Wednesday 28 November 2012
Best Tawaifs Mujra List
Deedar Mujray
Hina Shaheen Mujray
Khushboo Mujray
Nadia Ali Mujray
Nargis Mujray
Nida Ch Mujray
Saima Khan Mujray
Zara Akbar Mujray
Sheeza Mujray
Hina Shaheen Mujray
Khushboo Mujray
Nadia Ali Mujray
Nargis Mujray
Nida Ch Mujray
Saima Khan Mujray
Zara Akbar Mujray
Sheeza Mujray
Anjuman Shehzadi Mujray
Aj Kala Joda Pa
Anjuman Shehzadi performing a stage dance on the song Aj Kala Joda Pa by Malkoo.
Dil Diyan Lagiyan Nu
Anjuman Shehzadi performing a stage dance on the song Dil Diyan Lagiyan Nu from the movie majajan.
Ja Veriya Ve Ja Veriya
Anjuman Shehzadi performing a stage dance on the song Ja Veriya Ve Ja Veriya from a movie.
Doodh Makhna Di Pali
Anjuman Shehzadi performing a stage dance on the song Doodh Makhna Di Pali from a movie.
Keri Keri Shay Teri
Anjuman Shehzadi performing a stage dance on the song Keri Keri Shay Teri from a movie.
Kalley Ve Kalley Ve Choli
Anjuman Shehzadi performing a stage dance on the song Kalley Ve Kalley Ve Choli from a movie.
Mera Tan Man Pyasa
Anjuman Shehzadi performing a stage dance on the song Mera Tan Man Pyasa from a movie.
Meri Garam Jawani
Anjuman Shehzadi performing a stage dance on the song Meri Garam Jawani from a movie.
Uff Toofani Raat Ve
Anjuman Shehzadi performing a stage dance on the song Uff Toofani Raat Ve from a movie. The stage actress and dancer Anjuman Shahzadi was one of the very popular Pakistani stage dancer. Apart from acting in a number of stage plays, she is also considered one of the hottest dancers in Pakistan.
Anjuman Shehzadi performing a stage dance on the song Way Gujra Way from a movie.
Anjuman Shehzadi performing a stage dance on the song Aj Kala Joda Pa by Malkoo.
Dil Diyan Lagiyan Nu
Anjuman Shehzadi performing a stage dance on the song Dil Diyan Lagiyan Nu from the movie majajan.
Ja Veriya Ve Ja Veriya
Anjuman Shehzadi performing a stage dance on the song Ja Veriya Ve Ja Veriya from a movie.
Doodh Makhna Di Pali
Anjuman Shehzadi performing a stage dance on the song Doodh Makhna Di Pali from a movie.
Keri Keri Shay Teri
Anjuman Shehzadi performing a stage dance on the song Keri Keri Shay Teri from a movie.
Kalley Ve Kalley Ve Choli
Anjuman Shehzadi performing a stage dance on the song Kalley Ve Kalley Ve Choli from a movie.
Mera Tan Man Pyasa
Anjuman Shehzadi performing a stage dance on the song Mera Tan Man Pyasa from a movie.
Meri Garam Jawani
Anjuman Shehzadi performing a stage dance on the song Meri Garam Jawani from a movie.
Uff Toofani Raat Ve
Anjuman Shehzadi performing a stage dance on the song Uff Toofani Raat Ve from a movie. The stage actress and dancer Anjuman Shahzadi was one of the very popular Pakistani stage dancer. Apart from acting in a number of stage plays, she is also considered one of the hottest dancers in Pakistan.
Anjuman Shehzadi performing a stage dance on the song Way Gujra Way from a movie.
MAKING A WOMAN FROM A TAWAIF
In the Hindi film, Kismat,2 the film’s heroine (Muni) has been rescued by the
film’s hero (Moti) from the clutches of the villains and from their plans to
force her into a life as a courtesan. Having been in their control, however,
and having been forced to dance in public as a courtesan, Muni sees her
situation as hopeless: ‘The world can turn a woman into a courtesan, but a
courtesan can never become a woman.’ The Urdu word, tawaif, which I have
translated as courtesan, is defined in at least one Urdu dictionary as “dancing
girl, a prostitute; a female singer.” Like Indian society of the past (and Indian
films of the present), this definition conflates a woman’s professional
engagement as a performing artist and as a prostitute. The generic noun,
woman, is used here to mean “respectable woman,” one who, in the
conventions of the Hindi cinema is sexually, socially and economically
definable in terms of her relationship to one or more respectable males. In
the eyes of “respectable” society (represented most clearly in this film by
Moti’s aunt, who rejects Muni because of her tawaif-identity), Moti’s actions,
however noble, are futile. Having been labelled tawaif, Muni can no longer
hope for respectability; a happy ending—defined in the conventions of the
Hindi cinema as the union of the heroine with the film’s hero—is no longer
possible.
Muni’s distinction between women and tawaifs is actually a distinction
between the female character who, in the dictates of convention, is a
respectable heroine (and therefore marriageable) and one who is a tawaif (and
therefore not). Since marriage (actual or implied) to the film’s hero by the
1
Gregory D. Booth (g.booth@auckland.ac.nz) is senior lecturer in ethnomusicology at the
University of Auckland.
2
I have chosen to spell the names of Hindi films following, as consistently as possible, the
spellings found on the commercial releases of these films. Many of the titles referred to in
this study will be available under these spellings at the many Hindi film rental outlets to
be found in most major cities.
film’s hero (Moti) from the clutches of the villains and from their plans to
force her into a life as a courtesan. Having been in their control, however,
and having been forced to dance in public as a courtesan, Muni sees her
situation as hopeless: ‘The world can turn a woman into a courtesan, but a
courtesan can never become a woman.’ The Urdu word, tawaif, which I have
translated as courtesan, is defined in at least one Urdu dictionary as “dancing
girl, a prostitute; a female singer.” Like Indian society of the past (and Indian
films of the present), this definition conflates a woman’s professional
engagement as a performing artist and as a prostitute. The generic noun,
woman, is used here to mean “respectable woman,” one who, in the
conventions of the Hindi cinema is sexually, socially and economically
definable in terms of her relationship to one or more respectable males. In
the eyes of “respectable” society (represented most clearly in this film by
Moti’s aunt, who rejects Muni because of her tawaif-identity), Moti’s actions,
however noble, are futile. Having been labelled tawaif, Muni can no longer
hope for respectability; a happy ending—defined in the conventions of the
Hindi cinema as the union of the heroine with the film’s hero—is no longer
possible.
Muni’s distinction between women and tawaifs is actually a distinction
between the female character who, in the dictates of convention, is a
respectable heroine (and therefore marriageable) and one who is a tawaif (and
therefore not). Since marriage (actual or implied) to the film’s hero by the
1
Gregory D. Booth (g.booth@auckland.ac.nz) is senior lecturer in ethnomusicology at the
University of Auckland.
2
I have chosen to spell the names of Hindi films following, as consistently as possible, the
spellings found on the commercial releases of these films. Many of the titles referred to in
this study will be available under these spellings at the many Hindi film rental outlets to
be found in most major cities.
Mujra, Dance, Sex
The Girls of Shahi Muhalla are performed These Things
1: Mujra
2: Sex
Mujra:
Mujra Basically is dance which is famous all around the world. So Rich people comes and watch the dance and mujra live and pay the money for it.
Sex:
Some of people like dance some of like sex with that girls who perform mujra . Some try at the Tawaif House or some pick the girls at their own homes.
1: Mujra
2: Sex
Mujra:
Mujra Basically is dance which is famous all around the world. So Rich people comes and watch the dance and mujra live and pay the money for it.
Sex:
Some of people like dance some of like sex with that girls who perform mujra . Some try at the Tawaif House or some pick the girls at their own homes.
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