Love in ‘Dhoop Kinaray’: The Employee-Employer relationship

One does not find explicitly erected boundaries of class in the structural framework of ‘Dhoop Kinaray’; human relations overpower economic conditions, and individuals in the drama live in a homogenous social realm. Unlike ‘Humsafar’, this drama does not create a divide between monetary assets or educational backgrounds. Value is placed to human beings on the basis of their contribution to the stability and maintenance of national morality within the domestic and private sphere, and no characters demonstrate this better than Fazeelat and Mianji.

Fazeelat is fondly called ‘Fasi’, which becomes a sign of the height of domestic integration she enjoys. Her role as a surrogate mother to Zoya, and a companion, confidante and caretaker to Zoya’s father, makes her integral to the functionality of the their lives, and this position of prestige is hilariously portrayed through the agency and selfhood she exhibits as a worker in the house. Her first appearance in the drama is categorized by her curt “chai khud bana lena” to Zoya, and she builds on this idea on her privileged status in the household by inviting herself to Zoya and Anji’s picnic into the jungle. Her “itni door jungle main akeli jao gi” is paternal concern cloaked under her brash, military-esque authority, and she highlights her exclusive standing within the domestic framework by telling Zoya “khaansaana hai, chaukidaar hai” to take care of the house while she accompanies her ward on her adventure (basically showing how she doesn’t see herself as a working class helper). She is taken to parties with her employers, and she dresses up and blushes as Zoya admires her appearance – all contributing to the idea of this woman being treated as an equal, treasured member of the family, rather than some domestic worker.

“Is ghar ki koi baat hum say chupi nahin rehti” becomes a way of underscoring the blind trust both father and daughter hold with respect to Fasi. Her almost fantastic narrative becomes a refreshing influence as Zoya struggles with her five-year-long medical education, such as the ridiculously hilarious scene where she asks her “murdon ki hadiyan ghar main laani ki kya zaroorat hai? Wo yahan unhain taalaash karti karti aa jayain to kya ho ga?”, and the way she scolds Zoya’s father by saying, “bachi ko lay kay murdon main bhejh diya hai, kaala jaadu ho gaya hai, ab kya ho ga?”. Her maternal concern for Zoya verges on hyperbole as she screams and cries over Zoya’s “kamzori” as a result of working at the hospital, and her sheer disapproval of the way “kalejay pay deshat chaa gayi hai doctor ki”. She doesn’t hesitate penetrating the professional sphere in her attempt to bring Zoya food at the hospital; she barges into Dr. Ahmer’s office (who considers her “mentally disturbed”), and announces  to the staff how “hum mareez nahin hain, humaari beti yahan bohat bari daactor hai, usay lenay aayain hain”. Both Zoya and Ahmer laugh at her innocent, well-intended impropriety, and she is never reprimanded or put down for being herself.

When compared to Fasi, Mianji’s personality is defined by his reserve, but both characters are united in their complete loyalty to their employers, and the reciprocal dignity and love they receive in return. Mianji’s role is explored after Ahmer’s baba dies, and his quiet presence is critical in understanding the nature of the protagonist. Mianji makes up for his limited communication through gesture and semantics; he’s always around to offer Ahmer a reassuring pat on his shoulder, or sit with him as he drinks a glass of milk. His entire life is based on service; when Ahmer asks him “Aap meri taraf say bohat pareshaan rehtay hain?”, he simply responds, “Tumhari taraf say har waqt pareshaan rehta hoon”. Mianji’s role is integral in the drama, for he becomes a kind of reassuring presence in the domestic household for Ahmer, and constantly reminds him of the contrast between his vibrant past self, (“pehlay tum hanstay boltay thay, gaanay suntay thay, acha lagta tha”) and his prevalent “qaid-e-khamosh”. As Ahmer leaves for his further studies, Mianji advises him, “Apna khyaal rakhna, bohat mehnat na karna, ho sakay to khush rehna” (AWWW?).

While Ahmer always treats Mianji with reverence, the only time he lashes out at him is when he forgets to deliver food at the yateemkhana, which becomes Haseena Moin's way of using Mianji as a device to explore the question of orphanhood. Mianji’s absolutely crucial conversation with Ahmer about the dichotomy between the past and the present is critical in understanding dominant themes of identity, home and time; Mianji helps Ahmer see how he’s “thandi chaaon” for everyone associated with him, and the way he should focus on positivity rather than the misfortunes of his past (“Aaj kay rishton ki baat karo, kal kay rishton ki baat karo, maazi kay rishtay to waisay hee khatam ho jaatay hain”), thus becoming a representation of wisdom, experience and knowledge in the face of dejection and hopelessness. Ahmer trusts him enough to share his feelings with him, something he doesn’t do completely with anyone else till he begins to love Zoya (Mianji also interestingly has complete access to Ahmer’s safe, as he takes care of important documents like Ahmer’s baba’s letter). Mianji really comes into his own as he uses his agency and position to invite Sheena to the house, telling Ahmer, “mujhey andaaza ho gaya tha ke doctor saahiba ki khaas baat hai”.

Both Fasi and Mianji have spent their entire lives in the service of their employers, who mean everything to them in terms of the construction of their identities and livelihood. If viewed analytically, these employees stand at the bottom of the class ladder, yet, they are treated with an air of dignity, love and equality, which speaks volumes on the kind of values prevalent and desirable amongst people living in the particular socio-political context of the Zia regime in Pakistan.