In a nation where the subject of blasphemy is strictly avoided for fear of backlash, Pakistani producer Sultana Siddiqui went against the tide with her drama Tan Man Neel o Neel. Addressing a highly sensitive topic directly, Siddiqui is convinced that drama is a highly effective weapon for creating awareness and igniting debate on important social issues.
Blasphemy in Pakistan: A Taboo Topic
Islam is the state religion of Pakistan, a Muslim country where blasphemy charges can spark mob violence in an instant. For years, media did not touch the topic, fearing retribution. But Tan Man Neel o Neel has shattered this silence, bringing the issue to prime time television.
Sultana Siddiqui: A Visionary Producer
Sultana Siddiqui, the creator of HUM Network, is not a new hand at crossing boundaries. Acclaimed for airing dramas that present social issues, Siddiqui could not resist acting on the serious issue of fake blasphemy charges and mob lynching.
The Tragic Case of Mashal Khan
The play takes inspiration from true-life tragedies, in particular, the 2017 Mashal Khan case. The 23-year-old student of journalism was brutally lynched by a crowd after being wrongly accused of having uploaded blasphemous material online. Siddiqui was thoroughly shaken by the event, particularly upon listening to Mashal’s mother narrate the gruesome account of her son’s murder.
Social Impact Through Storytelling
Pakistani dramas have traditionally been a platform to debate society norms and conventions. With their enormous audience base, the dramas can influence minds and change perspectives. Tan Man Neel o Neel reminds us that art has the ability to drive social transformation.
Since its release, the drama has registered millions of views and uniform acclaim on social media. The audience liked the gutsy approach and the tactful way the sensitive topic was dealt with. Naturally, there was also some criticism, with people raising an eyebrow over the depiction of religious feelings.
Challenges Faced During Production
Writing a drama on blasphemy was a delicate balancing act. The group needed to ensure that the content was respectful without failing to cover the brutal facts of mob violence.
One of the most dominant motifs in the drama is the practice of false allegations as a means of warfare. The plot captures real-life incidences where persons have been picked up because of personal grudges and blasphemy acted as an easily available pretext.
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Sultana Siddiqui’s Message
For Sultana Siddiqui, making this drama was not a matter of entertainment but duty. She is convinced that art can educate and sensitise people on important social causes that affect society. Siddiqui would like to hope that Tan Man Neel o Neel would lead the way for other productions to tackle such controversial issues.
She is convinced that only by keeping things open can society start to heal and get moving.ย Through its identification of the threat of false accusation and mob frenzy, Siddiqui has begun to initiate a conversation that was needed long ago. Her courage inspires, showing us that art really can be an instrument for transformation.
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