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. 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 Harram 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, Surraiya 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 nikahkhwan 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. Manzooraan Bahawalpuri was the mother of Anjuman,” explains Raza.

“Ustad Ghulam Nabi Khan was the mentor of Surraiyya 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 Mashoqay 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 Seraiki 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’s 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.

The writer is a member of staff

Published in Dawn, EOS, April 30th, 2017