Bacha Bazi - History

History

The practice of bacha bazi is one form of pederasty which has been prevalent in Central-East Asia since ancient times, when it was observed by the ancient Greeks. Historically more common, especially in northern areas of Afghanistan and the Pashtun areas of Afghanistan and Pakistan, than at present, it waned in the big cities after World War I, forced out for reasons that dance historian Anthony Shay describes as "Victorian era prudery and severe disapproval of colonial powers such as the Russians, British, and French, and the post-colonial elites who had absorbed those Western colonial values."

A number of western travellers through Central Asia have reported on the phenomenon of the bacchá. Visiting Turkestan in 1872 to 1873, Eugene Schuyler observed that, "here boys and youths specially trained take the place of the dancing-girls of other countries. The moral tone of the society of Central Asia is scarcely improved by the change". His opinion was that the dances "were by no means indecent, though they were often very lascivious." At this date there were already signs of official disapproval of the practice. Wrote Schuyler:

These batchas, or dancing-boys, are a recognised institution throughout the whole of the settled portions of Central Asia, though they are most in vogue in Bokhara and the neighbouring Samarkand. In the khanate of Khokand public dances have for some years been forbidden - the formerly licentious Khan having of late put on a semblance of morality and severity.... In Tashkent batchas flourished until 1872, when a severe epidemic of cholera influenced the Mullahs to declare that dancing was against the precepts of the Koran, and at the request of the leaders of the native population, the Russian authorities forbade public dances during that summer.

Schuyler remarked that the ban had barely lasted a year, so enthusiastic were the Sarts for a bazem "dance". He further describes the respect and affection the dancers often received:

These batchas are as much respected as the greatest singers and artistes are with us. Every movement they make is followed and applauded, and I have never seen such breathless interest as they excite, for the whole crowd seems to devour them with their eyes, while their hands beat time to every step. If a batcha condescends to offer a man a bowl of tea, the recipient rises to take it with a profound obeisance, and returns the empty bowl in the same way, addressing him only as Taxir, 'your Majesty', or Kulluk 'I am your slave'. Even when a batcha passes through the bazaar all who know him rise to salute him with hands upon their hearts, and the exclamation of Kulluk! and should he deign to stop and rest in any shop, it is thought a great honour.

He also reports that a rich patron would often help establish a favorite dancer in business after he had grown too old to carry on his profession.

Count Konstantin Konstantinovich Pahlen, during his travels through the area in 1908 and 1909, described such dances:

Cushions and rugs were fetched, on which we gratefully reclined, great carpets were spread over the court, the natives puffed at their narghiles, politely offering them to us, and the famous Khivan bachehs made their entrance. Backstage, an orchestra mainly composed of twin flutes, kettle drums, and half a dozen man-sized silver trumpets took up its stand. Opposite us a door left slightly ajar led to the harem quarters. We caught a glimpse of flashing eyes as the inmates thronged to the door to have a good look at us and watch the performance. The orchestra started up with a curious, plaintive melody, the rhythm being taken up and stressed by the kettle drums, and four bachehs took up their positions on the carpet. The bachehs are young men specially trained to perform a particular set of dances. Barefoot, and dressed like women in long, brightly-coloured silk smocks reaching below their knees and narrow trousers fastened tightly round their ankles, their arms and hands sparkle with rings and bracelets. They wear their hair long, reaching below the shoulders, though the front part of the head is clean shaven. The nails of the hands and feet are painted red, the eyebrows are jet black and meet over the bridge of the nose. The dances consist of sensuous contortions of the body and a rhythmical pacing to and fro, with the hands and arms raised in a trembling movement. As the ballet proceeded the number of dancers increased, the circle grew in size, the music waxed shriller and shriller and the eyes of the native onlookers shone with admiration, while the bachehs intoned a piercing melody in time with the ever-growing tempo of the music. The Heir explained that they were chanting of love and the beauty of women. Swifter and swifter moved the dancers till they finally sank to the floor, seemingly exhausted and enchanted by love. They were followed by others, but the general theme was usually the same.

In 1909, two bacchá performed among the entertainers at the Central Asian Agricultural, Industrial and Scientific Exposition in Tashkent. Noting the public's constant interest in and laughter at the performance, several locally-based researchers recorded the lyrics of the songs performed by the two boys (16-year-old Hadji-bacchá and 10-year-old Sayid-bacchá, both from the then Margilan uyezd). The songs were then published them in the original "Sart language" (Uzbek) and the Russian translation.

A 2011 study in Pakistan involving four boys found similarities and differences between the practice in Pakistan and those observed in Uzbekistan in the 1970s by Ingeborg Baldauf.