The Dancing Boys of Afghanistan

Introduction: An Ancient Evil Resurfaces

In the shadow of Afghanistan’s rugged landscapes and war-torn cities, a centuries-old tradition has reemerged with a modern-day brutality: bacha bazi, or “boy play.” This practice, which involves the sexual exploitation of young boys by powerful men, thrives in a climate of lawlessness and corruption. The 2010 documentary The Dancing Boys of Afghanistan, directed by Afghan journalist Najibullah Quraishi, pulls back the curtain on this horrifying reality, exposing a world where children are commodified, abused, and silenced. Through undercover footage, survivor testimonies, and chilling encounters with perpetrators, the film reveals how poverty, impunity, and cultural complicity enable this systemic abuse. This article delves into the documentary’s revelations, the historical roots of bacha bazi, and the urgent call for global action to protect Afghanistan’s most vulnerable.

The Dark Legacy of Bacha Bazi

Bacha bazi—literally “playing with boys”—dates back to the 13th century, rooted in patriarchal societies where gender segregation and poverty created a demand for young male entertainers . Historically, prepubescent boys were dressed as women, trained to dance, and forced into sexual servitude for wealthy patrons. Though banned under Taliban rule (1996–2001), the practice resurged after the U.S.-led invasion, as warlords and former Northern Alliance commanders regained power Today, bacha bazi is both a status symbol and a criminal enterprise, with boys as young as nine sold into a life of exploitation.

Key Drivers:

Poverty and Desperation: Families in rural Afghanistan, facing starvation, often sell their sons to traffickers for as little as $50

Power Dynamics: Perpetrators include businessmen, politicians, and police officials who operate with impunity

Cultural Taboos: Discussing bacha bazi remains taboo, allowing perpetrators to evade accountability

Inside the Documentary: A Journey into Hell

Quraishi’s film, produced for PBS Frontline, is a daring undercover investigation into the hidden world of bacha bazi. Posing as a documentarian studying European traditions, Quraishi gains access to parties, training sessions, and the homes of perpetrators.

The Perpetrators

Dastager: A wealthy businessman and former mujahedeen commander, Dastager hosts parties where boys dance in women’s clothing. He openly discusses purchasing an 11-year-old boy, Shafiq, whom he trains to sing and dance .

Mestary: A Northern Alliance warlord, Mestary brags about his “collection” of boys and attends gatherings where children are shared among men .

The German: A trafficker who scouts parks for vulnerable boys, luring them with promises of food and shelter .

The Victims

Shafiq: An 11-year-old boy sold to Dastager, Shafiq undergoes rigorous training to become a dancer. Unaware of the sexual demands awaiting him, his innocence is a stark contrast to the predatory world he enters .

Abdullah: A 13-year-old forced to dance at weddings, Abdullah describes being “shared like a toy” among men. His owner, Rafi, a musician, profits from his exploitation .

Systemic Complicity

The documentary exposes how police and government officials actively enable bacha bazi. Deputy Police Chief Mahmud Al-Hassan denies the practice exists, yet officers like Satar Khan and Jabar Khan are filmed attending parties . A UNICEF report cited in the film confirms that Afghan authorities routinely ignore allegations, fearing retaliation from powerful offenders .

The Cycle of Abuse: Trauma and Resistance

Boys trapped in bacha bazi face lifelong psychological scars. Many turn to drugs or alcohol to cope, while others become perpetrators themselves, perpetuating the cycle . The documentary highlights rare acts of defiance:

Paul Bonacci (from a related U.S. case): A survivor of child trafficking, Bonacci risked his life to expose a network linking Afghan warlords to American elites .

Troy Boner: Another survivor, Boner recounts being tortured with hot cigarettes and forced into orgies. His testimony led to brief arrests, but perpetrators were swiftly released .

Global Indifference and Failed Interventions

Despite international condemnation, efforts to combat bacha bazi have faltered:

UN Inaction: In 2011, the UN and Afghanistan signed an action plan to end the practice, but enforcement remains nonexistent .

U.S. Complicity: American contractors hired by DynCorp were implicated in funding bacha bazi parties, yet the U.S. government declined to intervene .

Taliban Hypocrisy: Though the Taliban outlawed bacha bazi during their rule, recent reports suggest their commanders now engage in the practice, driving it further underground .

Conclusion: The Fight for Justice

The documentary ends not with resolution but with urgency. Shafiq, now a year into his training, faces an uncertain future. Quraishi’s footage—of parties, police collusion, and broken children—serves as a damning indictment of a society that sacrifices its youth to power and greed.

Calls to Action:

International Pressure: Governments and NGOs must demand Afghanistan enforce its laws and prosecute perpetrators .

Support Survivors: Organizations like the Afghanistan Independent Human Rights Commission need funding to rehabilitate victims .

Global Awareness: Films like The Dancing Boys of Afghanistan must be amplified to shatter the silence surrounding bacha bazi .

Final Words: Shame on the Abusers, Hope for the Innocent

The boys of Afghanistan are not commodities. They are children whose laughter has been stolen, whose bodies have been violated, and whose futures hang in the balance. The Dancing Boys of Afghanistan is more than a documentary—it is a rallying cry. To watch it is to bear witness; to act is to honor the courage of those who shared their stories. The world must no longer look away.

“It’s a form of slavery, sexual slavery. We have to ensure that we take them out of that reality.” — Radhika Coomaraswamy, UN Special Representative