JULY 19-25 2015
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NRAVELLING RWA It’s hard to get to know her, but impossible not to love her after you do
JULY 19-25 2015
U
NRAVELLING RWA It’s hard to get to know her, but impossible not to love her after you do
JULY 19-25 2015
Feature
Hot pursuit
Cover Story
Known as the ‘capital of ballooning’, New Mexico attracts thousands from the world over
Unravelling Urwa In an industry notorious for manufactured personas, the actor remains candid and courageous
24 Portfolio
The golden formula A closer look into the fine art of handmade jewellery
19 Feature
Walking the line that divides Authors and film-makers delve into the untold stories of the subcontinent’s Partition
30 Regulars
6 People & Parties: Out and about with beautiful people
38 Reviews: Art and movies
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42 Society: Lahore’s unofficial tour guide Shami Khan talks about losing his home
Magazine Incharge: Dilaira Dubash. Senior Subeditors: Sanam Maher and Ali Haider Habib. Subeditor: Komal Anwar Creative Team: Jamal Khurshid, Essa Malik, Mohsin Alam, Talha Ahmed Khan, Hira Fareed, Maryam Rashid, Eesha Azam and Sanober Ahmed Publisher: Bilal A Lakhani. Editor: Kamal Siddiqi For feedback and submissions: magazine@tribune.com.pk 4 Twitter: @ETribuneMag & Facebook: https://www.facebook.com/ETribuneMag Printed: uniprint@unigraph.com
PEOPLE & PARTIES
Altaf, Shammal and Shanze
Namra Khan and Khaula Hafeez
Dove hosts a hair nourishment master class in Karachi
Mona J Sidra Iqbal
Pareesa and Madiha
6 JULY 19-25 2015
Lubna
Marium Karimi
PEOPLE & PARTIES Sophia Anjum
PHOTOS COURTESY BILAL MUKHTAR EVENTS & PR
Atif Khan, Amina Faisal and Asif
Italian Coffee House Cafe Barbera unveils its Ramazan menu in Lahore
Cybil Chaudhry
Abeer Mullick
8 JULY 19-25 2015
Sahar Wattoo and Erum Khan
Aliza Tanveer
Rehan and Aden
PEOPLE & PARTIES
Anum Raheel
Uzma Pervaiz
Rabia, Rubia Moghees and Hina Salman
10 JULY 19-25 2015
Amna Adeel, Hina Minhas, Humaira and Sadaf
Kiran and Fatima Ejaz
PHOTOS COURTESY BILAL MUKHTAR EVENTS & PR
Xille Huma, Yousaf Fayeez and Dania Sheikh
PEOPLE & PARTIES
Cynosure launches Cynosure Flow, a readyto-wear evening collection, in Lahore
Tauseef and Zaib
Najia Baig and Ramma
Maha
12 JULY 19-25 2015
Nosheen and Noureen
Sabeen
Neha and Asma
PHOTOS COURTESY CATALYST PR AND MARKETING
Noureen and Aliya
PEOPLE & PARTIES
Esha
Mujtaba and Kanwal
Mehak Ellahi
PHOTOS COURTESY CATALYST PR AND MARKETING
Ayesha and Isfand
Mehreen Syed and Shahzad
Nashia, Foha Raza and Insa
13 JULY 19-25 2015
PEOPLE & PARTIES
Zainab Malik and Hina Butt
Sonia Hussian, Faiza Malik and Anjum Schon
14 JULY 19-25 2015
Faiza Malik hosts a ‘suhoor night’ at her Dubai Ensemble store
Sana Farhan
Eram Nazir and Anuradha Agrawal
Shermeen and Usman Cheema
PHOTOS COURTESY SAVVY PR
Saba Wasim and Bisma
PEOPLE & PARTIES
Omar Khokhar and Mehreen
PHOTOS COURTESY SAVVY PR
Misbah and Raziya Nazir
Shen and Ayesha Wakkas
Eesa, Umair and Bushra
Faisal, Maria, Sundas, Ayesha and Monizeh
Rabia Hayat
Naureen and Taruna
15 JULY 19-25 2015
PEOPLE & PARTIES
Mahvash Khan
PHOTOS COURTESY XENITH PR
Farees Shah
Sana Sarfaraz
Farwa Askari and Shamail Wasi
Nadia Hussain
Daraz.pk hosts its three-day fashion event at the FTC auditorium in Karachi
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Pierre, Saman Javed, Amrah Ghazanfar, Shehla Salam, Kinza Sheikh, Roshana Durani, Kevin and Bjarke Mikkelson JULY 19-25 2015
IN MEMORIAM
The Queen of Hearts: Zubeida Habib Rahimtoola (1917-2015)
Author Jane Goodall said, “What you do makes a difference, and you have to decide what kind of difference you want to make.” It appears Begum Zubeida Habib Rahimtoola always knew that she was destined to bring about positive and lasting change in society. The second daughter of Sir Sultan Chinoy, Begum Zubeida was born in Mumbai on August 12, 1917. She married Habib Ibrahim Rahimtoola, who became Pakistan’s first High Commissioner to the Court of St James in London in 1947, and was destined to walk and talk with all the greats of South Asia at the time of Independence and Partition. Her father-in-law, Sir Ibrahim Rahimtoola, was the first Indian to be appointed President of the Imperial Indian Legislative Assembly in 1930 and was also president of Jinnah’s Muslim League when it met in Pune in 1933. He was a fervent believer in a separate homeland for the Muslims of India, but died in 1942 before this dream could be realised. Before the age of 30, Begum Zubeida interacted with the greatest political figures who contributed to achieve the independence of India and the immediate creation of Pakistan. Figures like Mohammed Ali Jinnah, Fatima Jinnah, Raana and Liaquat Ali Khan, Jawaharlal Nehru, Mahatma Gandhi, King George VI, Queen Elizabeth II, Lord Social and political activist Zubeida Habib Rahimtoola.
Begum Zubeida with King of England George VI and Queen
18 Elizabeth II. JULY 19-25 2015
and Lady Mountbatten, Winston Churchill, King Hussein of Jordan and Aga Khan III were known to her personally. Begum Zubeida was a remarkable lady who not only saw but also partook in the most significant time in the history of South Asia. She was an avid social worker and one of the founders of the All Pakistan Womens’ Association (APWA) and Friends of APWA and was awarded the Sitarae-Khidmat in 1960. Begum Zubeida passed away peacefully with her family by her bedside on July 5, 2015, at a hospital in Karachi. She leaves behind her three children Zeenat Chinoy, Farouq and Maqbool Rahimtoola, seven grandchildren and 10 greatgrandchildren.
Mass Ascensions is one of the biggest events of the annual nine-day Balloon Fiesta in New Mexico. PHOTO COURTESY: MARBLESTREETSTUDIO.COM
Hot pursuit New Mexico’s annual ballooning fiesta attracts thousands from all over the world TEXT AND PHOTOS BY MM ALAM
New Mexico is globally recognised as the ‘capital of ballooning’ due to its residents, who continue to break ballooning records. The region’s most famous festival is the nine-day International Balloon Fiesta, the largest such convention in the world that takes place annually in Albuquerque’s north valley, hosting over 500 balloonists and attracting a million aficionados from all over the globe. Albuquerque hosted the first World Hot-Air Balloon Championship in 1973 and over the decades the Fiesta became a global event. In order to maintain quality, the organisers at present only allow half of the over 1,000 aspirants to participate. On any given day during the festival, up to 100,000 spectators may be on the launch field, where they happily grab at the opportunity to observe inflation and take-off 19 JULY 19-25 2015
FEATURE
An average hot-air balloon is 10,000 to 90,000 cubic feet in volume. PHOTO COURTESY: MARBLESTREETSTUDIO.COM
procedures. Countless enthusiasts gather at landing sites all over the city to monitor incoming balloons. Many residents watch from the comfort of their backyards and painters take hold of their palette to capture the colourful affair. The Fiesta comprises several events. As part of the Flight of the Nations event, balloonists from each nation launch their balloons, one at a time to their national anthem, while waving their flag. Mass
Visitors at the Balloon Museum climb into this hot-air balloon basket for a fantastic photo opportunity.
Ascensions is the biggest event of the Fiesta, coordinated by ‘zebras’ (nicknamed owing to their outfit), ensuring that balloons leave the field in a safe and synchronised manner. For the Fiesta Challenge, balloonists attempt to drop a marker closest to a target. In America’s Challenge Gas Balloon Race, special long-distance balloons are inflated and launched. Since the one who travels the farthest is the winner, many have gone as far as Canada and the East Coast in the US. A large number of static balloons are even illuminated at night by means of their propane burners during the Fiesta. New Mexicans say that missing a scenic balloon ride here is like going to Paris and not seeing the Eiffel Tower. During the year, many hop on board the balloons on occasions like birthdays, anniversaries, proposals and weddings. Clear blue skies, calm winds and mild temperatures enable hundreds of resident balloonists to fly for long periods of time throughout the year.
The world’s premier balloon museum
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A retired hot-air balloon is on display to help visitors learn more about ballooning equipment. JULY 19-25 2015
Just adjacent to the Fiesta Park is a purposebuilt museum, the Anderson-Abruzzo Albuquerque International Balloon Museum, featuring a spectacular view of the Sandia Mountains. It becomes the focal point for the duration of International
In America’s Challenge Gas Balloon Race, special long-distance balloons are inflated and launched. Since the one who travels the farthest is the winner, many have gone as far as Canada and the East Coast in the US Balloon Fiesta. The museum is named after local pilots Maxie Anderson and Ben Abruzzo, who pioneered long-distance helium balloon flight and were part of the crews who first successfully crossed the Atlantic Ocean in a balloon in 1978 and the Pacific Ocean in 1981. Besides celebrating the accomplishments of New Mexico balloonists, the Museum is by and large dedicated to the history, science, sports, arts and spectacle of ballooning. The facility — a must-stop for any balloon enthusiast — was opened in 2005 and features one of the finest
Three around-the-world flights were attempted in the Jules Verne gas balloon, now suspended in the museum’s Grand Hall.
Aficionados grab at the rare opportunity to observe take-off. PHOTO COURTESY: MARBLESTREETSTUDIO.COM
collections of ballooning equipment and memorabilia in the world, including the original gondola from the Double Eagle V which is the first manned balloon to cross the Pacific Ocean. To enlighten visitors, an elderly volunteer at the museum with a number of medals and badges on his jacket explains the nuance in the art of ballooning. A gas balloon, for instance, can fly farther, higher and longer than hot-air balloons. “Helium and hydrogen are the most commonly used lifting gases in balloons,” he says. “Balloonists descend by letting some of the gas out through a valve at the top of the balloon.” During the day, gas is heated by the sun, making the balloon rise higher, while at night, the gas cools off and pilots drop weight (usually sand or water), called ballasts, to keep from losing altitude, he adds. Explaining why hot air balloons are so big, he says, each cubic foot of air in a hot-air balloon can lift only seven grammes. “To lift 500kgs you need about 65,000 cubic feet of hot air. Pilots use a propane burner attached to the basket, under the open balloon envelope, to reheat the air to keep the balloon aloft.” After a lesson in flying, on your way out, don’t forget to pick out a special balloonthemed memorabilia from the museum’s gift shop to remind you of your high adventure in New Mexico.
You become a pilot by ‘flying’ this balloon flight simulator.
MM ALAM is a Karachi-based freelance journalist. JULY 19-25 2015
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COVER STORY
24 JULY 19-25 2015
nravelling
rwa The actor remains candid and courageous in an industry notorious for manufactured personas BY AMNA HASHMI | DESIGN BY EESHA AZAM AND HIRA FAREED PHOTOS COURTESY: URWA HOCANE
Admittedly, it isn’t easy catching a hold of Urwa Hocane — even the spot boys on the set of her shoot have no inkling where she might be. I stifle an exasperated sigh as I watch them bustling from room to room in search of their big star, thoroughly worried that she might have bailed before completing her shoots for the day. I cannot help but feel for them for I know just how elusive Urwa can be. It has been a long couple of days trying to fit a meeting into her busy calendar and by the time she is finally available, my premeditated composure has been exhausted. I have her pegged down as just another rising diva in disguise, flying high upon the wings of a few television serials and a one-off film debut, made successful by her popular co-stars. Who else would dilly-dally over an interview so much, postponing it five times to accommodate her broken sleeping pattern? 25 JULY 19-25 2015
COVER STORY
As long as there is a positive vibe and good story, I am willing to go to Bollywood, Hollywood or anywhere else. My sister Mawra is currently shooting three films in India and besides, I think it promotes a healthy image of our country I am, therefore, a tad perplexed when the pseudo-starlet I imagined walks in and embraces me as though I were a long-lost friend she had been hoping to see. It is the middle of a scorching Ramazan day and the room we stand in is rife with energy with spot boys carrying cameras, wires and props around. There is a lady wiping the floor to our right, sending off dust particles our way but Urwa seems unperturbed. Perhaps she is used to life on set, which is why she barely bats an eye as she asks me how I am and proceeds to apologise for her tardiness. “I am so very sorry to have cancelled our meeting at the last minute, yesterday,” she says with a surprising but genuinely apologetic note in her voice. “Honestly, I had had no sleep for two whole days, thanks to Karachi’s power crisis. Even my generator crashed. I hope you understand.” And as much as I want to reply with an abrupt “no, I cannot”, the truth is, I do understand.
Taking it from the top Urwa suddenly becomes more approachable when she casually plops down on the sofa besides me, rolling her luscious brown locks into a messy bun. Dressed in a pastel, lightweight kurta, she appears to be the quintessential girl next door. Although she has apparently been shooting all morning, there is barely a trace of makeup on her face and the only things that could lend credence to her star status are her porcelain complexion and butterfly-wing eyelashes. Curled up on the sofa, Urwa begins to narrate the story of her life and career in a soft-spoken, lethargic manner. “My father is an ex-army officer and we moved around a lot but most of my childhood memories are from Islamabad,” she says, reminiscing about the ‘adventurous’ times in her hometown. “However, despite the exposure, I was always a very shy child. Even at parties, I would stay reserved and stand in a corner, away from all the other children.” It was 26 not until the ninth grade that Urwa started to come into her JULY 19-25 2015
own socially. “I recall a friend of mine convinced me to audition for a play that was being staged in Islamabad — that was probably my first interaction with acting. I failed to get a part but the director saw potential in me and I was enlisted amongst the backstage crew.” The next couple of years saw the young Urwa gradually forging an acting career, one play at a time. The more experience she garnered, the more she wanted to pursue it. “I had always wanted to be independent and knew I had the talent to pull through,” says Urwa, whose big break lay just round the corner of her seventh theatre play. “It was there that an official from a talent competition called VJ Hunt first spotted me and asked me to travel to Karachi to participate in it. Eventually, I won the title and at just 17, signed my first official contract!” Laughing, Urwa adds that the contract was signed upon her mother’s ID card as she wasn’t 18 then. “And still, I moved to Karachi, all alone, with no family or friends to help me settle down. It was extremely daunting and made me truly appreciate my parents’ hard work in paying bills, cleaning and putting food for us on the table.”
Dropping the diva attitude There is something oddly satisfying about Urwa’s confessions. She now comes across as a regular person, especially when she mentions an incident wherein she almost resigned from her job as a VJ because she felt so homesick. “If it weren’t for my boss calming me down back then, I would’ve been out of there and on the next flight home.” But she persevered, and soon her efforts were noticed and rewarded in the form of acting offers from production houses across the country. “As I was still very young, my parents were initially apprehensive of me taking up acting so I rejected quite a few offers for a while,” shares Urwa. “Eventually, by the sixth or seventh script, I managed to show them that I could manage and accepted the role of Zuni in a serial entitled Country Love.” Ever since, there has been no looking back. Urwa has, by now, lent her acting chops to over eight drama serials, from Yeh Shaadi Nahin Ho Sakti and Meri Ladli to Madiha Maliha and her personal favourite, Marasim. She is a self-confessed sucker
for meaningful, Urdu writing and claims to have rejected many great scripts for their lack of good dialogue. “Have you ever heard Amitabh Bachchan speak Hindi on Kaun Banega Crorepati?” she asks, catching me off guard. “He speaks such deep, khaalis Hindi and it is amazing! It’s so unfortunate that no one really talks in Urdu like that anymore. I really wish we would!” But wouldn’t better storylines be more important than dialogue? “Even I am sick of the hackneyed saas-bahu dramas that we keep seeing in Pakistan,” she agrees. “It’s high time our industry moves away from them and produces good love stories or comedies. Everyone enjoys those.” Perhaps it was her desire for something new and special that lead Urwa to act in Na Maloom Afraad, but one thing is for sure: she doesn’t regret it. The film, in which she starred opposite seasoned personalities like Javed Sheikh and Fahad Mustafa, opened in the fall last year and went on to receive rave reviews from critics and viewers worldwide. “When you are involved in some form of art, you want to grow in it and learn as much as you can,” explains Urwa of her experience of playing Naina, the female lead in the movie. “It was an honour to work on such a great project at just 22! I was supernervous and would re-read the script every day for six months prior to shooting but it turned out to be great.” Indeed, great it was, considering how the unprecedented success of the comedy propelled Urwa’s career to a whole new level and listed her amongst the most sought-after fresh talent in Pakistan. “I will forever be grateful to Nabeel Qureshi and Fizza Ali Meerza — the director and producer, respectively — for taking the risk and believing I could deliver. The project turned out to be a turning point of my career.” According to Urwa, playing Naina also helped undo the typecast of a negative female character which she had developed on account of her previous roles. “You see, most actors emote from a grey area, regardless of the type of role they are playing,” she explains with a hint of self-deprecation. “I, on the other hand, tend to be very black or white and get carried away in my portrayal of antagonist roles. I realised I was being associated with negative characters and had to work very hard to break free from the mould.”
27 JULY 19-25 2015
COVER STORY
Rapid fire with
Urwa Hocane
1. Describe the Pakistani showbiz industry in one word? Reviving 2. Your ideal honeymoon destination would be…? Too long a list because I love to travel! 3. An idea that changed your life? Live to love and love to live. 4. If you could send a message to Farhan right now, you would tell him that…? I would tell him that he is quite a blessing in my life. 5. One thing Urwa has that no one else does? I am very courageous — more so than most other people. 6. What do you have to say about Meera? She’s cute! 7. Your acting inspirations include…? I love Drew Barrymore, Kate Winslet, Kareena Kapoor and Kangana Ranaut. 8. Favourite movie…? Too many to name! 9. Bollywood or Hollywood? Um… Hollywood. 10. Item numbers — yes or no? Maybe someday, who knows…? 11. A typical Urwa food plate includes…? I can’t live without daal chaawal! 12. Hypocritical humility or truthful arrogance? If a doctor calls himself a doctor, a celebrity should call himself a celebrity. Truthful arrogance is less hypocritical so I would go for that. 13. If you could relive any one day of your life, it would be...? I would probably want to relive one of my school days, I think. I really miss them. 14. What’s your secret fitness/beauty regime? It may sound clichéd but I drink a great deal of water. I think that is what works for me. 15. The last thing you do before going to bed is? I can’t sleep without reading something, even if it is just two pages. 16. Your competitor in the film industry? I don’t see anyone as my competitor. 17. Celebrity crush? Johnny Depp. 18.Most awkward fan encounter? Just recently, an elderly lady came to see me and grabbed me from behind. She told me she was a fan and kissed my neck! That was kind of scary…
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Negativity no more In Pakistan, dating is considered wrong but I believe that if two people like each other and are willing to own one another, there is no need to conceal anything
What has truly struck me about Urwa is that unlike many of her colleagues, she is very open to change and growth. In fact, she finds change to be ‘important for everyone and everything’ and has a secure game-plan to lead the change. “I rely on intuition and accept what feels good,” she says defiantly. “As long as there is a positive vibe and good story, I am willing to go to Bollywood, Hollywood or anywhere else. My sister Mawra is currently shooting three films in India and besides, I think it promotes a healthy image of our country.” So was a negative vibe the reason behind Urwa’s decision to forgo starring opposite Bollywood heartthrob Emraan Hashmi? Urwa laughs. “That was a simple case of inflexible dates. Like I said, I support the international exchange of art and artists wholeheartedly, whether it’s me going to Bollywood or Turkish dramas taking over the local TV industry,” she says. With this positive outlook, Urwa is fast becoming the face of change in the current crop of actors in Pakistan. In fact, she seems somewhat disappointed when I ask her to describe the current condition of the industry, claiming it to be ‘too shallow’. “There have indeed been some vast improvements but the scripts are still, mostly, below par and the writers very average,” she laments. “We aren’t big enough yet for our artists to take long breaks between projects and swoop in with comebacks later on. We have to keep ourselves relevant but unfortunately, a lot of the projects just aren’t worthwhile.” Interestingly, Urwa’s refreshing take on the world isn’t restricted to just her work. Her modern approach is reflected in how she chooses to handle her personal life as well, especially when it comes to her relationship with singer-turned-actor Farhan Saeed. “In Pakistan, dating is considered wrong but I believe that if two people like each other and are willing to own one another, there is no need to conceal anything,” she confesses, with a twinkle in her eyes. “Farhan is in the same industry so he understands and supports my career needs. Marriage is definitely on the cards for us someday but the timing remains undecided as we are both so busy all the time.” For now, Urwa is packed and ready to travel to Australia for a fun-packed family reunion over Eid. “My family celebrates Eid in a typical fashion, complete with rasmalai, bangles, eidi and big, khandaani dinners. Mawra and I even have a childhood tradition of applying mehndi on each other every chaand raat. For me, that is the only definition of Eid: family.” After this hocane you not love her? T
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Amna Hashmi is a sub editor at the Express Tribune’s magazine desk. JULY 19-25 2015
FEATURE
Walking the line that divides Retelling the story with perspectives from both sides of the border, recent works reclaim Partition from nationalist history BY SHEHRYAR NABI DESIGN BY SANOBER AHMED
It’s a muggy June evening, not unlike pre-monsoon weather. South Asians, both young and old, and others from Washington DC’s international milieu, are greeted by a statue of a donkey, the symbol for the American Democratic Party, as they enter the National Women’s Democratic Club for a screening of The Sky Below — a travelogue of the subcontinent’s Partition. The documentary shows film-maker Sarah Singh’s roadside portraits of
It is Hajari’s aim in Midnight’s Furies to explain how the politics of Partition led to a catastrophe beyond what the leaders on either side had intended.
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The documentary shows film-maker Sarah Singh’s roadside portraits of border regions in Pakistan and India. JULY 19-25 2015
border regions in Pakistan and India. Similarities in the landscape, ruins of former civilisations and the rhythm of local life is captured in a way that makes scenes shot in India difficult to discern from those shot in Pakistan. But as Singh pauses to interview members of the generation that endured the Partition, the reality of this division begins to weigh heavily. The Sky Below was first screened at international film festivals eight years ago to acclaim and awards. In 2015, it still doesn’t seem to have lost its
Other works chronicling the independence of India and Pakistan The Day India Burned: Partition
Author of Midnight’s Furies, Nisid Hajari.
Director of The Sky Below, Sarah Singh.
relevance. The audience at the National Women’s Democratic Club responded with a heartfelt resonance to the oral histories of loss and pain. One person remarked the film proved the dream of long-lost unity is still alive. Another added the traditional music in the film made her feel as if she was back home. Two weeks later, again in Washington DC, Carnegie Endowment for International Peace hosted an event for Nisid Hajari’s new book on the history of Partition, Midnight’s Furies. “What are the chances of reconciliation?” and “How can tension between India and Pakistan de-escalate?” were some of the questions that arose in the minds of the audience. In their attempt to tell a story about Partition which includes Pakistani and Indian perspectives, both The Sky Below and Midnight’s Furies are a part of what William Dalrymple described in The New Yorker in June as “a spate of new work that has challenged seventy years of nationalist mythmaking.” The myths Dalrymple refers to are the populist histories of Partition in both India and Pakistan that place the blame on the other side for instigating religious transgressions to the point where
separation became a necessity. “I felt like there was a need for something that tried to tie it all together and had what was best and most accurate in both narratives,” Dalrymple tells The Express Tribune. While working on their pieces, both Singh and Hajari received questions like, “Hasn’t this been done already?” It’s true that many writers have scrutinised Partition from all sorts of angles. Works of fiction such as Train to Pakistan are internationally renowned. Much scholarship has been undertaken on the political history and violence of Partition. But ongoing flare-ups in relations between Pakistan and India demonstrate that despite the number of times this subject has ‘been covered’, the consequences of Partition still carry urgency. All it takes is a provocative public gesture to feed into the prevailing narrative that the two countries are natural enemies. Indian Prime Minister Narendra Modi’s recent proposal to celebrate the 40th anniversary of the 1965 Indo-Pak War and an exchange of hostile rhetoric between him and Pakistani officials regarding Myanmar attest to that.
This is a documentary about the effects of Britain’s withdrawal from India in 1947 which triggered one of the biggest migrations in history. The story is told through the testimony of people who lived together for centuries, but were forced out of their homes as one of the world’s largest and most ethnically diverse nations was divided. Dramatised reconstructions evoke some of the mistrust, violence and upheaval that ensued.
The Partitions of Memory The eight essays in The Partitions of Memory suggest ways in which the tangled skein of Partition might be unravelled. The contributors focus on issues as diverse as literary reactions to Partition, the relief and rehabilitation measures provided to refugees, children’s understanding of Partition and the power of “national” monuments to evoke a historical past.
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FEATURE
South Asians are also still grappling with the human cost of Partition. In a matter of months, an estimated two million people were killed and tens of thousands of women were abducted and raped
Borders and Boundaries: How Women Experienced the Partition of India
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While there are plenty of official accounts of Partition, there are few social histories and no feminist histories. Borders and Boundaries changes that, providing first-hand accounts and memoirs, juxtaposed with official government accounts. The authors make women not only visible but central. They explore what country, nation and religious identity meant for women, and address the question of the nationstate and the gendering of citizenship. JULY 19-25 2015
South Asians are also still grappling with the human cost of Partition. In a matter of months, an estimated two million people were killed and tens of thousands of women were abducted and raped. While this is not outright denied in mainstream histories, official stances have been criticised for an insufficient acknowledgment of the violence. It is Hajari’s aim in Midnight’s Furies to explain how the politics of Partition led to a catastrophe beyond what the leaders on either side had intended. He initially conceived Midnight’s Furies to inform a Western audience, who see Partition as largely marginal to world history. Using diplomatic correspondences that were never before incorporated into a history of Partition, Hajari unravelled the negotiations between the Indian National Congress, the Muslim League and the British Empire with a focus on the relationship between Nehru and Jinnah. Close attention was paid to the differences in their personalities that made them prone to clash in their political positions. Hajari thinks that even-handed, honest portrayals of history are needed for Pakistan and India to ease a very tense relationship. “I would hope that’s what the Indians and Pakistanis can do . . . recognise the mistakes that were made on both sides, see the very human reasons why those mistakes were made but then concentrate on their mutual future,” he says. Taking a different angle to the story of Partition, The Sky Below is concerned with the memory of those who experienced it and how it continues to shape identity. The film uncovers feelings common to both Indians and Pakistanis who still remember a time when a syncretic Hindu-Muslim culture was the norm. Terrifying stories of the violence of Partition are told alongside inspiring ones of different religious groups sheltering each other from harm. Singh, who was born in India but
lived most of her life in the United States, went to Pakistan in 2006 to start filming. Although it was her first time in the country, seeing long stretches of Punjabi flatland, exploring the Hindu Temple at Katas Raj and visiting Peshawar all felt very familiar to her. The attachment one can have to a place regardless of nationality was therefore one of the prominent themes of her documentary. Sindhi Hindus now living on the other side of the border in Kutch, for example, express a feeling of statelessness in the film. When they were forced to flee their home, they still felt a greater allegiance to their Sindhi heritage than to India despite it being a Hindu country. To Singh, highly fractured identities were more pronounced in the areas where she was filming. “You always have this undercurrent of a very vulnerable, fragile existence. Especially for those who live in the border areas, it’s in the background of your day to day life,” she says. At screenings of the film on either side of the border, she was amazed to find the reactions of students on both sides were the same: they were grateful to see a perspective of history they hadn’t been told and became more interested in visiting the other side. “It helped them understand what was going on in their area well outside what’s allowed in history books and what is even discussed in class, to the point where they were crying,” says Singh. As porous as some may wish the IndiaPakistan border to be, it’s not going away anytime soon. But works such as The Sky Below and Midnight’s Furies are giving Partition a newfound importance in world history as a starting point for conversations that include perspectives from all sides and look at a cooperative future rather than assign blame. Shehryar Nabi is a freelance writer. He tweets @shehrnabi
N E D L O A G L E H T RMU
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an kist ut a P o in men o stands and o w t s, ar ma ARY | DESIG d ther wellery jhoom an, the e n g a s, to je az gs of h MA CHOUDH get- stom gs, ring in Ram eddin t l r a a u w U in rm d of rc fine BY H to forice fo ts, earn fits. An mber s e The ND PHOTOS i t u p n on ele ou TA rem e extra s, brac match ost as a e c TEX th bo to ing ace edd to pay t neckl signed ificant w n m s Fro willing st. Mo ially de s a sig e c e v r e e i ar the e esp rece l Fitr. from iyas ar usiness r Eidu e bind llery b led aft e u w d je sche Stones being set in a piece of jewellery. are
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PORTFOLIO
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S TEPS Making custom jewellery, however, requires time and fine craftsmanship. It’s an extensive process and certainly not as glamorous as the final product. Right from melting the gold in mud pots to setting stones to obtain the finished product, many intricate steps are required. “Whether it is 24-karat gold or 14-karat gold, the process of making custom jewellery is the same,” says Saeedur Rehman, a goldsmith running a small-scale manufacturing business in Raja Bazaar, Rawalpindi. He explains that every goldsmith starts with a carved wax model of the design after which a 24-karat bullion is mixed with alloys such as silver and copper to get the desired purity level. Workers need to be dexterous as the process involves minimal machine work. “We don’t have modern equipment or electricity,” says Tahir Ahmed, a craftsman at Rehman’s factory. Yet, these limitations have not hindered the creativity of Pakistani craftsmen and their products are in great demand in the international market as well. “Our designs and workmanship are appreciated by buyers all over the world,” adds Ahmed.T
Gold is melted and poured into containers to cool and harden.
Adding silver and bronze colour the final product.
Hand-polishing the combined piece after it is removed from a plaster of Paris mould.
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Silver and bronze colours are added to the final product as per each customer’s requirements.
Transferring the pieces on plaster of Paris.
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Solid bars are then placed in a machine to make flat plates and wires. From these plates, thinner plates are cut as per the design, while wires are used to form hollow and solid balls.
All the pieces are placed in acid to make them shiny after which a sample piece for each component is made by hand. For example, if a necklace contains a flower pattern, then one flower from the design will be prepared first. Setting different components on a wax mould to give them a shape according to the design. Using wax and heat, the sample is replicated (if required) and the rest of the pieces are made by pouring molten gold into a container that contains the wax mould.
to
The ready product is removed from the mould and hand polished.
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Stones are set into the design if required.
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The pieces are then transferred on a plaster of Paris mould and joined using heat after which it is allowed to harden.
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Once all the different components are ready, they are set on a wax mould and given shape according to the design.
5 4 Huma Choudhary is a photojournalist working for The Express Tribune in Islamabad. JULY 19-25 2015
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ART
CuttingÊ theÊ cordÊ
OFÊ CENSORSHIP
Parrhesia II at Karachi’s Koel Gallery forces one to dig deeper within themselves and question everything around them BY SHANZAY SUBZWARI PHOTOS COURTESY: KOEL GALLERY
Qaumi Tarana Chaar Hisson Mein by Abdullah MI Syed.
Bol, yeh thora waqt bohot hai Jism-o-zubaan ki maut se pehle Bol, ke sach zinda hai ab tak Bol, jo kuch kehna hai keh le! Many of us are familiar with the above lines by our celebrated poet, Faiz Ahmed Faiz, about speaking one’s mind. Some of us may have also heard of 20th century French philosopher Michel Foucault, who spoke about the concept of speaking truly, freely and fearlessly: ‘parrhesia’. To Zarmeene Shah, curator of ‘Parrhesia II’ at Koel Gallery, the aforementioned concept is paramount. Despite living in a country where enforced censorship and lack of tolerance is rife, she feels the heart of this concept lies in the risk taken by any artist attempting to speak the truth, (or anyone carrying out parrhesia for that matter). Shah mentions that after all, “to do nothing at all for fear of such risks is also a kind of betrayal, even to oneself.” A second part to ‘Parrhesia I’ held at Koel Gallery in 2011, ‘Parrhesia II’ includes a larger body of artists, 21, and an evolved response to the theme in accordance to rapidly changing times. Interestingly arranged, where each of the 28 pieces got their due attention, Shah cohesively put together the show in collaboration 38 with the artists within a short span of six weeks. JULY 19-25 2015
Items of Reuse by Seema Nusrat.
Mixed media miniature collages by Mohsin Shafi.
Give and Take by Roohi Ahmed. Most of the artwork at the exhibition brought to mind a series of questions. Salima Hashmi’s mix media piece, Shaam, put together interesting magazine clippings and images of an assortment of shoes with the ominous text: ‘Bringing Up The Bodies’. After all, how many people in Pakistan have lost their lives unexpectedly, while their shoes lie in wait of the master who will no longer wear them? Abdullah MI Syed’s Qaumi Tarana Chaar Hisson Mein dissected the first four words of our national anthem. It beckoned one to read, absorb and question their meaning collectively, as well as individually, and made one wonder, how many of us even know or remember the Pakistani anthem, and understand its significance? Seema Nusrat’s delightful installation, Items of Reuse, depicted gunny bags made of jute merged with tapestries (with seemingly medieval imagery). Hanging low, these bags sprouted green grass
growing from the most unexpected places. In today’s Karachi where gunny bags remind one of death and murder, does the piece depict how, symbolically, we have stepped back into the medieval era? And does the grass depict the persistence of life over death (or vice-versa)? Adeel uz Zafar’s work brings together imagery, sound and text — interwoven cleverly. Headphones on, the viewer could hear disturbing scraping and etching sounds as they flipped through the book, containing text and images of etched drawings (typical of Zafar’s style). One could faintly make out the words “Among the believers”, also the work’s title. Zafar seemed to ask: Are we considered faithful only if we suffer pain and go through trying experiences? Do we need to be ‘etched’ into the role of the believer? What does the term ‘believer’ mean anyway? Roohi Ahmed’s Give and Take displayed a pair of palms, one stitched into with a red thread, and one with ripped skin after the thread was pulled out. This kind of indentation is usually deliberate and risky, and leaves ugly marks. It makes us ask, are we deliberately putting ourselves in danger, or do we have no choice? Amir Habib’s Blind Eye was a display of blinking LED lights and images resembling the human eye and various maps. The images changed quickly, making it difficult to decipher them. Yet, the fastpaced and altering nature of this piece reminded one of the tickers on news channels, or the rapidity of news in the media. Text Edit, a video by Hamra Abbas, cleverly used word-play to depict how commonly-used words such as ‘blast’, ‘kill’ and ‘chaos’ in today’s world have much heavier connotations. Hence, one could feel the struggle of the protagonist who kept deleting and replacing such words in an email she typed. Mohsin Shafi’s quirky mixed media miniature collages portrayed a strange world where interesting contrasts exist: dark and light, the glamorous and the ordinary, and perhaps good and evil. Nearby, Quddus Mirza’s Kun Fayakun literally depicted sources of light in darkness (40 candles). Yet, the installation also reminded one of vigils and memorials for the dead, unfortunately so common all over the world. While Noor Yousuf’s installation, Against Time, embodied beauty, fragility, innocence, flight and transformation, Noorjehan Bilgrami’s The Truth Remains made us question what this truth is, and how can one decipher it from the ambiguity that surrounds us? Other prominent artists with their works on display include Naiza Khan, Bani Abidi, Meher Afroz, Nurjahan Akhlaq, Naazish Ataullah, Imran Channa, Yaminay Chaudhri, Amin Gulgee, Shalalae Jamil, Seher Naveed and Madiha Sikander, making this show a coherent whole. Shanzay Subzwari is an artist and art writer based in Karachi. She tweets @ShanzaySubzwari
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She[a]r delight Shaun the Sheep will make you flock to the cinema BY SAMEEN AMER
Even though the talkies may have revolutionised the film industry, the charm of silent movies remains undeniable. The creativity and aesthetic of silent films also seem to have inspired the dialogue-free animated feature Shaun the Sheep Movie; a terrific outing that relies on visuals and sound effects to relay its comical story. Based on Aardman Animations’ popular Shaun the Sheep television series, a spin-off from the Wallace and Gromit franchise, the movie follows the adventures of its eponymous hoofed protagonist, as his attempts to escape a mundane life leads everyone on an unexpected adventure. Bored of the daily grind, Shaun (voiced wordlessly by Justin Fletcher) hatches a plot so that he and his flock can have a day off. But the scheme goes awry, accidentally sending the Farmer (John Sparkes) to the Big City in a runaway caravan, with a concerned Bitzer (also voiced by Sparkes) in tow, eventually leaving Farmer with amnesia. Shaun and his woolly chums must then mount a rescue and restore order to their world. Written and directed by Richard Starzak and Mark Burton, the stop-motion comedy is winningly sweet and delightfully amusing, populated by adorable characters that are 40 instantly lovable. The plot isn’t very complex, but JULY 19-25 2015
the narrative never loses momentum, seamlessly going from one gag to the next oddball turn with dexterity. The film-makers make perfect use of expressions, gestures and sound effects to deliver everything from broad storyline details to nuanced emotional minutiae. The absence of dialogue adds to the film’s charm, making its execution seem all the more clever. Overall, it may be a little padded and perhaps could have been a tad shorter, but Shaun the Sheep Movie never feels tiresome as it continuously impresses with its creativity and humour. The film effortlessly captures the joys of classic cinematic ingenuity, and will delight Shaun the Sheep fans, although being familiar with the television series is not a requisite to appreciate the film. The project works well as a self-contained feature and one can enjoy it even if they haven’t seen the series. Its continuous supply of slapstick humour and touching moments make it a delight to watch, and while it may be primarily aimed at a younger audience, the movie is amusing enough to keep adults entertained and is likely to leave all its viewers with a smile on their face. Rating: Sameen Amer is a Lahore-based freelance writer and critic. She tweets @Sameen
More from Aardman Animations Chicken Run (2000) Desperate to escape after realising that they will be slaughtered, a band of chickens on a struggling farm rest their chances on a Rhode Island Red named Rocky (Mel Gibson) who they hope will teach them how to fly.
Wallace & Gromit: The Curse of the Were-Rabbit (2005) Eccentric inventor Wallace (Peter Sallis) and his loyal dog Gromit try to solve the mystery behind the garden sabotage that plagues their village before an annual vegetable contest.
The Pirates! In an Adventure with Scientists (2012) The inexpert Pirate Captain (Hugh Grant) and his rag-tag crew try to make a name for themselves and attempt to win the ‘Pirate of the Year’ competition.
Guide me home For the longest time, Lahore’s unofficial tour guide Shami Khan had no place to call his own TEXT AND PHOTO BY AMEL GHANI
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he floor is very hot right now. You’ll burn your feet so stay in the shade.” It is around 11:30am on a scorching summer day in Lahore and standing in front of me at Badshahi Mosque issuing the warning is Shami Khan, a frail old man who has served as a guide at the Lahore Fort and historical mosque since 1956. “I worked as a guide at the fort till 1990 and and since then I’ve been working here at the mosque,” he says. Until 1988, Khan had a smooth life working as a clerk at Punjab University Law College by day and a tour guide in the evenings. “The department head at the time was very nice to me and understood that my salary from the department was not enough so he allowed me to work as a guide,” he recalls. After a great struggle, Khan purchased a plot for his family but the floods in 1988 destroyed his house, bringing years of Khan’s hard work to nought. “It took me ages to acquire the nine-and-a-half marla plot, but the flood came and took it all away.” Khan received no financial assistance even though the international community pledged help for those affected by the devastating floods, he says. Eventually, he had to sell the property and move to a rented place. Khan stands out among other guides because of his ability to easily converse in English. “I also taught master’s level courses for six years at the Pakistan Tourism Development Corporation (PTDC),” Khan shares with pride. Over time, he also picked up some phrases in French and German, but English remains his greatest achievement considering he only formally studied the language till grade one. Regardless of the pride he takes in his English skills, Khan says it is 42 his mother’s curse. “One day she called me an ‘Angreza’ JULY 19-25 2015
as an insult and I angrily ran off to my sister’s house.” Knowing the language of the West is not Khan’s only claim to fame. He knows the little secrets that make the historic monuments all the more interesting to visit. In every tour, Khan will make a visitor stand at one corner of the veranda at Badshahi Mosque and whisper from the other. “See, you can hear clearly,” he says grinning from ear to ear. Khan will then take you to the next veranda, stop right in the middle, and say in a low, deep tone, “Hello, hello, what day is it today?” His voice echoes back loud and clear. His in-depth knowledge and charm could only take him so far; Khan was only able to rebuild a home after financial intervention. A few years ago, however, Khan met Aurangzeb Haneef, who started an initiative called ‘Build a home for Shami, guide of Lahore’. “Having your own house is a great source of comfort,” he says, adding that it is impossible to pay rent with the Rs6,000 he receives as pension from Punjab University. Khan says they needed Rs600,000 to buy a two-marla plot and build a basic structure over it. They managed to collect some money through donations and used up the savings of Khan’s youngest son, but still require another Rs100,000 to complete the structure. As I get up to leave, Khan calls me back and begins to cry. “I’d like to thank the people of Pakistan who came to my aid,” he says earnestly. Khan has made the best of the ordinary circumstances through hard work. But like many others, he has nothing other than the respect of those around him to show for it.T Amel Ghani is a Lahore-based reporter for The Express Tribune. She tweets @AmelGhanii