Bacha Bazi and the Left's Promotion of Gender Fluidity (sexual abuse of boys)

The Left's love affair with Islam has long been exposed. The Red-Green Alliance is usually seen in geopolitical terms, with each side vying to gain ultimate power. But forgive me if I might become confused with the hideous practice of bacha bazi practiced in Afghanistan with the leftist promotion of alleged fluid genders. Both exploit children, the most vulnerable in society.

Bacha bazi refers to "boy play" and is a slang term in Afghanistan for a wide variety of activities involving sexual relations between older men and younger adolescent men or boys. It often includes sexual slavery and child prostitution. Western travelers in 1872 noted that boys were trained to take the place of dancing girls.

So how does what happens in a country more than 7,000 miles from the United States have anything to do with the sexualizing of children here?

Is the pedophilia of bacha bazi a stone's throw away from the campaign to legalize pedophilia in this country? Stella Morabito writes that "[a]ctivists for normalizing pedophilia are on the move. Public acceptance of adult sex with children is the next domino poised to fall in identity politics. It's being sustained, among other things, by the rapid sexualization of children in the media and in K–12 education."

The idea of the "virtuous pedophile" is now being advocated as just another sexual orientation that should be protected by anti-discrimination laws.

The relentless Left cloaks its agenda in civil rights language. But what is really different from the heinous acts of bacha bazi except language manipulation?

Interesting stuff about bacha bazi from Wikipedia

Bacha bāzī (Dari: بچه بازی‎, lit. "boy play"; from بچه bacheh, "boy", and بازی play, "game") is a slang term in Afghanistan for a wide variety of activities involving sexual relations between older men and younger adolescent men, or boys. The practitioner is commonly called bacha baz (meaning "boy play" in Dari) or simply bach. It may include to some extent sexual slavery and child prostitution.[1] Bacha Bazi is currently reported in various parts of Afghanistan.[2][3][4][5][6] Force and coercion are common, and security officials state they are unable to end such practices because many of the men involved in bacha bazi-related activities are powerful and well-armed warlords.[7][8][9]

During the Afghan Civil War (1996–2001), bacha bazi carried the death penalty under Taliban law.[10] The practice of dancing boys is illegal under Afghan law, but the laws are seldom enforced against powerful offenders and police have reportedly been complicit in related crimes.[11][12]

A controversy arose after allegations surfaced that U.S. government forces in Afghanistan after the invasion of the country deliberately ignored bacha bazi.[13] The U.S. military justified this by claiming the abuse was largely the responsibility of the "local Afghan government."[14] Contents

History

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 Bukhara 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 favourite dancer in business after he had grown too old to carry on his profession.[15]

Count Konstantin Konstantinovich Pahlen, during his travels through the area in 1908 and 1909, described such dances, and commissioned photographs of the dancers:[16][17]

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.[18]

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).[citation needed] The songs were then published in the original "Sart language" (Uzbek) with a Russian translation.[19] It waned in the big cities after World War I, for reasons that dance historian Anthony Shay describes as "Victorian era prudery and [the] severe disapproval of colonial powers such as the Russians, British, and French, and the post-colonial elites who had absorbed those Western colonial values."[20]

Under the Taliban, bacha bazi was declared homosexual in nature, and therefore banned. The Taliban's opposition to bacha bazi was that they considered it incompatible with Sharia Law, and outlawed the practice after coming to power in 1996.[10] As with other homosexual activities, the charge carried the death penalty.[21]

Read the rest at Wikipedia

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