores that day.

[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.] NAJMA: He is my brother. He is three years older to me.

People say that he is mentally retarded. Some believe that his mental state has to with the state of our domestic affairs while others think that he is like this by birth. This’ll be clear after you’ve seen my story. (Taking SHAUKAT by his arm) Come, sit here. Let me bring food for you.

[SHAUKAT puts a finger in his mouth and sits down beside the charpai like an insane person.] SHAUKAT: (stammering) Food… all right… bring food. [NAJMA brings food for SHAUKAT.] SHAUKAT: Should I eat it? [NAJMA nods in the affirmative with a gesture of her hand and SHAUKAT starts having his food. ARIF and JAMAL enter from the right snatching a notebook from each other.]

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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.

[NAJMA comes front stage.] NAJMA: These are my younger brothers. They fight a lot,

but also love each other very much. (Addressing ARIF and JAMAL) How many times have I asked you not to fight with each other?

JAMAL: Baji, he’s not returning my notebook.

ARIF: No Baji, he is lying.

JAMAL: Yesterday this notebook…

ARIF: I’ve my name written on it.

NAJMA: That’s enough. Have your food and go to school. [ARIF and JAMAL sit right stage and start having their food.] NAJMA: I also want to introduce you to my mother. [KHALIDA’S voice is heard.] KHALIDA: Haven’t you left, Najma?

NAJMA: That is my mother. She is the only one in this house who cares for me. I also care a lot for her.

[KHALIDA enters from the right.]

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KHALIDA: Najma, haven’t you left for school yet? [KHALIDA comes and stands beside NAJMA.] NAJMA: Ammi, I’ll go there in a while. It’s not even eight

yet. The school starts at half past eight.

KHALIDA: Okay. Have you finished the household chores?

NAJMA: Yes, I’ve finished almost everything. The rest I’ll do after returning from the school. Don’t you trouble yourself with them!

KHALIDA: As you say, my daughter. I’ll do whatever I could and will leave the rest.

NAJMA: Ammi?

KHALIDA: Yes?

NAJMA: Would I get through in the exam?

KHALIDA: By the will of God, my daughter. If you’ve worked hard, you’ll certainly get through.

NAJMA: Ammi?

KHALIDA: Yes?

NAJMA: Some times, I’m frightened to death.

KHALIDA: Why is it so, my daughter? I’ll pray to God. [NAJMA embraces KHALIDA. On being touched, KHALIDA suddenly holds her shoulder in pain and starts crying. She sits down while crying. NAJMA also sits down.] NAJMA: Ammi, yesterday Abbu again… [KHALIDA starts crying loudly.] KHALIDA: Why does he indulge in such things?

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[KHALIDA keeps on crying.] NAJMA: A week had passed nicely. I was so happy that

Abbu had quit addiction, but yesterday again… [NAJMA also starts sobbing.] KHALIDA: (crying) It’s in my fate. Since my marriage,

nothing has gone right for me.

NAJMA: Some times, I wish…

KHALIDA: Leave it, my daughter. You need not worry. Such things do happen in houses. Ups and downs are all a part of life.

NAJMA: (sobbing) After passing this exam, I’ll take go to a better school. I’ll also study further. Then I won’t let this happen to you and myself.

[KHALIDA keeps on sobbing.] KHALIDA: All right, my daughter. You may do what you

want to. (Placing her hand on NAJMA’S shoulder) Isn’t your result due today? Go and get it! One shouldn’t worry about such things.

[NAJMA gets up and addresses the audience.] NAJMA: This is my mother. Isn’t she courageous? When

she got married to my father, she didn’t know who he was or what his source of income was. She had no idea that he was an addict even then. My father’s parents had married him in the hope that he would reform himself, but he hasn’t improved a bit. I love him very much though he gets angry whenever he sees me. I wish I could sit near him, talk to him. The only time I hate

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him is when he beats my mother or maltreats her. I could do nothing about it. I’m so helpless.

[NAJMA starts crying. AKRAM’S voice is heard.] AKRAM: Why are you making so much noise early in the

morning? Will you let me sleep? (Coughs.)

NAJMA: This is my father’s voice. If he wakes up early, he gets very angry. I’ve to leave now.

[NAJMA turns to leave but is interrupted by KHALIDA.] KHALIDA: Najma? [NAJMA stops and looks behind.] NAJMA: Yes Ammi?

KHALIDA: Take this crochet and give it at the shop! (Hands the crochet to NAJMA.) I need some money. Tell me, why do you go by foot? Your school is quite far. Take this money and go by bus!

NAJMA: Ammi, you keep this money yourself. Today, I’ll get paid for the frames that I delivered at the shop yesterday. I’ll manage easily. (She tries to return the money to KHALIDA.)

KHALIDA: At least keep this for the time being. [NAJMA keeps the money.] NAJMA: (turning back while going) Ammi?

KHALIDA: Yes?

NAJMA: Pray for me!

KHALIDA: My prayers are with you. May God you succeed!

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[NAJMA exits from the left. AKRAM enters from the right coughing.] AKRAM: You people have ruined my sleep. One can’t

even sleep peacefully in this house.

KHALIDA: Well… Najma had to go to school.

AKRAM: But what was so noisy about it?

KHALIDA: (fearing) You may go and sleep now.

AKRAM: (angrily) How could I sleep now? Once waken up, how could one sleep again? My…

[ARIF and JAMAL start fighting for the notebook once again. AKRAM sits down and starts rolling a joint.] JAMAL: Give me my notebook!

ARIF: No, this is my notebook.

JAMAL: Give me my notebook!

ARIF: I’ve my name written on it.

JAMAL: No, this is my notebook.

AKRAM: (angrily while rolling the joint) Why are you making so much noise? Go outside and play!

[ARIF and JAMAL get up and exit from the right.] AKRAM: (angrily to SHAUKAT) Why are you doing here?

Get lost! You’ve all made my life miserable. [SHAUKAT gets up and exits from the left. AKRAM again busies himself with the joint. KHALIDA sits down close to him.] KHALIDA: What are you doing? You had promised Najma

that you won’t take drugs.

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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 gets up.] KHALIDA: These habits of yours have ruined us. You’ve

smoked away the grocery shop, the only source of our income. Now, we are head over heels in debt and people have started demanding for it.

AKRAM: I can’t tolerate this nonsense. I’ll pay of the debt. It’s no big deal for me.

KHALIDA: How’ll you pay of the debt?

AKRAM: By selling the piece of land I have.

KHALIDA: (shrilly) What are you saying? Our children are growing up. What’ll we do after selling that?

AKRAM: (with chagrin) Don’t you advise me too much!

KHALIDA: (fearing) I’ve also heard something else about...

AKRAM: What have you heard now? You listen too much to people and never pay attention to me.

KHALIDA: I’ve heard that you… (stops out of fear and then starts again after a pause) …also sell drugs.

AKRAM: Who are these people who poison your ears and you take them seriously. (Angrily) What else could I do? I’ve to do something after all.

[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?

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[AKRAM starts rolling another joint.] AKRAM: Don’t you ever have something nice to say? You

are always… All right, leave this. Tell me what have you done about my work?

KHALIDA: Which work?

AKRAM: (waving his hand in negative) Don’t you ever remember what I say. I had asked you to find a suitable match for Hameed. Have you seen any girl for him or not?

KHALIDA: That addict? Everyone knows about him. No family will risk marrying their daughter to him.

[AKRAM gets up angrily while taking out a match box from his pocket to light the cigarette. Other shrinks back terrified.] AKRAM: Shut up! (Raising his hands as if to intimidate

KHALIDA) One blow will set your mind right. (Turning back while leaving) Find a girl for him immediately; if not, I’ll marry Najma to him.

[As AKRAM lights the cigarette, NAJMA enters.] NAJMA: Abbu! [AKRAM puts off the cigarette under his shoe while coughing.] NAJMA: You are again… You had promised me that you

would neither take drugs nor sell them. Then why are you doing this again?

[NAJMA and KHALIDA hold each other and start crying.] KHALIDA: (with a hand on NAJMA’S head) Be quiet, my

daughter!

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[NAJMA and KHALIDA start crying again.] AKRAM: (raising his hand) It’s enough… don’t cry. I’ll

leave all this. I promise that I shall neither sell drugs nor take them myself.

[NAJMA and KHALIDA keep on crying. There is a loud knock on the door.] AKRAM: (fearfully) Who has come at this hour? [A voice comes: “Police”. AKRAM looks around nervously. The crying of KHALIDA and NAJMA gets louder. AKRAM slips away to the back and NAJMA comes front stage.] NAJMA: The very night Abbu made this promise, the

police raided our house and arrested him. [NAJMA starts crying. KHALIDA comes forward and puts her hand on NAJMA’S shoulder.] KHALIDA: What’ll we do now? What would become of

your studies?

NAJMA: (crying) Ammi, don’t worry. I’ll meet the expenses of my studies by selling handicrafts and by giving tuitions to children.

KHALIDA: My daughter, don’t you worry about the household. I’ll do some work to keep it running.

NAJMA: My mother and I didn’t lose heart. She worked hard to run the household, and I sold handicrafts and gave tuitions to meet the expenses of my education. Meanwhile, I did my Matric and started nurturing dreams of going to the college.

[ARIF and JAMAL enter from the right.]

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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.

[AKRAM enters from the left clearing the throat.] NAJMA: Abbu, Salam-o-Alaikum!

AKRAM: Wa-Alaikum-us-Salam!

KHALIDA: How are you? Are you all right?

AKRAM: Yes, I am fine.

KHALIDA: You are looking very weak.

AKRAM: Why don’t you understand? I’m coming from the jail.

NAJMA: Abbu, I’ve taken first division in Matric.

AKRAM: Really! That’s great. How did you manage to run the household in my absence? Did you get any loan from somewhere or not?

KHALIDA: You’ve a very courageous daughter. Both of us managed to run the household by working hard.

NAJMA: Now that you’ve come, everything will be fine.

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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.] NAJMA: Jamal dropped out of school and started running

the shop with Abbu. The condition of our house improved as the shop did good business. But, when I discussed my admission in the college…

AKRAM: (raising hands towards NAJMA angrily) Have you gone mad?

[Waving his hand in the air, AKRAM sits on the charpai.] AKRAM: There is no need to take admission in the

college. Look at what’s happening around you. [KHALIDA also sits down beside the charpai.] KHALIDA: What’s wrong with it?

AKRAM: You won’t understand anything. (Pointing at NAJMA) No one in our family has ever studied as much as she already has.

KHALIDA: But what’s wrong if she studies further? She is our only daughter.

AKRAM: Do you want me to be insulted by the biradari? If daughter are sent to college, one couldn’t keep an eye on them. (Turning his face a little to the other side) I just can’t do this.

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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 sits down and starts crying. SHAUKAT gets up and comes front stage also crying.] SHAUKAT: Baji… Baji, please have some food! [SHAUKAT sits beside NAJMA placing a hand on her head.] SHAUKAT: Have food! Baji, have some food! [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… [NAJMA keeps on crying. SHAUKAT goes near his parents and sits down beside KHALIDA.] SHAUKAT: Abbu… Ammi… please ask Baji to have food!

Ammi, please ask Baji… (He starts crying.)

AKRAM: (fidgeting restlessly) Get lost! Nothing will happen to her if she doesn’t eat for two days. I say, get lost!

[SHAUKAT gets up and goes back crying. KHALIDA brings food for NAJMA and sits down beside her.] KHALIDA: You haven’t had anything for four days. At least

have some juice! (She tries to give the glass of juice to NAJMA.)

NAJMA: (in a feeble voice) I won’t eat anything.

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[NAJMA faints because of weakness. KHALIDA runs towards AKRAM and folds her hands in front of him.] KHALIDA: Najma… (To AKRAM) What are you doing? For

God’s sake, let her do as she wishes. (She puts her hands on her head and starts crying.)

AKRAM: What should I do with this girl? You’ve made her so obstinate. It’s your backing that has spoiled her. When I asked you to marry her…

KHALIDA: (crying) We’ll discuss it later. Please let her take admission in the college now.

[AKRAM jerks his hand in the air.] AKRAM: (in a low voice) Let her take admission in the

college... All right, then listen to me attentively! I won’t give her a single penny for her studies. If she wants to take admission in the college, she has to do it on her own.

[MUQADAS enters and lifts up NAJMA with her support.] MUQADAS: Najma, have something! (She offers juice to

NAJMA.) At least have juice. You’ve been allowed to take admission in the college.

[NAJMA drinks the juice and puts down the glass.] NAJMA: Yes, I’ve been allowed to take admission in the

college but I also have to bear the expenses myself. From where can I arrange the money?

MUQADAS: Take it from me!

NAJMA: (crying) I can’t take it from you.

MUQADAS: (handing her the money) Take it as a loan.

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[NAJMA and MUQADAS get up.] NAJMA: With her encouragement, I stood on my feet.

MUQADAS: (putting her hand on NAJMA’S shoulder) If you need anything else, don’t hesitate to tell me. All right, I take leave now.

[MUQADAS exits.] NAJMA: From whatever I earned by selling handicrafts

and giving tuitions to children, and with Muqadas’ support, I did my Intermediate.

[NAJMA come running towards her parents.] NAJMA: Ammi… Abbu… I’ve passed in Intermediate.

AKRAM: This is great.

NAJMA: I’ve also been offered a job in the nearby school. [AKRAM turns side on the charpai restlessly.] 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?

[NAJMA gets up.] NAJMA: I started my job with the school, but soon

realized that it couldn’t fulfill my dreams. So I applied for a job in an office where majority of the employees were men.

[MUQADAS calls NAJMA and enters from the right.]

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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.] NAJMA: I got that job, but when my family members

came to know about it… [AKRAM comes near NAJMA furiously.] AKRAM: Will you do a job? [AKRAM slaps NAJMA hard. She lets out a cry and falls down. Everyone starts pleading with AKRAM to show restraint.] ARIF: Abbu, don’t beat her!

KHALIDA: What are you doing?

ARIF: Abbu, don’t beat… leave her!

AKRAM: Will you do a job? [AKRAM again slaps NAJMA who is already on the floor.] ARIF: Abbu, don’t beat her!

KHALIDA: (with folded hands) For God’s sake, don’t beat her! Please leave her!

[SHAUKAT also starts crying.]

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SHAUKAT: Abbu… [AKRAM once again slaps NAJMA, who rolls down on the ground at some distance.] AKRAM: Will you do a job?

NAJMA: I shall definitely do a job even if you kill me. [AKRAM advances to beat NAJMA angrily but stops his hand in the air and addresses KHALIDA enraged.] AKRAM: This is all happened because of you. Your

backing has encouraged her. I’ll kill you. [AKRAM starts beating KHALIDA furiously. She lets out heart-rending shrieks.] NAJMA: (crying) Don’t beat her! [AKRAM again beats KHALIDA.] AKRAM: I’ll kill her.

KHALIDA: (crying) Najma, keep quiet! He beats me daily. You do your job.

AKRAM: (beating KHALIDA) Will you do a job? [Crying, NAJMA falls in front of KHALIDA to stop AKRAM from beating her.] NAJMA: Don’t beat her… I shall not do a job.

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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.

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Najma (Interaction 1) [NAJMA starts crying and JOKER enters clapping.] JOKER: Does it all happen around us? If it does,

then has this girl Najma taken the right decision?

[Mixed reaction from the audience.] JOKER: Who is the oppressor in this play?

(Putting his hand on AKRAM’S shoulder) Is he the oppressor?

SPECT-ACTRESS 1: Yes, he is the oppressor.

JOKER: (pointing turn by turn at ARIF, JAMAL, NAJMA, KHALIDA and SHAUKAT) Who are they: oppressed or oppressors?

SPECT-ACTRESS 1: They are all oppressed.

JOKER: Now the question is that if Najma’s decision to drop the idea of doing a job is right, what should she do then? And if her decision is wrong, then what she should’ve done in that situation?

[SPECT-ACTRESS 1 comes onto the stage and takes the role of NAJMA. The play starts from near the end when AKRAM is beating KHALIDA.] NAJMA: Please don’t beat her!

AKRAM: She doesn’t obey me.

NAJMA: She obeys you whenever it’s due.

AKRAM: The people pass comments about you. I won’t let you do a job.

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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! [The JOKER claps and SPECT-ACTRESS 1, who had taken the role of NAJMA, goes back to her seat.] JOKER: All right, the mother feels that Najma is

being insolent to her father. But, is it insolence to speak for one’s rights?

SPECT-ACTRESS 2: No, not at all.

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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! [SPECT-ACTRESS 4 comes onto the stage and takes the role of KHALIDA. The play starts again from near the end.] KHALIDA: My daughter shall definitely do a job.

Otherwise, you’ll have to meet all the household expenses.

AKRAM: I’m already doing my best.

KHALIDA: But you haven’t ever given us anything.

AKRAM: The society doesn’t let me live in peace if I allow her to do a job.

KHALIDA: If the society doesn’t let you live in peace, you may leave the house.

JOKER: Can a wife dare to ask her husband to leave the house?

SPECT-ACTRESS 5: No, she can’t.

SPECT-ACTRESS 6: One might’ve to say this in desperation.

JOKER: (to SPECT-ACTRESS 4) Thank you! [The JOKER claps and SPECT-ACTRESS 4, who had taken the role of KHALIDA, goes back to her seat.] JOKER: Is there any other possible solution?

SPECT-ACTRESS 7: The girl should do a job come what may.

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JOKER: But how? Please come and tell! [SPECT-ACTRESS 7 comes onto the stage and takes the role of NAJMA. The play once again starts from the point where AKRAM is beating KHALIDA.] NAJMA: I’ll do a job come what may.

AKRAM: (pointing at KHALIDA) I’ll kill her if you didn’t change your mind.

NAJMA: Doing a job doesn’t bring bad name to a girl and her family any longer.

AKRAM: For you, it might not but I’ve to face the biradari.

NAJMA: Does the biradari feed us? [The JOKER and all the audience clap.] AKRAM: How can I fight with the whole biradari

all alone?

NAJMA: If you can’t, then let me do what I can. A woman is not a helpless being. If properly educated, she can bring up her children in a better way. In today’s society, a woman should not be educated but also employed.

[Clapping from the audience.] JOKER: (to AKRAM) Your daughter isn’t afraid

of you. What would you do now?

AKRAM: (embarrassed) I’ll leave this house.

NAJMA: You may leave the house if you want to. What’ve you done for us anyway?

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[SPECT-ACTRESS 8 comes onto the stage.] SPECT-ACTRESS 8: The illiterate father has caused the ruin

of this family. Had he been educated, this would never have happened.

JOKER: (putting a hand on AKRAM’S shoulder) But he has done his Intermediate.

SPECT-ACTRESS 8: (surprised) Is he educated? Then why did he take drugs?

JOKER: Don’t the educated people take drugs? [The audience respond in unison: “They do.”]

SPECT-ACTRESS 8: This has all actually happened to me. I was married when I was only twelve and studying in the sixth grade. Now, I’m twenty-five and have five children. My illiterate father forced my mother to marry me at such a tender age. Despite this, I’ve faced all the problems with courage. (Clapping from the audience.) The parents should let their children study, so that they can better face the hardships of life after marriage. These days, both man and woman need to earn to run their household. Only this can ensure their happiness. An uneducated wife ruins her house.

JOKER: Please also tell us with whose support you could’ve stopped your marriage?

SPECT-ACTRESS 9: Her father’s.

SPECT-ACTRESS 8: No, my father wanted to marry me off as early as possible.

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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! [SPECT-ACTRESS 8 goes back to her seat.] JOKER: (pointing at AKRAM) All right, now this

man wants to leave the house. (To KHALIDA) Should we let him go?

[KHALIDA stands up.] AKRAM: (mortified) Will you go with me?

KHALIDA: Why would I? You better stay here.

AKRAM: (pointing at SPECT-ACTRESS 7) She doesn’t let me stay here.

KHALIDA: I’ll make her understand. She is my daughter. She won’t let me down. You better stay in the house.

AKRAM: (raising his hand in a decisive manner) I’ll only stay here if she takes back her decision of doing a job.

NAJMA: I shall do a job whether he stays or goes.

JOKER: (claps) Thank you very much!

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[SPECT-ACTRESS 7, who had taken the role of NAJMA, goes back to her seat.] JOKER: Do you have any other solution? When

Najma’s father is beating her mother, what should the latter do?

SPECT-ACTRESS 9: She should take sides with her daughter

to persuade her husband.

SPECT-ACTRESS 10: She should let her husband go.

JOKER: Anyone else? [SPECT-ACTRESS 1 again comes onto the stage and takes the role of KHALIDA. The play once again starts from the end.] KHALIDA: (to NAJMA) We’ll both work in the

house and manage our expenses.

NAJMA: No, I shall go out and work.

KHALIDA: (to AKRAM) Why don’t you agree?

AKRAM: When I go out, people insult me.

KHALIDA: Then you shouldn’t go out. [All the audience, including the JOKER, clap.] JOKER: (to SPC-ACTRESS 1) Thank you? SPECT-ACTRESS 1, who had taken the role of KHALIDA, goes back to her seat.] JOKER: (pointing at ARIF and JAMAL) Can they

do anything for their sister?

SPECT-ACTRESS 11: Yes, they can at least escort their sister to the college.

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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!

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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.

[SPECT-ACTOR 1 comes onto the stage and takes the role of NAJMA. The play starts from the point where she is trying to convince her father to let her take admission in the college.] NAJMA: I shall take admission in the college.

AKRAM: And who’ll face taunts of the biradari?

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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.

[Clapping from the audience.] KHALIDA: Will you compete with your father now?

Aren’t you ashamed?

NAJMA: Is it not a matter of shame to die of hunger and listen to people’s taunts? When one is poor, there is no shame whatsoever. If today I am allowed to take admission in the college, tomorrow I’ll earn for my family.

AKRAM: (to KHALIDA) That’s why I used to warn you against her education. She has become so outspoken.

JOKER: Considering the context, is it possible for a girl to say this to her parents?

SPECT-ACTRESS 3: Yes, it’s possible.

JOKER: (to SPECT-ACTOR 1) Have you been able to change your father’s mind?

NAJMA: No, I’m still trying. (To AKRAM) I’ve been taught that one could change one’s fate through education. I’ll make you change your mind at all costs.

AKRAM: Why are you bent upon getting me disgraced in the biradari?

NAJMA: If selling drugs doesn’t disgrace you…

JOKER: (to AKRAM) What would you do now? Will you give her the permission?

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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!

[SPECT-ACTOR 1, who had taken the role of NAJMA, goes back to his seat.] JOKER: Does anyone of you have a solution to the real

crisis? [SPECT-ACTRESS 4 comes onto the stage and takes the role of NAJMA. The play starts from the last scene when her father is beating her mother.] NAJMA: Abbu, I’m thinking of renting a separate

house and shifting there with Ammi. I’ll do a job and she’ll work in the house. This way, we’ll manage a good life.

AKRAM: This is impossible. She is my wife and will only live where I want her to.

NAJMA: A wife does have rights also. What have you given her except a daily thrashing?

AKRAM: It’s because both of you don’t do the things my way. What else could I do?

NAJMA: Tell me how would we run the household if I don’t do a job?

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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.

[Clapping from the audience.] NAJMA: This is how you’ve spoiled his habits.

You should challenge him whenever he is wrong and demand your rights. Why do you always support him?

KHALIDA: After marriage, women become their husband’s property. They’ve no power to do anything.

NAJMA: Ammi, you’ve to change your mind. Why don’t you think about your situation and for how long would it remain like this? Now that I’ve done my Intermediate, I’ll definitely do a job.

AKRAM: (to KHALIDA) Didn’t I warn you not to send her to the college? I am against education of girls because they become disobedient. You are so obedient simply because you’ve never been to school.

JOKER: Just a second! Why did we all clap when the mother refused to go with Najma?

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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?

[SPECT-ACTRESS 5 comes onto the stage and takes the role of NAJMA. The play starts from near the end.] NAJMA: Since my childhood, I’ve always seen

you maltreating Ammi. After all, she is a human being. I’ve got education. It’s not something harmful; rather, it teaches us manners and how to carry ourselves in life. It tells us right from wrong. If you don’t want to give us anything, it’s fine. Just quit this addiction and leave the rest to me and my mother. We’ll work hard and run the household

AKRAM: Girls are supposed to get married in your age and you want to do a job.

NAJMA: What has my mother gained from her marriage? I shall not marry at any cost.

[Applause from the audience.] JOKER: What do we say about a girl who

doesn’t marry?

SPECT-ACTRESS 6: We doubt her character.

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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!

[SPECT-ACTRESS 5, who had taken the role of NAJMA, goes back to her seat.] JOKER: This Najma has decided that she won’t

marry. We respect her decision, but has there been a solution with which all of us agree? (To KHALIDA) You had earlier said to your daughter that you won’t leave the house. Now, if you say to your daughter that you are willing to go with her, this new situation might be interesting. Let’s see what happens then!

[SPECT-ACTRESS 4, who is still on the stage, once again takes the role of NAJMA and the play starts again.] NAJMA: Ammi, we’ll rent a separate house and

live together peacefully. I’ll also send my younger brothers to school. You need not worry; everything will be fine.

KHALIDA: I’m willing to go with you, but remember that we’ll have to listen to so many bad things from people.

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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?

[SPECT-ACTOR 6 comes onto the stage and takes the role of AKRAM. The play starts from an imagined scene in which NAJMA and KHALIDA are leaving the house.] KHALIDA: We are going now.

AKRAM: Think once again. It’s not so easy to leave one’s house.

KHALIDA: (walking) We are going.

AKRAM: Wait for a minute!

KHALIDA: Now what’s it?

JOKER: Why are you stopping them? Are you going to let her do a job?

AKRAM: Yes, she may do a job..

JOKER: (to SPECT-ACTOR 6) Thank you! [SPECT-ACTRESS 4, who had taken the role of NAJMA, and SPECT-ACTOR 6, who had taken the role of AKRAM, go back to their seats.]

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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!

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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!

[SPECT-ACTRESS 1 comes onto the stage and takes the role of NAJMA. The play starts from the point where she is adamant on doing a job despite the resistance from her father.] AKRAM: Will you do a job?

NAJMA: Why shouldn’t I? If you are so worried, then go and find a job for yourself.

AKRAM: If you don’t take your decision to do a job back, I’ll break your legs.

NAJMA: You may do so, but I’ll take my decision back only if you find a job for yourself.

JOKER: (to SPECT-ACTRESS 1) Thank you! [SPECT-ACTRESS 1, who had taken the role of NAJMA, goes back to her seat.] JOKER: This Najma is saying that if her father

finds a job for himself, then she’ll take her decision back. What do you think?

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[Mixed reaction from the audience.] JOKER: Does anyone of you feel that Najma

should do a job irrespective of the fact that her father is employed or not? We can assume that her father has found a job and is also managing the expenses. Who would like to come and tell?

[SPECT-ACTRESS 2 comes onto the stage and takes the role of NAJMA.] AKRAM: I’m running my business and also doing

a job. Why do you need to work then?

NAJMA: We hardly make both ends meet despite all your hard work. These days, all the family members need to contribute.

AKRAM: I’ve to move around in the society. How would I be able to face the biradari?

NAJMA: What’s there to be ashamed of? If I do a job, it’ll never degrade you; rather, it’ll increase your respect in the society.

AKRAM: Don’t lecture me! I’m telling you that I’ve decided not to let you do a job. I’ll fulfill all your needs myself.

KHALIDA: Don’t be disobedient to your father!

AKRAM: That’s why I’m against education of girls. My wife is obedient to me because she is uneducated. This also justifies my decision of not letting her do a job.

NAJMA: Rest assured, I’m equally obedient to you. However, obedience has nothing to do with a job.

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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!

[SPECT-ACTRESS 2, who had taken the role of NAJMA, goes back to her seat.] JOKER: Do you think that she has been able to

bring about a change or is there any other possible solution?

SPECT-ACTRESS 3: We do have another solution.

JOKER: Then please come and tell us about it! [SPECT-ACTRESS 3 comes onto the stage and takes the role of NAJMA.] KHALIDA: I didn’t support your education that you

start competing with your father.

NAJMA: It’s not a sin to do a job.

KHALIDA: I agree, but it doesn’t also imply that you start quarreling with your father.

NAJMA: You views are outdated, but now the times have changes.

JOKER: (to AKRAM AND KHALIDA) She is saying that you views are outdated.

AKRAM: We let you get education against all odds and now our ideas have become outdated. Get new parents for yourself!

JOKER: (to SPECT-ACTRESS 3) Thank you!

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[SPECT-ACTRESS 3, who had taken the role of NAJMA, goes back to her seat.] JOKER: One reason why men are afraid of a

woman’s job is that it gives her power to ask for her rights. This is a real story of a girl who worked very hard to get her rights. She also helped her family in every possible way. I thank you for being here to watch this play!

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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! [SPECT-ACTOR 1 comes onto the stage and takes the role of NAJMA. The play starts from near the end when her father is beating her mother.] NAJMA: (pushing back AKRAM) Don’t consider

us helpless. (Helping KHALIDA to get up) I know how to protect my mother.

AKRAM: Will you raise hand on your father?

NAJMA: (bringing SHAUKAT to her side) My brother is with me.

SHAUKAT: Yes Abbu, I’m with Baji. [AKRAM signals to ARIF and JAMAL to come to his side. Now, AKRAM, ARIF and JAMAL are the one side while NAJMA, KHALIDA and SHAUKAT are on the other side.] ARIF: Abbu is right.

JAMAL: There is no need for you to do a job.

NAJMA: (to JAMAL) Shut up!

AKRAM: My children are with me. Both my younger sons are with me.

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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?

[Roaring applause from the audience.] JOKER: (to SPECT-ACTOR 1) Thank you! [SPECT-ACTOR 1, who had taken the role of NAJMA, goes back to his eat.] JOKER: Now the question is that is it possible

for a woman to beat her husband?

SPECT-ACTRESS 2: No, it’s not possible.

JOKER: Would you tell us what’s possible? [SPECT-ACTRESS 2 comes onto the stage and takes the role of NAJMA.] JOKER: From where would you like us to start?

SPECT-ACTRESS 2: I want to create a new scene by putting in the characters of grandmother and grandfather.

JOKER: Who would like to volunteer for these two new roles?

[SPECT-ACTOR 2 and SPECT-ACTRESS 3 come onto the stage and take the roles of GRANDMOTHER and GRANDFATHER respectively.]

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JOKER: No let’s see what she intends to do! [SPECT-ACTRESS 2 exits with SPECT-ACTOR 2, SPECT-ACTRESS 3, KHALIDA and SHAUKAT.] JOKER: We don’t know about her game plan yet

and have to wait. [SPECT-ACTRESS 2 enters with SPECT-ACTOR 2, SPECT-ACTRESS 3, KHALIDA and SHAUKAT.] AKRAM: (to GRANDFATHER) How are you?

GRANDFATHER: I’m fine, but have you gone mad? Why are you creating hurdles in the way of your daughter?

GRANDMOTHER: You are very unlike my son. I hadn’t brought you up like this.

AKRAM: (to KHALIDA) Look at your daughter’s deeds! She has brought her supporters to insult me. (To GRANDFATHER) Why don’t you understand that people pass negative comments when I go outside?

GRANDFATHER: I’m also her grandfather, but no one has ever said anything negative about her to me. Education has many benefits. She’ll get good proposals for her marriage…

AKRAM: No, it’s not the matter of education. She wants to do job in an office where men also work while I’m interested in getting her married.

NAJMA: What’s wrong with working with men?

AKRAM: I don’t want my daughter to do job in an office where men also work.

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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-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!

[SPEC-ACTRESS 2, SPECT-ACTOR 2 and SPECT-ACTRESS 3 – who had taken the roles of NAJMA, GRANDFATHER and GRANDMOTHER respectively – go back to their seats.] JOKER: One hopes that all of us have

grandparents like the ones we just saw. Does anyone else have a solution?

[SPECT-ACTRESS 5 comes onto the stage to take the role of NAJMA. The play starts again from near the start.] NAJMA: Ammi, what has happened? Has Abbu

again beaten you?

KHALIDA: He has been beating me since the day I got married to him.

NAJMA: But it’s a sin to beat a woman. Look at your condition. We ought to stop this. We can even move the court.

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KHALIDA: No, I won’t move the court. I don’t want to take divorce from my husband.

[Clapping from the audience.] JOKER: (to SPECT-ACTRESS 5) Thank you! [SPECT-ACTRESS 5, who had taken the role of NAJMA, goes back to her seat.] JOKER: Bearing in mind the context, would a

woman ever agree to take divorce from her husband?

SPECT-ACTOR 4: No, she won’t.

SPECT-ACTOR 5: I think that the lady who has proposed this is an NGO employee.

JOKER: It hardly matter whether she is an NGO employee or not. What matters is her suggestion. A variety of solutions have been offered by the audience. Actually, this play is based on a real story and the protagonist Najma faced all this in real life. However, through her courage and determination, she was able to make way for herself. In the end, I thank you all for coming here to watch this play!

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Kalsoom’s Case Study

alsoom was born to an educated middle class family of Rajanpur. After passing her Matriculation, she also did a teacher training course. She was married outside the

biradari with her consent, but this also involved shifting from city to an underdeveloped village. Just like most other villages in Pakistan, the village Kalsoom shifted to lacked basic amenities of life. The situation of women in her new community was dismal to say the least. This was due to the lack of education among them on the one hand and outdated customs and traditions – more often than not a direct outcome of feudal system – on the other hand. Unhappy with this situation, Kalsoom decided to bring about a change in the lives of these women. In pursuance of this mission, she resolved to educate maximum girls. Soon, she was appointed as a teacher in the village’s only Primary school. However, it was not a smooth sailing for her as most of the local population was against the education of girls. The school’s building was also in a shambles and very few students were enrolled there. This situation demanded of Kalsoom to make strategic decisions as any wrong move on her part would have back-lashed. So, after a lot of consideration, she decided to win over the hearts of the people first. She started giving lessons in the Holy Quran to children; and also trained women in stitching and embroidery. Kalsoom’s efforts paid off and the number of students in the school started to grow gradually. Being a trained teacher, she taught the young students employing the best of her skills and talent. As the school building was old, she also donated the piece of land she had received in her mehr for the construction of a new building. Her deeds spoke louder than words and soon she was able to win the confidence of the local population.

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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. After Narjis did her Matriculation from Rajanpur, there was a natural urge in her to study further and take admission in college. This is exactly what Kalsoom wanted herself. This time around, the opposition from her husband was stronger and he also refused to finance her further education. Once again, Kalsoom took a bold stance and allowed Narjis to take admission in the college though she had to pay a heavy price for that. In order to finance Narjis’ education, Kalsoom had to do something more than embroidery and stitching clothes. Finally, she started her own livestock and poultry business at a low scale. Owing to her hard work and commitment, the business was a roaring success and kept on growing day by day. This was very much in line with her desire to economically empower women. As she had anticipated, some other women also started similar ventures and all of them benefited mutually. These successes boosted Kalsoom’s confidence tremendously and now she also felt the need to rally the women of her area on one platform to bring about a positive change in their status. Although she had been helping the local women in a number of ways and rendering various social services on a limited scale, it was imperative to form a women’s organization for this purpose. Her task was made simpler after she attended a conference on women’s issues. This experience helped her get a thorough understanding of women’s problems and their possible solutions.

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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. The work of SWRDO involved stakeholders, mainly women, from the very beginning. The feudal society Kalsoom belonged to did not accept women in this role. As a result, rumors of all sorts where spread against her. When the organization started to work on the theme of inter-faith harmony, some people of the area gave a secret application for registration of a case against Kalsoom and Narjis for spreading Christianity. The issue was settled after a visit by the Army Monitoring Cell which did not find anything objectionable in their work. 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. The formation and subsequent expansion of SWRDO shall remain the greatest contribution of Kalsoom to the cause of women of her area. Presently, it is working for women’s development through advocacy, research, and awareness-raising against negative customs and traditions. Now, the organization has hundreds of members and its outreach has also expanded to three more districts of Southern Punjab: Dera Ghazi Khan, Layyah and Muzaffargarh.

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Bilqees’ Case Study

ilqees Bibi was the first child of a poor family of village Nillan Bhoto in Haripur District. The financial condition of her family as well as the societal norms did not allow

for the education of girls, so she never went to school. She was only seven when her father died, leaving behind his wife and five children to face the hardships of life. Bilqees was married in the family in 1981. Her grandfather and father-in-law were real brothers. She was just thirteen at that time while her husband, who had remarried in order to have a son as he only had daughters from his first wife, was almost four times her age. When she was with him, most people took her to be his granddaughter because of their age difference. 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. Bilqees remained issueless for four years after her marriage. After the birth of her first child, a girl, her in-laws started taking her to family functions and their attitude towards her also improved slightly. She gave birth to two more children. The first one was a boy for whom his husband and his family had been longing since long while the second one was a girl. After almost ten years of their marriage, her husband died in a road accident in 1990. Bilqees was still pretty young herself, only twenty-three, while her younger daughter was only one year old. She was held responsible for her husband’s death by his family members and they also created a lot of problems for her.

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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. Seeing her plight, one of Bilqees’ cousins showed interest in marrying her. She agreed to his proposal keeping the best interests of her children in view. The relatives of her first husband threatened her that if she said yes to the marriage, they would take her children and drive her out of the house. As she had agreed to marry again only in order to secure a better future for her children, she said no to her cousin. On seeing their plan fail, Bilqees’ in-laws leveled serious charges against her. Hereafter, it was not possible for Bilqees to stay in that house. However, she did not go back to her parents’ house and hired a separate accommodation. In order to make both ends meet, she had to do a number of things like packing, envelope-making and embroidery. The commitment and resolve exhibited by her under crisis helped her gain the community’s confidence which came in handy later in her career. 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. Bilqees’ increased interaction with the community members helped her get a better understanding of their problems. Besides lack of educational facilities, the village didn’t even have

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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. This scenario offered ample opportunities to Bilqees to explore her hidden talents to benefit her community. She contested the 2002 Local Bodies’ elections and was elected as a councilor. Her opponents, especially her first husband’s relatives, tried to create a lot of hurdles in her way but she remained steadfast. After being elected, she first focused on the education of girls. The feudals of the area were opposed to the idea of education fearing that it might result in a revolt against them. However, Bilqees was unimpressed with this and succeeded in not only re-opening the village’s Primary school but also ensuring the presence of teachers there. She drove home the importance of education to local women in order to win their support. On her request, other elected representatives of her union council also agreed to the construction of two more rooms in that school. Meanwhile, Bilqees also started to address other issues and surveyed her whole union council on foot specifically for this purpose. One of the major problems the people of her area were faced with was the absence of a road linking the village to the highway. There was a track, but it could not be used for any practical purposes. Bilqees got approved 400,000 rupees for the repair of a piece of four-kilometer. These successes increased Bilqees’ confidence and she started striving to achieve loftier goals. She made several trips to Peshawar in connection with electricity, road, and education and healthcare facilities for the people of her area. At the same time, she didn’t forget her role with regard to the empowerment of women and formed three women’s organizations to cater to this

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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. The locals of the area, especially women, recognized Bilqees’ services for the community and got her elected to the Tehsil Assembly. She was able to achieve all this after struggling hard for twelve years during which she not only brought up her children but also did a lot for her community. Now, she is happily married to her cousin who is supportive of her social work. Presently, her elder daughter is in the Intermediate and her son is doing his Matriculation while her younger daughter is in the eighth grade. As a result of Bilqees’ efforts, the village can now boast of being a developed one: Middle and High schools have been approved; 26.2 million rupees have been earmarked for the construction of road and work has already started on the scheme; there is access to electricity; and women have more voice in the household and community affairs. This is exactly what Bilqees had dreamt of!

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Sakina’s Case Study

akina belongs to Jund in Attock District of Punjab. Separating the province of Punjab and the NWFP, this area is basically rural without even the basic amenities of

life. Kohat, the adjoining district of the NWFP, is relatively more developed and the people of this area mostly go there to avail educational and healthcare facilities. The community here is afflicted with the problem of sectarianism as the population is divided along the lines of Shia and Sunni. Sakina’s father was a mason by profession. However, he used to spend whatever little he earned on his addiction. Gradually, he moved from mild drugs to harder ones like heroin making the life of his family even more miserable. As the community was a male-dominated one, Sakina’s mother could not object to this while she and her three brothers were too young to matter. 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. As women were believed to be made only for the sexual gratification, rich men of the area used to marry whenever they could lay their hands on a young girl from a poor family. In Sakina’s case, her husband turned out to be a policeman. This was very appropriate as he could have easily landed her father in trouble had he not agreed to his proposal because of his habit of addiction. Being his only daughter, perhaps Sakina was the only thing he could sell to meet his increasing need for drugs. 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. Life after marriage was a very difficult time for Sakina. Whenever she failed to comply with any of the demands of her mother-in-law, her husband came down hard on her. One such demand was to arrange the marriage of her nineteen-year brother with her spinster sister-in-law. She was unwilling herself because of their age difference, but her brother made the sacrifice for her better future: Sakina’s mother-in-law had made it clear that if she didn’t arrange this marriage, she would ask her son to divorce her. 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. Realizing the situation, one of Sakina’s friends suggested that she should do a job and referred her to Youth Welfare and Younger Blood Donor Organization (YWYBDO), a Kohat-based NGO. As she knew a bit of stitching, she was placed with an existing teacher at a vocational center to gain experience and was also offered a nominal stipend to meet her living costs. In the mean time, the organization also helped her move the court to get divorce from her husband. Sakina’s in-laws tried to make a compromise and even called Jirgahs, but she remained steadfast on her decision of not going back to the house where she was tormented almost every day. In Kohat, Sakina stayed in the same vocational center where she was working. After some time, she also brought her father there for treatment. As soon as Sakina completed her training, a new vocational center was opened at Khushal Garh offering two-year diploma in vocational skills. This opportunity helped Sakina exhibit her skills and she imparted training to about 80 girls and women. After two years, this center was closed down and she was transferred to another vocational center at Sherkot, about 20 kilometers from Kohat on the Hangu Road. 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. Sakina is a successful woman in every sense of the word. She has already achieved more than she could have hoped for. Her father has fully recovered after the treatment and now earns livelihood for his family. Two of her brothers are studying in tenth and eighth grades respectively while one is going to become a skilled worker. As for herself, she is all set to become a lady health worker and serve the people of her community.

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Najma’s Case Study

ajma, 21, belongs to a narrow-minded and conservative family of Gujranwala. She is the only daughter of her parents and has four brothers: one older than her and the

other three younger than her. Her childhood was not ideal as her father was a drug addict who used to beat her mother a lot. However, as he also owned some lands and ran a shop, there were no financial constraints as such. 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. However, as soon as Najma passed in eighth grade, the issue of her marriage cropped up. Her mother, who had supported her all the way and also wanted her to study further, was also under pressure to agree to this. Though Najma was pretty young at this stage, she knew fully well that marriage meant the death of her resolve to effect a change. Thereby, she used all possible tools at her disposal to convince her family to allow her to study further. Being their only sister, she even emotionally blackmailed her brothers who were strongly opposed to her education. 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. After doing her Intermediate, Najma decided to do a job and became a school teacher. She left this job soon as it didn’t provide her with the much-needed mental satisfaction. However, it was not possible for her to sit at home because once again the issue of her marriage cropped up. To avoid this situation, she started going to the Bargad office. Her cousin, whom she idealized because of her leadership qualities, guided her in the best possible manner but never spoon fed her so that she could learn the things the hard way. Meanwhile, Najma came to know about a job in Organization for Participatory Development. Although she was selected as one of the field staff, she was made Information Officer as an acknowledgement of her outstanding abilities. Nevertheless, she kept on searching for an even better opportunity as the salary here was not good. Soon, she came to know that Kashf Foundation, a leading micro-credit organization, was setting up an office in Gujranwala. 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. Presently, Najma is working as a Cashier in Kashf Foundation’s head office in Lahore. As she wanted to do her Bachelors, the organization’s administration in a way helped her by offering a job where timings are not too long. She no more faces restrictions from her family and community as she has been able to win their confidence. As a loan officer, she helped a number of women financially in setting up their own businesses. This also helped change people’s opinion about her. 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. In future, Najma plans to set up her own organization working on micro-credit. Although she has a lot of hats to wear, she believes her greatest success is that her father has quit drugs. Besides, she has also helped a number of girls of her area in getting jobs by giving them the relevant contacts. She has also been able to convince a lot of her relatives to allow their daughters to study and do jobs. She attributes all her successes to her parents, especially mother who has been always by her side.

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The Last Word

he four plays reproduced in this publication along with selected interactions made by the audience are based on the lives of four brave women, whose case studies have

also been included so as to give guidelines to others. One thing they tell us for sure is that women could effect a change, however small its magnitude may be. Let’s see what we can deduce from these four stories with regard to empowerment of women and initiation of successful struggles by them. 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. These stories also tell us that the suffering of a mother motivates an average girl brought up in a male-dominated society to revolt. The experience of seeing her mother beaten by her father day in

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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 parents usually wed their young daughters to aged men impressed by their wealth, but also because they make money and property their only consideration. They feel that (as did the parents of Bilqees and Sakina) their daughters would lead happy lives after being married into rich families as they at least don’t have to struggle like them to make both ends meet. Another reason why such marriages take place is the absence of a male heir to a man’s property. In this case, the man has a first wife or even more than one wives already. He has married only in order to have a son. If the girl gives birth to a son, her problems are greatly reduced; otherwise, it’s a tough going for her. Interestingly enough, even if the man turns out to be a good husband his female relatives create the problem for his bride (as in the case of Bilqees). All our four protagonists achieved success because of their own efforts. It is true that they were supported and guided by other people, both men and women from their family and outside, but they initiated the major action themselves. When they became the earning hands of their families, they were accorded their due status in the society as well as within their own families. The lesson that emerges out of this is that economic stability of women leads to their social and political empowerment. 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. It is unfortunate to note that the blame for failed marriages is always placed on girls and one hears remarks like “She must’ve done something wrong” (Bilqees’ case). Another disappointing thing is that sacrifice is always expected and demanded from women. One may ask that why should the women always render sacrifice and not the men who proclaim to be the stronger sex. Some of the characteristics of successful women, as reflected in the case studies of the four protagonists, in this male-dominated society have been summed up in the following:

They prefer to stay within the conflict situation, mostly their in-laws’ house, instead of avoiding it.

They remain grounded in reality despite their high ideals and lofty dreams.

They possess an enormous spirit of personal sacrifice for their family and community (for example, donation of land for construction of school by Kalsoom).

They are economically not dependent on anyone, even their husband or father.

They are educated and believe in women’s potential to effect change.

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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.

Lastly, it is important to reiterate that many women are struggling hard to bring about a positive change in their situations and their stories are not much different from the ones presented in this publication. In order to break the status quo, these women just need a bit of support and encouragement from our side. The question, however, remains that whether we are extending them this support or not?

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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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Documents

There is Light at the End of the Tunnel