Legend has it that there was a time when Multan city would
go indoors as the sun set but the historic red-light district, Bazaar-i-Husn,
would come alive.
At the time, the bazaar was all about the art of singing,
playing South Asian classical musical instruments, and of course, dance.
Old Building Heera Mandi
The canary in her pomp, Suraiya Multanikar. Her daughter, Rahar, is carrying
1952, Lahore, Pakistan, Heera Mandi (the red light area) a young dancer (c)
Hira mandi lahore 1937
One of the few brothels in Heera Mandi that has survived. ─
Other old properties have been put up for sale
Tabla Nawaz Tauqeer Hussain shop.
The audience were not ordinary frolickers but fans of raag,
saaz and dance.
And it is this culture of music appreciation that produced
the likes of Iqbal Bano and Aziz Mian Qawwal.
“A sea of people would throng the streets of the red-light
area after sunset,” says 72-year-old Mama Mirza Saeed, as his voice trembles
with emotion.
“If someone slipped, they would get trampled under the feet
of the crowd.”
Bazaar-i-Husn is situated on Nishat Road, outside the Haram
Gate. A narrow, winding Bansaan Wali Gali used to be the downtown of the
district.
“Until the 1960s, the area would echo with singing and dance
performances from sunset till dawn,” says Mama.
“In the 1970s, curbs were imposed by the government. The
bazaar could only open at 9pm and had to close at 11pm.”
Despite Iqbal Bano and Aziz Mian Qawwal becoming household
names, others kept the bazaar buzzing
But the bazaar survived the restrictions.
“There were 150 kothas back then,” recalls Mama, who has
lived in the locality since birth. “The 1970s to 1980s were the bazaar’s peak
period.”
Indeed, the bazaar’s most famous children started coming to
the limelight around the same time.
Although Mama has watched the performances of legendary
singers Badru Multani, Suraiya Multanikar, Mina Lodhi, Badru Multani (Chhoti)
and Mai Mauti at their houses located in the nearby streets of the main bazaar,
there were other nightingales that rose to mainstream fame from the lanes of
Bazaar-i-Husn.
And sometimes, the stories of their romantic lives travelled
as far and wide as their melodious voices.
“Poet Qateel Shifai fell in love with Iqbal Bano after
listening to her song Payal Mein Geet Hain Chham Chham Ke, which was penned by
Saifuddin Saif,” explains poet and writer Shakir Hussain Shakir.
“After that, Qateel Sahib started writing songs while
keeping Iqbal Bano’s voice in mind.”
Shifai’s attraction to Iqbal Bano continued to grow and
during one of his trips to Multan, he invited her to visit Lahore and perform
there.
Soon after, film director Syed Sibtain Fazli suggested that
the couple get wedded.
“The nikah khawan was called to Mr Fazli’s house and Iqbal
Bano arrived at her wedding ceremony from Radio Pakistan where she had recorded
a song in bridal dress,” says Shakir.
“Mr Fazli asked the couple to decide their terms and
conditions before the nikah. Iqbal Bano said she has no prior condition other
than Qateel Sahib letting her work for two years after their marriage. Qateel
Sahib responded that since it was her singing which brought him close to her,
he will not object to her singing, but refused to allow her to perform in
peoples’ houses after they got married. Qateel Sahib left Mr Fazli’s house in a
huff.”
“Aziz Mian Qawwal married Tasleem Malka who was from Tulamba
but was living in Multan,” explains Qasim Raza, a historian with a research
interest in the red-light district of Multan.
Among the tales that he discovered in the bazaar are the
various relationships and romances of the bazaar’s nightingales. “Musarrat Bano
was the auntie of Naheed Akhtar, for example. Manzoorian Bahawalpuri was the
mother of Anjuman,” explains Raza.
“Ustad Ghulam Nabi Khan was the mentor of Suraiya
Multanikar while Ustad Bari Khan trained most of the female of artists of this
bazaar. Ustad Koray Khan was the teacher of Mina Lodhi, who was the most
beautiful artist of the bazaar. Ustad Karim Khan performed as a musician with
Agha Hashar for theatre.”
Residents of the bazaar were so well-off that they would
donate crowns made with 100 tolas gold for religious processions.
And these are not all the legends thrown up by Multan’s
red-light area. Other prominent names include Kundan Lal Saigal, Badru Multani,
Jamila Lodhi, Roshan Ara Begum, Mai Badali, Shamshad Bano, Ustad Mashooq Khan,
Master Inayat Hussain, Master Abdullah, and Ustad Bari Khan.
“The red-light district of Multan has remained the hub of
artistic activities for centuries,” explains Raza. “The exact period of its
establishment is not known. However, it existed when Muhammad Bin Qasim invaded
Multan in 714.”
Through the times, the bazaar remained in business as kothas
would host local nawabs and feudal lords. Commoners were supposed to stand
outside the kotha to listen to singing performances.
Dance performances were usually a closed-door affair for the
nobility of the area; they would be held only briefly for commoners.
“In the beginning, the name of bazaar was Trab Bazaar and it
was located somewhere outside the Qila Kuhna Qasim Bagh,” claims renowned
Saraiki poet Riffat Abbas.
“Only later on was it shifted to its current location.”
Abbas adds that feudals of the surrounding localities would consider it a pride
to own a house in and around the bazaar.
“The families residing here had strict codes and harsh
practice regimens,” says Raza. “This was put in place so that practitioners of
art would be at their supreme best before their audience.”
The better the exposition, the more remuneration they could
earn. “Residents of the bazaar were so well-off that they would donate crowns
made with 100 tolas gold for religious processions.”
According to the historian, the first superstar of the
Indian film industry, Kundan Lal Saigal, often frequented the bazaar.
“Saigal was posted as a timekeeper in Samasatta railway
department during the pre-Partition era. He’d often visit Multan’s bazaar and
perform there too.”
Times started changing in the mid-1990s. Artists started
moving to other areas and the bazaar was mostly turned into a commercial
market. The streets where once singing and dance were held are now dotted with
hotels and small shops. As for the nightingales, most have them have already
flown away.
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