issue-16th by DESTINATIONS

ISSUE #16

Timeless

Bahawalpur

contents. Palace of Illusions

ISSUE #16

On the cover

p.66

Bahawalpur: A

p. 24

necessary heartache BAHAWALPUR SPECIAL

24 66 86 92 100 108

Bahawalpur: A Necessary Heartache Palace of Illusions Rising from the Sand The Story of Bahawalpur Bahawalpur Guide Girls on a Train In & Out of Love

In&Out of

Love

p. 108

p. 164

NEAR & AFAR 18 20

Lahore Biennale 01

Lahore Biennale 01 I, Too, Am a Part of This History LLF 2018: Stay Woke LLF 2018 Illuminati From Karachi With Love #KHILF Our Gal at Galle Aleph Turns 2 Great Expectations: South Asia’s Literary Revival

THE FASHION FIX 204 210 218 222

Shehla Chatoor’s Nur-e-Alaleh PSFW 2018: Of Feminism, Florals and Fringe Trims Seher Tareen’s #BossLady LSA X Nishat Hotel

ONE TO WATCH 226

Syra Mansoor Sheikh

OuratGal

Galle p. 194 p. 204

Shehla Chatoor’s

WOKE p. 118

Dream Destinations Destinations Desires

CULTURE TALK 118 160 164 174 184 194 198 200

STAY

20 18

Nur-e-Alaleh

PUBLISHER & EDITOR-IN-CHIEF ASMA CHISHTY MANAGING EDITOR : MARIAM MUSHTAQ EXECUTIVE EDITOR : ZAHRA HIDAYATULLAH DESIGN & LAYOUT : ZOHAIB AKHTAR OBAID-UL-MOHSIN SEEMAB UL HASSAN MEDIA SALES : NAEEM ULLAH MARKETING CONSULTANT: HUMZA ZAFAR CIRCULATION INCHARGE : SHAAN ALI PUBLISHED BY : Daewoo Pakistan Express Bus Service Ltd. 231, Ferozepur Road, Kalma Chowk, Lahore, Pakistan +92.42.111.007.006 , +92.42.3583.5132 GM MARKETING & SALES (DAEWOO) : SHERIAR HASSAN CHIEF INFORMATION OFFICER (DAEWOO) : USMAN HAYAT LEGAL ADVISOR : BASIT WAHEED WATTOO CONTACT (SALES) : +92 334 423 4681 (NAEEM ULLAH) naeem.ullah@daewoo.com.pk +92 333 488 8203 (KHAWAJA AMMAR) khawaja.ammar@daewoo.com.pk DISTRIBUTORS: NATIONAL NEWS AGENCY PRINTERS : TOPICAL PRINTERS

destinationspk

destinations.com.pk www.destinations.com.pk

destinationspk

contributors Amna Zuberi

Laaleen Sukhera

Bahawalpur: A Necessary Heartache p.24

Our Gal At Galle p.194

Lahore Biennale 01 p.118

Laaleen Sukhera is a British Pakistani writer and media professional and the founder of the Jane Austen Society of Pakistan. She is the editor and one of seven contributors of Austenistan, an anthology inspired by Jane Austen and set in contemporary Pakistan, published by Bloomsbury India in December 2017 and forthcoming from Bloomsbury UK and Bloomsbury USA in 2018. She is currently working on her next novel and screenplay and is due to appear in I Hate Jane Austen, a Sky Arts documentary presented by Giles Coren, in 2018.

Graduating from NCA as a visual communication designer, and having built a successful career for more than a decade as a communication and design strategist both in brands and academia, Amna chose to leave her career for a more adventurous journey in life. Over the last 3 years, she has been pursuing her passion for travel and visual storytelling. Today she is a freelance travel and street photographer, building visual narratives from across Pakistan through her eye. Her work has been published in books and publications. You can find more of her stories on her Instagram ID: amnazuberi

Seher Tareen’s #BossLady Seher Tareen p. 218

Nuzhat Saadia Siddiqi

Salman Rashid

Bahawalpur: A Necessary Heartache p.24

Rising From The Sand

Nuzhat Saadia Siddiqi is a writer, an environmentalist, an avid reader and an archivist. Her work has been published in all of the major English newspapers and magazines in Pakistan, and as a child, she even won Rs. 200 from an Urdu children’s magazine in a short story contest, which she considers one of the major victories of her life. She is based in Lahore and travels all over the globe, but nothing surprises her or enthralls her as much as Pakistan. She chronicles her daily adventures on Instagram: @nuzhatssiddiqi

Fellow of the Royal Geographical Society, Salman Rashid is author of nine travel books. He is the only Pakistani to have seen the north face of K-2 and trekked in the shadow of this great mountain. His work – explorations, history, travels – appears in leading national publications. He tweets at @odysseuslahori.

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editors note from the

We approach our second anniversary with great aplomb. As we celebrate two years of our journey, we are happy to uphold our promise of promoting, preserving and presenting art, literature and heritage through text and photo documentation as well as video shorts. In an attempt to encourage mass engagement with the elements that form our collective sense of cultured community, this issue is a dedication to our informed consciousness of the above. Our cover features the princely state of Bahawalpur in all its regalia and former glory. In a high fashion editorial shoot, we visit the once stately home of Nawab Sir Sadiq V, one of the top patrons of the arts and humanities, and showcase it in the light of haute couture from the leading fashion houses of the country. Fellow of the Royal Geographic Society, travel historian Salman Rashid narrates a compelling historical account of the city of Bahawalpur from the times of the Rajput prince in the 10th century who laid the foundations of the mighty Derawar Fort in the Cholistan Desert to the reign of the Abbasids caliphate who became the founders of this vastly affluent state. In an ode to the city of her birth, journalist Nuzhat Saadia Siddiqi also pays a visit to Bahawalpur and pens an emotional narrative of fascination and wonderment from the times when opulence and romance reigned supreme there.

ASMA CHISHTY

PUBLISHER & EDITOR-IN-CHIEF

The world of letters has been abuzz with much activity lately. We present in-depth details from a) the successful sixth iteration of the annual Lahore Literary Festival to b) the ninth edition of the Karachi Literature Festival and finally c) the launch of the second volume of the Aleph Reviewan anthology of creative expression covering all forms of poetry, prose and art. Whilst on the topic on creativity and cultural endeavors, the event that marked the seasonal calendar for best design energy was the first edition of the much awaited Lahore Biennale. With artwork exhibitions and events hosted at various iconic venues across the city, it featured over fifty celebrated artists and collectives from ten diverse countries across the world. Although all issues are curated with great attention and care, this being our anniversary issue, has been painstakingly curated to reflect not only our national best but to also bring forth the forgotten treasures. We have poured our hearts and souls into every page, as each printed story and image reflects our fervent hope to inspire and excite you. Through this compilation, we hope, as the Guardian so aptly puts it, you can see the “Pakistan that too often gets lost in reporting.”

ZAHRA HIDAYATULLAH EXECUTIVE EDITOR

MARIAM MUSHTAQ MANAGING EDITOR

NEAR & AFAR

Whether you’re craving a domestic getaway or eyeing a more exotic trip abroad, we pick out the best places to help you plan your travels.

How to get there: Katas Raj is located near Kallar Kahar, off the M2 Motorway, at an altitude of 2,000 feet in the Salt Range. It can be reached from Lahore in approximately 3 hours and 30 minutes via car.

Where to stay: Since the temple complex is easily accessible from both Lahore and Islamabad on the M2 Motorway, it is best to plan a day trip to the site. 18

What to do: Soak in the magic of this ancient site which houses the “satgraha,” a group of seven ancient Hindu temples, the remains of a Buddhist stupa, five other medieval temples and havelis scattered around a pond. According to legend, the pond was created from the teardrops of the god Shiva, after he wandered the earth inconsolable after the death of his wife Sati.

KATAS RAJ TEMPLES The Katas Raj Temples, also known as Qila Katas, are a network of Hindu temples located near Chakwal district in Punjab. The temples, connected by walkways, form a complex surrounding a pond named Katas, which is regarded as sacred by Hindus.

How to get there:

What to do:

The main airport in Cyprus is located in the city of Larnaca. You can fly via Emirates from Lahore, Karachi and Islamabad to Dubai and then onwards to Larnaca in roughly 10 hours.

Cyprus has a diverse mix of archaeological sites to explore, from the Tombs of the Kings in Paphos to the ancient Kourion amphitheatre in Limassol. Its beaches are internationally renowned for being the best in the world so if sun, sea and sand are what you’re after, there couldn’t be a more perfect destination. The Troodos mountain range is an ideal location for hiking enthusiasts, with its unique array of fauna and flora over an area that encompasses a large number of nature trails and picnic spots. Nicosia, the capital, has a wealth of history as well as a thriving restaurant scene.

Where to stay: Located in the heart of Nicosia, the capital of Cyprus, the Hilton offers quiet luxury and spectacular views of the city. It is within easy walking distance to the mighty Venetian stone walls that surround the old quarter. From historic sites to designer shops and upmarket restaurants, everything is easily accessible.

CYPRUS

Birthplace of Aphrodite and crossroads between three continents, Cyprus has seduced and inspired generations of travellers for hundreds of years. The island is blessed with a balmy climate and a rugged landscape of coast and mountains dotted with vineyards, villages and monasteries.

NEAR & AFAR Our guide to what we’re currently loving.

1 CAKE This is a Cake we can all indulge in guilt-free – the latest Pakistani film to hit cinema screens, starring Aaminah Sheikh, Sanam Saeed and Adnan Malik. Billed as a family drama that tells a story of ageing parents, sibling rivalry and the ties that ultimately bring us together, Cake has already created history by being the first Pakistani film to premiere at Leicester Square, London, ‘the’ hotspot for international movie premieres. If the rave reviews are to be believed, this one is certainly not to be missed!

2 URBAN KITCHEN The latest entrant to Lahore’s everexpanding restaurant scene, Urban Kitchen stands apart not only because of its quirky and colourful décor but also because of its diverse menu that provides an interesting take on classics such as mac and cheese, lasagne and spaghetti Bolognese. Location: 20 - L, Gulberg 2, near Mini Market, Lahore. Contact: 0301 7272354 20

LULUSAR CONCEPT STORE

Since its launch over a year ago, the online clothing brand Lulusar has made trendy and affordable clothing a convenient and easy reality for the fashion-savvy woman. Have garnered a steady clientele for its well-cut separates, vibrant colour-block designs and contemporary silhouettes, the brand has recently opened the doors to its first concept store in Lahore. The modern and minimalist space allows you the opportunity to view recent collections, try them on, place orders and pick up deliveries. The shop is located at 47 CCA, DHA Phase 5, Lahore.

NOBODY KILLED HER

The nation sinks deep into mourning as news of former prime minister Rani Shah’s assassination arrives. Despite countless conspiracy theories, the needle of suspicion points most immediately to Madam Shah’s close confidante Nazeen Khan, who was seen sitting right beside her in the convoy and, oddly, escaped the bomb blast unscathed. Debut novelist, Sabyn Javeri’s pens an intriguing tale of friendship between two ambitious women set against the backdrop of a country mired deep in fanaticism and patriarchy. Striking resemblance between real life events and the happenings chronicled in this book have led many to widely believe it is the story of Benazir Bhutto and Naheed Khan but Javeri inexhaustibly waves away all comparison between the life and times of Pakistan’s famous erstwhile premier and her aide to the character of Rani Shah and the narrator, Nazo. Nobody Kills Her is a political crime thriller that is sure to keep you hooked with courtroom drama, suspense and a style of writing best described as noir. According to insider news, film rights to the novel have been bought by Fox Star.

THE BRITISH MOSQUE

Published By Historic England and authored by architect Shahed Saleem, The British Mosque presents the first ever exploration of Islamic architecture in Britain. Celebrating the contribution of mosques within Britain’s complex and diverse religious landscape, and bringing Muslim heritage into the mainstream, the book features over 350 striking interior and exterior photographs of mosques across the country, as well as archive material and drawings.

BAHAWALPUR SPECIAL

Noor Mahal

Bahawalpur: A

necessary heartache By Nuzhat Saadia Siddiqi Travel Photography: Amna Zuberi

Bahawalpur offers a master class in gut-wrenching history paired with uplifting remnants of said history. Are you ready for the emotional roller coaster of discovering the former princely state’s built heritage? Journalist Nuzhat Saadia Siddiqi visits the city of her birth and narrates a tale full of fascination and wonderment from the times when opulence and romance reigned supreme there.

BAHAWALPUR SPECIAL

Noor Mahal

ere’s an earnest suggestion for you, if you are planning to visit Bahawalpur.

Don’t take a guide. Go alone. Because while you’re there, and you’re being confronted by, say, the towering majesty of Noor Mahal, you need to be alone so you can shed a tear or emit a deep sigh in appreciation of the grandeur without being mocked by companions who may or may not understand your reaction. I’m not exaggerating. The sight of one of the architectural wonders that exist in that city will force a wave of emotions upon you that will take a whole day or two to subside. But you won’t have the time to allow your heart to settle down. Because the next day you will be standing in front of Darbar Mahal, or Gulzar Mahal, or inside the Dring Stadium, or passing by in front of the Bahawal Victoria Hospital, or walking along a neatly kept road inside the Sadiq Public School, and that wave of emotions will keep on surging. You will be exhausted by the end of this journey. And that is a good thing.

How? Because you will realize that this is what it feels like to fall in love with a city drenched in history, where people still remember a past more romantic than the present. My personal love affair with Bahawalpur started because of family history. My great grandfather was the Wazir-e-Hazir (or Minister in Waiting) in the cabinet of the last, and most beloved, Nawab of Bahawalpur, Nawab Sir Sadiq Muhammad Khan Abbasi. My maternal grandmother had been married into a family that had migrated from India and had settled in Bahawalpur, so I was born in Bahawalpur. I grew up in Lahore and the Middle East, but many holidays were spent in the city of my birth visiting my grandmother who organized grand trips to all of the places that featured prominently in family reminisces. This was the 90s and my cousins and I went to her house armed with wonderment and our Walkmen. She would feed us fresh cream with crispy parathas, pack us in her Toyota Cressida or Mark X, and drive us past Noor Mahal, Gulzar Mahal and Darbar Mahal. At that time, these architectural marvels weren’t accessible to the public because of various legal battles among the heirs. Sealed by the courts, the palaces were finally sold to the Pakistan Army and while the Army did a great job in restoring them, they remained off-limits to the general public. This has changed only recently and thousands of domestic and foreign tourists can now experience for themselves the remnants of a legacy that has stood the test of time. And it is not only the palaces; for being the 12th largest city in the country, Bahawalpur is rich in architectural heritage that is quite unlike what other, larger cities boast of.

Lahore has what the Mughals, the British and the Sikh built. Karachi’s built heritage includes buildings made and influenced by the British, the Parsi community, and Hindus. What Bahawalpur has is inspired by French chateaus, British stately homes, padded with a bit of Italian neoclassical design, and it was all the result of the expansive imaginations of the Nawabs of Bahawalpur. It is also interesting to note that while their homes looked as if pulled out from European countries through a gash in the space/time continuum, the mosques that they built offered a firm and unwavering adherence to their claimed Arab ancestry with elements of local Sindhi and Punjabi culture mixed in. They walked through ceilings painted with frescos reminiscent of those found in Venetian palazzos, they looked at their own reflections in gilded mirrors imported from France, they dreamed within rooms where the wallpaper was brought in from England, but when they surrendered themselves to the Almighty, it was surrounded by the markers of their history which was unchangeable, unshakeable, and probably what kept them somewhat humble. Are you sufficiently intrigued? You should be. I revisited Bahawalpur recently to try and play Russian roulette with my own memory of the place and to learn more, to see more than I did when I was a child and my only goal in Bahawalpur used to be scoring the ice cold and incredibly thick mango milkshakes that street vendors sold, with a rose drawn in Rooh Afza on the top. I’m happily sharing my itinerary with you. (And you can get that milkshake in summer from any cart around Fawara Chowk.) 27

BAHAWALPUR SPECIAL

Gulzar Mahal

BAHAWALPUR SPECIAL

Gulzar Mahal

Thanks to the incredible courtesy and consideration of the relevant authorities, I found myself staying inside Gulzar Mahal, something I didn’t even imagine was possible. I kept waiting for myself to trip and fall down the staircase I was ascending and wake up. But it wasn’t a dream, and I was soon on the first floor in what was historically the guest wing of the palace, inside a room larger than an average Manhattan apartment. This would be my base for the next few days. Gulzar Mahal is well preserved. It was the first palace out of the many built by the Nawabs to have modern (for that time) concealed wiring and was lit up using electricity generated through diesel generators. The building is vast, with four domes sitting imposingly atop a lavish structure that borrows architectural elements from Britain, Italy and Spain. Corinthian columns feature heavily both outside and inside the great hall. There are ornate galleries that lead off to residential wings on either side, behind heavy doors.

BAHAWALPUR SPECIAL

It is hard to judge if the modern renovations are in line with original design elements, but the fact is that the building is at least alive with the sound of people using it. The lush grounds of the palace house military vehicles in the barns. Garages have been converted to suit the local corps’ need. Outhouses accommodate constabulary and service staff. There is a basement (#IHaveAThingWithBasements) but it was inaccessible. I did, however, fulfil my exploration quota by taking the old, concealed staff staircase. While improved, it still retains the original wood planks and threadbare carpet to soften the sound of footsteps. Service staff in the olden days used it to discreetly whisk away laundry, linens, used crockery and cutlery from residential chambers and to appear between guests with drinks and hors d’oeuvres during celebrations. While I couldn’t take it all the way down to the original service rooms, it was a delight to explore as much as I did because a whole class of young officers was having a gathering of some sort inside the palace while I was trying to play explorer. I had to make myself incredibly scarce to avoid a possible conversation. The only talking I wanted to do was in my head, with any possible ghosts I may have encountered. I didn’t encounter any, but of course that’s beside the point. With the noise of boots echoing through the marble hallways at all sorts of hours, it would be hard for any residual hauntings to last.

BAHAWALPUR SPECIAL

Noor Mahal 36

BAHAWALPUR SPECIAL

The first thought I had when I walked down a gravelly path towards Noor Mahal, which is now partially open to the public, was: ‘that’s our version of Downton Abbey.’ Lit beautifully by strategically placed yellow lights, the manicured palace grounds now have caterers selling food under strict guidelines of the army. People flock to visit it; the people I saw and heard the cold night I visited were a group of girls celebrating the birthday of a comrade in one of the designated dining rooms, families with children, teenager boys and a set of grandparents visiting from the UK. Strategically placed signposts warned visitors against being rowdy and disrespectful. Graffiti of any kind is sternly prohibited and a punishable offence. Hands, and children, are to be kept to yourself – whatever is itching to cause destruction. And since this is an army-owned historic building, the rules were unsurprisingly being followed. While you climb the red stone steps to enter the palace’s reception hall, you can see the windows of another inaccessible basement and you’re left to imagine what is or was kept underneath. Inside, the great hall is quite similar to that of Gulzar Mahal but has a more elaborately painted domed ceiling. It is quite evident that Noor Mahal inspired Gulzar Mahal. The former was built in 1875 on the command of Nawab Subah Sadiq Muhammad Khan IV in honour of his wife, who, as local legend has it, only slept in her chambers for one night. In the morning, while exploring her new home, she figured out how close the palace was to the Basti

Maluk Shah graveyard. She chided her husband for the ill-fated proximity and never returned to stay at the palace again. There may be some truth to the story as well, because according to even historical records, the Nawab and his family never truly made Noor Mahal their home despite its resplendent architecture and generously decorated rooms and halls. During the reign of the last Nawab, it was used to house state guests and for glittering gatherings of special guests. But no one from the royal family ever slept here again. Once again, legal battles about the ownership of the palace stole a few decades worth of life from it until the army stepped in to purchase it. During the years of abandonment, treasures worth millions were stolen from inside the palace and sold to the highest bidders across Pakistan and even abroad by black marketers. Whatever was left has now been restored and displayed within the great hall and the two state reception rooms flanking it. These are the only places accessible to general public. From the possessions of the Nawabs, a classical grand piano with real ivory keys, stamps and coins issued by the State Mint when it existed, military medals and honourary badges, photographs, paintings, tapestries, furniture carved and inlaid with mother of pearl, silk and velvet cushions embroidered with gold and silver thread, an oak and teak desk, and steel daggers and swords mounted along the walls, are on display.

Noor Mahal

BAHAWALPUR SPECIAL

Darbar Mahal

Photo by Uzair Aziz

BAHAWALPUR SPECIAL

Photo by Uzair Aziz

In his book Beyond Belief, author V. S. Naipaul writes a withering description of the generally well-loved (at least locally) last Nawab of Bahawalpur. He also mentions that the Pakistan Army found dubious possessions of the Nawab when they took over the Darbar Mahal (another architectural marvel and victim of familial infighting). While I haven’t been able to corroborate the story, I do know that Darbar Mahal is worth passing by during your visit to Bahawalpur since it isn’t accessible to public at all. There’s a heavy influence of the Lahore Fort and princely palaces of Rajasthan in this palace. Rumour has it that this palace still manages to hold on to its many princely treasures which include a wondrous art collection, tapestries, carpets and original furniture that was brought in from England and France. I missed out on getting in to the palace on my trip, but, again, if you have friends in high places within the army, call in a favour.

BAHAWALPUR SPECIAL

Photo by Uzair Aziz

BAHAWALPUR SPECIAL

Sadiq Garh Palace

Photo by Uzair Aziz

BAHAWALPUR SPECIAL

“I wish they would tear it down.” I thought I had misheard the local man who had ambled into the grounds of Sadiq Garh Palace after my companion and me. “I wish they tear it down,” he repeated for my benefit, just as snidely as he had said it the first time. “This pit of ghosts is nothing but a nuisance. My grandchildren have to take a detour of at least a kilometre every single day to go from our home to their school. They are exhausted by the time they get to school and then when they come back home. They should pave it and make a road here. A nice, wide road.” I couldn’t believe what this man was saying. Before I could respond, the caretaker of the place, Saeed, shooed away the old man and informed me that this man was the son of one of the bakers who were employed by the Nawab sahib. He had grown up inside and around the palace and he didn’t hate the place. He hated the fact that the history that he was a part of no longer exists. 52

“What he really wants is the return of the old days,” Saeed told me sombrely. But the past cannot visit the present, and cannot be a part of the future. All we can suffice with is the thought that we keep clutching on to bits and pieces of it, and Sadiq Garh Palace, located some 56 kilometres away from Bahawalpur in the small town of Ahmedpur East, is one of the more alluring ones. This magnificent palace once served as the seat of power for the Nawab of Bahawalpur. Now, the grand building stands neglected and derelict as legal battles rage on. Saeed informs me that many smaller properties located in the grounds have been distributed among the families of the heirs, but Sadiq Garh Palace remains, in his words, “loveless” and “orphaned.” It is hard not to understand exactly what he means. While Nawab Sir Sadiq ruled the princely state, state dignitaries, kings and queens, prime ministers, generals and presidents wined and dined in this beloved abode. Built in 1882, the

Photo by Uzair Aziz

palace was more of a mini fortress which had an elegant ballroom, a library that had more than five thousand books and manuscripts in different languages, separate living quarters for the women of the family, a grand dining hall, a “Turkish Hall” inspired by Turkish architecture, art and motifs, a “French Hall” which took inspiration from la vie Parisienne, a beautiful mosque, a mini cinema hall, an armoury, an electricity generation plant, a water pumping and filtration plant, a dairy farm, stables, a motor workshop for the dozens of Rolls Royce cars the Nawab owned, and an extended garage that housed cars, motorbikes and Victorian coaches. While none of this remains now, and the gardens and fruit orchards are overgrown and unkempt, you can experiences slivers of that former glory if you convince Saeed to allow you to respectfully go inside the palace, which I did. Author and critic Susan Sontag wrote in her essay “Unguided Tour” for Granta magazine that nostalgia for the past experienced at instances when you visit old and ruined places is “just one of

the more disastrous forms of unrequited love”. And that’s exactly what I felt. The decay and destruction felt like a personal affront. The wallpaper peeling off the walls inside the rooms was once lovingly brought in from England. The mouldy and crumbling carpets now stacked inside a room where the ceiling is caving in were brought in from Central Asian countries, Iran, Syria and Iraq. The cracked and muddy porcelain bathtubs and washbasins were brought in from France. The crystal and diamond adorned chandelier that lit up the central court within the palace was felled by looters and taken away piece by piece. It was hung up originally by bringing in elephants to bear its weight; the place where it had fallen still has the cracks. Only things which couldn’t be humanly lifted out and carried away from the palace, have remained within. These include a set of safes and lockers in the basement that once held the jewels of the begums, heirlooms collected from across the globe, priceless gifts from rulers of dozens of countries, and at least a part of the wealth that Nawab Sir Sadiq offered to the Quaid when Pakistan was created, to pay for official state expenses. 53

BAHAWALPUR SPECIAL

Photo by Uzair Aziz

The fact that this place is falling further and further into ruin and an advanced state of decay shouldn’t deter you from visiting it. In fact, I encourage people to visit it so that, perhaps by some miracle, a mysteriously generous benefactor or the state would recognize and realize its value and restore it to its former glory. The fates of similar palaces on the other side of the border, in Rajasthan, have turned for the better with public private partnerships that have proven to be delightfully profitable and uplifting for the local people and for the country’s tourism. “We used to say this place was made of magic and now it sits under a curse,” Saeed told me before I left. On my way back to Bahawalpur, I kept wondering if the curse would be broken before the last brick crumbles away.

BAHAWALPUR SPECIAL

Everything is Illuminated © Sadiq Public School

Sadiq Public School Most people do not chase decayed dreams of a distant past on their holiday and that’s perfectly all right, because Bahawalpur has so much more life to offer. Make an appointment to go and roam around the grounds of the magnificent Sadiq Public School, a boarding school that was modelled to be the “Aitchison of the South”. It soon surpassed its inspiration by opening its doors to female students as well. They can now be found studying side by side their male counterparts. Your hearts will be lifted when you see some of these young ladies in smart jodhpurs and other riding gear, going off to ride their horses for polo and show jumping practice. Inaugurated in 1954 by Nawab Sir Sadiq, the 450 acres of land under the school management house historic school buildings, manicured lawns, hostels, two swimming pools, a hospital and several staff houses, a library, a squash court, a gymnasium, a riding club, an IT centre, and an amphitheater. The children of service staff members are also educated on campus in a school block built specially for them.

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Sadiq Reading Library Next, find your way to the Bahawalpur Central Library, which is also known as the Sadiq Reading Library. Inaugurated in 1924, it is one of the largest public libraries in the country. It was built as a diminutive version of the many palaces the Nawabs built and the design is an amalgamation of influences from the same. The library thrives today with thousands of members keeping it afloat. When you visit, you experience a living place. It is useful and necessary to the way of life of hundreds of students and patrons from all walks of life who come here to read, to learn, to use the computers, to talk to each other and to take part in book launches and readings by local authors and poets. The library also houses an impressive archive of local and regional newspapers and periodicals and magazines. Their collection of British magazines and journals goes back to the 1850s.

BAHAWALPUR SPECIAL

Bahawalpur Museum If you are looking for more, stop by the historical Fawara (Fountain) Chowk in the middle of the city. The fountain was gifted to Nawab Sir Sadiq by members of the British royal family and was originally installed in the grounds of Sadiq Garh Palace, from where it was moved and finally put in the city centre with a pond and a roundabout. Water sprouts out from the fountain through several founts that are shaped like heads of various animals. It is marvellously strange thing to have in a city that still apparently takes a Friday holiday to side with the Ummah. After this, move on to the Bahawalpur Museum which houses the cars of Nawab Sir Sadiq, a grand coach that was gifted to his father by Queen Victoria, a carriage of the royal train, dozens of historic photographs of the foreign dignitaries who visited the Bahawalpur State in its heydays, coins from the Bahawalpur State Mint, postage stamps bearing the likenesses of the Abbasid Nawabs, textiles and clothes from the family and much more.

BAHAWALPUR SPECIAL

Jama Masjid Al-Sadiq

Lastly, stop by the chaos of Farid Gate and gird up your loins to brave the crowds engaged in frenzied rituals of daily economy inside the bazaar. Have some sohn halwa from Haji Halwai on your way to steady your nerves, or some of that delicious street food. Make it to the historic Jama Masjid Al-Sadiq. Once there, soak in the serenity of the place and offer a prayer or two for having made it so far, awash in complex history, yet, hopefully, unscarred by it. And buoyed by it.

Fahmeen’s Dress: Elan Zara’s Dress: Sana Safinaz

Palace of

Illusions

Photography: Rizwan ul Haq Hair and Makeup: N-Pro Styling and Art Direction: Tabesh Khoja Jewellery: Amrapali Footwear: Borjan Models: Zara Abid, Fahmeen Ansari, Mushk Kaleem and Zara Peerzada Location: Sadiq Ghar Palace

Zara Abid’s Dress: Elan Zara Peerzada’s Top & Trousers: Faraz Manan Fahmeen’s Corset, Trousers & Jacket: Faraz Manan Mushk’s Dress: Sana Safinaz

Mushk’s Dress: Sana Safinaz 70

Mushk’s Dress: Sana Safinaz

Fahmeen’s Corset, Trousers & Jacket: Faraz Manan Mushk’s Dress: Sana Safinaz

Zara Peerzada’s Dress: Zaheer Abbas 75

Fahmeen’s Corset, Trousers & Jacket: Faraz Manan 76

Fahmeen’s Dress: Elan

Zara Abid’s Dress: Elan

Zara Abid’s Dress: Elan Zara Peerzada’s Top & Trousers: Faraz Manan

Zara Peerzada’s Dress: Zaheer Abbas 82

Zara Abid’s Dress: Zaheer Abbas 83

Fahmeen’s Dress: Sana Safinaz 84

Fahmeen’s Dress: Sana Safinaz 85

BAHAWALPUR SPECIAL

RISING

Sand from the

The Story of Bahawalpur By Salman Rashid

Travel writer and historian Salman Rashid narrates a fascinating account of the history of Bahawalpur, from the times of the Rajput prince in the 10th century who laid the foundations of the mighty Derawar Fort in the Cholistan Desert to the reign of the descendants of the Abbasid caliphate who became the founders of this vastly affluent state.

BAHAWALPUR SPECIAL

he river Jamuna was home to a fearsome dragon in an age long ago. For some reason the gods became displeased with it and ordered it to leave the river and seek a new home in the vast oceans. But because the dragon could only travel through water, the gods were benevolent enough to order the Jamuna to send a stream southward all the way to the sea.

On that he raised his mud-brick fort calling it Dera (home) Rawal Deo Raj after himself. That was in the middle years of the 10th century. Over time it came to be known as Derarawal or Derawar and as its hoariness grew, legends accreted to it. Among others, it was believed to be the repository of a vast treasure left behind by Alexander the Macedonian as he passed on southward through this territory.

The dragon left the river by this new stream that was for millennia known as the Hakra. But the long and creative passage of time leaves nothing, not even the work of gods, unaltered. The Hakra that was once the dragon’s passage and which slaked a huge country turning it green with farmland and orchard dried up. The land turned desert and today the only sign of the lost river is a meandering depression through the dunes of the Cholistan Desert.

Drawn by these stories, Shah Hasan Arghun, then ruling over Sindh, raided Derawar in 1525. His history refers to the fort as Dilawar and we are told that after a short siege, he defeated the Langah chieftain and removed a large treasure from the fort.

Here, amid the dunes-hardy desert, Rajputs continued to worship Dharti Mata, the Earth Goddess, whose echoes we still hear at the festival of Channan Pir near Yazman. And here the crafty prince Rawal Deo Raj carved out a kingdom for himself. Given a cowhide by his father-in-law and told to build his territory on an area that could be covered by it and no more, the astute prince did not have to think long. Cutting the hide into thin strips, he compassed a large area that his father-in-law could not deny him. 88

The truth sprinkled across the dunes of modern Bahawalpur district in the form of cultural mounds is that the Hakra did indeed flow and nurture an ancient civilisation whose cities easily rivalled the better-known Moen jo Daro and Harappa in the Indus Valley. The truth also is that some four thousand years ago, the Hakra ran dry. The inhabitants of its rich cities moved away and the sand moved in to smother their homes. While the Indus Valley received the archaeologists’ fullest attention, the lost Hakra remained a poor cousin and was only cursorily investigated so that we do not know what surprises still sleep beneath the Cholistan dunes.

This silence, broken periodically, prevailed for centuries until far away in the south a squabble broke out between brothers. Amir Channi Khan, holding sway in upper Sindh, had on his deathbed passed on his turban, the symbol of government, to his elder son Mehdi. To the younger Daud he bequeathed his copy of the Quran and his rosary to take on the role of spiritual guide. Some years later when Mehdi died, Daud Khan attempted to deprive Mehdi’s son, his own nephew, Kalhora of the turban. Bitter strife ensued until Daud abandoned his claim to the throne and migrated north to stake out another area. Known as the Daudpotra (sons of Daud), surnamed Abbasis for they claimed descent from the Abbasid caliphate, this man’s progeny became the founders of a state that was so affluent in the 20th century that besides doing great public works in its own domain it also financially supported the municipal uplift of Mecca. The first Abbasi to come into prominence was Sadiq Mohammad Khan I in the 1730s. He was an administrator who subdued local brigands to bring peace and order and built towns in the country today known as Rahim Yar Khan and Bahawalpur.

In the sandy wilderness, a few kilometres from the banks of the Sutlej River, stood the solitary mansion of a local zamindar. Raising a fortified wall around it and establishing a town within, Bahawal Khan called it Bahawalpur after himself. So that verdure may replace desert aridity, he ordered a canal to convey water from the Sutlej and along its serpentine course he planted gardens. The year was 1748. Sixty years later, in 1808, the peripatetic statesman and writer Mountstuart Elphinstone came to Bahawalpur. The walls enclosed a town of about ‘4 miles in circumference’ where mango orchards grew amid tightly packed houses. He found the streets crowded with townsfolk who had a language distinct from that of central India and a particular mode of dress. The man also noted that industry thrived and cotton lungis and silk girdles and turbans were the major manufacture of Bahawalpur.

By the end of the 19th century, the town was a bustling mart with a brisk trade in cotton, indigo, oil seeds, dates, mango, livestock, carpets and leather products.

Seeing his ability, the Persian invader Nadir Shah placed him in charge of the important towns of upper Sindh together with the ancient fort of Derawar. This latter place, Sadiq Mohammad had only a few years earlier wrested from the Rajput prince Rawal Akhi Singh. But Sadiq Mohammad’s days were numbered. As soon as Nadir Shah had withdrawn to the west, Sadiq’s kinsman Khudayar Kalhora attacked him in his Shikarpur stronghold. A hard fought battle resulted in the death of Sadiq and his turban passing to his eldest son Bahawal Khan I. Realising that he did not possess the wherewithal to hold a country extending as far south as Shikarpur and Larkana, Bahawal Khan turned his attention to a spot way off in the north.

Fast forward to 1827 and we have Charles Masson, the scholarly deserter from the East India Company army travelling about under a pseudonym to escape arrest and courtmartial. He was delighted to reach Bahawalpur after the long journey through sandy wastes to find himself ‘in a large populous city, surrounded with luxuriantly cultivated fields, and groves of stately palm-trees.’

Bahawal Khan’s canal that he called Khanwah and which was commonly known as Nagini – serpentine – because of its meandering course had worked wonders for the city: Masson found it a place of ‘fertility and abundance.’ The wall was gone however, for the ex-soldier noticed but traces of it. Time passed and one thing that stood out was that the Abbasi rulers of Bahawalpur treated their fiefdom with great concern and an eye for progress. By the end of the 19th century, the town was a bustling mart with a brisk trade in cotton, indigo, oil seeds, dates, mango, livestock, carpets and leather products. Travellers of a hundred years ago noticed narrow bazaars roofed with matting to keep the heat out and thronging with buyers and sellers engaged in animated trade. By every measure, Bahawalpur was a success story. 89

BAHAWALPUR SPECIAL This progress is remarkable in view of the disturbances of the 1860s during the reign of Nawab Bahawal Khan IV (reigned 1858-1866). The Nawab’s own kinsmen, colluding with some Baloch chieftains, planned to replace him with an uncle of his. On 27 March 1866, the Nawab was served a poisoned meal and before the night was over, he had given up his ghost.

Completed in 1895, in no fewer than thirteen years of painstaking intricate work, Sadiq Garh Palace became a very mixed extravagance of two styles. Here is a fantasy of Italian domes, bay windows with Mughal domelets, mock arches juxtaposed with pediments, and pillars with Doric capitals and the overflowing pot of Laxmi at the base. The Nawab’s fancy was duly matched by the skill of his architect.

His son, Sadiq, not yet five years of age, was named the next Nawab. It was a time of great uncertainty as his dowager mother fended off the intrigues of courtiers and pretenders to the throne. At eighteen he received the turban and became the ruler of Bahawalpur as Sadiq Mohammad Khan Abbasi IV. He was a man cultivated and possessed of fine taste. In the annals of Bahawalpur, he can easily be celebrated as the finest builder who set the tone of the building tradition among his successors.

This was a time when the Nawab maintained three capitals. Bahawalpur where he would entertain visiting dignitaries; Dera Nawab as an informal capital for private and state business and also his family’s residence. And across the dunes in the desert Derawar Fort, its clay ramparts now lined with fired bricks, the place for the traditional dustaarbundi – the formal donning of the turban of kingship. As well as that, Derawar was the royal burial place. Even today, the stately domes of its many mausoleums, dusty and somewhat the worse for neglect, not far from the royal mosque recall a past grandeur.

In 1874, Sadiq Abbasi ordered the fabulous Noor Mahal to serve as his private residence. When it was completed the following year, his treasury was the poorer by Rs. 1.2 million, but the city of Bahawalpur had gained a jewel that it can still be proud of. With its domes, pillared verandas and pediments, it is a masterpiece of Italian architecture in our part of the subcontinent.

Alas, Sadiq Mohammad IV could only enjoy the pleasures of this palace for four years. He died in 1899 leaving his building tradition and his fiefdom to his son Bahawal Khan Abbasi V. The young prince inherited the fine taste of his father honed by But even before he Nawab Muhammad Suba Sadiq Abbasi IV a first-rate education at could move in, the Nawab Ruled 1866 - 1899 Lahore’s Aitchison College realised the palace’s proximity and private tuition from a very able to a graveyard. Rather than hear the teacher. He not only followed his father’s wailings of the bereaved come to bury their building tradition, he redoubled its speed and departed, he gave up the idea of residing in it. It accomplishment. was, however, all right for visitors to be troubled by the breast beating for His Highness re-designated His reign saw a stupendous blossoming of new his palace as a guest house and office. buildings. Darbar Mahal, foremost among the new additions, is a Mughal extravaganza. Sadly, this For his own use he raised an even more fabulous Nawab’s life was almost a replay of his father’s: retreat. Sadiq Garh Palace in the palm-saturated Bahawal Khan too died early (in 1907) and left setting of Ahmedpur (aka Dera Nawab), 50 behind an infant son to be overseen by a Council kilometres southwest of Bahawalpur, became the of Regency. Even before Sadiq Mohammad Khan V new pride of place. Nawab sahib was clearly taken wore the turban of chieftainship, he began to make by Italian architectural vocabulary. But this time, his mark by continuing his father’s and grandsire’s his appreciation of the Indian was wedded to the superior building tradition. European. 90

However, where his forebears built palaces, this remarkable and civic-minded ruler with his eye on educational development in his kingdom raised the Bahawalpur Library in the 1930s and Sadiq Public School in the early 1950s. While the library created a reading public, the school, functioning to this day, has produced some very fine women and men to lead in various fields. Long before oil enriched the Saudi kingdom, Nawab Sadiq Mohammad V was shoring up the impoverished kingdom with lavish handouts. Later, though he ceded his kingdom to Pakistan with some hesitation, he was liberal with his financial assistance to the new struggling country. In his largesse, he gifted his private properties to King Edward Medical College and the Punjab University, besides a large tract of prime real estate to the Punjab government. In 1955, Sadiq Mohammad ceded the independent State of Bahawalpur to Punjab province. Eleven years later this able and far-sighted ruler passed away leaving his erstwhile to a progeny that was nowhere near his visionary leadership. The priceless built heritage of Bahawalpur fell into neglect. Invaluable pieces of fittings and decoration were pilfered by none other than the children of the late Nawab, the very inheritors of it all, who squabbled over possession of the various properties especially the exquisite Sadiq Garh Palace. The abandoned palaces of Bahawalpur city may well have crumbled to dust had they not been taken over by the army in the late 1980s. Not all was lost! Today Sadiq Garh Palace, the jewel of Bahawalpur’s crown, stands forlorn and wretched, its beautiful fittings plundered, its gardens unkempt and its rooms bereft of every adornment. It is a sad testament to the greatness of three of the finest rulers of a bygone dynasty that turned Bahawalpur from sand desert to a very orchard.

Nawab Muhammad Sadiq Khan Abbasi V Ruled 1924 - 1966

BAHAWALPUR SPECIAL

Bahawalpur Overview Located at the edge of the Cholistan desert, yet surrounded by lush green fields, swaying palm trees and fertile orchards, Bahawalpur is a marvel of ancient history and architectural heritage. The capital of the former princely state of Bahawalpur and Pakistan’s 12th largest city, it is an intriguing mix of the old and the new. While there’s a beautiful historical building around almost every corner – from the Victoria Hospital to the Govt. Boys High School to the numerous palaces the city is famous for – there is also a growing presence of top retail brands, restaurants and busy shopping centres. Truly a travel destination worth discovering, we urge you to go sooner rather than later – whether for the historic attractions or the spectacular shopping. Presenting an insider’s guide to help you plan your Bahawalpur trip with ease:

Guide

Essential Info Friday, instead of Sunday, is a public holiday in Bahawalpur, and most businesses are closed for the day, so plan your itinerary accordingly. Some of the monuments are closed to the public and require special permission to be accessed. Make sure arrangements have been made well in advance to avoid disappointment. Shops don’t open before 12pm and the main bazaar in the old city closes at 8pm. ATMS are located all over the city. Carry cash at all times as most establishments, including hotels and restaurants, have a cash-only policy. Hire a local guide through the PTDC to get the most out of trip; or arrange your trip through one of the reputed travel companies mentioned below.

Getting there By Bus The Daewoo network connects to Bahawalpur from all major cities in Pakistan. Travel times are as follows: From Lahore – 7 hours; from Islamabad – 9 hours; and from Karachi – 13 hours.

By Air PIA flies direct to Bahawalpur from Lahore, Karachi and Islamabad. This is your best travel option if you’re short of time but as flights are limited to once or twice a week, you’ll need to plan your itinerary carefully. Note: Alternately, you can fly to Multan and then journey by road to Bahawalpur, roughly 2 hours. By Train For those of you looking for an adventure, we recommend the Green Line luxury train, which comes equipped with comfortable sleepers, hot meals and bottled water.

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Tour Providers Cube Karachi-based architect Zain Mustafa runs regular edu-tours within Sindh and Bahawalpur through his organization Cube. Visit https://www.facebook. com/cubeeducation/ for more information. Adventurer Treks and Tours This well-reputed Lahore-based company can organize group tours to Bahawalpur. Visit https://www. facebook.com/adventurertreks/ for more information.

BAHAWALPUR SPECIAL

Stay At

Eat At

Hotel One by Pearl Continental Bahawalpur Yazman Rd

Shahjehan Grill Circular Rd, Bahawalpur

You can’t go wrong with the tried and tested chain of PC’s budget properties, Hotel One. Located a little away from the city centre, near the airport, it’s still only a 20-minute car ride or so to most tourist spots.

For a satisfying desi meal in a clean and comfortable environment.

Fifth Avenue Dubai Chowk, Ahmedpur Rd This slick, newly built hotel located smack in the city centre, with its ultra-modern décor and wellappointed rooms, will seem like an oasis after a long day spent sightseeing. The fact that it is above a well-stocked grocery shop and a huge Sapphire outlet only adds to its cosmopolitan appeal. Gulzar Palace Off Darbar Rd, Canal Colony While the palace is off-limits to the public, contacts in the army can get you a stay in one of the lavish rooms of its guest wing, where you can indulge your fantasies of living like a royal amidst Corinthian columns, opulent draperies, sparkling chandeliers and lush green lawns. 96

Grand Regency Sadiq Colony, Near Dubai Chowk, Ahmedpur Rd With a sprawling dining hall and a menu that’s just as extensive, the Grand Regency serves some of the best barbeque in the city. The melt-in-your-mouth Malai Boti and the Special Fried Fish are not to be missed. Pizza Hut When you’re in the mood for something other than desi, Pizza Hut provides a dependable alternative.

Victoria Lounge Circular Rd, Bahawalpur As long as you don’t go expecting gourmet coffee, the city’s only café will adequately fulfil your caffeine requirements. Taj Restaurant National Highway, Lodhran This Bahawalpur institution is one notch above a roadside dhaba and locals swear by its karahi as the best this side of Punjab. Haji Allah Baksh Shahi Bazaar Rd, Farid Gate One cannot leave southern Punjab without a taste of its most famous delicacy, sohan halwa, and no one makes it better than Allah Baksh, one of the oldest confectioners in the area.

See Lal Sohanra National Park Timing: 10am – 6pm Entry: Free Located 35kms from Bahawalpur, Lal Sohanra is one of South Asia’s largest nationals parks, and is a UNESCO-declared Biosphere Reserve. While the park has seen better days, it’s still worth a visit for its large population of black bucks housed within an enclosure. Derawar Fort Timing: 9am – sunset Entry: Free About 100km south of the city (a 2 and a half hour drive) lies the majestic Derawar Fort, built in the 10th century and intrinsically linked to the history of Bahawalpur. Watch the sun set over the Cholistan desert from a spot here for a truly magical experience. Noor Mahal Timing: 9am – 10:30pm Entrance Fee: Rs. 75 The only palace in the princely state that is open to the public, Noor Mahal is a glorious remnant of the city’s royal past. Painstakingly restored by the army, the interior has been turned into a museum of sorts, with some of the Nawab’s private possessions on display. The vast grounds feature an open-air restaurant and become the venue for the weekly light and sound show at the palace.

Central Library Timing: 9am – 6pm Entry: Free The second largest library in Punjab, the Bahawalpur Central Library is a mini-version of the city’s palaces and houses numerous literary treasures within its massive collection of over 300,000 books, magazines and journals. Bahawalpur Museum Timing: 9am – 4pm Entrance Fee: Rs. 10 Adjacent to the library lies the Bahawalpur Museum displaying items ranging from calligraphy to artefacts from Moenjodaro, Cholistan and Harappa. There are a total of eight galleries, with one dedicated solely to the Pakistan Movement.

The only palace in the princely state that is open to the public is Noor Mahal.

BAHAWALPUR SPECIAL

Shop At From Sana Safinaz to Sapphire, Nishat Linen to Hopscotch, most of the country’s top brands have opened up shop in this booming industrial city, with outlets that are at par with their big city counterparts in terms of interior design and stock availability. The real charm of Bahawalpur, however, can be found in its bazaars located in the old city that are home to a treasure trove of handicrafts – from hand-made khussas, to delicate embroideries, colourful chunri and intricate silver jewellery.

Ahmedpuri and Sarafa Bazaars Between the city’s two main gates, Ahmedpuri Gate and Farid Gate, lies a network of interconnected bazaars made up of narrow alleyways where every second shop will beckon you with a dazzling array of beautiful merchandise. Park right outside Ahmedpuri Gate and make your way inside the market on foot. Make sure you’re dressed modestly and are wearing comfortable shoes, because a trek through the entire market-square can take up to three hours. As you enter through the gate, the first set of shops will be those flaunting bedding and home accessories – we’re talking everything from block-printed sheets to vibrant rilli-patterned bedspreads, embroidered tablecloths and ethnic breadbaskets.

Keep walking straight and eventually you’ll come to a covered section of the market and this is where the shopaholic in you will really come alive. Delicate mukesh on chiffon, summery cotton chikenkari, shadow-worked dupattas, hand-made gota selling by the yards – you can put together your entire casual and shaadi wardrobe after one trip to this area. Prices are reasonable and negotiable – a cotton chikenkari shirt will cost you Rs. 800-1000, while a more formal silk or chiffon three-piece will go for Rs. 3000-5000. Further along, Ahmedpuri bazaar spills over into Sarafa Bazaar, and this is where you’ll find tons of jewellery shops selling everything from artificial bling to kundan to traditional silver jewellery. Along the way, there are numerous khussa shops that specialize in hand-made leather slippers. For those of you who don’t have the time to browse, here’s a quick list of our top shopping picks:

Fashion Ghar Makkah Shopping Mall, Chowk Bazaar Expect to pay a little more at this huge shop, but you’ll save time and energy given that everything is under one roof. Ideal for those looking for hand-worked formal wear, mukesh saris and silk chunris. Nikhar Chuneri House Al-Faisal Market, Near Jamia Masjid For chikenkari, phulkari and chunri work.

The real charm of Bahawalpur, however, can be found in its bazaars located in the old city. Punno Khussa Palace Ahmadpuri Gate, Near Awan Plaza Pick up a pair of colourful embroidered hand-made khussas while you chat with the owner, Sufi Rasool Buksh, who’s been in the business for the last 50 years. Anmol Jewellers Al-Rehman Market, Sarafa Bazaar For good-quality silver jewellery. Kundan House Al-Rehman Market, Sarafa Bazaar For blingy kundan and artificial baubles.

BAHAWALPUR SPECIAL

Girls

on a

Artist and curator Laila Odho Premjee recently embraced her adventurous side and decided to embark on a local railroad trip for the first time in her life. Travelling to Bahawalpur from Karachi, she was pleasantly surprised by the journey and the magnificent sights that awaited her at her destination. Here, she shares the how and why of her weekend trip with DESTINATIONS.

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hy did you decide to travel to Bahawalpur? One of my childhood friends belonged to Nawab Abbasi of Bahawalpur’s family and I grew up hearing tales of her rich family heritage, their royal palaces etc. Since then, I had always wanted to visit the princely state.

Who organized the trip? Our trip was planned by Cube, a company run by Karachi-based architect Zain Mustafa. Zain works on restoring old historical sites and buildings and plans architectural/historical sightseeing tours within Sindh and Bahawalpur. How did the idea of a train journey come about? There were a total of 20 people in the Cube edu-tour group and most of them flew to Bahawalpur from Karachi. My friend and I decided to make our trip more adventurous by travelling via train, as we had never experienced train travel within Pakistan. I had heard that the railways had recently undergone vast improvements so 6 of us ladies (my friend and I, along with her two daughters and their two friends) decided to take the Green Line business class train from Karachi to Bahawalpur. What was the experience like? The train journey from Karachi to Bahawalpur is 11 hours and to our surprise, it was a very pleasant experience. The Green Line train is fairly new and has very good service. It is clean and comfortable. Each bogie has six compartments, all air conditioned with six bunks and a TV each. There are two toilets at the end of each bogie, which were clean and functional. There were families and groups of friends travelling on the train. The train left on time at 10pm, and as it was an overnight journey we were provided pillows and blankets. They offered us dinner on user pay, which consisted of chicken curry and naan. There were water and cold drinks on sale, while tea and breakfast were complimentary. The train stopped at three stations on the way, two stops in interior Sindh during the night and one stop in the morning in Punjab. Each stop was short – exactly 2 minutes so you had to be ready to get off quickly. Our waiter woke us in the morning with toothbrush kits and breakfast which consisted of omelettes, bread and butter with tea.

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How did the scenery change as you rode along from Sindh to Punjab? We slept most of the night so we weren’t able to see much. As we approached Bahawalpur, we saw fields and fields of sugarcane with women working in them. The scenery is picturesque once you enter Punjab with all the greenery and the farming fields. Where did you stay? I was staying with some friends who live in the city but the rest of the group stayed at a cute boutique hotel called Hotel One by PC. It was cosy, clean and comfortable, more like a bed and breakfast. What is the best time to vsit? Early spring is a good time to visit as it is too cold in the winter and too hot in the summer. We went towards the end of February and were there over a weekend from Friday till Sunday. In our short time, we managed to see a lot thanks to our tour organizer who had gotten special permissions from the army and the Abbasi family to visit the palaces. How would you sum up the trip? There was a magical and strong spiritual feeling in the air in Bahawalpur. Everything is a short drive away, surrounded by lush fields. There is a lot to see; we had to rush through certain sites due to our hectic schedule but each monument, each palace, each shrine has so much history you leave feeling mesmerized. I would highly recommend visiting Bahawalpur as one returns in such awe of these beautiful structures and sites in Pakistan.

Day Friday

T rip Itinerary

Bahawalpur is a small city with quaint little bazaars which are situated behind the famous city gates of yore. We were able to pack a lot of sightseeing into our weekend trip. Our itinerary was as follows:

We arrived by train at Bahawalpur at 9am. After some rest and lunch, we visited the Central Library in the afternoon and then went to Darbar Mahal for a sound and light show at night organized by the army.

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We started our sightseeing at 9.30am with a trip to Derawar Fort in the Cholistan Desert, a drive of two and a half hours from the city. The fort is currently under renovation and still under the care of the Nawab of Bahawalpur’s family. Across the fort is the most exquisite mosque, constructed fully of marble with three domes. It is similar to the Moti Mosque in Delhi with a touch of the Taj Mahal.

Saturday

We had lunch in a small village in Cholistan and then headed off to Sadiq Ghar Palace. There, we were given a private tour by a member of the Abbasi family. We then drove to Uch Sharif, a pleasant drive on the highway with sugarcane fields on either side. There we saw the famous shrine of Bibi Jawindi. Even though it has been severely damaged over time, it stands out beautifully with its ethereal design. Located on a hill with two smaller dilapidated shrines, there is a strong energy that you feel from the moment you see it. The shrine was built in 1493 for the great granddaughter of a sufi saint.

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Day

Shrine of Bibi Jawindi, Uch Sharif

Abbasi Mosque, Cholistan Desert

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Shrine of Shah Rukne Alam, Multan

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Day Sunday

At 10am we visited Noor Mahal, which is open to the public. They have a museum inside and beautiful gardens surrounding the palace. Then on to Gulzar Mahal, which is not open to public but we had been granted permission by the army to visit. After that, we drove to Multan where we ended our trip with a visit to Shah Rukhne Alam’s shrine. It was a two-hour drive from Bahawalpur to Multan. The shrine is up on a high hill as if overlooking the city and guarding it, and is very active as hundreds come to pay their respects to the sufi saint.

Noor Mahal

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In&Outof

ove By Madeeha Syed

Journalist Madeeha Syed makes an amorous trip to Bahawalpur, hoping to find romance in the little princely state where grandeur and glory formerly ruled life. After four days of searching, she leaves with no love and little longing but a deep reverence for the splendour and stateliness of the city that it once was.

BAHAWALPUR SPECIAL

o one goes to Bahawalpur smack in the middle of summer. The utterly gorgeous former princely state, full of palaces and a whole street dedicated to handcrafted delicate silver kundan jewellery and intricate gota embroidery, becomes a furnace in the summer. That’s not surprising considering that Bahawalpur is a mere 30km drive away from the Cholistan desert. No one goes to Bahawalpur in the summer, except yours truly. The purpose was a bit romantic – I was set up by my friends with this guy who on paper, online and over the phone seemed perfect. We got along really well, and I did enough background checks on him to ensure that he was not a serial killer. What was left was meeting in person. This was complicated by the fact that we’re both from two different cities. We decided we were going to spend time getting to know each other in the most magical, romantic city I could think of but had never been to: Bahawalpur.

DAY

We met in Lahore (both of us don’t live there) and boarded the Daewoo to the former royal city. The journey in total from Karachi was 16 hours long. We couldn’t see much at night, but by morning, lush green fields, characteristic of Punjab, dominated the rest of the trip. The bus dropped us off next to the Bahawalpur mandi – a sprawling bazaar with fruits and vegetables fresh off the farms. We got a cab to our guest house and also managed a bit of on-the-road sightseeing and we weren’t disappointed. Bahawalpur, as an ex-princely state, hasn’t lost its charm: its residents are fiercely proud of their ‘royal history’ and continue to hold the Nawab family, the Abbassis, in high regard. The city of Bahawalpur plays host to remnants of its royal past. Founded by Nawab Mohammad Bahawal Khan II in 1802, the state of Bahawalpur acceded to Pakistan on October 7, 1947. You can’t miss its irrevocable connection to its royal history – there’s a palace almost at every other corner, some of which are in dire need of serious restoration. In case anyone was wondering, we were a terrible match. He, a lifelong nerd and Harvard graduate, compensated for his lack of social skills with a poker face and tendency to ‘correct’ me on little things – every, little, thing. Hailing from Punjab, for him no meal was complete without naan, roti or paratha. I am more of a rice person and all that copious amounts of gluten gave my body the worst case of… gases. It was embarrassingly bad. When it came to conversation, he preferred politics and I preferred adventure. That we would even speak to each other under ‘normal’ circumstances was debatable. That we were terribly mismatched was obvious to the both of us within the first few hours of meeting but it didn’t change the fact that we were stuck together for four days. 110

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DAY

With day one taken up with travelling, on day two we went to one of Bahawalpur’s most famous palaces, Noor Mahal: The Palace of Light – named after the Begum Nawab it was constructed for. The palace was also used as a set for a Pakistani TV drama serial Noor Bano Ki Malika. The palace is stunning. Made by Nawab Sadiq Muhammad Khan IV, the construction of the palace was completed in 1875 and covers an area of 44,600 square feet. It is currently under the charge of the Pakistan Army that spent two years restoring the place. Noor Mahal has been declared a national monument and along with being used as a mess for the army, is open to visitors.

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Noor Mahal

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BAHAWALPUR SPECIAL We stepped out into one of the balconies into the beginnings of a beautiful sunset. Our guide was telling us how a legend surrounding Noor Mahal is that the palace was built for Nawab Sadiq’s bride who had accepted his proposal on the condition that he build a palace for her. “After spending one night at the palace, she saw how close it was to Basti Muluk Shah, a graveyard in the area, and refused to live there,” he said, adding, “Darbar Palace then became her place of residence. She never stepped foot in Noor Mahal ever again.” I was lost in this in this romantic, and somewhat dramatic, story until I heard a voice – his – go, “This is why you shouldn’t go out of your way to court a woman.” Needless to say, I gave him an evil side eye. Later in the evening we went to the famous silver market of Bahawalpur – home to some the finest kundan (inlaid) jewellery in Pakistan, nay, the entire world. Owing to the rising price of silver, a lot of jewellers sell kundan jewelry in cheaper metals now, but there are still some that work on the metal they learned their craft on. Since he refused to give any feedback on what designs suited me better, I was left asking for the opinions of the jewellers themselves – who were watching everything. By the time we were about to leave, one of them turned to him and gave him a firm lecture: “You need to be more responsive to your ‘wife’. Tell her she looks beautiful. This is the secret to a happy marriage.” He was visibly embarrassed. I felt very smug. Much to his chagrin, I teased him about this endlessly that whole evening.

Derawar Fort

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DAY

On the third day we’d booked a car to take us to the Derawar Fort. We left around sunrise, the early morning mist lending a very romantic look to the fields around Bahawalpur. Throughout the journey, the driver entertained us with scandalous stories about the various Nawabs Bahawalpur has had, and their alleged affairs. A majestic monument in the middle of the Cholistan desert, Bahawalpur district, the Derawar Fort stands tall, crumbling and proud.

When we got to the fort, we discovered it was locked. “I know a way you can get in,” said the driver, before taking us to a portion where the wall was a little broken and there was a steep pathway leading up to it. We broke our way in. Our driver became our unofficial tour guide, telling us more fiction than fact, ghost stories that the villagers told themselves about the fort. There was a djinn here and a djinn there, we discovered. Don’t walk into the underground railway (which was enveloped in darkness) because a djinn is lying in wait to consume whoever trespasses there. Most entertaining tour so far. We climbed on to one of the – what looked like – watchtowers and were confronted by some of the most beautiful frescos, dating back hundreds of years, but which were fading away and badly in need of restoration. What shocked and angered me was that some imbecile decided to spray paint “But why?” over them. ‘He’ was very excited. “This guy, whoever he is, is asking a very important philosophical question,” he said. “Finally, someone with brains. Who could he be? Did he get his answer?” We’d see “But why?” spray painted all over the fort. And followed the graffiti until we came to the full question: “But why did you leave me?” Discovering this was about (a failed) romance after all, ‘he’ was very disappointed. 115

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Uch Sharif

On the way back, we came across a camel herder and his herd passing in front of the royal necropolis. I jumped out of the car to take a photo. We’d see similar ‘exotic’ sights along the way. A trip to Punjnad, Uch Sharif (where we were again treated like a married couple and prayers were made for ‘happy life’) and a restaurant later, we were ready to go back. Exhausted, we napped in the car, only to wake up and discover that a terrible sandstorm had hit the city. I’d never seen or experienced anything like it. You could hardly see anything. Trees and some structures fell with the force of the wind. Residents barricaded into their homes. Sand everywhere. We got out of the car and rushed inside the guest house only to discover there was no electricity. The generator didn’t work – the generator’s wires had melted due to the heat. We couldn’t open our windows because of the storm. It felt like we were stuck inside a furnace. Breaking down, I begged him to find alternative accommodation, which I saw he did his best to. But apparently there was a cricket team in town and all available rooms anywhere were booked. Stuck together in the worst of circumstances, bonded by our shared misery, I realized as annoying as we found the other to be, we’d also somehow managed to find our own balance.

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At Punjnad, Uch Sharif, we were again treated like a married couple and prayers were made for ‘happy life’.

LAST DAY

It was time to go home the next day – after a trip to the zoo, much to his embarrassment and my delight. At the airport, we couldn’t wait to get away from each other. Once I was back in my city, I felt the loss of his absence. It’s amazing how quickly someone grows on you. We didn’t continue to see each other, but kept in touch. Years later, we look back at our ‘memorable’ trip and laugh about how completely stupid and reckless we were. We did, very briefly, get ‘unofficially’ engaged – it lasted shorter than our trip!

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Lahore Biennale 01

Lahore’s largest public art event, the inaugural Lahore Biennale, took place from the 18th to the 31st of March, with over 50 artists from 10 countries participating in the mega event. We take you on the tour of LB01’s main venues that represented Lahore’s Mughal, colonial and modern eras. Photography: Amna Zuberi

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Lahore Fort

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Iftikhar Dadi & Elizebeth Dadi

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Hamra Abbas

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Shahzia Sikander Disruption as Rapture Video Animation 124

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Shahzia Sikander

Disruption As Rapture DuYun, Ali Sethi, Girls Christian Choir and Young Children of the Musicians of the Walled City, Live Performance, Darbaar-e-Aam, Lahore Fort Photo by - Umar Riaz

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Imran Qureshi 128

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Firoz Mahmud

Naiza Khan 130

Faiza Butt 131

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Mubarak Haveli

Zahoor ul Akhlaq 132

Mahbub Shah 133

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Ayesha Sultana

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Muhanned Cader

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Manisha Gewra Baswani

Shahi Hammam 136

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Aisha Khalid 138

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Imran Qureshi

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Lahore Museum

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Ayesha Jatoi 144

Masooma Syed

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Waqas Khan 146

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Alhamra Art Center

Komail Aijazuddin 149

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Atif Khan

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Kay Walkowaik

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Naila Mehmud

Naima Dadabhoy 152

Salman Toor

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Bagh e Jinnah

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Karel Vrtisk & Jakub Junek

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Ali Kazim 158

Noor Ali Chaghani

Wardha Shabbir 159

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I, Too, Am a Part of This

HISTORY By Emaan Maqbool

Artwork Photographed By Amna Zuberi

As a collateral of the first-ever Lahore Biennale, Foundation Art Divvy curated a show at the Fakir Khana Museum titled “I, too, am a part of this history,” showcasing the works of 24 contemporary Pakistani artists. Zahra Khan, Director of Foundation Art Divvy and curator of the show, explains how, in creating a dialogue between the historic museum and the contemporary works, the exhibition encouraged the artist and the viewer to become part of the canvas of the city of Lahore. 160

Zahra Khan

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CULTURE TALK Can you tell us about Art Divvy and your role in it? Art Divvy was set up as a platform to promote work from Pakistan. Last year I worked on a show with Imran Qureshi and Aisha Khalid – that’s when we formalized and set it up as a foundation and a project company. Art Divvy has two arms; the main purpose of both is to promote and support artists from Pakistan. In Pakistan itself, I am very interested in focusing on artists who no longer exhibit here. Artists who have reached a certain point, like Imran Qureshi and Aisha Khalid, who have museum shows globally but do not have them in their own country anymore. Then there is Project Art Divvy, where I take artists from Pakistan and exhibit their work in London. We promote different aspects of the art from Pakistan in different places. The Lahore Biennale show is Foundation Art Divvy’s second exhibition in Pakistan. What made Art Divvy interested in being a part of the Lahore Biennale? I have been following the activities of the Lahore Biennale Foundation for a couple of years. I think it is a very important and fascinating venture for the art world in Pakistan, the sort of thing that everyone should pitch in to. They also have a lot of international visitors coming. I think it’s wonderful that they are encouraging collateral events to take place around the city of Lahore. It is really bringing the entire city to life. It is important for us to be supporting the biennale, showcasing artists who may not have been chosen because of space constraints.

It is actually a quote by Fakir Saifuddin [curator of the Fakir Khana Museum] that he said to me and that he had also mentioned in a magazine article that came out last year. I thought it was the most perfect encapsulation of what we are trying to do with this exhibition, which is to remind people of the fact that this history, this treasure the museum holds is really ours. The reason why I thought it would be a perfect title for this particular exhibition is because it mirrors what the Lahore Biennale is doing. The Lahore Biennale is asking contemporary artists to create pieces that are being spread throughout Lahore’s Old City; basically using the larger city of Lahore as their canvas. I think we’re doing that as well in the Fakir Khana Museum, at a smaller scale of course. What kind of response are you expecting, in relation to the title, from the artists and the audience?

Saud Baloch Qissa, 2018

What made Fakir Khana stand out as an exhibition site for you? I think that the Fakir Khana Museum is one of the most fascinating spots of Lahore. The building itself has been around since Akbar’s time. The Fakir family has continued to build upon their traditions of collecting art and preserving a museum that has a stunning collection dating back to the Mughal era. It still has ancient antique bricks, parts of it are very unique. One of the most amazing things is that the family continues to live in the house. Although it is a private museum, they have opened up their collection to the public. It is very representative of Lahore and the androon shehr. And I think it’s important for private museums to be supported as much as possible. Foundation Art Divvy is so proud and privileged to partner with the Fakir Khana Museum and put together this exhibition. 162

How have you connected the title, “I, too, am a part of this history,” with the Fakir Khana Museum and the Lahore Biennale Foundation?

I would love for the artists and the audience to embrace the idea that they, too, are part of history. It is their history and that is something that Fakir Saifuddin said as well, that yes this whole space belongs to you. That is how I would like people to respond to the exhibition and also see how the artists have taken this idea, brought it into their own practice and created something around it; things that are unique to the artists themselves, to this place and the show. Tell us about the artists. How did you decide on this particular number and set of artists? When I started putting the show together, I thought there would be a total of five artists. I wanted to select artists whose work would stand out within the space. The Fakir Khana building and collection is so vast and intricate that unless the artists were of a certain calibre and their work really spoke for itself, it would be a disservice to include them in such a show. All twenty-four of them have been chosen with that in mind. Artists whose practices are extremely strong; people who I thought would enjoy the idea of exhibiting in this building, responding

to the set-up. Each artist has really delved into it, in terms of the premise of the show. They’re finding ways to make it their own and really push themselves to make new work. I am extremely grateful for that. What should the audience expect to see? Can you give us a brief idea about the kind of works exhibited? I chose the artists deliberately because they work in such a diverse variety of mediums. I think what you’ll see is a range of responses, so you’ll have sound pieces, you’ll have video works and sculptural works all over the place. The idea is to intersperse the works within the haveli’s existing collection; to really create a conversation and dialogue between the existing haveli and the contemporary works in it. In the process of putting together this show, have there been any unexpected or surprising outcomes? The response to the show even before it came together has been astounding and humbling. A few artists actually approached me and asked to be in the show, which was very special. We have had wonderful support from all kinds of organizations. The Lahore Biennale has been supportive. I think above and beyond the Fakir Khana family have gone out of their way to be generous with their space. There have also been some surprises, like two of the artists had works that were quite different and divergent but when we decided to place them, I realized their ideas were very similar and went very well together. Artists who traditionally paint are experimenting with sound pieces or creating sculpture. So it has been quite surprising how they present their work.

(Left) Hurmat and Rabbya First Simile for Colour White, 2018 (Right) Affan Baghpati Amalgamate 13, 2017

Mohsin Shafi Confessions of a Secret Lover, 2016

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Full House at

Home Base

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2018

STAY WOKE By Zahra Hidayatullah

The annual Lahore Literary Festival is the harbinger of spring seasonally and metaphorically speaking, as each year it introduces its people to a dazzling array of art, society, culture, politics and literature’s most celebrated writers, thinkers and activists.

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very year the rain in Lahore seems to mark its calendar around the LLF. Whether it’s the 3rd weekend of February or the last, the drizzle is inevitably going to be part of the programme. That is a given that I have accepted after six years of attending the annual event. Every year, I am seen scurrying along bricklaid pathways, cutting through the throngs to get to the hall in question before all the good seats are gone. See that’s the case. If you don’t get to your desired session well in time, chances are you won’t find a seat. The literary festival is always well attended. There are half a dozen halls at the Alhamra Arts Center and each one of them is always packed to the brim. The sessions are streamlined to start and end on time (a rarity in Pakistan) and the panel of speakers is always matched with the perfect moderator. A city that was at one point in time the seat of arts and culture in the subcontinent, Lahore no longer enjoys the same exclusivity. It finds itself challenged by bigger towns, smaller towns, in addition to cosmopolitan, capital and other pink cities in the region. At the beginning of this decade, the young and dynamic Razi Ahmed along with a few other visionaries got together and founded the Lahore Literary Festival. Since then, in all its glorious six iterations, the event has introduced the citizens of Lahore to noteworthy individuals that were once mere names of persons on book covers and TV/ film credits who lived far far away and sat in high towers of literature, art and culture.

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CULTURE TALK Over the years the glitterati who have made it to Lahore include the award-winning novelist Vikram Seth; director and Academy Award nominee Mira Nair; actress, food and travel writer, and TV personality Madhur Jaffery; yesteryear Bollywood siren Sharmila Tagore; famed historian and writer William Dalrymple; critically acclaimed actor Naseeruddin Shah; and Monty Python’s Michael Palin. The festival has also hosted important names from the academic and journalistic circles including historian, writer, political activist and filmmaker Tariq Ali; world famous feminist and playwright Eve Ensler; historian and author Shrabani Basu; journalist and former vice chairman of the India Today Group Shekhar Gupta; academic and author Vali Nasr; journalist and TV host Owen Bennett Jones from the BBC and the list of the literati is endless.

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The stars that shone the brightest at this year’s LLF included the Emmy-Award winning actor Riz Ahmed; author, religious studies scholar and television host, the very popular Reza Aslan; leading Nigerian poet and novelist Ben Okri; and India’s most glamorous literary celebrity Shobhaa Dè.

I spent the weekend on the magic carpet – being whirled from room to room, finding intellectual discourse to feed the mind and wisdom to stir my soul. 2018’s programme kicked off with a hard-hitting session featuring Ben Okri, British political scientist and author Mark Leonard and Reza Aslan in conversation with the best-selling foreign policy author Ahmed Rashid. They exchanged stories of political strife to save America from a dystopian future as the Trumpian disruption continues unabated.

The next session was, for many, the highlight of the 2-day event. Riz Ahmed spoke about cultural identity in today’s shifting social paradigms and how he managed to shape his own reality by approaching situations in novel ways. There was that time at Oxford when a week or 10 days into university, being a brown boy who grew up with none of the privileges of a traditional British family, he felt somewhat alienated. So, “I printed out 200 flyers for a club night and distributed them across campus. That was my entire print-out quota for the term.” He was looked upon with suspicion as he invited fellow students to “a rocking night” but did not let that response dissuade him in any way.

There were sessions that carried reflections on the past. British biographer and military historian Victoria Schofield gave a detailed lecture on Lord Wavell: Governor General and Viceroy of India (1943-1947) and FS Aijazuddin discussed his book “The Fickle 70s: Memoirs 1972-1979” listing a personal account of the Bhutto years. US-based Pakistani diplomat Qazi Shaukat Fareed outlined the thousand-year legacy of Muslim primacy with writer and thinker, the erudite Ali Mahmood based on his recent book “Muslims.” Talks and discourses re-examining our heritage, reimagining our history, revisiting legendary personalities and “deliberating on critical issues of today in a big picture way” as Ahmed Rashid so aptly put it, were the order of the day. “The Multiple Lives of Shoaib Hashmi” saw Adeel Hashmi in conversation with fellow actors Nadia Jamil and Salman Shahid. Led largely through personal anecdotes, it was a deeply moving account of the man who is Lahore’s best-loved professor, actor and sage. What came as a special eye opener was the session between Amardeep Singh, author of “Lost Heritage – The Sikh Legacy in Pakistan” and journalist and writer Rina Saeed Khan. With facts and photos showcasing a history that has almost been stamped out to suit the popular narrative of our times, we heard interesting details about the indigenous Sikh people and what they left behind. 80 percent of what was formerly the Sikh empire now resides within what is now Pakistan – and it is a wonderful tale of a heritage fast losing out to religious indifference.

By the end, he managed to host the club night at a seedy joint and ended up making friends that evening who are still very close to him. A skillful raconteur, Ahmed narrated the tale about the time when he was filming “The Reluctant Fundamentalist” and flew to America after shooting in Pakistan and Guantanamo. Already suspicious of his itinerary, the US immigration officers took him aside for questioning and for searching his luggage. They were not happy upon finding a book in his bag titled “The Reluctant Fundamentalist” and they were certainly not happy when they found an orange prison suit jump out of his belongings. “It was a hard one to get out of,” he quipped, “but yeah, I managed. Thanks, Mohsin!” he turned towards the novelist whose work Ahmed’s movie was based on and the hall resounded with laughter. 171

CULTURE TALK As the festival drew to a close the second day, one of the last sessions was the dialogue between Reza Aslan and Khaled Ahmed. People were packed like sardines in a hall with almost 800 seating capacity. There were people on chairs, people on the stairs, in the aisles, and more in long queues outside clamouring to get in. There was absolutely no more room left to even accommodate standing individuals by the time the ushers decided to lock the doors from the inside to prevent any disruption. Lahore had shown up in full force to listen to their favourite religious studies scholar and writer Reza Aslan. The author of “Zealot: The Life and Times of Jesus of Nazareth” and more recently, “God: A Human History” spoke fearlessly about Islam and what practicing the religion according to differing interpretations has meant in the current political and social construct. While he upheld the values of equality and justice in Islam, he negated the extremist point of view and questioned the beliefs of the self-righteous. Aslan ended the session on a high note as he was led out amidst thundering claps reaffirming the belief that given the opportunity, our people are willing to listen and they are still open to logic and rationale. The festival wrapped up with the revolutionary Laal band performing poetry and music celebrating the late human rights activist, Asma Jahangir. As I walked out with my head held high, I thought to myself, no matter how dismal the circumstances, as long as there is a discussion, there is hope. True to the Guardian’s headline, the “LLF (is indeed) a safe place for dangerous ideas.” Let the music never stop.

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ILLUMINATI By Zahra Hidayatullah

LLF2018 gave us an opportunity to interact with some of the most learned, creative and insightful people from across the world. We talked to them about their participation in this year’s festival in connection with their works. There’s word from the Founder & CEO Razi Ahmed on organizing this year’s successful iteration of the LLF; India’s most glamorous writer Shobhaa Dè sheds light on her Pakistani experiences and what they mean to her; and thinker and author, the erudite Ali Mahmood provides insight into his process of researching and writing books, and highlights the underlying theme that defines his lettered works.

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RAZI

AHMED Founder and CEO, Lahore Literary Festival

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After two years, the LLF is back at Alhamra. How does it feel to return to its birthplace, so to speak? It was exhilarating being back at the Alhamra after a gap of two years. The Alhamra ties in well with the festival as its purpose-built halls, courtyards, and ease of access reinforce the identify and rationale of the festival as a diverse, public event. Nowhere else at a festival, whether Jaipur, Edinburgh or Karachi, is there such an elaborate public space, built specifically for the promotion of the arts, that allows for multiple halls to be utilised and seamless circulation of speakers and audiences. Having the Alhamra as a venue is a great way to orient first-time visitors to Lahore as it still is one of the boldest, bravest architectural statements, contemporarily, on Lahore’s Fort and other references. Riz Ahmed, Ben Okri, Reza Aslan, the LLF’s 6th iteration was bigger, better and stronger than ever. How was the audience feedback? We’re fortunate that every year we are able to persuade star speakers to speak at the LLF. I will add here that we have to date never offered or accepted requests for honoraria from speakers. Once our speakers are in Lahore, we go all-out extending the best of Lahori hospitality and warmth to all our delegates. One of my keen desires for the LLF is to engage with the world, to renew a global dialogue, with Pakistani writers and thinkers playing a key role in reshaping and reformulating opinions on a whole raft of issues we face today. The mix of Pakistan’s best names and rising stars, commingled with leading lights in literature and the arts from abroad, makes every edition distinct and engaging. 2018 also featured some lesser-known but equally stellar personalities – like Dr Azra Raza, Sona Datta, Ali Mahmood, and Amardeep Singh. Tell us about putting the programme together for this year’s festival and what the main theme was. Every edition has its star-power, the ‘crowd-pullers.’ Equally important though is to spotlight the ‘unsung’ writers and thinkers. We are privileged to have hosted some of the names you mention and also, amongst others, the young scholar Ammara Maqsood who spoke on her

work on the new middle class in Pakistan, firsttime writers Bisma Tirmizi and Nadia A.R. and the venerated Ikramullah (who rarely talks publicly), a leading name in Urdu fiction. It’s hard to impose a thematic structure on the festival as the programme is done with a viewpoint to bring seemingly disconnected topics together, dissecting the academic and highbrow issues, in fiction and non-fiction, into decipherable and stimulating content for the widest possible audience (piquing the curiosity of students, elderly and young, locals and foreigners). By programming disparate themes such as climate change, Sikh heritage in Pakistan, Baba Farid Ganj Shakar, nationalism, Nayyar Ali Dada’s architecture, food, the session paying homage to Asma Jahangir and so on, the 2018 home edition of the LLF aimed at celebrating the power of dialogue and the critical role citizens can play in taking charge of their destinies. Smart dialogues, in open and public settings such as the LLF, can bring wider circles to appreciate the power of books in shaping our national discourse. Some critics often raise the question, why do literary festivals feature non-literary figures? Literary festivals around the world are broadbased and pivoted around ideas which transcend demarcation and categorisation. There must be more exchanges between literary and non-literary writers and thinkers. One or the other cannot be the sole determinant of our lives. My personal belief is that creative expressions manifested in literature, cinema, music, visual art, history, architecture, archaeology, and other disciplines should be seen in a shared framework. That’s what the LLF annually celebrates the past and evolving traditions of writing, inquiry, resistance, and discovery. Literature allows us all that to get past a silo mentality and celebrate our shared humanism. Tell us about the honours awarded this time. The Board of Trustees of the LLF awarded two lifetime achievement awards this year. Posthumously, the award was announced for Asma Jahangir for her untiring efforts for justice and human rights. It was collected by Ms. Jahangir’s three children. Ms. Jahangir was part of a panel discussion at the LLF in 2015 along with Ayesha Jalal and Romila Thapar. The other award was given to I.A. Rehman for championing freedom of speech in Pakistan. 177

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MAHMOOD Thinker, Writer

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Your book “Muslims” underlines an objective history of the Muslims throughout history, highlighting their status as leaders in the fields of science, medicine, culture and architecture while also listing their military achievements, economic prosperity and other academic advancements. What inspired you to write this book tracing the legacy of the Ummah? I don’t think “inspired” is the right word. I started reading because I was curious. I did not know much about this subject but once I started reading, I found it so interesting, so exciting that I delved deeper. As I discovered more about this story, about these people, I felt that this is something that more people should be aware of and should understand. Therefore, it was not so much a decision to do this but more a case of going on a road of discovery which I found so fascinating that I wanted others to also be exposed to this wonderful story of these wonderful people. From being a businessman and to now writing books, what prompted your foray into writing? Usually writers tend to stick to one genre of writing or study. This is your second book in the last five years. Your first book, “Saints and Sinners”, was an economic analysis of certain nations prospering while others were getting mired in debt and poverty. Both subjects are vastly different from the other. How do you manage to diversify your areas of study? My first book covers facts relating to the modern world – in the last fifty to hundred years, what made some countries rich, and others stay poor. I don’t believe that a set of economic formulas is sufficient enough to turn around economies. It studies why some places like Singapore, Malaysia, China, Dubai, Botswana have achieved greater progress. The second one is about a bunch of people who now form 20% of the world’s population, and focuses on their story of 1400 years. Right back from the time the Prophet (PBUH) left Mecca, there were not even a hundred Muslims in the world. Yet within a century, they ruled all the land from the Atlantic Ocean to China forming one of the greatest land contiguous empires the world has ever seen. In addition to their massive empire, they were known as men of art, culture, science, education. Everything about them outperformed the rest of the world. So the question arises, what happened that suddenly made these people accelerate like they were flying in a plane and the rest of the world was walking.

Despite the fact that these two books cover a different set of facts, they share a commonality in theme. Both of these works look at what is it that makes one bunch of people perform better than others. In fact, the third book that I have now started writing on China, is based on the same premise. These days it is not good enough to write a good book. Like all other goods, books have to marketed as well. Do you have plans to publish “Muslims” through an international publishing house? I’ve signed on with one of the bigger Indian publishing houses called Rupa Publications and they will now prepare their publication of the book. Marketing a book is not the central purpose of why I write. My first book, “Saints and Sinners”, was picked up by Harper Collins India, and marketed and distributed through them. I don’t necessarily write to become a successful seller of books. I write because the subject interests me and I think more people should be made aware about it which is why I give away as many of my books as I sell. What books do you usually read? Name a few of your favourite writers and titles. Now that is a difficult question to answer. I read about 200 books a year which means I read a book almost every 2 days. I spent the last five years researching this topic. The bibliography at the end covers over 200 of those books. Now I am moving on to a different subject where all the books I am reading currently are on China. So to say, which authors I like reading, no I don’t read in that way. I read on a subject and then I tend to exhaust all material I can get hold of on that subject until I have read and have more of an understanding on that subject than anyone else. If you want to ask which are my favourite books in my life, that is easier to answer. I think books that have affected my life, perhaps changed my life, changed my values I can name off the top of my head. From China, there are, “Selected Works of Mao TseTung”, Sun Tzu’s “Art of War”, Lao Tsu’s “The Tao”. From India; when I was young, I was most affected by Gandhi’s “The Story of My Experiments with Truth”. From America, it was “The Godfather”.

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While researching “Muslims”, which Muslim period in history did you find most interesting and why? So many periods in our history are interesting. Obviously the times of the Prophet (PBUH) and the four righteous caliphs was a very crucial and formative period of our history. Then there is the century of conquests under the Ummayads, the development of learning under the Abbassids, the magnificence of the three great gunpowder empires of Ottoman, Mughals and Safavids; and just before them, the time of the amazing Tamerlane, who was perhaps the second greatest conqueror of all times. What I find not only interesting but also relevant to our own lives is the modern age of the Muslims. Eight of nine chapters of the book deal with the last 100 years, noting why the Muslims went down and how they have struggled to find their place again in the world. I mean, every part of this story really gets one thinking. You now have a deep understanding of the top Muslims throughout the ages. Which one would you say has impacted you the most? It is hard to narrow it down to one or two people.Of course the first one is the Prophet (PBUH). After him, the other remarkable people who impressed me include Saladin; and in modern times, Mohammad Ali Pasha, the founder of modern Egypt; Gamal Abdel Nasser and my favourite, Gaddafi.

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In this day and age, when Muslims are easily stereotyped as terrorists, and the Muslims are divided between categories of moderate and fanatics, do you think a book like yours could lend clarity and perspective? Who are the readers you intend to target? Well to start off with, the book is written in English. So it is largely aimed at anyone who can read the language – and that includes a lot of Muslims, who for whatever reason, have not been exposed to the facts of their own past. Other than that, it would be researchers, social influencers, opinion and policy makers, the business elite or the military brass from the West who have an academic interest or political, diplomatic, economic or personal ties with the Muslims. It would be those who would like to understand more about the Muslim past and present through events and people that have shaped our reality.

Any advice for the Muslims of today? There are some lessons that emerge from this book. One of the most important things to note is that the Prophet (PBUH) stressed on education. Unfortunately this ideal has got left behind by the Muslim world today. We must realize that without education we are not going to go anywhere. And education doesn’t mean just doing your Matric or A’levels or even your politics and economics. It means going for advanced studies and acquiring scientific knowledge. The second thing is that the Prophet (PBUH) instilled in his people a set of values based on justice and social consciousness which enabled them to become better than others and contribute to their societies and the world at large. We must not lose sight of those values if we are to succeed again.

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SHOBHAA DÉ

Columnist, Novelist 182

This is your second trip to the Lahore Literary Festival (LLF). And you’ve been to the Karachi Literature Festival twice. Do you feel the Karachi/Lahore equation is much like that of Mumbai- Delhi? Which city do you feel more connected to and why?

curated evenings offer writers a chance to get a marvellous glimpse into Lahori society, stately homes and come away richer for it. Did I forget to mention food and the legendary hospitality? This time, I came home with a full, excellently packed Lahori repast that was devoured by the family!

There we go! This is an age-old debate with historic implications! Rationally speaking (who needs that?), it’s unfair to pit cities in this manner. But we are irrational AND unfair. So. I love the seductive lure of Lahore. I had said it earlier – Lahore is like a perfumed and ephemerally irresistible mistress. One gesture, one glance... and you are fida (bowled over). Hooked. Karachi is like a stern and starched bureaucrat, hell-bent on conducting business. But it also has its gorgeousness and unique sense of style. It is a crazy city. I like crazy cities.

You are often equated with Jackie Collins. Your books are known to be risqué and are mostly based on the life and times of some of India’s most celebrated elite. Why have stories about this cross section of the society been those you have chosen to tackle most often?

Lahore is more nawabi (princely) and laid back. Does anybody do any real work here? The rivalry between Mumbai and Delhi is more recent. No historic links at all in this regard. Mumbai is for survivors and drifters. It pushes you to the edge. It is kind to losers and derelicts. Delhi – not so much. Our capital is turned on by just one thing: power. I find that a turn off. Creativity and culture thrive in Delhi, despite the babus (suits)! In Mumbai, it’s how creative you are with dhanda (business).

Which of your works is your favourite and why?

Do you feel people to people interaction like your visit and that of many others to attend the various literary festivals across Pakistan are important to bridge the divide?

I left that form of writing decades ago! I had a great time while I was at it. But it seems so distant today. I have written 20 books. More than a dozen from the list have nothing to do with the early novels.

It’s a little like asking which of my six children is a favourite and why. Even if there is a favourite, I would be an absolute ass to reveal which one! What keeps you so stunning at 70? Pond’s cold cream. And a wicked sense of humour. Any new books in the works? There is always a new book happening inside my head.

These interactions are the only way forward. Eliminate the politicians from our dialogues and see what happens! We will be laughing and singing and eating and celebrating together. Those artificial barriers that separate us must be broken. The young can do it. Dosti (friendship), not dushmani (enmity) – make that the motto for the next generation. No more nafrat (hate). The world is a tired and negative place right now. It’s time to spread love and peace – as the hippies once did! We have so very many affinities! Why waste energies on our differences. I feel nothing but love and acceptance when I visit. I long to return. I know it’s the same for countless Pakistanis who want to come across and find out for themselves what India is all about. What in your view embodies the spirit of LLF? LLF is really pretty unique in that it offers the best platforms for a free and liberal exchange of views despite the challenging environment. Visitors are informed and engaged. Speakers are charged up. What more do you want? And the beautifully

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from KARACHI With

love

#KHILF By Yusra Askari

With a diverse programme featuring book launches, sessions on topics ranging from politics, international relations, art and education, dramatic performances and dance recitals, KLF gave the city by the sea a weekend to remember.

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t was a lovely spring afternoon, the perfect weather for an outdoor setting. The water in the distance glistened bright under the warm February sun. Flowers and foliage were in full bloom and Karachi thronged in attendance. Against the quaint backdrop and old-world charm of the Beach Luxury Hotel, the stage had been set for the opening of the ninth edition of the Karachi Literature Festival. “Bringing together international and Pakistani writers to promote reading and showcase writing at its best” – KLF had something on offer for everyone. With a cross-generational mix of 281 speakers in attendance and sessions in a number of languages spread over 3 days, the 9th Karachi Literature Festival brought together stalwarts Shahryar Khan, Richard Heller, Aurelie Salvaire and Isambard Wilkinson among a host of others, as well as the likes of Kamila Shamsie, Nadeem Farooq Paracha, Sharmeen Obaid-Chinoy, all of whom enthralled audiences with their wit, wisdom and plethora of anecdotes. The departure of winter also seemed to bring with it a very welcome and much awaited thaw of sorts in the icy diplomatic ties between India and Pakistan. A multitude of speakers from across the border including Mani Shankar Aiyar, Sheela Reddy, Saif Mahmood and Aanchal Malhotra among a host of others graced the occasion as did the newly appointed Indian envoy, High Commissioner Ajay Bisaria with his team.

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Just hours before the fest closed, news of lawyer and rights activist extraordinaire Asma Jahangir’s sudden and sad demise broke. The cheer in the air was replaced by heavy hearts all around. The afternoon and evening’s programme was revised to include a reference for Asma Jahangir jointly addressed by some of her closest friends – I.A. Rehman, Kishwar Naheed and Anis Haroon.

Winning 2018’s Getz Pharma Best Fiction Book Prize for his book “The Party Worker”, ace cop Omar Shahid Hamid made it two in a row. In 2017, Omar received the same award for his book “A Spinner’s Tale.” Infaq Foundation’s Urdu Literature Prize was awarded to to Altaf Fatima for “Deed wa Deed.” And as the sun set on the opening ceremony, following keynote addresses by Francis Robinson and Noor-ul-Huda Shah, a Kathak recital by Shayma Sayid served as a poetic prelude to the festival’s opening panel discussions – five interactive sessions that aptly wrapped up the inaugural evening.

Whatever one’s take on the KLF may be, there is unanimous acknowledgement that in a country like Pakistan, such literary outings provide muchneeded alternative forums for discussion and discourse. This year’s edition clearly wasn’t any different.

Just hours before the fest closed, news of lawyer and rights activist extraordinaire Asma Jahangir’s sudden and sad demise broke. The cheer in the air was replaced by heavy hearts all around. 188

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AANCHAL MALHOTRA ARTIST AND ORAL HISTORIAN

ay Two of KLF and a weekend to boot; the sprawling expanse of the Beach Luxury Hotel was packed to maximum capacity. Just past noon, I was in conversation with another writer when I was introduced to Delhibased Aanchal Malhotra. Clad in a turquoise chikenkari three-piece and depending on which side of the border she had purchased them, a pair of gold mojris or khussas as they are more popularly known in our neck of the woods. Aanchal’s book, “Remnants of a Separation: A History of Partition Through Material Memory” had just been launched to a packed house and a captive audience. Artist and oral historian turned author, Aanchal is the co-founder of the Museum of Material Memory, a digital repository tracing family histories of the Indian subcontinent and social ethnography through heirlooms, collectibles and objects of antiquity. Away from the madding crowds, in the shaded calm of the authors’ lounge, over a fruit and

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cheese skewer and a much-needed cup of strong tea, Aanchal spoke candidly about her book and her debut as an author. The chronicles are, she explained, “basically about material artefacts that refugees carried across the border with them on both sides – belongings that people chose to take with them when they migrated at the time of partition. My research started with my family, but it very quickly became about lots of people that I did not know. My book looks at partition, yes, that is the main theme, but through the object it also tries to look at the landscape of undivided India, what daily life was like, what things did people use, what languages people spoke, how they made food, what interpersonal relations there were between communities.” The list is endless. All four of Aanchal’s grandparents find their roots in Pakistan. Her paternal grandfather hails from Malakwal in District Mandi Bahauddin, while her paternal grandmother belongs to Muryali in Dera Ismail Khan. Both of Aanchal’s maternal grandparents are from Lahore. She elaborates: “I think of all the people in the book, my grandparents were the hardest to speak to. There is a certain silence that has developed around the memory of partition – people who’ve lived through it don’t necessarily want to talk about it.”

During partition, people “didn’t have the luxury of time to actually scrutinize what had happened to them – they just had to move on. Because one day you were at home, the next day you were across the border and then you were in a camp and you just had to live life and sustain yourself,” says Aanchal. And what could be harder than dissecting the emotional baggage of partition with your near and dear. “Talking to strangers can be worked around, but when you know someone so closely and suddenly become acquainted with their history, things change. Understanding and perceptions become different and you start to make sense of why certain mannerisms have developed the way they have. My paternal grandfather Balraj Bahri Malhotra came to India with virtually no money. Our family really struggled – they lived in at a tent at Kingsway Camp in Delhi for many years. So, the frugality with which my grandfather lived life even when he had a lot of money and had built a huge empire made sense,” she explains. Aanchal’s family owns the age-old Delhi institution – Bahrisons Booksellers, a name synonymous with quality for decades. Today, Aanchal’s “Remnants of a Separation: A History of Partition Through Material Memory” has also made it to one of the many shelves of the bookstore her grandfather opened in 1953. “It’s strange, because we’ve been selling books for 65

years now and it is the first time someone from the family has written something. But I think it’s also difficult because you need to take a step back from yourself to look at why the history of your family, though painful, is regarded as one of India’s most popular stories for post-partition entrepreneurship. While studying my own family, many things came out and this was one of them – it is great we own this wonderful business, have educated many, many minds and lives throughout the years but there are many things that this business is trying to suppress. My grandfather never wanted to look behind, he always looked ahead,” she explains. It was research for her book that first bought Aanchal to Pakistan in 2014. “I felt kind of stupid for thinking that Pakistan would be any different to India. When I arrived here, that stupidity really dawned on me. How was it possible that I have never been to Pakistan yet I could slip into society so easily? You know people tell me, “aap Lahore main hain – welcome to Lahore” and I instinctively say “Lahore to mera bhi shehr hai”. That is because I can understand it, because I’ve heard so many stories of a time when it was undivided and people have wonderful, wonderful memories”. Aanchal, here’s to the countless remembrances of an era bygone shaping many a new friendship! 191

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MANI SHANKAR FORMER DIPLOMAT/POLITICIAN

t was the afternoon of Sunday the 11th of February. The atmosphere was sombre – very, very sombre. The news of Asma Jahangir’s passing had just broken and Mani Shankar Aiyar wasn’t keen on doing interviews.

He reminisced with a heavy heart: “Apart from being a great Pakistani voice, she was also a great friend of mine and so I feel very, very saddened that she’s no more with us. But the kind of direction she gave and the goals she set, remain after her. The highest tribute we could pay to her is to continue working towards those goals. And once we reach the manzil, then maybe we can jointly built a monument to her on what was once a hostile India-Pakistan border and became a friendly border because governments started listening to the enlightened voice of Asma Jahangir.”

In strained times such as these, Aiyar feels peopleto-people interaction, of which he has been a vocal advocate, is the only way ahead. He elaborates: “My very presence here shows that I am delighted to avail of such opportunities. And the kind of welcome I received here, I am astonished at. Yes, I know hundreds of Pakistanis but these are thousands who are welcoming me with great affection and great love and therefore I would like to invited again and again to participate in such festivals.”

As a professional diplomat, Mani Shankar Aiyar recognizes that “all this is very marginal to the interstate relationship and for the interstate relationship to move forward.” He elaborates: “I believe that the Shimla Agreement, the agreement that came about in January 2004 and the movement that was made forward in dramatic manner, even on an issue like Kashmir, between President Musharraf and Dr. Manmohan Singh Lahore-born former diplomat turned politician Mani and their envoys, indicate that if only we can start a process of uninterrupted and uninterruptable Shankar Aiyar served as India’s first-ever Deputy dialogue, we may far quicker than we realize arrive High Commissioner to Karachi between 1978 and at solutions that are constructive, acceptable to 1982, a city where he spent “three glorious years” both sides and in accord with the historical record” and has also remained a regular visitor to over the “Pakistanis who suddenly became Pakistanis from decades. In fact, Sana, the youngest of his three being Indians on the 14th of August 1947, had a daughters was also born here.

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tendency to define themselves negatively, as being Pakistanis because they are not Indians. The younger generation has no need whatsoever to do that; they are Pakistanis because they were born in Pakistan and any question of them being Indian has never arisen. This means a huge change in mind-set. Unfortunately, it is also associated with indifference towards India, whereas the previous generation was very involved with India. We could turn around this indifference to the advantage of both countries, if it were to become part of a mind-set of saying, “I am confidently a Pakistani and therefore I can confidently deal on a sovereign basis with India.” That is the big hope in my heart,” he adds. Till then – “You have to wait; there is no alternative. The Government of India has decided to put a padlock on people-to-people relations. The visa regime now in operation is an example of this kind of an attitude”. Cynicism aside, Aiyar does see light at the end of this dark tunnel. “I have met with a lot young Pakistani people today whereas all my earlier friends were all from an older generation. They had great affection for me which is why I am welcomed so enthusiastically in your city. But I see from the youngsters who have met me, talked to me, taken selfies with me, asked for my signature that there is also a desire to end

the confrontation and come to a reasonable relationship and a sensible Indian government would leverage that to its advantage.” Fingers crossed, Mr. Aiyar – here’s to a less hostile neighbourhood, one day.

“Pakistanis who suddenly became Pakistanis from being Indians on the 14th of August 1947, had a tendency to define themselves negatively, as being Pakistanis because they are not Indians. 193

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Our Gal at Galle By Laaleen Sukhera

Literary musings in lush surroundings: Presenting the bestselling “Austenistan” at the Galle Literary Festival.

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teeped in Dutch colonial heritage mingled with tropical beauty and lovely Lankan hospitality, idyllic Galle is the site of the annual Galle Literary Festival, founded by hotelier Geoffrey Dobbs. Our Austenistan: Jane Austen 200 Years On session was held at the 500-seat Hall de Galle in the vicinity of the 16th century Galle Fort. I was joined by our anthology’s contributor of “The Autumn Ball,” Gayathri Warnasuriya, a Sri Lankan health scientist who’s previously lived in Islamabad and is a close friend. We were moderated by the vibrant Georgina Godwin representing British Council Arts. The festival was

a magical weekend with appearances by Dame Maggie Smith (who snubbed Princess Michael of Kent for arriving late), Lord David Puttnam (who rightfully received a standing ovation), jovial Alexander McCall Smith, sharp-witted Shrabani Basu, erudite Sebastian Faulks, inspiring Nayomi Monaweera, eloquent Nisid Hajari, vivacious Ashok Ferry (whose “Jane Austen in Jimmy Choos” blurb features on our book jacket) and various other authors, poets, artists, architects, and chefs. After long days at scintillating sessions, we were entertained with beach dinners, jazz, cabaret, and beloved cups of Ceylon tea. By the end of it, we were an international literary fraternity with the hope of returning to our scenic cinnamon isle with more exciting works to discuss.

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1. Gayathri and I paid respect to each other’s culture at the Heritage Cafe Authors’ Dinner; she wore a Sana Safinaz kurta while I draped a Fatima Ashar sari and carried a favourite Lulu Guinness clutch. 2. Wearing Sublime by Sara Shahid. 3. Sharing a laugh with Kinita Shenoy, Cosmopolitan Sri Lanka’s awesome editor. 4. My dog-eared first copy of Austenistan travels everywhere with me. 5. A sunny moment with Caroline Langrishe, Adrian Lukis and Sebastian Faulks.

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A EP H TURNS By Hassan Tahir Latif

The Aleph Review celebrated the launch of its second annual issue amongst an august audience of art and literature enthusiasts in Lahore on a lovely spring day dated Sunday, 4th March 2018.

n a sunny March afternoon, with dappled sunlight streaming through the tall trees in Lahore Cantonment and the smell of spring in the air, an assorted group of young and old assembled to celebrate art and literature in the form of The Aleph Review. Spearheaded by Mehvash Amin, poetess and erstwhile editor of various publications, The Aleph Review is an annual anthology of creative expression based out of Pakistan that champions the young and undiscovered while also revering the veterans.

The Aleph Review was launched in 2017 and its inaugural issue paid homage to late Pakistani poet Taufiq Rafat and his idea of a Pakistani idiom in modern English literature. Lovers and critics of literature alike hailed the issue as a valiant effort. With the second volume the team at the Review has curated a more vibrant, colourful publication with a heavy focus on art as well. The audience sat around round tables covered in newspaper-print fabric, eating tapas and drinking fresh mint lemonade and coffee – an ode to the café culture of yore that originated in coffee houses in and around Austria, giving rise to what later was termed as the public sphere.

Poetry recitations by the renowned Ahmed Rashid and upcoming poetess Yusra Amjad showcased the diversity of established and new talent in the country. Moreover, a panel on artists highlighted the myriad works found in the issue but focused specifically on Rukhe Neelofar, the artist whose painting is the cover of the second issue of The Aleph Review. With the actual painting holstered up on a canvas in the background, the audience delved into Rukhe Neelofar’s process of combining elements from her own work and those present in the anthology. The culmination of this effort is a spectacular kaleidoscope of colours that make the anthology even more appealing.

Moreover, a panel on artists highlighted the myriad works found in the issue but focused specifically on Rukhe Neelofar, the artist whose painting is the cover of the second issue of The Aleph Review.

In true café society fashion, the team at the Review had organised minipanels or dialogues between contributors of the anthology. From the realms of the Tilism-e-Hoshruba, translated painstakingly by Shahnaz Aijazuddin, to the more realistic travels of Salman Rashid, the dialogues provided a glimpse into what the Review has to offer.

The evening ended with a video montage of a selection of contributors presenting their work either through regular reading or via interpretive videos. Guests mingled in the early twilight, conversing about the importance of homegrown literary and artistic platforms and admiring the efforts of The Aleph Review team; the second issue sold out at the launch but will be available at leading bookstores across the country. 199

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Great Expectations:

South Asia’s Literary

Revival By Insha Bukhari

The Aleph Review is an anthology of creative expression covering all forms of poetry, prose and art. With its launch last year it provided a much-needed Pakistani platform where emerging talent can be published alongside the vanguards of literature and art. This month the Review came out with a vibrant second edition that includes contributors from the Pakistani diaspora abroad and other international talent. Insha Bukhari spoke to publishing editor Mehvash Amin about the Review and what it means for creative expression in Pakistan and abroad.

ow do you pay adequate tribute to a mentor? For most, a name dropped in the course of a speech or a dedicated work does the trick. For indomitable literary powerhouse and poetess Mehvash Amin, though, simple just would not suffice. Setting out to honour her own mentor, the legendary Taufiq Rafat, Amin’s relentless pursuit of an appropriate ode culminated in the 2017 launch of The Aleph Review’s inaugural issue, a hefty anthology showcasing an immensely eloquent cast of Pakistani writers, blazing trails across a range of genres, sending ripples through the sub-continent’s intellectual and literary circles. Now, with the release of The Aleph Review’s second volume, Publisher and Editor-in-Chief Amin is even more acutely aware of the weight of her wildly ambitious work. Plainly acknowledging that a sizable chunk of commercially acclaimed South Asian literature is heavily dominated by a buffet of stereotypical tropes – war, violence, toxic patriarchy, stifling cultural traditions, the plight of the poor, the excess of the elite – Amin bravely and purposely chooses to deviate, curating a powerful collection of literary contributions that need no crutches. Skim the journal and it is obvious that amongst Aleph’s motley mix of authors, being South Asian is secondary, almost an afterthought. More prominently, this is a group of distinct voices, masterfully removing just enough of the self and its overburdened sensibilities to focus on their subject and shine across a multitude of genres. Equally exciting, the linguistic prowess of an incredibly accomplished literary guard – Athar Tahir, Ahmed Rashid, Sorayya Khan – flawlessly mingling with an invigorated flank of fresh, rising aspirants the likes of Palvashay Sethi and Mina Malik Hussain, bringing together a cadre who are, above all, committed to their craft.

revival within Pakistan’s modern literary landscape and how would you define the modern Pakistani idiom? What Rafat was talking about was mainly a group of poets, writing poetry that delighted in the ownership of a ‘Pakistaniat’ that encompassed both language and perception (there were other poets like Adrian Husain who did not agree with Rafat et al). With the rise of the Pakistani novel, firstly poetry has been relegated to a second place and the celebratory ‘Pakistaniat’ of before has turned into the lucrative one of bombs, mullahs, sectarianism, etc. Not an idiom as much as a dubious gift from the Western publisher – write about these things and we shall publish. I do not agree with that, I think we should go on from both the Pakistani idiom and the Pakistani trope to write about whatever we want to. I hope we can mature into writing without thinking of the Pakistani idiom. That was necessary then, now we need to think in terms of great writers who happen to be Pakistani writing great literature. Literary anthologies are often considered ominous volumes by writers, for writers. What makes The Aleph Review approachable and relatable for the average reader? I think it is beautifully laid out, with blurbs that should draw the reader into the text and accompanying art that is reflective of the writing alongside which it is placed. Beyond that, perhaps you have to love reading to like it. Words have to be a part of your DNA. It is certainly not airport reading, but then there is a lot of that around. Commercially successful South Asian authors tend to veer towards subject matter that reinforces a toobroadly painted portrait of the modern South Asian experience. Is the ubiquity of these themes stifling aspiring authors into a specific style of writing? With some writers, sadly, I feel that is very true.

“Tired” by Eissa Saeed, “Not Man Enough” by Muneeb Ahmed Khan and Sehba Sarwar’s expertly woven “They Will Make Muslims Out of Us” poignantly point out the simmering frustration of DESTINATIONS spoke to Mehvash Amin for a a South Asian community that feels detached from preview of what readers can expect from this issue, an identity forced upon them by circumstance. her thoughts on the current literary landscape for Could this sense of alienation become a catalyst for both aspiring and accomplished writers in the subcontinent, and where The Aleph Review is headed in South Asian authors to explore a more diverse range subject matter? the future. The Aleph Review’s inaugural issue cantered on your mentor Taufiq Rafat’s seminal essay, “Defining the Pakistani Idiom,” in which he writes of an exquisitely talented, burgeoning literary class experimenting, moulding, and reshaping the English language to suit and reflect their native sensibilities. Are you optimistic about a similar

The sense of The Other is a universal theme. As for the issue of alienation, I think it holds true for Muslim writers as opposed to merely Pakistani ones. That sense of victimization and the ensuing rage will definitely be a subject as long as the present political climate lasts.

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The genres and categories featured in the Review change annually. Is this fluidity designed to encourage authors and aspirants to move beyond their comfort zones and explore new ground? Definitely. When I visualised the Review, I wanted to include all kinds of creative writing. Last time we had a section titled Epistle/Reportage. Another called Screenplays. This time we have a graphic story, Magic Realism, so many others. We found a unique voice that could only go under the title of Alternative Writing. Sometimes serendipity plays a part in creating a section. This time we received four essays that came under Food, Skin, Body and Music and I couldn’t help titling them Epicurean Essays, though the approach of each writer was not epicurean as such. With a section dedicated to Magic Realism and sci-fi masterpieces such as Annie Zaidi’s “Wandering Womb” that delve into imaginary worlds, even touching upon the supernatural, there remains a uniquely human element to each of these stories – longing, acceptance, loss, loneliness. Was this a serendipitous happenstance or were contributions selected because they included these elements? You know, if the writing is good, these universal, human elements will always be a part of it, no matter what ‘category’ it fits in. So basically, we are looking for good writing. What was the purpose of a Translation category in this volume? There is so much good work in Urdu that would be lost not only to people abroad, but even to our English-thinking elite if it were not translated. I believe passionately in translation. Shahnaz Aijazuddin, who translated the formidable, “Tilism e Hoshruba,” spoke of the importance of “retaining the flavour of a language.” Could you explain what Mrs. Aijazuddin meant? I will tell you a little story of my own to illustrate what she meant. While doing French Literature, I read Camus’ The Outsider (L’Etranger) in French. But for our BA degree we had to read it in English as well. I chafed every time I had to read it, because where Camus intended his protagonist Meursault to be removed and almost philosophically detached, in that translation he came across as an individual who was just coarse and hedonistic. I was delighted when a second translation of the book came along, closer to the original. I remember even Time magazine reviewed the new translation, and said exactly what I had felt about the first one.

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Good translation is that important. You do not just translate words, but a whole way of thinking – not just the author’s, but also the ethos from which the author comes. The Aleph Review prides itself as platform for young, aspiring writers and poets. What is your advice for authors interested in contributing and what kind of guidance does Aleph offer during the editorial process? Ah, such a good question. We had two new voices this time that we thought were promising, but needed editorial input. One accepted the heavy editing – not changes, but pruning – that I inflicted on his work and is in the book. The other did not, I think because of his ego, and Ilona and I decided not to include his work because some bits were brilliant and some just didn’t make sense. I remember when I started writing poetry, I accepted every change suggested by Kaleem Omar, my other mentor, because I trusted his editing. I think younger people should realise that no good editor would suggest changes unless they improve their work. Could you tell us about the value of mentors? When I started writing poetry, the fact that Taufiq Rafat and Kaleem Omar mentored me made all the difference to me – they actively showed me how a poem is written, that sometimes you have to rework it perhaps forty times to get that perfect balance. They ground my ego into the dirt. You may be talented, they seemed to say, but you will have to work like a dog to give a proper voice to that talent. If it hadn’t been for them, I might not have stuck to writing through marriage and kids, I might not have come to the stage where I said: okay, I am going to start a journal which will encourage new talent to come forward. If I encourage even one young person to continue writing and become a good writer – as opposed to a merely successful one – I think the journal will have acted as a mentor. Ultimately, as a collection, the second volume of The Aleph Review decisively reinforces the anthology’s founding mission, to showcase the best of South Asian writing, while staying true to its guiding philosophy that a singular, homogenous South Asian experience and identity neither exists, nor is it necessary to create an impactful, lasting piece of literature.

I think younger people should realise that no good editor would suggest changes unless they improve their work.

THE FASHION FIX

Shehla Chatoor’s

Nur-e-Alaleh “Both light and shadow are the dance of love.” Rumi

Tracing its inspiration to Rumi’s esoteric quotes about nature’s stunning flora and fauna, the artisanal Nur- e-Alaleh (light from a heavenly flower) bridal couture collection presented a romantic ode to Shehla Chatoor’s forte: exquisitely dovetailing intricate, old-world embroidery – resham, beaten mukesh, zardozi, vintage sequins, metalwork – as well as pearls and Swarovski crystals with sleek, contemporary silhouettes. Juxtaposing timeless elegance with contemporary romance and femininity, the collection was an ode to subtle hues emboldened with rich accents, intricately luxe embellishment and exotic motifs.

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Anusheh Shahid, Umar Sayeed and Asim Raza

Huma and Amir Adnan Shehla Chatoor

Bunto Kazmi and Sehr Mohsin Sayeed, Samra Muslim, Asma Chishty and Amal Qadri

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Maha Ahmad, Safinaz Muneer and Sadaf Muneer Jalil

Faisal Kapadia, Amna Babar and Frieha Altaf

Ali Safina and Hira Tareen

Amber Liaqat

Team Shehla

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2018 PSFW Of

Feminism, Florals & Fringe Trims By Syed Aamir Bukhari

Popular fashion blogger and critic, Aamir Bukhari of Aamiriat, reviews PSFW 2018. Not one to mince his words, he does so with signature brutal honesty and without any qualms for being “politically correct”.

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very March, I get the privilege of covering PFDC Sunsilk Fashion Week. I call it a ‘privilege’ because other than my brutally honest critique and the ability to spot copycats, which I’ve been doing for more than 6 years now, I consider myself of little value to brands. I don’t do red carpets, let alone praise them with poetry and creating artistic imagery for them.

This year, to my great surprise, the red carpet was missing the two usual suspects – luminaries from the fashion industry and celebrity glamour. Although celebrity presence at front rows and as showstoppers in runway shows may garner extra attention for designers, I have always felt they also take away the seriousness of the craft/clothing itself. Many a soul gets caught up in the glitterati as designers bring out their celebrity siblings, spouses and friends to make up for the lack of technical expertise in clothing itself. As for the notable fashion houses not showing, many are now hosting individual shows for spring/summer. The big designers aren’t shy to loosen their purse strings to stage a presentation of their own as it clearly gives them more control over things. Coming back to PSFW, a welcome change we saw since last year is the presence of two separate runways speeding up the transitions but then it also meant there was no captive audience for lesser-known designers. I could easily choose to skip by going out to the hall, as many chose to do for the high-street segments *cough banal textile shows*. Not to sound snobbish but year after year, garment manufacturers and textile mill owners have shown under the guise of “high-street”; I ask how many more swaying indistinguishable floral prints and shalwar kameezes will it take for them to realize that fashion will never truly embrace them with seriousness and ‘the masses’ who actually buy their clothes have nothing to do with shoddy dresses made out of lawn dupattas. I genuinely feel that the high-street showers desperately needs a ‘style manifesto.’ There were some commendable strides in showcasing and developing relevance for local craftsmanship with appliance manufacturer PEL helping to stage a craftshow featuring 4 designers: Akif Mahmood, Hamza Bokhari, Shahroz Tariq and Zonia Anwaar along with jewellery by GOLD By Reama Malik. In terms of clothes, I say great effort with a genuine heartfelt motivation but I, along with most people sitting with me in the press section, were of the opinion that if the show was done with textile mill owners to bring the designs to the market on a certain scale, it would have made a bigger impact. Otherwise it is just fanciful applause for 4 individual designers with little consequence.

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A Note On The Menswear

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PSFW 2018 was encouraging for menswear, for I finally started seeing options other than stuffy valima suits and bridal sherwanis. With Hamza Bokhari’s four distinct looks, I loved the urban spin on local crafts and how it felt easy and wearable. Having said that, when the models for the design house Republic by Omar Farooq started to walk out, I could hear bloggers and designers let out a collective ‘oooh’. His Japanese-influenced Manga collection tapped into today’s obsession of reinventing high-end Savile Row suiting for the sidewalk sneakerheads with roomier pants, slouchy silhouettes and athleisure elements like Virgil Abloh’s Off White. At Fahad Hussayn too, I picked up on the more youthful take on suits featuring elements similar to those of kimono wraps and ties on pants. Not sure how an average Joe could pay for them but I will surely be getting my hands on one of the pieces. I say it with conviction that if designers today don’t tap into the younger generation, which remains fixated on Snapchat and labels like Supreme, then they risk becoming irrelevant.

A Nod To Feminism There were also nods to the feminist cause. Firstly by young designer Hira Ali whose ‘Woman is Future’ slogan and use of sheer seemed to tick off all trends checklist. Many of my blogger friends called her show a reductive version Maria Grazia’s SS 2017 Dior. I favoured the youthful no-fuss image her clothes evoke with typographic print and the use of wispy feathers, but where she will go with this in terms of retail remains to be seen. HSY, being his usual “showman” self, pulled many rabbits out of the hat: with celebrities chanting ‘Be Your Own Knight’ to generate PR buzz; foottapping chartbusters from Tina Turner, Diana Ross and Madonna got everyone in the groove so much so that even my stone-faced self started singing along. However, the clothes left much to be desired, a print journalist sitting next to me mumbled, ‘Some of the pieces seem recycled – as they have just been over dyed black,’ and now that I look back it probably was true. Besides the patch pockets on Cybil’s long jacket and the bedazzled arm of Waleed’s suit, the clothes didn’t match the high energy of the music. Thankfully the models from yesteryear like Abdullah Ejaz, Rachel, Cybil and finally Mehreen, in a dramatic red gown as showstopper, saved the day.

With both the shows perhaps the question is how much would the Pakistani fashion consumer read into the feminist slogan? NOT MUCH, I would say. Then there were Sania Maskatiya and Zonia Anwaar. Maskatiya’s Colour Dash through the use of print and contemporary cuts made a compelling case for uncomplicated femininity. I love how big bold black and white stripes were worked into something so absolutely flattering. I wish more women would embrace cuts like these instead of RTW sacks that are sold in the name of fashion. The younger Zonia Anwaar was no less impressive with her use of Ikat print in colours like mikado yellow, autumnal amber, and bright pink. I particularly liked how it was accessorized with gold jewellery and nifty belts. With a little more finesse in terms of construction, she too can become one of the notable designers who offer modern and practical womenswear. The numerous options for women to conceal and show and make it work with both designers were remarkable.

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A Salute To Cultural Heritage And then there were nods to our own rich cultural heritage with designer Nida Azwer who chose to expand on elements from Mughal art and architecture, with meticulously layered ensembles featuring motifs of miniature paintings over generous lehengas fashioned like western skirts and heirloom-worthy shawls wrapped like beautiful frescos on the walls. I as a guy may not get to wear any of the beautifully crafted pieces, but the shawls were tempting enough for me to beg, borrow or steal for (proverbially speaking). After the show ended, the breaks offered a great opportunity to mingle with other members of press and designers to bounce off what they thought of the clothes. It is amazing how candid people can be when you chat casually during chance encounters. Many complained that Nida Azwer’s collection teetered on being a tad bit too bridal and was probably no too “prêt”, but to me Pakistani fashion luxury is synonymous with decadence. You see actresses like Sajal and Hareem wearing bridal dresses to awards and openings now. It’s 2018, bridals are the new normal, sadly they are also the new “formal”!

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On The Fringes The worst of the worst if I have to pick one, would be the oddball called Rici Melion, a brand that otherwise makes respectable suits for men, but chose to go all Jeremy Scott ridiculous for reasons unknown. Models walked out with soft-toys, grass patches and what not. Bearing no consideration to build context or narrative for whatever they sought to do. To quote Sara Mower, ‘fashion is only meaningful if you get gut reaction to it.’ My gut responded with nausea looking at male models doing cringe-worthy improv theatrics.

A few other designers also showcased during the 3-day long fashion extravaganza, but my personal barometer is if I can’t remember it after 6 hours or have trouble sorting out runway photos of one from the others, I deem it ‘reductive.’ Many might say that it is cruelly unforgiving but then if designers do not go for dramatic gestures or try to push the sartorial envelope through differentiated clothes, then frankly it is just lost in a haze, and is nothing more than a brick in the wall. They might and probably do still sell a lot but are not memorable. Gimmicks and excessive use of fringe trim don’t count!

Final Word So what are the key takeaways from PSFW 2018? You will see ‘trends’ in many high-street and mass retail brands showing you lots of feather and fringe trims, definitely more pretty floral prints and people wearing bridalwear in incongruous places and formal events. What you will not see (fingers crossed) is women wearing flimsy lawn as evening dresses or men sporting outlandish soft toys with suits. All in all, there’s this dire need in Pakistani fashion at the moment to strike a clearer balance between driving innovation and making clothing that is wearable for our fashion-forward woman, clothing that gives her both a sense of practicality and selfexpression. Designs that allow us, the bloggers and the press, to be able to draw new attention to fashion, and to stir wonder. PSFW 2018 proved that if you have expectations, some (young new designers like Hussain Rehar and Hira Ali in this case) do rise up to the occasion. What remains to be seen is if the corporate patronage by brands, be it Pel (or Bank Alfalah or whoever), is sustained. Historically, corporate sponsors have only piggy-backed on fashion and lifestyle platforms just to tactically gain a favourably soft and beautiful image. It’s hard to sell someone, that’s why kudos to PFDC for ensuring that the show goes on, year after year. 217

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Seher Tareen’s

#BossLady #BossLady is a collection designed for the woman of today – whether a student, a stay-at-home mom or a working professional. Says Seher Tareen, Founder and Creative Director, Studio S, “On a personal level, I was tired of the threepiece printed lawns being the only option for the summer. I wanted to provide the Pakistani woman with an alternative way to dress in the summer. #BossLady is the realization of that vision. It offers you smart and preppy prints such as tweed, plaid, checkered and striped prints with trimmings such as gold buttons and black neck-ties, designed in power suit-inspired cuts. I do believe the way we dress has an impact of the way we feel; it is a form of selfexpression and inspiration. So let’s change the way we dress and let’s all be BOSS LADIES!”

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The Real-Life Boss Ladies

“When it came to doing the shoot, it was important to capture the true spirit of the collection,” explains Seher. “I asked women who I admire in the field of fashion – stylists, editors and publishers – to model for me. They all did their own hair, makeup and styling and were photographed by me with an iPhone camera. These women are real-life boss ladies and I wanted their photos to be just as real – zero Photoshop!” 220

The collection consists of 21 shirt-kits, consisting of 2.5 metres of fabric and accessories such as zippers and buttons, as well as stitching instructions with complete measurements. Each shirt kit is priced at Rs. 2,750 and is available online at www.studiosdesigns.com

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LSA X Nishat Hotel Rabia Butt

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The luxurious Nishat Hotel at the Emporium Mall provided a fittingly glamorous venue for the galaxy of stars who descended on Lahore for the Lux Style Awards 2018. From check-ins to rehearsals to the final night of the ceremony, we caught a glimpse of our favourite celebs around the gorgeous hotel.

Aaminah Sheikh

Mawra Hocane

Humayun Saeed

Ahsan Khan and Ayesha Omer

Ainy Jaffri Zhalay Sarhadi

Ayesha Omer

Juggun Kazim

Sana and Safinaz Iqra Aziz

Ali Xeeshan

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Anam Malik Mahira Khan

Osman Khalid Butt

Adnan Malik and Sanam Saeed

Ali Kazmi

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Ehtesham Ansari

Mohsin Abbas

Sadaf Kanwal

Sajal Aly

Maliha Rehman

Tabesh Khoja Nooray Bhatti

Umair Tabani and Sania Maskatiya

Zara Abid Sajal Aly and Ahad Raza Mir

Shazia Syed

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ONE TO WATCH

to watch

SYRA MANSOOR SHEIKH

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Syra Mansoor Sheikh’s debut short film, Golden Ticket, has recently been selected for the Cefalu Film Festival to be held in Palermo, Italy. The young and talented social media whiz-turned-filmmaker talks to DESTINATIONS about her journey and her inspirations.

Syra, the entire fashion fraternity knows you as a very talented graphic designer and a social media wiz, but you have kept a low profile about your filmmaking. Tell us about your journey so far, your formative years, your education, career and creative life leading up to filmmaking. I graduated in Fine Arts (Graphic/ Communication Design) from the College of Art & Design, Punjab University, Pakistan. I worked for Lotus PR as a digital media publicist for over 3 years. Currently I am working as a mix media artist/graphic designer/filmmaker/digital media publicist as well as a freelance member of Open Window Creative Solutions. In terms of exposure and creativity, I was selected two years ago as a costume designer/editor/director/ production manager for the International Italy Film Festival (CinemaDaMare) in 2016 and 2017. I have also been selected for the World Festival of Youth and Students (www.russia2017.com/en/) in Russia in 2017. My postcards have been selected and exhibited in Fort Art Gallery, Canada and at the World Fair Exhibition, Canton Museum of Art, Ohio, USA. The first ever film that I wrote and directed, Golden Ticket, was selected for the Cefalu Film Festival, Palermo, Italy.

Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life? My selection at CinemaDaMare is what really brought it home. I find the process of filmmaking a truly magical one – the way shots fit together to create the illusion of things happening that never did.

Everyone who knows you knows you are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong? Yes, when I work as a team I lock all my emotional/ feelings inside, I just work as a team member and where I feel I need to take leadership I do, where I feel I need to step back for a moment I do. When you work as a team, you need to understand that not everything is in your control and that, when needed, you need to switch to the Plan B.

Your short film was made in Italy. Is there any particular reason behind that choice? Cinemadamare is a travelling campus where you travel to the northern and eastern regions of Italy. As I was part of the festival, I availed the opportunity and shot the film in Borgia, Italy.

How does where you live influence how and what you make, and how do you think Pakistan currently effects your work and process? It is a good time for creating art, but a “difficult” time for society. We are a talented and confused people; most of us aren’t clear about our direction, about what we really want to do in life. I am working in this industry as a graphic designer, digital media publicist and social media expert. But as a filmmaker I don’t have strong roots in Pakistan yet.

What films have been the most inspiring or influential to you and why? I have so many favourites – in different genres and often by totally different directors. Some remarkable films that come to mind are The Grand Budapest Hotel, Beauty and the Beast, The Lord of the Rings, Don’t Breathe, 3 Idiots and Padmavat.

We get noticed because of our successes – but we create them on the back of our failures. What failures (of your own if any) have you been able to learn from? I have been rejected from art school two years in a row and it was only at my third try that I finally got admission in PUCAD in 2010. That was a tough time because my family were not supporting me. But I persevered for my dreams and finally, I got what I wanted.

Tell us about your inner circle, who are your people who inspire and guide you, both emotionally and professionally? Hassan Shehrayar Yasin (HSY) has been my inspiration since my student life. I love how he maintains his position in this industry. Ubaid Ur Rehman, my best friend who is my light in the dark. My partner in crime Seyham Vahidy. Selina Rashid Khan who helped me a lot in my growth and my journey from graphic designer to publicist. My sister Asma and my uncle Arshad Mehmood who are my support system. 227

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LAHORE

L’Oréal Pakistan Annual Lunch Managing Director L’Oréal Pakistan Musharaf Hai hosted her coveted annual lunch at Polo Lounge in Lahore. Photography: Faisal Farooqui @ DragonFly

Momina Mustehsan and Ali Xeeshan

HSY

Mehreen Syed, Musharaf Hai, Farooq Ahmed, Sohayb Anwar, Shahzain Hafeez and Oneeb Malik

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Saadia Siddiqui

Mira Sethi Mahgul Rashid and Selina Rashid

Asma Chishty, Sohayb Anwar, Mehreen Syed and Salaar Farooki

Amber Liaqat

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LAHORE

Zainab Malik

Hasnain Lehri

Aamna Taseer

Asma Chishty, Zahra Hidayatullah and Mariam Mushtaq

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Ammara Khan

Momina Sibtain

Rubia Moghees

Sara Shahid, Arsha Asif and Mehek Saeed

Kamiar Rokni, Musharaf Hai and Jalal Salahuddin

Amina Z, Amina Raja and Amna Babar

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LAHORE

L’Oréal Paris Excellence Ambassador of Fashion

L’Oréal Paris Excellence hosted a fashion soiree in celebration of the latest Ambassador of Fashion collaboration with Ali Xeeshan. Photography: Faisal Farooqui @ DragonFly

Ali Xeeshan, Musharaf Hai and Farooq Ahmed

Sarah Bharwana, Atif Aslam and Momina Mustehsan Giti Ara, Mehreen Syed and Sabeeka Imam

Fahad Hussayn, Aimal Khan, Nooray Bhatti and Maida Azmat

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Faryal and Moeed

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KARACHI

#MeinBhi Launch Catwalk Cares, the CSR division of Catwalk Events and Production, launched the video to the #MeinBhi anthem amidst an audience of celebrities, activists and citizens of Karachi. The #MeinBhi campaign launched at the Lux Style Awards with the support of Unilever last month, is about solidarity and togetherness towards holding your ground against the widespread prevalence of human rights violations in our country since decades.

Ahsan Khan

Shaniera Akram

Asim Raza and Frieha Altaf

Maheen Khan with a guest

Nadia Hussain, Frieha Altaf, Ayesha Omer and Saqib Malik

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SARGODHA

The Tiwana Wedding

Ali Tiwana, the younger brother of event manager extraordinaire QYT, recently wed Neha Nasim in a grand ceremony spanning many events. The sehra bandi at the Tiwanas’ ancestral village was an ode to the family’s age-old customs, such as tentpegging and traditional luddis.

QYT

The Tiwana boys

Fahad, Ayub, Uzma and Jabir

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Aliya Saadat Ali and Rezz Ali

Asimyar Tiwana and Mehreen Syed

Ali Tiwana

Amal, Shazia, Sana, Mehreen Syed, Mehreen Tiwana and Nisa

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