"Since when has the burqa (veil worn by Muslim women) become sacrosanct?" asks an irate Madeeha Gohar, owner of Lahore-based Ajoka Theatre that has been in the news lately for its production, 'Burqavaganza'. "We are not ridiculing the burqa but the use of it - and even if we are, so what? There is no religious sanction attached to this piece of clothing," she adds, her tone verging on rebellious.

But the play's writer and director, Shahid Nadeem, is not unhappy that it has stirred up some controversy - for he'd be "utterly disappointed" if that were not the case. "It would mean I've been unable to convey the 'other' point of view," he explains.

Authorities in Pakistan have been urged to impose restrictions on 'Burqavaganza', currently being staged in Lahore - the cultural capital of the country - after five Islamist MPs raised the issue in the parliament. Accusing the theatre group of ridiculing Islamic injunctions, the MPs demanded action under blasphemy laws.

"Artistes," says Gohar, "are prophetic and have the sensitivity to see trends." She views with foreboding at this issue veering towards fundamentalism. But so far, the theatre group has not been served with any official, written notification. "We heard about the ban through the media," she says. The government-owned Alhamra Arts Council was reluctant to rent out their premises after the so-called ban. "In art, you resort to satire and use symbols that are easily identifiable and familiar. The burqa has been used as a metaphor, and symbolizes Italianization and the imposition of a belief system held by a very small minority," explains Gohar.

At 59, with over four dozen stage plays ('Burqavaganza' is his fourth attempt at direction) to his credit, Nadeem has never once been on the right side of those in power. During military dictator Zia-ul-Haq's regime, Nadeem was told there was no place for people like him in Pakistan. He was jailed in 1978 and on release in 1979, went into exile. He returned to Pakistan in 1987. "I couldn't stay away from my country, and had to come back," he says.

"I am not asking for trouble but I want to point out the contradictions in society and will keep on doing so," says an unperturbed Nadeem, who claims there is a strong feminist in him. "Not just because I want Pakistani woman to be emancipated, but also because I believe women's empowerment is the only way for the growth of a civil and democratic society."

Gohar, too, remains unruffled by the impending threats posed by religious zealots. "This is not the first time. We have been reproached before, but never succumbed to censorship," she says.

While Gohar did not find the reaction of parliamentarians of the religious alliance, Muttahida Majlis-e-Amal (MMA), shocking, she was disappointed with the "government buckling under the pressure of this fundamentalist lobby".

She claims that by bowing down to this minority, chinks have been created "in the façade of a government that is supposedly enlightened and moderate. This farce was to appease the West and international donors. Deep down, it [the government] is still scared of the religious lobby".

However, the government does not believe that it is taking sides. Says Jalaluddin Sohail, spokesman of the federal Ministry of Culture, "We have not seen the play and though it comes under the purview of the provincial government, we have suggested to them to first see it and then take action against objectionable portions... If it [the play] hurts any section of society, we will do something."

For her part, Gohar is adamant and has declined their request to send them the play on a CD. "We've asked them to call us to Islamabad. We will stage the play there in front of the National Assembly's standing committee on culture. If after watching they find some parts objectionable we may be willing to do something," she explains.

The play may well have passed unnoticed, but the controversy it has stirred in the parliament has generated much interest. "Some 3,000 people must've seen the play," Gohar estimates, adding, "Obviously, it has caused a certain amount of curiosity and more and more people are coming to see it." The venue had been moved from the government-owned Lahore Arts Council to a private theatre.

Ironically, the controversy over the play follows the recent stand-off between the government and the female vigilante baton-wielding students of Jamia Hafsa (JH), a seminary of Lal Masjid in Islamabad that has been demanding the enforcement of the 'shariah' (Islamic law) across the country.

The play had been written and was being rehearsed before the JH situation arose, states Gohar. "It was not inspired by the JH episode but we certainly added some elements from it," she explains.

Ghazi Abdul Rashid, spokesman of the Lal Masjid administration, has not seen the play. "If it is poking fun at purdah (the practice of observing a veil), then it's wrong, as it means making fun of Islam." However, Rashid adds that there is no problem "if the play is exposing the evils behind the veil".

But shouldn't the religious fraternity take such satire in their stride? "No, not if it hurts the sensitivities of scores of people. Next you'd say we should not have reacted to the cartoon made to violate Prophet Mohammad."

The brochure of the play states clearly that it is not being critical of any one's religious beliefs or dress preference, but of the hypocrisy and double standards and the feudal/tribal mindset.

Interestingly, there are both men and women actors - depicting politicians, terrorists and the police - who wear the burqa. "We all know men too wear burqas when it suits them. Taliban leader Mullah Omar had escaped unnoticed from Afghanistan wearing the burqa. There were some male students who donned the burqa during the JH upraising," says Gohar.

Actor Sarfaraz Ansari is cast in multiple roles in 'Burqavaganza'. He gets the chance to wear a burqa and play a minister, a terrorist and even a transvestite. "I liked my role as a minister the best. The minister rails against the anti-burqa propagandist and calls for a fight against such 'evil' societal elements," describes Ansari. "I've been acting on stage for the last 16 years; but if you ask me, this will remain, without a doubt, my most memorable performance. There was not only humour and wit but a lesson, too. People have refused to see a deeper meaning in this," rues the actor.

Many have questioned the timing of the play, with the country being in the throes of internal conflict. However, according to Karachi-based classical dancer Sheema Kermani, 57, the play is being staged at a most relevant time. "It is important not to let the rightists take over our space... and I believe the government should support us rather than ban such activities," she states.

Set up in 1983, Ajoka Theatre has been part of the struggle for a secular, democratic, just and human, egalitarian Pakistan. "To fight against fundamentalism is part of our vision," states Gohar.   

June 10, 2007

By arrangement with WFS 

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