Showgirls of Pakistan

2020, Afreen Khan, Pakistan, Punjabi, Reema Jaan, Urdu, Uzma Khan,

Director: Saad Khan
Release Year: 2020

Synopsis:

"Showgirls of Pakistan" (2020), directed by Lahore-born filmmaker Saad Khan, offers an intimate and unflinching look into the world of mujra dancers in contemporary Pakistan. The documentary follows the lives of three performers from Punjab—Afreen, Uzma, and Reema—as they navigate the brutal landscape of censorship, social prejudice, and misogyny. 

 

Despite facing constant threats of violence, harassment, and legal persecution, these women remain determined to carve out a space for themselves in an industry that treats them as both celebrities and outcasts. The mujra, a centuries-old dance form originating during the Mughal Empire, was once a revered art performed by courtesans for the elite. In modern-day Pakistan, however, it is regarded as a symbol of moral decay, and the women who perform it are often vilified as immoral and disgraceful. The documentary doesn't just chronicle their struggles; it also highlights the courage and resilience of these performers as they resist societal judgment and fight to assert their artistic identities. The film revolves around three central figures: Afreen Khan, Uzma Khan, and Reema Jaan. Each woman’s story is a distinct reflection of the diverse realities that mujra dancers face, yet all of them are united by a shared determination to pursue their passion, despite the obstacles that stand in their way. 

 

Afreen Khan: A rising star in Lahore’s public theaters, Afreen’s life is marked by the constant threat of violence. Dancers like her are often subject to beatings, kidnappings, and even shootings by disgruntled individuals or corrupt officials. Despite these dangers, Afreen embraces her identity as a performer, often sharing her experiences with her fans through live-streams and social media platforms. She uses these online spaces to build a following, staying connected to her audience even when she’s off stage. Afreen’s personal journey is an inspiring testament to the power of resilience, as she continues to pursue her dreams amidst an oppressive and often hostile environment.

 

Uzma Khan: Unlike Afreen, Uzma’s performances take place in more private settings, including rural parties and dance bars in cities like Dubai. Her manager, Imran, plays a pivotal role in her career, though their tumultuous relationship is marked by toxic dynamics and manipulations. Uzma’s story reveals the darker side of the mujra industry, where exploitation and power imbalances are common, especially for women. Despite the challenges, Uzma's journey underscores the harsh realities faced by women in an entertainment industry that commodifies their bodies while denying them basic human dignity.  

Reema Jaan: Perhaps the most complex of the three women, Reema is a transgender performer (a "khawaja sira") who had once enjoyed success on stage but now struggles to find work. Her story is one of both hope and desperation, as she seeks to reclaim her former status in a society that increasingly rejects transgender individuals. The documentary explores the deep-rooted prejudice against the transgender community in Pakistan, as Reema attempts to navigate the socio-cultural barriers that prevent her from returning to the stage. Reema’s narrative also sheds light on the hierarchical structure within the transgender community itself, where social class and gender identity play significant roles in determining one's worth and opportunities. 

 

The world of mujra dancing, though vibrant and full of energy, is fraught with danger. As Saad Khan’s documentary reveals, the profession is rife with risk—performers often have to contend with threats from religious extremists, legal censorship, and societal scorn. In one harrowing scene, Afreen faces the wrath of a censor board official who demands that her show be shut down for her revealing attire. This constant scrutiny creates an atmosphere of fear, where dancers must carefully balance their artistic expression with the ever-present threat of legal or physical retribution. The documentary’s soundtrack, composed of iconic melodies from 1960s and 1970s Lollywood films, adds a nostalgic layer to the film, evoking a sense of the grandeur that mujra once held in Pakistani cinema and society. This juxtaposition of historical reverence and contemporary vilification highlights the contradictions within Pakistani society, where a once-celebrated art form is now seen as vulgar and immoral. 

 

The dancers’ defiance in the face of societal condemnation is both compelling and heartbreaking. In addition to the immediate dangers posed by their performances, the women also deal with online harassment and threats. These threats are not just limited to the men who harass them at the theaters or during private parties but also come from a wider network of people who view them as immoral or corrupting influences on society. One of the most significant challenges these women face is the lack of a supportive legal framework. The state, the media, and even religious leaders often label their work as "fahash" (vulgar) and "immoral," perpetuating a culture of shame and repression. This climate of intolerance forces the performers to develop survival strategies, often resorting to subversive tactics to continue their work and gain some measure of control over their lives. Afreen, for example, cleverly uses social media platforms to build a fanbase, capitalizing on the growing trend of online performances to reach audiences beyond the theater. This is a survival mechanism—when the physical space of the theater becomes too dangerous or restrictive, the virtual space offers a chance to continue working and connecting with fans. This dual existence—as both a public performer and an online persona—reflects the adaptive nature of these women, who refuse to be silenced or pushed into invisibility. 

 

A significant theme in "Showgirls of Pakistan" is the tension between artistic expression and societal expectations. The film does not shy away from addressing the moral judgments cast upon mujra dancers, and it challenges viewers to reconsider their assumptions about art, sexuality, and empowerment. At one point, Afreen herself laments the misogynistic double standards that govern her profession, expressing frustration at being reduced to a mere object of desire for male consumption. Yet, in the same breath, she also acknowledges her own agency within this system, recognizing that her ability to perform and captivate an audience is, in itself, a form of empowerment. The film highlights how the performers—particularly Afreen—have learned to navigate these moral minefields with a sharp sense of pragmatism. They know that society condemns them, but they also know that their art allows them to survive and thrive within a system that is designed to exploit and oppress them. In this way, "Showgirls of Pakistan" challenges the audience to confront their own biases and reconsider what it means to be empowered in a deeply patriarchal society. 

 

Upon its premiere at the 2020 International Documentary Film Festival Amsterdam (IDFA), "Showgirls of Pakistan" received critical acclaim for its raw portrayal of the mujra dancers’ lives. The film was later selected by VICE for its non-fiction collection, further solidifying its place as a must-watch documentary on the global stage. However, the film did not escape controversy. The documentary’s unflinching portrayal of the mujra industry led some critics, like Nick Fraser of the BBC, to dismiss it as "Pak porn," accusing it of sensationalizing the subject matter. Saad Khan’s response to this criticism was pointed and direct: he equated such remarks with the societal shaming the women in the film face daily. The film, he argued, was not about exploiting these women but about giving them a platform to speak for themselves, to define their own stories in a world that would rather silence them. 

 

"Showgirls of Pakistan" is not just a documentary about mujra dancers—it is a testament to the strength, resilience, and defiance of women who refuse to be relegated to the margins of society. Through the stories of Afreen, Uzma, and Reema, Saad Khan paints a portrait of women who, despite the overwhelming obstacles in their way, continue to fight for their right to perform, to exist, and to define their own identities. The documentary challenges viewers to reconsider their assumptions about morality, art, and power, and it leaves us with a powerful message: that the women who dance on the margins are not victims, but artists who have learned to navigate and survive in a world that seeks to silence them.

 

via: youtube

wikipedia
imdb.com and filmcompanion.in

Image credits: YouTube