This large-scale mixed media work discusses issues of wealth and respectability in Britain's Indian Empire and today’s Pakistan; by building on historical the story of Mubarak Begum, who climbed the social ladder by becoming Major-General Sir David Ochterlony’s favourite wife/concubine. Despite her title, wealth and the honorary mosque made in her name, society never quite forgot her past. 

 Much like Mubarak Begum todays Mujra (dance) performers use this vocation as a vehicle for survival and social mobility. Many of these women desire an escape, be that through marriage or better still stardom! The artist’s body cites the masculine and hybrid gestures of Pakistani mujra focusing on their desire to be featured on Pakistani film posters and billboards. Despite their (underground) global fanbase these performers are exploited, face heavy censorship and ridicule. 

 The work is a merger between contemporary and historical mujra and, Eastern and Western landscapes and language. In repositioning the work in the British arts context, the work aims to draw attention to hidden histories and discuss the culture of colonising brown female bodies. In debasing and marginalising these (dancers) women an entire arts industry was lost, a female performing body was no longer pious.

from rags to bitches to riches (Sir Ochterlony & His Bibi's)

Mujra Masti: Hot Spices

Mujra Masti: Open Every Inch of Me

 Nazrana: nuffin is free is a vending machine which sells a series of limited edition "Lascivious Cards".  This work is inspired by South Asian Mujra; in which I use my brown body to cite, embody and re-enact Pakistani Mujra (dance) performers masculine, humorous and somewhat vulgar gestures. This work explores the complexities surrounding objectification, femininity, transaction, social mobility & working-class culture.

Nazrana: nuffin is free

Series of 9 A0 sized images (each image: 84.1 x 118.8 cm)

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Nisa Khan

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