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‘About suffering they were never wrong’

Miniaturist Saira Waseem is the latest exponent in a long list of Pakistani artists resisting the country’s political, cultural and social erosion.

Saira waseem4Passion Cycle, 2005

Pakistani art going global is a remarkable story, for it typifies the ineffable contradictions of the country. In part it is a testament to the country’s creative expression, an explosion of sorts; and partly a mode of resistance to the anti-art ideology that is permeating the social fabric. It’s not just painting or the booming art galleries, there is a revival underway of the moribund television drama, the resuscitation of cinema and continuous experimentation with music.

Salima Hashmi, a leading arts academician and practitioner noted in a recent essay that the “proverbial worst of times are certainly the best of times for contemporary Pakistani art.” Our foremost historian, Ayesha Jalal in her latest book “The Struggle for Pakistan” views the creative expression as a resistance to Pakistan’s forced Islamisation. Jalal writes:

saira waseem5 Ethereal I, 2014

“The globalization of Pakistani music has been accompanied by a remarkable leap in the transnational reach of the creative arts…a younger generation of painters are making creative uses of new ideas and technologies to both access and influence a diverse and dynamic transnational artistic scene. The dazzling array of new directions in the contemporary art, literature, and music of Pakistan displays an ongoing tussle between an officially constructed ideology of nationalism and relatively autonomous social and cultural processes in the construction of a “national culture.”

Jalal as a contemporary historian reminds us that the domestic battle of ideas and ideologies is not over and is assuming newer shapes. At the same time, the issue of a crumbling Pakistani state haunts the future trajectory. Is the arts and literature renaissance of sorts an antidote to a state unable to fulfill its basic functions such as securing the lives of its citizens? There are some immediate examples from the subcontinent that come to mind: The reigns of Wajid Ali Shah and Bahadur Shah Zafar in nineteenth century India were also remarkable for their artistic endeavours before the final takeover of the British. Not entirely relevant, these are important phases of our recent history to be remembered.

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Promoting pluralist folk heritage is vital for Pakistan’s future

I talked to Dr Fouzia Saeed, the newly appointed Executive Director of Lok Virsa

fauzia saeedDr Fouzia Saeed with Zarina, a folk singer from Cholistan

Dr Fouzia Saeed, a scholar and civil society activist, was recently appointed as the head of Lok Virsa – the premier government institution to conserve and promote cultural heritage. After years of inaction and treating folklore as a commodity to be sold at melas and cafes, it is somewhat encouraging that a professional is in charge of an important institution. Fouzia is a renowned folklorist. Her well-researched book ‘Forgotten Faces: The daring women of Punjabi theatre’ traces the lives of women actors active in folk theatre during the 1960 and 70s. Another publication on the lacquered work of Dera Ismail Khan is a useful reference on an old craft that continues to be practiced.

Earlier, Fouzia led the movement for promotion of Manganhaar music encouraging younger people to participate and take pride in that activity. On PTV Fouzia interviewed many artists who had quit performing arts. As the founding member of Sanjh Theatre, she has been actively engaged with the folk arts. In 1988, she joined Lok Virsa as a Deputy Director, Research, and produced a record number of publications. In 1989 she set up a private organization – The Folklore Society – that she still chairs. Fouzia’s best known initiative remains Mehergarh – a Human Rights institute – that provides leadership training and helps build an alternative discourse on culture and society. Her PhD in Education and academic training in anthropology led to her award winning book ‘Taboo’ that explores the stigma on performing arts in Pakistan; and is now being used as a textbook in many countries.

We spoke to Fouzia as she was leaving for Islamabad to take charge of the institution.

Going back to Lok Virsa as its head must be a homecoming of sorts?

Yes, Nostalgic! When I joined it in 1988 I had just completed my education from the USA and was so full of enthusiasm. It was a thriving and creative place! There was a tea khokha on one side and we used to have samosas there and come up with  creative ideas for our programs. I really got groomed there. It is great to come back to it. All these past years I used to call it my ‘maika ghar’ (parental abode). I know almost all the people there, I also know its glorious as well as subdued past quite well. With all the affection for Lok Virsa, it is great to be back. Not just for the staff and colleagues but also the folk artists that I have maintained close contacts with.  They are thrilled and I am thrilled!

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Iqbal Hussain – Lahore’s controversial artist

Iqbal Hussain from Lahore is one of the finest painters we have. Most of his paintings depict women from the Heera Mandi (literally the diamond market)- or the centuries old red-light district. I found the
above image […]

February 6th, 2007|Arts & Culture, Lahore, Pakistani Art, South Asian Art|8 Comments