Journey Through The Lives of Courageous Women

Jouney through the Lives
of Courageous Women
Translation, Editing and Compilation

Nadia Anwar
Mustafa Nazir Ahmad
Interactive Resource Center

Title:
Journey through the Lives of Courageous Women
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: interactivetheatre@hotmail.com
2
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
3
Preamble
I 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.
4
Next, two workshops were conducted with the local theater
groups to develop the four stories into plays through
improvisation. As most of the members of these groups were
performing for the first time, a series of refresher courses was
also organized for them. Under the Project, all the groups were
required to perform four times in their communities and finally
at a festival titled Journey through the Lives of Courageous
Women. However, only fifteen out of a total of twenty
performances could be held because of unavoidable reasons.
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.
5
Taking this opportunity, I want to thank all the participating
organizations and theater groups without whose support this
project could never have been implemented. Similarly, I am
thankful to the DFID-UK for providing financial assistance for
this venture. Acknowledgement is also due to the four
courageous women – Kalsoom, Bilqees, Sakina and Najma –
who provided the basic motivation for this book.
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.
6
Gender Equality Project
G
ender Equality Project (GEP) is a DFID-UK funded,
British Council managed five-year project (2002-2006).
Its overall goal is to contribute towards a sustainable
reduction in the gender gap in Pakistan. As an umbrella fund,
GEP provides a flexible framework to support government and
civil society organizations working to promote gender equality in
Pakistan, in the key areas of women’s economic, legal and
political empowerment as well as protection from violence.
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.
7
Introduction to the IRC Project
T 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.
8
Interactive Resource Center
I 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.
9
Participating Organizations
and Theater Groups
Sangtani Women Rural Development Organization
(Sangtani Theater Group), Rajanpur
S 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
10
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
I 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
11
contains useful books on theater and other issues. KRC is being
managed without any external support, both financial and
technical. It has also trained 14 theater groups, in collaboration
with various local and national organizations, so far. Now, these
trained groups are performing all across the country.
Youth Welfare and Younger Blood Donor Association

(Kohat Theater Group), Kohat
Y 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
12
like violence against women, children’s rights, and women’s
participation in economic and political processes.
Bargad (Bargad Theater Group), Gujranwala
F 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
13
groups which cater to the needs of students and perform for their
development. Moreover, promotional material like T-shirts and
cups is also made with a view to promote constructive youth
activism in the country.
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.
14
Introduction to Interactive Theater
P 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
15
find out more solutions to the problem. However, when a solid
reason or argument is given by the spect-actor or spect-actress it
is accepted and more people are invited for the same process.
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.
16
The Story of Kalsoom
Performed by Sangtani Theater Group,
Sangtani Women Rural Development
Organization, Rajanpur
17
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
18
RASHIDA: Today, we’re going to enact before you a real
story which is twenty-two years old. The
protagonist is a woman who made her mark
through bold decisions in the face of crises.
Let’s see this story!
SCENE I
[A song is heard in the background.]
[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…
19
SAMIA: What?
NABEELA: She is marrying someone outside the family.
SAMIA: Then what? When our religion allows this, she
has every right to do so!
NABEELA: (gesturing with both her hands) At least I don’t
approve of this.
KALSOOM: And then my father said:
ASLAM: What am I hearing? You would marry a man of
your choice? You want to insult me before the
whole biradari? From today, you are not
allowed to go outside this house. I’m going to
discuss your marriage with your uncle. I would
marry you with whomsoever I wish. That’s all!
[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
20
getting a bungalow constructed for you. We’ll
live there. There’ll be servants to do household
chores for you and you’ll have plenty of time to
relax. This is my promise.
KALSOOM: This was my husband (pointing at QASIM and
SAIF) and my in-laws…
SAIF: (to QASIM) Do you know that Zahid has taken
away the papers of property and jewelry for his
wife. She is not even our relative.
[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.]
21
SAJIDA: I’ve heard something.
BILQEES: What’s that?
SAJIDA: Your brother Zahid…
BILQEES: What?
SAJIDA: He has married someone outside the biradari.
BILQEES: So what if he has married outside the biradari?
SAJIDA: (surprised) Would your parents allow him to
give property to his wife?
BILQEES: What would they say? It’s his property. If he is
giving it to his wife, it would remain very much
here. She won’t give it to her family.
SAJIDA: I can smell rat.
BILQEES: (raising her hand) What the hell are you talking
about? What about you own house? Are we
blind? Get lost!
[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!
22
SAJIDA: (ashamed) When would Zahid and his bride
come?
BILQEES: (looking up to calculate time) They would be
here any minute!
SAJIDA: I’ll first see the bride and then leave.
BILQEES: (irritated) As you wish!
[KALSOOM and ZAHID enter from the left and stand center
stage. ZAHID is on the left and KALSOOM is on the right.]
ZAHID: Baji!
[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!
23
[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?
24
[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.]
25
KALSOOM: Baji?
BILQEES: Yes?
KALSOOM: Where’s the washroom? I want to wash my
hands.
BILQEES: (pointing at the tap) Wash your hands where
you washed the clothes.
KALSOOM: (perplexed) Baji… Baji… I wanted…
[BILQEES keeps her left hand on her ear and waves the right
one.]
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?
26
QASIM: As if you don’t know anything! He has given all
the property and jewelry to you. Return
everything at once!
BILQEES: What’re you doing? My brother has just been
married. Why are you being so cruel?
QASIM: This is no cruelty. He has been cruel to himself.
He has married someone outside the biradari,
and has given all the property and jewelry to his
wife. Return them at once!
ZAHID: The property and jewelry were mine. I gave
them to her myself.
QASIM: You can’t become owner of this property in my
life. This is my property and will remain mine
till my death. (To SAIF) Beat him!
[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!
27
[QASIM and SAIF exit from the left and BILQEES from the
right. KALSOOM gets up and sits alongside ZAHID with one
hand placed on his shoulder and the other on his knee.]
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?
28
KALSOOM: I am thinking that now we should’ve a toilet and
bathroom in our house. Please ask the mason!
ZAHID: Don’t worry! I’ll ask him. They’ll be ready in a
day or two.
[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.
29
[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.
30
WOMAN 2: Kalsoom, don’t insist! Your husband has also
turned against you. I advise you to forget about
this.
BOY 1: Her daughter will study in college with boys and
that also in city. She’ll go alone in buses.
BOY 2: (surprised) One wonders!
NARJIS: (almost crying) I shall study in college. I shall
seek higher education.
KALSOOM: (placing a hand on NARJIS’ shoulder) My
daughter, I shall surely get you admitted to
college. Just don’t worry!
ZAHID: (angrily shaking his hand) Why are you so
obsessed with this higher education? When I
took such a step in the past, the whole biradari
insulted me. Now, you want me to be insulted
again by allowing her to study further.
KALSOOM: What does the insult of your biradari matter?
My daughter shall seek higher education.
ZAHID: (waving his hand in an affirmative manner) I’ve
already said no to you, then why are you
repeating this crap?
[ZAHID slaps KALSOOM with the full force of his right hand.
KALSOOM lets out a cry and falls down. NARJIS also falls down
with her. KALSOOM starts crying with a hand on her mouth.]
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.
31
[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.
32
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?
33
KALSOOM: I’ll take my daughter with me.
JOKER: Is it possible in our society for a woman
to leave the house only because her
husband doesn’t allow their daughter to
study in college?
SPECT-ACTRESS 5: Not at all.
JOKER: Where would she live?
SPECT-ACTRESS 6: She shouldn’t leave her house.
JOKER: Even at the cost of daughter’s
education?
SPECT-ACTRESS 6: Yes, even at the cost of her daughter’s
education.
JOKER: This is what you say, but most of us are
in favor of her daughter’s education. (To
KALSOOM) You’ve decided to leave
the house, but where would you go?
KALSOOM: Wherever I may go, my daughter shall
study further.
JOKER: But our society wouldn’t allow you to
do this.
KALSOOM: I damn care.
JOKER: Now we ask from Zahid what he’ll do if
his wife and daughter decide to leave the
house.
ZAHID: I would let my wife go, but not my
daughter.
JOKER: But she is going with her mother.
ZAHID: I’ll stop her.
JOKER: How? She has already left.
34
[Silence.]
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?
35
SPECT-ACTRESS 11: They should’ve a college in the village.
JOKER: This is government’s job. We can only
request the government for a college,
can’t open it ourselves. Here, we should
only focus on what we can do ourselves.
SPECT-ACTRESS 10: They can involve the biradari to decide
upon this issue.
JOKER: The biradari would never agree.
Besides, we’ve to make decisions
ourselves. When we take a step, people
somehow consent.
SPECT-ACTRESS 10: She should compromise with her
husband for the sake of her daughter’s
education.
JOKER: Would she be right in compromising
with her husband?
SPECT-ACTRESS 12: Yes, she would be right.
JOKER: The compromise could be submitting to
her husband’s wish and not allowing her
daughter to study.
SPECT-ACTRESS 12: No, she should allow her daughter to
study by convincing her husband.
JOKER: But how? Please tell us! Is there a
college in the village? Are girls allowed
to study?
SPECT-ACTRESS 12: Yes, girls are allowed to study.
SPECT-ACTRESS 9: These days they are allowed to study,
especially in the educated families.
JOKER: It’s great that they are allowed to do so.
Do you want to say anything else that
has not been said by anyone?
36
[Silence.]
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: 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.
38
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.
39
SPECT-ACTRESS 6: But that man could be convinced
gradually if his wife keeps on telling
him about the importance of education.
JOKER: For your kind information, he is himself
a teacher. The benefits of education are
taught to those who are unaware of
them. What’s the use of teaching
someone who is not only educated but a
teacher himself?
SPECT-ACTRESS 6: Of course we can’t teach him, but can at
least share our point of view.
JOKER: All right, this is one solution. Do we
have any other solution?
SPECT-ACTRESS 6: The father has to give in if all the
children support their mother.
SPECT-ACTRESS 11: Daughters can do nothing. They aren’t
only oppressed but are also helpless.
JOKER: Do you really think that daughters can
do nothing?
SPECT-ACTRESS 12: Yes.
SPECT-ACTRESS 13: In our society, daughters can do nothing.
JOKER: All right. Do you want to say anything
else that has not been said by anyone?
(Silence.) All right, I thank you all for
40
The Story of Bilqees
Performed by Kook Theater Group,
Kook Resource Center, Haripur
41
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
42
SCENE I
[AMIR enters singing a folk song. Other characters follow him.
He keeps on singing front stage and the rest sit behind him.]
AMIR: (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
43
of this house. Forget about your parent’s abode!
My mother is your mother. Respect her! Never
answer her back even if she says something to
your dislike! Yes, another thing… I don’t like
your being with friends. Your duty is towards
your home. I’ll fulfill the rest of your needs.
Understood?
[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.]
44
[During the song, BILQEES first sweeps the floor and then
washes up her hands by running on the hand pump. Wiping
hands with her dupatta, she sets the stove on fire for cooking.
Fire turns on with difficulty and, in doing so, her eyes catch
smoke. She tastes the broth by spilling some of it on her palm.
Satisfied, she puts water in the pot and leaves it to cook. Then,
she begins to churn milk. SHAHID enters coughing badly.
BILQEES puts aside the milk.]
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.]
45
BILQEES: What’re you saying? May God you live long!
SHAHID: (heaving a sigh in despair) I had been to the
doctor. My days are numbered. May God help!
[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.]
47
NASIR: I’ve already got back the bank’s copy, but the
property is in her and her children’s name.
ASIF: We should plan something to make sure that
your property remains with you.
ASLAM: I would advise you to call the Jirgah and marry
her off. This way, both the property and the
children would remain with you.
BILQEES: (standing up) Come what may, I’ll stay here
with my children. This is my home and no one
could force me out of here. (She sits down.)
NASIR: I think that we’ve to teach her a lesson. Spread
rumors about her character in the village!
ASIF: Why don’t you ask one of your friends to call
her every day?
ASLAM: I would rather suggest that you call elders of the
biradari and force her out of the house after
humiliating her.
AMIR: (coming forward) You’ve seen the plight of
Bilqees, but she didn’t lose hope and decided to
stay in that very house with her children. She
also stuck to her decision against all odds.
SCENE III
[BILQEES is sewing clothes. TAHIRA and MUSARRAT, sitting
on her right and left, are doing embroidery.]
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
48
save some money but our daughters are also
getting education.
BILQEES: We’ve made this possible through collective
effort. These days, I’m thinking about my
daughter. She is in fifth class. Where would I get
her admitted after that because there is no
Middle school in this village?
MUSARRAT: Bilqees, I think that five classes are enough. Is it
any use getting her to study further?
TAHIRA: Bilqees is right. Had we been educated, we
would have been able to do a number of jobs.
Education is a must for girls!
BILQEES: I’m thinking of jointly applying to the
Education Department for a Middle school in
our village.
TAHIRA: Please do that! We’re with you.
[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
49
participants are raising slogans in favor of BILQEES. Finally,
they stop at a point. BILQEES is standing in the middle with
MUSARRAT and TAHIRA on her both sides. The men –
including ASIF, ASLAM, NASIR and MAULVI – are standing
behind them.]
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!
50
[NASIR, ASIF and ASLAM start to pelt stones at the supporters
of BILQEES, who cover their heads with hands in order to
protect themselves.]
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.
____________________________________________________
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
51
Bilqees (Interaction 1)
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?
52
[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.
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.
53
JOKER: (pointing at the women) You were
saying that Bilqees had made the right
decision, but this Bilqees over here
(pointing at SPECT-ACTOR 1) is
making her own decisions. Would you
like to suggest her anything?
SPECT-ACTRESS 1: (to BILQEES) You should say that you
would neither leave the children nor this
house because you’ve the share in it.
JOKER: Listen to what she is saying! Your
children are still young, you shouldn’t
leave the house. Why are you after the
elections? Better concentrate on rearing
up your children.
BILQEES: The children are already being reared up
in the house. Who would drive them
out? They are the owners of this house.
SPECT-ACTOR 2: (pointing at NASIR) He is also the
owner of this house.
NASIR: Bilqees, try to understand! We live in a
village and women don’t contest
elections in the villages.
BILQEES: But now they will because government
has acknowledged this right of women.
NASIR: The government also says that we
should educate our girls. Do we comply
with it?
BILQEES: One has to move ahead…
JOKER: Just a minute! Please listen! You want a
Middle school in the village. We’ll all
meet with the concerned official of the
Education Department and get this work
54
done. Then why do you need to become
a councilor? Aren’t you doing all this
for education?
BILQEES: The whole village won’t go to meet with
the concerned official. The councilors
are there for this very purpose.
SPECT-ACTOR 3: Don’t we have male councilors for this?
BILQEES: Then why are women being made
councilors? Don’t they have any rights?
JOKER: All right! (Pointing at SPECT-ACTOR
1) This Bilqees has decided once and for
all. (To NASIR) What would you do
now?
NASIR: We’ll not cast her votes.
BILQEES: There are many others to cast votes for
me even if you don’t.
JOKER: (clapping) Thank you very much!
[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?
55
JOKER: What’s our general opinion about
working women, particularly the poor
ones? What do we think about them?
SPECT-ACTOR 3: We don’t think well about them because
it’s wrong for the women to work
outside the house.
JOKER: We say that it’s wrong whereas it’s her
need also. Who is wrong then?
SPECT-ACTOR 3: We’re wrong who say that it’s wrong.
JOKER: Now, I’ll take you a little back in time
and ask from you why all this happened.
Why Bilqees had to face all these
hardships? Was it her luck or her
parent’s decision to marry her at a
young age with an aged person? Who is
responsible: Bilqees, her parents or all
of us? Why do parents marry their
young daughters to aged men: for
money, property or is it because they
consider them to be a burden?
SPECT-ACTRESS 4: They do this to save their honor.
JOKER: All right! Marrying daughters at a tender
age also deprives them of education.
Now tell me, who is more capable of
dealing with adverse situations: a literate
girl or an illiterate one?
SPECT-ACTRESS 5: The literate girl.
SPECT-ACTOR 2: The one who is literate.
JOKER: Then, why don’t all the girls of this
village go to school? Do we have
anything else to say? Is there any other
solution that you would like to offer?
56
[Silence.]
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!
57
Bilqees (Interaction 2)
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.
58
NASIR: But, don’t I run the household?
BILQEES: It’s true that you run the household, but
from now onwards I’ll also do job. As
the children are growing up, I also need
to earn money.
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?
59
BILQEES: Earlier she was living in the house as a
maid, but now she commands respect.
JOKER: This lady here thinks that, through better
communication and persuasion, it’s
possible for Bilqees to live with dignity
in that house. (Addressing the audience)
What do you think? Does it happen in
reality? Would anyone come and tell?
[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.
60
MAULVI: This is against the teachings of Islam.
BILQEES: How come?
TAHIRA: Bilqees, the women of this village don’t
go outside their home.
MUSARRAT: People will rebuke your children when
they would grow up.
BILQEES: What about the women who work in the
fields? Do they stay inside their home?
JOKER: Can a woman act like this in the rural
setting?
SPECT-ACTRESS 2: Yes, she can.
SPECT-ACTRESS 3: I would like to say that the women of
Haripur who are in politics are quite
empowered. In my view, the situation in
Haripur District is such that some
women can afford to act like this.
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.
61
[The play starts from the last scene.]

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.
62
JOKER: (to Bilqees) Why are you obsessed with
education when girls only have to eat?
BILQEES: An educated mother contributes to the
prosperity of the whole family.
MAULVI: My mother was illiterate, but she made
me know the Holy Quran by heart. Am I
illiterate?
BILQEES: No, not at all. I only mean to say that an
educated mother can be more productive
in the present context.
JOKER: (to BILQEES) Thank you very much!
(To the audience) Do you have any
other solution to this problem?
[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.)

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?
63
ARSHAD: It’s understandable in the case of boys
that they need to study in order to get
jobs. I fail to understand why girls need
education because their right place is
inside the house.
BILQEES: But we don’t even have a boys’ school.
TAHIRA: Why do girls need to study? They only
have to make rotis and sweep the floor.
My daughter shall have to do these
chores even if she was educated.
BILQEES: She would at least be a good mother.
MAULVI: She is after corrupting the women.
Don’t let them mix with her!
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!
64
The Story of Sakina
Performed by Kohat Theater Group,
Youth Welfare and Younger Blood Donor
Association, Kohat
65
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
66
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.]
67
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
68
running a gambling den, his house wouldn’t
have been in this condition. I’ve especially
brought you here, so that you can see for
yourself.
[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!
69
[Worried, SAKINA veils her head with dupatta and goes inside.
SAEED KHAN takes the cup of tea from SARDAR and presents it
to MALIK SAHIB. Then, he takes another cup for himself.
KAMAL keeps on smoking, and SAEED KHAN and MALIK
SAHIB start having tea. Suddenly, KAMAL starts coughing.]
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.]
70
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.
71
KAMAL: But why? Malik Sahib, isn’t she still too young
to be married?
MALIK: (tapping KAMAL’S shoulder with his hand)
Who cares for the age of a girl? Haven’t you
seen even younger girls married?
KAMAL: Yes, yes… If you say so, then it’s all right.
MALIK: That’s like it!
[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.]
72
KAMAL: Don’t be offended, Malik Sahib! It’s my
responsibility to get it done.
MALIK: (tapping KAMAL’S shoulder) Kamal, I’m happy
that you’ve made a good decision. It’ll suit you
very well. And another thing, they want the
marriage to take place on coming Friday.
[KAMAL puts his hand in the empty front pocket and then takes
it out.]
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.]
73
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.]
74
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
75
with you. Otherwise, he’ll force me out of the
house.
SAJID: I’m willing to make this sacrifice for your sake.
ASGHAR: This is not all: as my son-in-law, you’ll have to
live in this house.
SAJID: I’m willing to accept even this condition.
ASGHAR: (to SAEED KHAN) Should we go now?
SAEED: Yes.
[ASGHAR and SAEED KHAN exit from the right following each
other. SAJID and SAKINA also exit from the right and the left
respectively.]
SCENE IV
[SAKINA enters from the left carrying a tray. she sits down near
the stove and starts making rotis. SAEED KHAN enters from the
left in an angry mood and points both his hands towards her.]
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!
76
[SAEED KHAN slaps SAKINA with the full force of his left hand.
She falls down on the ground after letting out a cry and starts
crying with a hand on her mouth. SAEED KHAN picks up his
waistcoat and exits from the left. SAKINA also gets up.]
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?
77
SAJID: She is right.
KAMAL: Malik Sahib also told me that he had divorced
his first wife.
SAJID: I’ve talked to him. He is coming right now.
[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.]
78
KAMAL: If this is your decision, then I’m also with you.
MALIK: (raising his hand) Listen to me carefully! He is a
very powerful policeman and can land your
family in a big problem. (Pointing at SAKINA)
Her life is already ruined; then, both of you
wouldn’t find any respite either. Consider all
these factors before making any decision.
KAMAL: Yes… Malik Sahib is right. You better go to
your husband’s house. I…
MALIK: (placing a hand on SAKINA’S head) Yes
daughter, you better go!
SAKINA: (coming forward) I don’t want to cause
problems for you people. If this is your decision,
then I’m going to that house. (She starts crying.)
____________________________________________________
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
79
Sakina (Interaction 1)
JOKER: Sakina has made a decision that she’ll
return to her husband’s house as he
could create problems for her family.
Has she made the right decision?
[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.]
80
SPECT-ACTOR 1: We are in favor of women’s rights, but
not at the cost of our values and
traditions. So, I wouldn’t suggest Sakina
to leave her husband’s house.
JOKER: Do all of you agree that she should
spend her whole life in that hell?
[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.]
81
JOKER: From where would you like to start?
SPECT-ACTOR 2: I would like to start from the point when
Sajid agrees to marry Saeed Khan’s
sister for the sake of Sakina.
ASGHAR: (to SAKINA) I want to marry my
daughter to your brother. Has your
father considered this proposal?
SAKINA: No, it’s not possible. Your daughter is
double the age of my brother.
SAEED: How dare you talk like this to my
father? I’ll slap you now.
SAJID: For God’s sake, don’t beat my sister! I’ll
comply with your wish.
ASGHAR: As my son-in-law, you’ll have to live in
this house. Do you agree?
SAJID: I agree to whatever you say, but don’t
maltreat my sister.
SAKINA: Wait for a moment! I want to leave this
house and study further.
SAJID: I also want you to study further, but it’s
up to your husband to decide.
SAKINA: But, I don’t want both of us to ruin our
future. Please back my decision!
SAJID: Certainly, I’ll. You’ve the right to make
your own decisions in life.
JOKER: (to SAEED KHAN) How come that
Sakina’s brother is making decisions
when you are very much here?
SAEED: She’ll only be allowed to live in this
house if she accepts my conditions.
82
SAKINA: But who wants to live in this house?
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.
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.
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.]
83
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.
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?

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?
84
KAMAL: Malik Sahib, you know very well that
people caste evil eyes on a divorcee if
she goes out of her home.
MALIK: But this won’t solve your problem.
SAJID: Malik Sahib, my sister is innocent. After
all, she is a human being. How could
she tolerate such humiliation?
KAMAL: Her in-laws are so cruel that they beat
this little girl almost every day.
MALIK: First of all, parents should be wise
enough to marry their daughters after
proper investigation.
SAJID: But you were the one who forced my
father to agree to this marriage.
KAMAL: Malik Sahib, when you came with Saeed
Khan’s proposal, you had said that there
was good news for me.
MALIK: I only had good intentions that you
would be relieved of the burden of
marrying your daughter.
JOKER: But you knew very well that Saeed
Khan was already married and what
kind of a person he was.
MALIK: I admit my mistake, but now I’ll do my
best to help Sakina. I’ll arrange financial
assistance for her and also pursue her
case with the higher authorities for a
suitable agreement.
JOKER: (to MALIK SAHIB) Thank you!
[SPECT-ACTOR 4, who had taken the role of MALIK SAHIB,

goes back to his seat.]
85
JOKER: (to SAKINA) They are deciding your
future. What would you like to say?
SAKINA: Firstly, I would never want anything bad
to happen to my father and brother; and
secondly, I’ll like to study further.
JOKER: The play staged here is based on actual
events. Sakina went through all this in
real life, but didn’t lose courage and is
now leading a decent life. In the end, I
thank you all for being here to watch
this play!
86
Sakina (Interaction 2)
JOKER: Do you think that Sakina’s decision is
right? Should she go back to her
husband’s house?
SPECT-ACTRESS 1: No, she shouldn’t.
JOKER: What should she do then? Do keep in
mind that we are not in Islamabad, but a
village near Kohat. Please come and tell.
Whose role would you like to take?
SPECT-ACTRESS 1: Sajid’s.

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!
87
SAJID: All right, but at least give us some time
to think over it.
KAMAL: In any case, my decision shall be final.
JOKER: (to SAJID) Have you been able to avoid
the problem this way? Why did you ask
for time?
SAJID: To go somewhere else without bringing
it to anyone’s notice.
JOKER: (to SAKINA) Would you go with him?
SAKINA: I don’t want to bring disrepute to my
father and family.
JOKER: Look! She isn’t willing to go with you.
SAJID: But I’ll be able to convince her.
JOKER: Let’s see how!
SAJID: Our father’s reputation is bound to
suffer anyway after marrying you to that
policeman. He would’ve never asked for
your hand had he been a gentleman.
You are my sister. Don’t you have faith
in me?
SAKINA: I do have faith in you, but I don’t want
to leave our father alone either.
JOKER: Also keep in mind that your brother
doesn’t earn anything. Where would he
take you?
SAJID: Sakina, I shall do anything for you. You
aren’t going alone; I’m with you. You
should believe in me.
JOKER: But he is unemployed…
SAKINA: So is my father.
88
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?

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?
89
KAMAL: He would be doing this to his wife.
SAJID: His wife, but also my sister and your
daughter. When she would come crying
with marks on her face, how would you
feel? After all, she is your daughter. I
won’t let this happen even if you or I
had to go to jail for this.
MALIK: He is being too emotional.
KAMAL: He is an idiot. He doesn’t understand…
SAJID: You may say whatever you feel like, but
I won’t let this happen.
KAMAL: Look! Saeed Khan is a policeman. He
would beat you to death.
SAJID: I would rather shoot him and go to jail
than marry my sister to him.
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.
90
JOKER: I think she is right because Sakina is
also doomed if her brother goes to jail.
Anyone else who has a solution?

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,

91
JOKER: Is it possible for a girl of that area to
move the court?
SPECT-ACTOR 2: No, it’s simply not possible.
JOKER: So what should she do: continue to
suffer without any protest, and abide by
the wishes of her father and husband?
SPECT-ACTRESS 4: No way.
SPECT-ACTRESS 5: But she has no other choice. This poor
girl is totally helpless.
SPECT-ACTOR 3: This society and culture doesn’t allow a
woman to speak up for her rights.
SPECT-ACTOR 4: Still, someone has to make the first
move to bring about a change.
JOKER: We’ve come across many solutions from
the audience. This play is based on
actual events and, in real life, Sakina put
up an excellent show to overcome her
problems. Now, she is living a happy
life. I thank you all for being here to
watch this play!
92
The Story of Najma
Performed by Bargad Theater Group,
Bargad, Gujranwala
93
Characters
NAJMA
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
94
[The stage is set in a simple manner. Only a charpai covered
with a sheet is lying left stage. NAJMA enters from the right and
stands front center stage.]
NAJMA: 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.]
95
ARIF: No, this is my notebook.
JAMAL: Give this notebook to me!
ARIF: (hiding the notebook behind his back) No, this is
my notebook.
JAMAL: Give it back! You took it from me just yesterday
and now you are not returning it.
ARIF: No, I won’t give it to you. My name is written
on it.
[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.]
96
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?
97
[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
98
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!
99
[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.
100
AKRAM: (slipping aside a little) When did I break that
promise? I do need at least this much. I hardly
smoke one joint in the whole day.
[KHALIDA 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?
101
[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!
102
[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.]
103
JAMAL: Will she take admission in the college now?
KHALIDA: Why not? She has passed her Matric in good
grades. She should take admission in the college.
ARIF: No, the college is too far. How would she go?
NAJMA: If you are so worried about me, then one of you
may escort me to college.
JAMAL: No, I can’t do this. I feel embarrassed. Do
whatever you want to, but on your own.
ARIF: I can’t do this either.
NAJMA: Around the time my admission in college was
being discussed, my father also came back home
after completing his sentence.
[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.
104
AKRAM: How come? What would I do?
NAJMA: You can sell a part of the land we own and start
the shop again.
AKRAM: I can’t work hard now. I just don’t have the
stamina. How would I run the shop?
[NAJMA goes near ARIF and JAMAL, and places a hand on the
latter’s shoulder.]
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.
105
NAJMA: My mother and I tried our best to convince him,
but to no avail. However, I decided in my heart
that I shall take admission in the college come
what may. I went on hunger strike.
[NAJMA 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.
106
[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.
107
[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.]
108
MUQADAS: Najma, congratulations!
NAJMA: For what?
MUQADAS: Your appointment letter. Your job has been
confirmed. From day after tomorrow, you’ll go
to the office. I’ll come some day to take treat
from you.
NAJMA: Sure, sure.
MUQADAS: All right, now I’ll leave.
[MUQADAS exits.]
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 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.]
109
SHAUKAT: Abbu…
[AKRAM once again slaps NAJMA, who rolls down on the

ground at some distance.]

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.
110
audience after four performances of this play: Interaction
1 took place at Gujranwala on 01 March 2004;
Interaction 2 took place at Raiwind on 08 March 2004;
Interaction 3 took place at Lahore Press Club on 09
March 2004; and Interaction 4 took place at Islamabad
during the 3rd Theater Festival titled Journey through the
Lives of Courageous Women, held from 12 to 14 April
2004. Space constraints and editorial reasons do not allow
us to reproduce inputs of all audiences verbatim, but a
sincere attempt has been made to capture the essence of
their discussion.
111
Najma (Interaction 1)
[NAJMA starts crying and JOKER enters clapping.]
JOKER: Does it all happen around us? If it does,

then has this girl Najma taken the right
decision?
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?

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.
112
NAJMA: I’ve to do a job because this is the only
way we can run the household. I also
have to get Shaukat admitted to hospital,
and Arif and Jamal in school.
AKRAM: What am I for then?
NAJMA: To take drugs. What else can you do?
AKRAM: I can sell the piece of land that I own.
NAJMA: For how long would you be able to
manage from that?
AKRAM: I can’t let you do a job because the
biradari would humiliate me.
NAJMA: Doesn’t the biradari humiliate you for
taking and selling drugs?
JOKER: Just for a moment! Najma’s mother
wants to say something.
KHALIDA: I don’t want my daughter to do a job.
She is competing with her father.
NAJMA: She is afraid of her husband. All right, I
won’t compete with my father in the
future if I’m allowed to do a job.
KHALIDA: If you are doing it now, you’ll do it in
the future as well.
[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.
113
SPECT-ACTRESS 3: I don’t think it’s insolence to speak for
one’s rights.
JOKER: Would anyone tell how Najma’s mother
should cope with this situation?
SPECT-ACTRESS 4: She should protest.
JOKER: Please come onto the stage and tell how!

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.
[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.
114
JOKER: But how? Please come and tell!

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.
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?
115
[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.
116
SPECT-ACTRESS 9: That’s what I’m saying. Had your father
been supportive, you could’ve stopped
your marriage.
JOKER: And what about your mother?
SPECT-ACTRESS 8: She also supported my marriage as she
wanted to marry me in her lifetime.
JOKER: Are you happy with your marriage?
SPECT-ACTRESS 8: Yes, I’m quite happy and bravely facing
the problems that come my way.
JOKER: Great! (Claps) Thank you very much!
[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!
117
[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,

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.
118
JOKER: Aren’t they too young for this?
SPECT-ACTRESS 11: They are so sharp that they can even
drive their father out of the house.
SPECT-ACTRESS 10: They were also opposed to their sister’s
admission in the college.
SPECT-ACTRESS 11: If they can talk like elders, they can do
anything.
JOKER: All right. This is a true story of a girl of
your area. Najma had to face all this in
real life. But, through courage and
determination, she achieved her goal
and is a role model for others. I thank
you all for being here to watch this play!
119
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.

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?
120
NAJMA: What has the biradari given us? If you
want to save my life and change your
future for the good, then give a damn to
the biradari.
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?
121
AKRAM: Not in my lifetime.
JOKER: Just for a minute! We’ve seen in the
original play that one way to get
permission is to go on a hunger strike.
This Najma on the stage has another
idea, but it doesn’t matter much because
Najma got the permission to take
admission in the college in the original
play. The real crisis comes later when
she decides to do job in an office. (to
SPECT-ACTOR 1) Thank you very
much!
[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?

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?
122
AKRAM: As you deem it right, but I won’t let you
do a job. I don’t want to lose my respect
in the biradari.
NAJMA: Then the biradari will take care of you
after we have left.
JOKER: Now let’s ask Najma’s mother what she
has to say!
KHALIDA: Najma, you shouldn’t have competed
with your father in this manner. Where
would we go without him? After all, he
is your father.
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?
123
SPECT-ACTOR 4: Because the society is like this.
JOKER: But it’s we who make this society. My
question is that what are the factors that
compelled us to clap when she refused
to go with her daughter?
SPECT-ACTRESS 5: Probably because we wanted Najma and
her mother to stay in the house and try
to change the father.
JOKER: Why don’t you come and try to change
the father yourself?

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.
124
JOKER: Character… although to marry or not is
entirely her personal matter. Tell me, if
a husband beats his wife is it their
personal matter or one of the society’s?
SPECT-ACTOR 5: It concerns the whole society.
SPECT-ACTRESS 7: It’s their personal matter.
JOKER: By saying that it’s their personal matter,
you are in a way giving a license to this
man that he may beat his wife as much
as he likes. (To SPECT-ACTRESS 5)
Thank you very much for your input!

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.
125
NAJMA: People can just talk, they can’t offer
solutions to problems. They would talk
for a day or two and then shut up.
JOKER: (to AKRAM) Now what would you do?
AKRAM: I’ll break her legs. I know how to do this
pretty well. She’ll regret if she took
even a step out of this house.
KHALIDA: You’ve not been kind to me in the past
either, so I don’t care much and will go
with my daughter.
JOKER: Would anyone like to come and take the
role of Najma’s father?

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..
[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.]
126
JOKER: This is a real story and Najma had to
struggle really hard to do things her own
way. Ultimately, she succeeded in
realizing her dreams. In the end, I thank
you all for being here to watch this play!
127
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!

of NAJMA. The play starts from the point where she is
adamant on doing a job despite the resistance from her father.]

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.

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?
128
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?

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.
129
AKRAM: There’ll be people of all sorts in offices.
Will you work with men?
NAJMA: Aren’t you a man? They are men just
like you.
JOKER: Just a minute! (To SPECT-ACTRESS 2)
Thank you very much!

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!

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!
130
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
131
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!

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.
132
NAJMA: Ammi, ask him to leave this house.
AKRAM: (to KHALIDA) That’s why I used to
warn you against her education. Look at
the way she is talking to me! You’ve
never raised your voice in front of me.
This is all because of education.
NAJMA: Do you want my mother to take off her
shoe and give you a thrashing?
[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?

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.]
133
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.
134
GRANDFATHER: What would happen to her if she works
with men?
AKRAM: One never knows. The biradari will also
look down upon me if she does a job.
GRANDFATHER: Why are you so afraid of the biradari?
Has it ever given us anything?
JOKER: (pointing at SPECT-ACTOR 2) Do we
find grandfathers like him in real life?
SPECT-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.
135
KHALIDA: No, I won’t move the court. I don’t want
to take divorce from my husband.

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!
136
Kalsoom’s Case Study
K 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.
137
Coming to Kalsoom’s personal life, she had four children in all:
two girls and two boys. She celebrated the birth of her first child,
a girl born after two years of marriage. This was something new
for the people who used to mourn the birth of a daughter. Her
husband, who was himself literate and also believed in women’s
rights to a certain extent, did not object to their elder daughter’s
education till Primary. However, he was against educating Narjis
any further. Despite opposition from him, Kalsoom remained
adamant and got her admitted in the High school.
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.
138
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.
139
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.
140
Bilqees’ Case Study
B 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.
141
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
142
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
143
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!
144
Sakina’s Case Study
S 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
145
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
146
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.
147
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.
148
Najma’s Case Study
N 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.
149
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.
150
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.
151
The Last Word
T 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
152
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
153
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.
154
 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?
155
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!
156

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Interactive Resource Center

Translation, Editing and Compilation:

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All rights of this publication are reserved with the

This publication has been made as an activity of the

INTERACTIVE RESOURCE CENTER

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

I n order to support and strengthen the women’s movement,

IRC is the pioneer and leading exponent of Interactive Theater

As a first step, four partner organizations were selected and the

Detailed interviews were conducted with the four selected

Coming to the outcomes of the Project, it provided IRC with an

An important objective of the Project was to build the characters

The publication in your hands is another of the outcomes of the

It would not be out of place to express my heartfelt gratitude to

I am also obliged to the IRC staff members for their untiring

The Project covers a wide spectrum of partners ranging from

T he goals/objectives of the seven-month project titled

Project Goal: Bridging the communication void and

I nteractive Resource Center (IRC) is a Lahore-based initiative

The main objectives of IRC are as follows:

Employing the technique of Interactive Theater, IRC creates

IRC’s emphasis is on bringing out the creativity of each audience

S angtani Women Rural Development Organization (SWRDO)

SWRDO envisions a society without gender discrimination,

Other objectives of SWRDO include the following:

SWRDO’s present activities include conducting research

In future, SWRDO plans to implement the following activities

Kook Resource Center (Kook Theater Group), Haripur

I n December 1998, Sungi Development Foundation invited a

To achieve this end, a theater group comprising 10 boys was

Presently, KTG has 22 members: 14 males and eight females. To

Now, KTG is working formally as an organization named Kook

Youth Welfare and Younger Blood Donor Association

Y outh Welfare and Younger Blood Donor Association

Gradually, YWYBDA also started to focus on burning issues and

So far, YWYBDA has implemented a number of projects on

In 1997, YWYBDA formed a theater group to use this medium

Bargad (Bargad Theater Group), Gujranwala

F ounded in 1997, Bargad is a Gujranwala-based forum to

Bargad, a registered non-profit entity, is managed by a team of

Bargad has extensive links with various civil society

The Youth Peace Program seeks to enable students for peace-

The Media and Publication Program publishes a quarterly

The Training Program focuses on imparting various skills to

The Arts and Crafts Program imparts skills like paper-making

P articipating in drama and theater allows connections to

A form of theater has been sought by practitioners such as