Real Story of Heeramandi |हीरा बाज़ार की सच्ची कहानी|

Heeramandi, known as the ‘red light area’ of Lahore, was once a bustling center of culture, art, and etiquette. As viewers around the world prepare to binge-watch Sanjay Leela Bhansali’s period and prestige TV series, ‘Heeramandi,’ it’s essential to delve into the history of this cultural space to grasp the period aspect of the drama.
When we envision a director capable of capturing legacy, a spectacle of grandeur, culture, art, and royalty in India, our minds invariably turn to Sanjay Leela Bhansali. His extensive repertoire, featuring lavish, larger-than-life films like ‘Devdas,’ ‘Bajirao Mastani,’ and ‘Padmavat,’ now welcomes his OTT debut-a project that has come to fruition more than a decade after its inception by his friend, Moin Beg. The show, released on Netflix on May 1st, comprises 8 episodes generously infused with opulence, flamboyant architecture, and poise
Heeramandi, translating literally to “diamond market,” is situated in Lahore near the Taxali Gate and Badshahi Mosque. There’s a debate over its naming, with some attributing it to Heera Singh Dogra, son of Dhian Singh Dogra, Prime Minister during Maharaja Ranjit Singh’s reign. Heera Singh envisioned transforming the Shahi Mohalla, near the royal court, into an economic hub that would also house tawaifs, thus giving rise to ‘Heera Singh di mandi.’
During Mughal rule, women artisans from Afghanistan and Uzbekistan were brought to Heeramandi to entertain the royal court. These women were trained in various arts including classical kathak, mujra, thumri, ghazal, and dadra. They epitomized manners, art, and etiquette, akin to royalty. Upon mastering classical dance and singing, they became tawaifs, entertaining royal guests in kothas.
It’s argued that young nawabs were also sent to these kothas to learn Urdu, manners, and etiquette from the tawaifs, a point Bhansali’s drama emphasizes repeatedly.
Tawaifs, though unmarried, engaged in romantic relationships with their patrons. They often served as loyal mistresses, entering and dissolving relationships mutually.
During that era, tawaifs were esteemed entertainers, catering to royalty and nobility.

Real story of Heeramandi: Unveiling Lahore’s lost legacy of tawaif culture
Aakriti Agarwala
4 days ago






Image Source: Instagram

Heeramandi, known as the ‘red light area’ of Lahore, was once a bustling center of culture, art, and etiquette. As viewers around the world prepare to binge-watch Sanjay Leela Bhansali’s period and prestige TV series, ‘Heeramandi,’ it’s essential to delve into the history of this cultural space to grasp the period aspect of the drama.
When we envision a director capable of capturing legacy, a spectacle of grandeur, culture, art, and royalty in India, our minds invariably turn to Sanjay Leela Bhansali. His extensive repertoire, featuring lavish, larger-than-life films like ‘Devdas,’ ‘Bajirao Mastani,’ and ‘Padmavat,’ now welcomes his OTT debut-a project that has come to fruition more than a decade after its inception by his friend, Moin Beg. The show, released on Netflix on May 1st, comprises 8 episodes generously infused with opulence, flamboyant architecture, and poise.
Heeramandi: A Microcosm of Art in Lahore
Heeramandi, translating literally to “diamond market,” is situated in Lahore near the Taxali Gate and Badshahi Mosque. There’s a debate over its naming, with some attributing it to Heera Singh Dogra, son of Dhian Singh Dogra, Prime Minister during Maharaja Ranjit Singh’s reign. Heera Singh envisioned transforming the Shahi Mohalla, near the royal court, into an economic hub that would also house tawaifs, thus giving rise to ‘Heera Singh di mandi.’
During Mughal rule, women artisans from Afghanistan and Uzbekistan were brought to Heeramandi to entertain the royal court. These women were trained in various arts including classical kathak, mujra, thumri, ghazal, and dadra. They epitomized manners, art, and etiquette, akin to royalty. Upon mastering classical dance and singing, they became tawaifs, entertaining royal guests in kothas.
It’s argued that young nawabs were also sent to these kothas to learn Urdu, manners, and etiquette from the tawaifs, a point Bhansali’s drama emphasizes repeatedly.
Tawaifs, though unmarried, engaged in romantic relationships with their patrons. They often served as loyal mistresses, entering and dissolving relationships mutually.
During that era, tawaifs were esteemed entertainers, catering to royalty and nobility.
British Raj and the Evolving Image of the Tawaif
The Victorian perspective of the British did not afford tawaifs the same respect they once commanded; instead, they were viewed as licentious. Referred to as ‘nautch girls’ by the British, a term believed to stem from the anglicized corruption of the word ‘naach,’ meaning dance, they were not seen as patrons of the tawaifs.

[@MuhammadZafeerOfficial]

😊😊

[@urdusearchpoint4101]

Jeo zafeer

[@MuhammadZafeerOfficial]

🙏♥️