True Woman and the Domestic Sphere

In many ways the Tv show Humsafar harkens back to the tropes of the 18^th Century Industrial Revolution identified as the ‘cult of domesticity’, ‘cult of womanhood’ or the ‘separate spheres ideology’   The idea behind this ideology prescribes a gendered separation:  that men based on their biological makeup as well as the will of God would inhabit the public sphere creating wealth whereas the women would operate in the private domestic realm assigned with duties like child-rearing, housekeeping and religious education.

In the context of Humsafar women are seen as operating in two categories; a) the lower-class residing in Hyderabad constituting Khirad and her mother and b) the upper-class of Karachi comprising of Sarah, Fareeda and Zareena. This blog, using the character of Khirad will establish that the private sphere is quintessential in fostering the identity of the female and is deeply associated with the idea of sharafat (piety).  

In the beginning Khirad is showcased as the ‘true woman’-pious, pure, obedient, domestic and moral because her identity distinctly emerges from the private realm.  This notion becomes apparent from the opening scenes where she is seen as placing washed clothes on the lines and later her conversation with her mom

Khirad: Ami  please, ab aap kitchen mein mat jayeey ga. Aram sey baith ker chai peyain apni.

Khirad’s mother : Arey beta bethay bethay thak gayi hoon. Mujhey koi kaam bhi krnay dey. Wasiay bhi saaray kaam tu ney khud sambhal rakhey hain.

Khirad: Saarey kam ho tou chukey hain ami. Salan bhi main ney charaha diya hai, aur ata bhee mein gundh chuki hoon. Maghrib ki namaaz k baad mein rotian paka loon gee

In the next scene we find her tutoring kids at home-here the public sphere intrudes within the private realm. But this inter-mingling in my opinion is in line with the true woman ideology and by extension also the private realm because it is an act of necessity with allows both Khirad and her mom to ensure the survival of the domestic.  For without this necessary interference the domestic sphere cannot function.

The fall of Khirad is testament to this- she comes to be viewed as the bad woman only when she ventures outside her household to study at the university (without necessity). This intrusion of the public within the private is the turning point which becomes the cause of her downfall.

Sarah is the foil character which is used as a contrast to show what a ‘true woman’ is not. Her identity distinctly emerges from within the public sphere- either at the office or at a restaurant but never at home. Her character is thus cast as the bad, corrupt and immoral woman who can thus never be worthy ideal male. This juxtaposition heavily reinforces stereotypes of a patriarchal society where a true woman solely resides in the domestic sphere occupying her time either with household or religious activites.