A splinter group of the Pakistani Taliban has claimed responsibility for killing at least 72 people in a heinous attack in Lahore at a popular park where scores of families had gone to spend their Sunday. Images of wailing mothers and a bloodstained park continue to haunt the people of Lahore, Pakistan and the […]
In celebrating his pluralistic literary roots, Intizar Husain was a truly contemporary writer.
Intizar Husain, the last of great Urdu writers, passed away yesterday at the age of 92.
He’d been hospitalized for some time in Lahore. His ardent followers had been worried that the worst was likely to happen. But the truth is […]
The dual suicide attacks on Lahore’s Christian churches last Sunday were a continuation of evidently unstoppable violence against the country’s minorities. A gruesome lynching and burning of two Muslim men by a charged mob followed the attack. Christian protestors, sidelined and neglected by the state, attacked Metro Bus stations, blocked major roads and also impeded VIP movements. They were baton-charged and after two days of rioting, the funerals of the blast victims took place. Ghastly as it was, the mob lynching of the two Muslim victims dominated the news space and social media debates rather than the original act of terrorism. Once again, there was something to obfuscate. Sadly, the angry mob did not help its cause either.
Nearly two per cent of Pakistan’s population comprises Christians, mostly poor and marginalised. Pakistan’s hypocritical society makes a class of people clean their homes and streets and then has the audacity to call them ‘churaas’ (a derogatory term for a sweeper). Such is the level of prejudice that many jobs of municipal cleaners specify that only Christians are needed, as many Muslims are averse to performing ‘menial’ tasks. Ironically, there are street signs everywhere citing a saying by the Holy Prophet Muhammad (peace be upon him) that “Cleanliness is half the faith”.
Ingrained prejudices combined with the Islamic nationalist identity have meant that Christians are lesser citizens in the Islamic Republic. A non-Muslim cannot be head of the state. Children from minority communities are made to read textbooks that denigrate ‘non-believers’ and ‘infidels’. Certain laws on our statute books expose the broadly poverty-stricken Christian community to abuses of the law. Institutionalised discrimination has accompanied the propagation of the ‘ideology of Pakistan’ that engenders silence and acceptance of the defacto second-class status of a non-Muslim.
Shaan Taseer’s debut solo exhibition is a ceremonial homecoming for the artist.
It has taken the gifted Shaan Taseer almost two decades to focus on the natural habitat of his soul – art. This has finally happened. Earlier, this month, 35 artworks by Shaan – all watercolours – were exhibited at the Chawkandi Art Gallery in Karachi and the show was quite a success. All the paintings were sold, but more importantly this was the moment of arrival for an artist who has resisted the path for some time.
I have known the artist for many years and had seen some of his sketches and watercolours long before. Shaan’s innate talent was chiselled at school and such was his dexterity with lines that I even suggested he pursue his passion as a career. In those days, all of us were busy studying what was ‘relevant’ and the choice of plunging into the world of the ‘starving artist’ archetype was a risk that Shaan did not take. But he continued sketching. While living abroad, he absorbed inspiration from myriad sources. The way North African cities were built and the way the migration of humans and ideas was part of the limitless globe all seem to have influenced the evolution of his style.
In referencing N M Rashed, clay pots, paper boats, the river Ravi and the lost garment ‘Saddri’, Pakistani artist Sabah Husain creates a seamless whole out of seemingly disparate objects.
Sabah Husain, the accomplished artist of Pakistan, is a trendsetter. Currently affiliated with the School of Museum of Fine Arts, Boston, Sabah displayed her recent works in Washington DC where the Pakistani Embassy showcased her works for art lovers in town and also reiterated how important cultural diplomacy is for our missions abroad.
As someone who has followed Sabah’s work for some time, I have always been intrigued by her fusion of Pakistan’s rich literary and cultural traditions into her oeuvre of printmaking and paperworks. The exhibition entitled ‘Mapping Waters’ (January 22-27, 2015) presented a range of paintings, prints and photography.
Four distinct, yet interwoven, sensibilities were curated at the exhibition: first, Sabah’s enduring conversation with Urdu’s best known modern poet Noon Meem Rashid and his epic poem ‘Hassan Koozagar Ke Naam’; the second layer invoked her interpretations of the once popular but now in virtual disuse ‘saddri’ (men’s waistcoat with Central Asian origins); the paper boat; and Lahore’s dying River Ravi. At the outset these layers may appear to be incompatible but essentially they represent non-linear, complex journeys of an artistic vision.
In his celebrated poem, Rashed identifies himself with Hassan the koozagar (the potter). In material terms most ancient civilizations display pottery as both a daily convenience as well as an expression of the collective creative spirit. At a metaphysical level, clay symbolizes the material for creation shaped by the “creator”. Thus all three are one in the Sufi parlance of Wahdut ul Wajud (Unity of Being) and best represented by the famous line from Jalaluddin Rumi:
“Khud Kooza O, Khud Kooza Gar O, Khud Gil-e-Kooz; Khud Rind O Subu Kush; Khud Bar Sar-e-Aan Kooza Kharidaar; Bar Amad Ba Shikast O Ravaan Shu.”
He the vessel, its creator and also its clay;
He is the reveller drinking from it…
And is the one who buys it and breaks the vessel having drunk from it
The mythical Hassan from Rashed’s poem was a resident of Baghdad and invoked during his long soliloquy, the banks of River Tigris, the boat and the powers of his creativity, poverty and longing. The poem also reminds us of the cycles of personal and civilizational growth and decay. Sabah interprets the poem and its metaphors – the river and the boat – and locates them in contemporary settings. This is where it all comes together: the poet and the artist both identify with Hassan who on the banks of a River muses on Time and its various manifestations. One such manifestation for Hassan’s successor, Sabah Husain, is the forlorn piece of garment Saddri (Sabah in a conversation told me that she owns and wears them too).
The ignoble massacre of children and teachers in Peshawar has led to unprecedented anger and grief across the country. The state has responded by ending the moratorium on the death penalty and convicted terrorists are now being hanged. Prime Minister Nawaz Sharif has announced that the days of differentiating between the good and the bad Taliban are over. A parliamentarians’ committee is reviewing counterterrorism measures that need to be adopted. The military leadership has undertaken the diplomatic-security initiative to engage with Afghan authorities on potential action that can nab the Taliban leadership based in Afghanistan.
All these measures are important and noteworthy. The ongoing Operation Zarb-e-Azb is here to stay and perhaps, is likely to be extended to other areas. But the central question is, whether these tactical moves are sufficient to tackle the hydra-headed Frankenstein’s monsters that Pakistan’s flawed national security policy has created, sustained and nurtured, sometimes with outside support and on occasions totally on its own. There is a name for this Frankenstein’s monster and it is known as jihad — a narrow, self-seeking interpretation of an otherwise lofty and ethereal religious concept. The struggle embedded in jihad — according to most scholars and not semi-literate clerics — is self-improvement. Instead, this has turned into a spectator sport where private militias carry out state objectives in the region and within the land of the pure.
This trajectory is an old one. It did not happen overnight nor was it a ploy of the Unites States and other powers to get Pakistan into a royal mess. In 1948, ‘jihadis’ from the tribal regions started with the battle of Kashmir that continues to date. Conventional wars or private ‘jihad’ efforts have brought neither glory to Pakistan nor relief for the Kashmiris, most of whom are sick of India and Pakistan treating their land and rights as national fiefs. […]