By: Abid Hussain Rather
When we turn the pages of history we find that once there was a time when the profession of a prostitute was considered the most disgraceful profession. Merely mentioning the name of this profession was frowned upon. Now, the times have changed to the extent that calling someone engaged in this profession (having sexual intercourse with many people in exchange of money) a prostitute is deemed offensive. A woman who sold her body and charms in exchange for money was known as a prostitute. In the past, there were many prostitutes who, for a certain period, would only sell glimpses of their physical beauty while preserving their bodies exclusively for a nobleman or prince. Such prostitutes were usually known as courtesans. Various noblemen or landlords would send bags full of money to persuade the young courtesan’s owner, madam, or caretaker (whatever you call a brothel owner) to grant them right for physical intimacy with her. The woman who managed the brothel would, like a shrewd businesswoman, carefully evaluate all the offers. Eventually, the “tender” of one fortunate suitor would be accepted. The young courtesan/dancer, who used to perform at her brothel in the evenings, would then become the mistress or concubine of the nobleman and move to one of his residences. Among the prostitutes, being the mistress of a nobleman was considered a highly honourable position, as it was a privilege reserved only for the most beautiful and youthful courtesans.
After a few months or years, when the nobleman grew tired of her or when the beauty of a new courtesan/dancer began making waves in the market, the former courtesan would be sent back. The former courtesan/dancer would return to her brothel and resume her usual work of selling her charms for money. Occasionally, if she found a wealthy client, she would engage in physical intercourse as well—but only at a high price. This cycle would continue until the courtesan’s youth and beauty began to fade. By the time she reached her early thirties or mid thirties, her dance gatherings would start to dwindle, and her clients would either reduce their payments or disappear altogether. At this point, the courtesan faced two possible futures. One option was to become available to the general public, accepting any client who came her way each night without much calculation or negotiation. The other was to get married with one of her own musicians (instrument players) and settle down. Occasionally, a courtesan who was the biological daughter of the brothel’s owner (madam) or a particularly favoured protégé would undergo training to take over the role of the madam or manager. She would then assume responsibility for managing the brothel and training new courtesans. This was the state of affairs in the last century. Then came the modern era, and the courtesan was given various respectable titles in the civilized world. The dancer was distinguished from the one who sold her body. It was further argued that selling charms wasn’t such a bad thing—it was an art, a craft. Dance was labelled as art, and thus, the dancer became an artist. It was no longer considered a disgraceful profession. All other aspects of the trade were rebranded as well. The dancer no longer became a nobleman’s mistress; instead, she would marry a filmmaker or someone of similar stature.
This was the norm until a few decades ago. Now, everything has gone digital. The digital revolution has modernized the “profession of the prostitutes and courtesans” Previously, spectators would visit the prostitute’s establishment to enjoy the beauty and charms of a new prostitute/dancer. Today, they can experience far more through online platforms, viewing it all on their mobile screens comfortably from their homes. Modern courtesans no longer need a brothel or a middleman; social media has become their marketplace. With followers acting as spectators, they present themselves as influencers, performers, or models, blurring the lines between art, entertainment, and commodification of the self. The shift from physical spaces to digital platforms has made these interactions not only normalized but also celebrated as entrepreneurship.
In the old days, spectators would spend a significant amount of money just to listen to a courtesan’s singing at her establishment. They would travel through harsh weather, reaching the venue to sit among a crowd of other spectators. Under the dim light of kerosene lamps or low electric bulbs, they would watch the dancer performing from a distance of ten to twenty feet. Even then, the dancer’s heavy attire would conceal the most alluring parts of her body.
In contrast, today’s spectators can see far more without spending a single penny. Just look at modern social media—spectators don’t pay anything because digital courtesans are compensated by advertising companies and various other agencies. There are some people on various digital platforms to sexually please the spectators and call themselves as amateur performers. They provide explicit content labelled as “self-expression” or “body positivity” which frequently serves as a gateway for transactional relationships, where followers or admirers may pay for exclusive content or direct interactions. Some digital platforms have turned as online brothels and have explicitly monetized this dynamics, allowing creators to sell access to private content. The system mirrors the traditional hierarchy of courtesanship, where the highest paying patrons receive the most access.
Today’s modern spectator can watch not just one, but hundreds or even thousands of dancing women in complete privacy. They can pause, zoom in, and admire every move in slow motion. Further, today’s modern dancers/courtesans are free from the burden of heavy clothing. In fact, advertising companies and other agencies have ensured that these performers now dance in skin-tight undergarments. Their goal is to enable the spectator to appreciate every movement, every angle, and every anatomical detail of their body with utmost clarity.
There is no need to explain who are the noblemen in today’s modern digital global courtesanship. How they use their money for these dancing courtesans to make them their mistresses and how these modern courtesans select the one with the most money. And then, after a few years, when their value decreases, how they “settle down” with their “musicians” (best friends). If you are wise enough then you can figure it out yourself with a little effort.
(The author teaches Geography at GDC Kulgam and can be reached at [email protected])