Women on screen, women in chains
Anyone who watches Pakistani dramas regularly is quite familiar with the recurring theme of female protagonists emphasising their virtue through unwavering obedience. Ofcourse, the adherence typically begins in their parental homes before marriage, and is expected to continue in their marital homes with their husbands and in-laws. While obedience and disobedience aren't the central focus of screenplays on our television, the plot almost always, heavily revolves around this theme.
Most female characters have little or no permission or right to say no to anyone, and those who do are either portrayed negatively or usually meet a cursed fate. Suspense and tension peak during scenes where the female characters are “caught” being disobedient/non-conforming or when their supposed disobedience results in something dreadful. Even if the intended message is to convey something different, audiences may easily overlook it due to the intense buildup leading to those particular scenes.
TV plays are supposed to entertain and also educate, particularly in a country like ours where a significant portion of the population lacks literacy and access to formal education. For many, television media serves as their primary source of both entertainment and education. While it's acceptable to feature these tropes in some dramas, nowadays, they dominate the overarching theme of the majority.
It's important to note that entertainment and multimedia significantly influence people's daily behaviours. Television shows, with their intricate narratives and themes, can be interpreted by audiences in various ways. Although producers may embed specific meanings into these messages with the intention of entertaining, informing, or stimulating thought, viewers may interpret them differently based on their own experiences and cultural context.
According to Bandura's social learning theory, individuals learn behaviour through observation, imitation, and modelling. This suggests that exposure to different behaviours can serve as a form of social reinforcement of those behaviours. Viewers may subtly incorporate behaviours learned from dramas into their everyday lives. Hence, it wouldn't be unreasonable to suggest that these dramas are contributing to heightened surveillance and control over women compelling them to adhere strictly to standards of obedience, conformity and compliance.
In Mann Aangan, a mischievous young man relentlessly follows Ramsha’s (Shazael Shoukat) college van. Ramsha is not given any chance to explain herself when her family finds out about her ordeal. Trapped by societal notions of "izzat" (honour) and the importance placed on conformity/obedience, Ramsha gives in to her family’s wishes by first dropping out of college and eventually marrying a much older man who is already married with children.
The aforementioned isn't an isolated trope but a common occurrence in many dramas. Women protagonists are frequently pulled out of education and/or coerced into marriages over trivial matters. Typically, they are expected to comply with their parents' wishes without raising objections. Any form of resistance is viewed as dishonourable. Some dramas depict this through violence, while others use more subtle means, such as parents who lament over their dishonourable daughter or quietly criticise her. Regardless, the female character's destiny is dictated by the family patriarch/s.
Depending on the whim of the screenwriters, a "fortunate" female character may end up with a more understanding husband. However, even in such cases, she is still expected to be obedient and unquestioning. A female character who ends up with an abusive partner or conniving in-laws is expected to endure her fate. In such instances, the aim is to portray the dire consequences of disobedience.
For instance, in drama serial Jafaa, Andaleeb (Sehar Khan) is forced into marriage with her older cousin’s colleague after her father catches her with her schoolmate and beau Moiz (Zarrar Khan). Despite repeatedly expressing her feelings for Moiz and her desire to continue her education to appease her father, her aspirations are dismissed by him. While the drama is still ongoing and the outcome remains uncertain, many viewers have raised concerns about Andaleeb being coerced into a marriage against her will.
The constant reinforcement of concepts like "izzat" and "ghairat" (self-respect) in our TV plays is increasingly seeping into the realities of women's daily lives. Across the country, young girls are taken out of schools prematurely in the name of protecting family honour, women are discouraged from pursuing careers, and marriages are arranged without their consent or under duress. These narratives also perpetuating victim-blaming and shaming as many dramas consistently blame women for any harassment or abuse that they experience. This not only prevents women from speaking out about the injustices they face but also potentially exposes them to dangerous situations. Emotionally and physically abusive partners are common characters in many dramas. They are often portrayed as either disciplining a disobedient girl or showcasing how compliant girls can "fix" even the most troubled men. Women audiences may feel pressured to conform to these narratives and potentially end up losing their lives.
In Kabhi Main Kabhi Tum, Sharjeena (Hania Amir) is abandoned by her fiancé a day before her wedding. To save her family's honour and avoid shame, Sharjeena asks Mustafa, her ex-fiancé’s younger brother, to marry her. Despite being portrayed as an academically competent girl, Sharjeena makes this drastic decision. Since her marriage, her mother-in-law's behaviour towards her has been rude, yet she remains obliging and compliant. This type of portrayal puts undue pressure on millions of Pakistani girls, who feel bound by societal norms and often succumb to various pressures to protect their families from embarrassment and shame.
These widely-watched TV plays actively shape societal perceptions and reinforce patriarchal and misogynistic beliefs among the audience. While screenwriters and producers may justify their focus on entertainment over social messaging to maintain viewership, this reasoning falls short when considering the implications of these harmful stereotypes and narratives. As Pakistan ranks among the most dangerous countries for women globally, producers and writers must acknowledge their role and responsibility in influencing cultural attitudes and behaviours ensuring their narratives do not perpetuate harmful stereotypes or contribute to violence against women. The entertainment industry needs to shoulder more responsibility by critically examining the impact of their content on society at large.
Ayesha Mirza is a journalist focusing on social justice, climate change, minority rights and gender issues.
All facts and information are the sole responsibility of the writer