Dr. Sheena is not a victim!

Youth and age are on the side of Zoiya throughout the drama and Sheena is the exact opposite of her. She is old and unmarried, which automatically leaves her at a disadvantaged end but she does not portray herself as a victim at any point in the drama. Dr. Sheena does not get to marry the man she loves and gets betrayed by the man she eventually ends up marrying. After the betrayal scene, Sheena not only deteriorates bodily but she suffers psychologically as well. When she says:

‘ itnay baray ghar mein mera bohat jee ghabrata hai’ and ‘mujhay bohat dar lagta hai, mein bohat akeli hun, charun taraf sannata hai…’ conveys her psychological deterioration.

She does not have anyone to come back to, no family or relation ( only a khala who does not make an appearance anywhere).Youth, beauty and age are indeed against her but in all of this, she does not let go of her agency. She does not stick to Nasir Jamal after he has betrayed her by not telling her of his first marriage and raises her voice against this injustice. Though Sheena does make comments on the impossibility of a woman to live alone in this society, she does not make unjust compromises with Nasir Jamal only on the basis that she doesn't have any other potential marriage prospect. This elevates her from the usual female characters of the contemporary drama who are seen stuck in the marriage due to the societal pressures and refuse to come out of it despite the injustices.

Missed Blog Post: Zoiya and Baba

I loved the parental bond between Zoiya and Baba. He is apparently a humorous character who has a very jolly relationship with her daughter but he knows her inside out. He does not at any point in the drama imposes anything on her and yet manages to have the most fulfilling relationship. This is not only amusing to watch but also reflects the ideal bond that should be there between a daughter and a father. Baba is not only loving, he is also a very insightful man. Despite the fact that he knew about the connection of Dr. Ahmer with the house that Zoiya is being given by her grandfather, he doesn't reveal it out rightly. He wants his daughter to find it out herself and make her way. Thus, the scene in which Zoiya brings tea for Baba when he is sick and the conversation they have is very meaningful. In this particular scene, Zoiya is not able to look Baba in his eyes as she is lying to him. She has been crying and Baba immediately gets to know. There are several nuances of Baba’s speech that convey the depth of the situation. When Zoiya asks him why didn't he tell her about Dr.Ahmer and the house, he says

 ‘ insaan ki asal pehchan karhay waqtun mein hoti hai.’

And Zoiya then needs no further explanation after that.

Baba’s words have a certain degree of depth and immense amount of love in them. This is very evident when he says

 ‘ ye jo tumhara chehra hai na, ye mere dil pe bana hoa hai aur is pe ghubar aaye tou mere dil ki raushni kam hojati hai aur tum mujh se apnay dukh sukh ki batain chupa nahi sakti’

The expression of romantic love

           Because of the difference in their age, Dr. Ahmer and Zoya share a very distinct romantic relationship. His affection for her expresses itself in the most unconventional of ways;  it is almost paternalistic. He is often didactic, always instructing, and of course rather authoritative (he is always issuing commands although it can be argued that their professional relationship requires him to do so). And he does this because he sees her as a novice not only in her profession, but also to life. She is young, inexperienced, and he feels the need to look out for her. His relationship with Sheena is very different. Since they are of the same age, he sees her on a different level altogether. Their conversations are complex and possess a maturity that does not exist with him and Zoya. Although, he often says things that are supposed to "correct" her, especially when she expresses her bitterness at being thwarted in love, she cannot exactly respond to such instruction in the same way as Zoya, and perhaps this is the reason why he can't reciprocate her love. Ultimately, he sees Sheena only as a friend and so can only harbour platonic affection for her.

          In general, love within this drama is shown to be a very ethical kind of love. Affection is expressed/ portrayed through glances, through extended conversation, and thought sequences. The thought sequences play a very important role in expressing the love that exists between the characters, because how the main characters remember certain instances, and which particular instances they reflect back on is vital in developing the romantic storyline. The emphasis is on the maintenance of an ethical kind of love in which both parties indulge in their romance in a very subtle and controlled manner. There are no passionate professions of love or the like-the most exciting moment is when Dr. Ahmer holds her hand in the last episode. And somehow this notion of love comes across as much more palatable than what we saw in Humsafar, which is characterised by crazy amounts of drama, suspicion, revenge, and what not. We’ve discussed how Haseena Moin saw the drama as being instructive, and so a character like Dr. Ahmer fits perfectly  with this agenda. The drama seems to be idealizing this form of domesticated and sophisticated love as compared to a more irrational kind of love that presents itself in today's Urdu drama.

All praise to Ghalib and Sadequain!

Haseena  Moin did an exceptional job in correcting the social fabric by engaging with the theme of love, especially when seen in comparison to the current day Hamsafar. The contrast is as striking as the force of cannon balls in the 18^th century. Love is proposed as a nuanced feeling in absolutely flawless detail. It is matured to the extent as if dealing with an entire institution of love which is more realistic and holistic.

As a study in literature romantic love when contrasted to other forms of love is an excess of emotion which is presented as an entity to be dealt with caution, in Pakistan particularly. Love due to its inherently risky nature perhaps cannot take flight in the realm of instinct and freedom. In Hamfasar this excess of emotion takes on the form of passion (for Khirad and Ashar in the peak of their marriage), obsession (Sarah and Khizr) and an overall misguided sentiment that originates and multiplies a great amount of trouble not only in the domestic sphere, but as a national practice too. Love hence is a narrowed down phenomenon and eventually takes on the shape of a forced compromise (due to the birth of Hareem).

Dhoop kinaray in its role play for love is from the very beginning presented in a positive light. Zoya’s father recalls the story of him and her mother’s marriage in a frank air of acceptance. It’s a celebratory reminisce of a cherished moment almost like kite flying. Easy going, transcendental and happy. Even for Ahmar and Zoya their love does not present a binary between the irrational dictates of heart and the rational dictates of mind, rather it is an ecstatic mélange of both. They give their professional work, friendship and domestic (interaction of Ahmar and Zoya’s father) relationship time and build on it slowly. No ludicrous desperation matched with the superficial color scheme of black against white clothes, arched eyebrows (Fareeda) and un-plucked eyebrows (Khirad), enforcing further stereotypes, set in.

Love develops in all dynamics of understanding and depth. While Zoya walks in youth and beauty and Ahamr in sobriety and a darkness of sorts, they both are aware of their strengths and weakness and point them out to each other repeatedly. Not once does it go the foolish heights of misunderstanding where a lover loses all trust because the beloved loses control of her duppatta in dangerous proximity of a na-mehram (let us not mention the numerous dinners Ashar and Sarah had after his marriage).      

A reason perhaps Dhoop Kinaray does such magnificent job in presenting a more open, nuanced understanding of love and relationship as opposed to Hamsafar which primarily echoes the much conservative idea of ‘love after marriage’ is because of the literary, artistic and aesthetical milieu of that era. The verses of Ghalib and Faiz were to be drunk on, the strokes of Sadequain be worshipped. Pakistan now depicts a gloomy era of rhetoric and orthodoxy.

Woh shab o roz, maah o saal kahan..! (Ghalib)

^(quoting from my memory. Thanks to my parents who read Ghalib and other cool fellows all the time)

   

The (Second) Marriage Plot

With every episode of Dhoop Kinaray you realize exactly how much Humsafar sucked. And this is after already hating it the first time you watch it. Ironic that a show aired in 1978 is more progressive than the one in 2011-2012.

The circumstances of Sheena’s marriage are less than ideal. But this is something she has come to accept. Having realized Ahmer wouldn’t marry her she decided to move on (Khaabon kay peeche bhaagne se tou behtar hai kay aise aadmi kaa haath thaam lain jo baray shawk se barha lay. Koi humain naa millay hum kissi ko mill jayein, yahi kaafi hai).

Despite the fact that she is marrying without love, and out of societal pressure, Sheena’s never shown to be completely helpless. Her decision to marry Nasir Jamal is at the end of the day a decision and not something she is forced to live with (apne apne raaston ke chiraagh khud hi jalate howe aagay barhna hai tou phir shikayat kaisi? Kaisi mayoosi? Jab chiraagh hi jalana thera tou kissi bhi raastay mai jala lain gain).

Even when her marriage breaks up it is her decision to end it; it is a choice. Were this show being aired today, the plot would have revolved around the two wives trying to have a happy marriage by getting rid of the other.

In her conversation with Nasir Jamal, we see that being the second wife is not the only reason she leaves him. To a certain extent she considers the feelings of the other woman (meri bhi tawheen karte ho aur unki bhi… Mujhe kissi se chheeni zindagi nahin chahiye). Her decision to be separated is not based purely on self-interest. The drama does not blame Sheena for her situation. But more importantly, the blame does not lie on the nameless/faceless Other Woman who was somehow unable to keep her husband happy either (quite the contrary since Nasir seems to have been happy with his other family as Sheena states). Divorce is also not a taboo concept, one which would destroy a woman’s life. In fact, it is portrayed as the correct choice by a woman in a specific situation.

Dhoop Kinaray is much more realistic in its plot. Rather than relying on God, piety or sharafat it addresses compassion and relationships between individuals. Its ideas of reformation are for improvement of individuals as human beings.

“Aurat akelee reh nahee saktee”- The transformations in Sheena’s marriage narrative.

In my opinion, Haseena Moin has invested greatly in Sheena’s character, perhaps even more than  Zoya and Anji. Zoya and Anji’s narratives emerge for the greater part out of their actions , that sometimes turn out to be humorous. Sheena is not a humorous character. The drama creates space for this character to actually sit down and contemplate about certain  issues regarding the women’s question- marriage being the most important. I perceive Sheena’s narrative  about marriage to be dynamic, displaying external influences that shape  and alter her views about what constitutes an ideal marriage - love or material comfort? What does it mean to be happy in married life?  Does a single woman have a future ? is it possible to break the conventional bonds and display female independence? What role does ‘samjhota ‘ (compromise) play? These are some of the questions that Sheena’s narrative struggles to resolve.

 

In the beginning of ‘Dhoop Kinarey’ Sheena shows innocent optimism about marriage whereby she  entertains hopes of procuring Dr. Ahmer’s love. Through her gestures like settling her hair before Ahmer’s arrival and her expressions highlight her interest and emotions clearly. For Sheena the idea of marrying her  own colleague , Ahmer is not unethical as she says that profession and personal life are not distinct realms rather they run simultaneously  and it is alright to merge them through marriage.  These views about marriage  undergo a radical change when Ahmer does not reciprocate her love causing her to agree to marry Nasir Jamal, despite being heartbroken.

 Sheena resorts to compromise her true love realizing that it is not always that a woman gets to have the man she desires. That  is the truth about life and perhaps her feelings were too far fetched as she defends her decision to Zoya “zindagi mein aisa hota hai”. In her darkest moments then the  audience witnesses a changed view about her marriage narrative that is morbid, bitter and displays a peculiar inevitability that constitute a woman’s existence. It  is manifested in her lines  “Aurat akelee reh nahee saktee…usey  mard ka sahara lena parta hai… Muashira akelee aurat ko kaheen ka nahee chorta”. Sheena’s take upon marriage is conventional and elucidates her fear of society’s criticism.

Marriage is no more about love but about social security that only a husband can provide. The theme of dominance surfaces as Sheena see’s her own vulnerability” : “aurat khudmukhtar honay ke bawaajood baybus hai . I felt that here Sheena is no different than Charlotte in Pride and Prejudice who also marries Mr. Collins in order to escape the perils of being a single woman. Both Charlotte and Sheena see the practical aspects of marriage. Their preferences linger towards material and social comforts and the idea of love in marriage becomes erroneous, unreal, perhaps a myth. Characters like Sheena and Charlotte are products of society, they are not inherently like this. Society and self experience suggests to them that happiness is not about love , happiness is self created  is what Sheena narrative then suggests: “ jab  mujhey apney raastey k chiraag jab khud jalaaney hain tau phir kaisee mayoosi”.

But Haseena Moin refutes Sheena’s narrative by showing how a marriage devoid of love and filled with deception has an adverse effect on the woman both psychologically and physically.  Sheena falls ill after finding out about Nasir Jamals first marriage that paves way for her divorce. The third phase of her transformation in marriage starts when she

says  “ mein ne ek insaan ko apni zindagi mein shamil kiy aur phir andhera aur barh gaya.  Jab andheray mein he rehna hai tau akeley hee reh loon gee. She is fatalistic at

this point but it is out of this fatalism that the idea of a single woman is borne. One may  question why this change is so late. I think Sheena needs to experience all of this heartache because only then that she realizes that she can take destiny into her own control. It takes away the stereotype of a womans dependency, lingering towards liberalism and feministic view points. Through the transitions in Sheena’s marriage narrative the drama has a didactic appeal as it shows the realistic possibility of a future for a single woman. In the bildungroman stream it becomes NASIR JAMAL SE EK AKELEE AURAT TAK KA SAFAR, the changing view towards akelee aurat and marriage being the marker of Sheena’s maturity. 

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.