Extended Space as Disgrace: A Phenomenological Study of Rahat Khwaja’s Queerness in the Pakistani Movie Zindagi Tamasha

Abstract

This phenomenological study reveals the societal backlash faced by Rahat Khwaja in the movie Zindagi Tamasha, highlighting broader implications for the acceptance of queer identities within Pakistan's socio-religious landscape. I, hereby, contend that Pakistan’s gender-based patriarchal society disregards and questions queerness, especially in religious personalities. Rationalising this study using Sara Ahmed’s queer phenomenological model of affect as contact with Gillian Rose’s visual methodologies, I examine the conundrums of gender performance in the patriarchal Pakistani society by significantly focusing on how Khwaja's dance performance challenges normative gender roles and problematises societal backlash on becoming a queer-oriented religious person. Nonetheless, his newly acquired queerness as rejection of the norms highlights the socio-religious dilemma of his existence. This study reflects on the problem of queer phenomenological belongingness and unbelongingness of Khwaja as a disoriented figure in the hetero-obsessed patriarchal society and the resultant challenges he faces due to the backlash on his dance performance while asserting his identity as a righteous masculine man. Although he refuses to apologise, this extended space becomes disgraceful for him, and recreates his marginalised position as a fat-belly dancer. By examining the societal reaction to Khwaja's performance, I underscore the complexities of queer identity politics in contemporary Pakistan, shedding light on both the challenges and resilience of individuals navigating cultural norms for adjustment. Keywords: Queer Phenomenology, Zindagi Tamasha, viral queer memes, disgrace, socio-religious shaming culture; Pakistani queer cinema, Rahat Khwaja