Jeans & A Band of Boys

Published in 'Eyecandy' [The Post]

24th June, 2007

By Fariha Rashed
The invite, a black and white Polaroid picture splattered across with Coven band members, was enough eye candy to make any young girl rush over to see the gig! The well designed pass, gripped tightly in my hand read, 'Coven Live at the Levis Flagship Store….8th June…9pm onwards'.

Surprisingly the gig started almost on time. Credit must be given to the official organizers Radio 1 FM 91and JB & Jaws Productions, for ensuring that a good ensemble of people were invited to see Coven live in action. The gig took place in the spacious basement of the Levis' store on the busy MM Alam Road. As I walked down the winding staircase, I was given free cans of Red Bull, the company also being one of the official sponsors of the gig. By the time I got there, signing and handing out of the band's album had already been concluded. After mingling with the likes of Omar Chaudhry [Levis Brand Manager], musician Shehzad Hameed, RJ Fizza Aslam, and fashion designer Rabya Butt, people were making their way to an area enclosed in glass. This space is usually crowded with trendy accessories and Levis' exclusive vintage collection of jeans. However, for the gig, the entire area was cleared out and Coven had set up their instruments at the far end of the square room. The Jammin Java Cafe was the first place that fans turned to when they needed anything to drink. The ambience was created by a myriad of lighting effects. One of the oldest vintage jeans, boxed in a glass encasing hung behind Sikandar Mufti as he started the gig with drumming of the drums. The crowd huddled together was left anticipating a great evening of music that would tempt insurmountable amounts of foot stomping and head banging. They got just that!

Each one of the Coven boys took their places on the floor, clad in Levi attire. Sikandar instantly blew everyone away with his wild thumping at the drum set. The band began with an instrumental and slowly built up the pace. Sailing Fast was the first and by far the best performance of the night. Sikandar Mufti's energized drum beats, Sameer Ahmed's tight bass playing, Omran Shafique's electrifying lead and Hamza Jafri's soulful rhythm, amalgamated to build the instrumental up into a rock-inspired musical fury! The band launched into subsequent compositions, one after the other, driving the crowd to the point of insanity as young boys and girls hooted and sang along. Hamza Jafri's impeccable vocals were crisp and powerful, yet singing for an hour and a half takes a lot of stamina and by the end of the show he began to tire, which affected his ability to sing with the same intensity. The constant sweating due to lack of ventilation at the venue may have contributed to this happening.

Omran was clearly versatile on lead. His body movements uniquely blended with his playing style, as he shifted his weight from side to side while strumming with great fervour. He lit a cigarette after every few songs and it truly seemed like the entire band was jamming in its back yard, completely relaxed and at ease. There was a loud, yet intimate communication between the audience and the band. They crowd exuded an aura of encouragement while the band responded by offering a hard hitting performance.

Sameer Ahmed is known as one of the best bassists in Pakistan, and he proved just why, yet again, at the gig. His bass playing was solid and added masterfully, to the already brilliant Coven sound. Sikandar, it seems, only gets better every time he performs. His wrist movements are agile and his beat was confident. Best of all, anyone watching him could tell that he was completely immersed in what he was doing. His facial expressions aren't to be missed!

The gig was a roaring success. Coven was loud, passionate and most of all won the hearts of all present at the event. For a band not very fond of commercial collaborations, the boys made a smart move entering into a contract with a label that specifically linked itself with rock music all around the world. Being the brand ambassadors for Levis will take them far. Music lives in Coven's core and no amount of commercialism can take that way from them, it can only help to add to it and give them access to bigger venues and more gigs. We hope to see a whole lot more of the band in the near future.

Global Ambition

Published in 'Images' [Dawn]
24th June, 2007

By Fariha Rashed
August marks the release of Karachi-based Karavan’s long-awaited new album that comes after an extended gap. The year 2007 is also one in which Assad Ahmed (former Awaz member and guitarist) and Tanseer Daar (vocalist) complete a decade as a mainstream band. Currently recording the yet unnamed album at Assad’s studio, they have done three songs with another seven to go. It is the fourth studio and fifth overall album by the band.

“It’s not going to be a small affair because with it we also celebrate 10 years in the music industry. The feel to the new album will be different this time with more mature songwriting and heavy in all the right places. The stuff we have been working is miles ahead of what we had been doing in the past,” says Assad.

However, lyrically speaking, Tanseer doesn’t feel it is much different from their first four albums. “This time the songs are by Adnan Ahmed. He used to write for us before and the album Safar was by him. He co-wrote Gardish with Sajid Zafar and this time Anees Ahmed is doing two or three songs as well besides Adnan. We sit down with them and sense the direction of the songs they have written. If we leave them on their own, it gets complicated for us as performers because they use a lot of heavy words. This time there will be easier words and beats,” he explains.

One thing that Assad says they have learnt over the years is “when you write a song that connects with people on any level it’s great because it will always take them back to the moment when they first heard it. This time we have all the ingredients to make a great Karavan album. I think that if Gardish was the bar that we were measured by, we’ve managed to raise that bar this time.”

“People mostly go to India to become famous but we are beyond that. We want to
go there and look at India as another territory to play in. We don’t care about
record sales. Pakistan may be home, but you can’t stay here for the rest of your
life,” says Karavan guitarist Assad Ahmed

There is an element of motivation in one of the songs on the new album, called Sara Jahan. There is also one called Kaise Mumkin Hai, which is something the band has never done before. According to Assad, it is one of those songs that take you away to a far-off place. “We try to do what we do best and evolve within that frame.

“People are now listening more with their eyes than their ears. With all the TV channels coming up, now people only know you for the videos you come out with. So if you have an album out and you’ve done a video, they only know you through that one song. This is apart from your hardcore fan base of course,” he adds.

Tanseer feels that his vocals have kept on changing through time, “Usually, it occurs naturally. It’s the fans and band mates that make you conscious of the change. Your voice is not an instrument that you practice with and it gets better. Also, we are not from a family that supports careers in music. As a result, in an environment where you have no support, it is quite difficult to improve oneself,” says the lead vocalist.

Assad adds that if you stop evolving as a singer, bassist or a musician, it’s all over. “Just hang up your instrument and say thank you very much, it’s been a good ride and good night — Elvis has basically left the building. I remember when Tanseer first joined the band; I thought to myself ‘what are we going to do’? This guy can’t even sing. I told him to lock himself in a room and practice. In those eight months, on a scale from one to 10, this guy went up to at least 7.5. It’s all about applying himself.”

For the future, Karavan plans to come out with videos that are both cost-effective and creative. Assad explains that they picked out art students from the Indus Valley School in Karachi and asked some young students to come up with interesting concepts. “It’s about promoting young talent. We got in touch with a few people, Aman Ahmed being one of them. I’m not a big fan when it comes to making videos because I come from a generation that thinks radio gives artistes a break whereas television is just a marketing tool. However, you have to have good videos and for this album we’ll pretty much do the same. We might spend more money on them and have them done on film rather than video format.”

The band also plans to go to India with the new album this time. “People mostly go to India to become famous but we are beyond that. We want to go there and look at India as another territory to play in. We don’t care about record sales. Pakistan may be home, but you can’t stay here for the rest of your life,” points out the Karavan guitarist.

All of Assad and Tanseer’s attention is on the new album right now that will not just be released in Pakistan this year, but worldwide. “Most people want to go to the East but I believe our place is in the West. Desis and Asians, in general, are tuned in to rock music as much as the white man. I want to bridge the gap between us and the white man through this album. Hence, there are two English songs on the album which will be released there, not here” says Assad Ahmed sounding off.

Spreading the Word

Published in 'Images' [Dawn]
17th June, 2007

By Fariha Rashed
Ajoka Theatre’s play, Bullah, performed last week in Lahore was very appropriately timed in that it brought with it a strong message of peace and tolerance. It revived the true spirit of Bulleh Shah’s poetry, as his poetic message intermingled with the popular genre of drama grasped everyone’s attention in the audience. It seems the recent ban placed on Burqavaganza that was accused of ridiculing the veil and disrespecting Pakistani culture has, in essence, managed to attract more crowds to Ajoka’s plays.

Bullah tells the story of sufi poet Baba Bulleh Shah. Based on the events that came to pass during his lifetime, the play carries a strong message of love and a plea for world peace. Bulleh Shah’s teachings are based on tolerance and the play suggests that in today’s conflicting times we should spread his message extensively.

‘Bullah’ tells the story of sufi poet Baba Bulleh Shah. Based on the events of
his life, the play carries a strong message of love and a plea for world peace
along with an impressive blend of various aspects of literature and the
performing arts.

Ajoka, known to stress on social issues through its plays, moulded Bullah to address the present state of chaos in South Asia. The play started on time and as the lights dimmed, the events on stage began with devotees carrying Bullah’s mortal remains in a procession, chanting his verse: “It is not me who is in the grave it is another.” The backdrop of the play is set in Punjab at the time of the decline of the Mughal empire in the early 18th century. Sona (Kamran Mujahid) and Chandi (Furqan Majeed) act as narrators, giving comments on what the sufi poet had to contend with on various occasions.

The play is an example of what the magic of theatre is all about — an entertaining, live and interactive experience that carries with it a message that everyone can relate to. The play is a perfect blend of music and acting. Mian Shaharyar composed the music for the play and the kafis were sung by Khawar Ali Qawal and his ensemble accompanied by Arif Ali. As Sarfaraz Ansari (the lead actor who played Bullah) recited his poetry, the qawwals would enhance the recitations by offering their own music and voices as support. It was said that Sarfraz Ansari felt a personal affiliation with Bulleh Shah and elevated to a spiritual high while playing the role. This translated into a moving performance on his part.

The stage was not overly crowded with props and the lighting was impeccable. It created just the right ambience for each scene and gave depth to every character’s individual expressions. The dances were an important part of the play, lending through their movements a symbolic touch to the storyline. The live qawwali music intersecting throughout the play managed to enhance the performance marvelously. The actors themselves sang intensely and soulfully, clearly indicating that they were classically-trained singers as well.

The entire production was performed in Punjabi which is difficult to comprehend for many, but the actors’ powerful performances made understanding the story a whole lot easier. Lines were not forgotten, voices carried well across the entire stretch of the Alhamra hall and the space on stage was used intelligently by the actors which made the play visually appealing.

The dancers were in sync while the actors acting out the fight sequences were also quite agile. Both the dances and the fight sequences were choreographed with special attention paid to detail. The actors’ purposeful eye contact with the audience helped to keep them engaged for two whole hours. Eva Majid played the dancing girl Muradi Begum and Malik Aslam played Banda Singh Bahadur who avenged the deaths of Sikh saints. Both of them delivered convincing performances.

The last scene was one of the most powerful in the entire play and sums up the essence of the story: Bullah’s shrine is visited by devotees and Sona and Chandi proclaim that the sufi poet is still alive and loved through his teachings which will continue to live on for centuries after his demise.

The life history and contributions of Baba Bulleh Shah were artfully staged and accurately presented in Bullah. Madeeha Gauhar must be complemented for brilliant direction, Shahid Nadeem for writing a powerful script and Uzra Butt for strong choreography. The set designed by Aqeel Qazmi created an atmosphere which convincingly portrayed the living conditions and trends at the time of the sufi poet. The play is an impressive blend of various aspects of literature and performing arts that leaves a lasting impression on its audience.

Impressively, Ajoka is known to keep its set designs and backgrounds to a bare minimum, focusing entirely on acting, a strong meaningful script and brilliant background music. At the end of the day, the evening was a roaring success and it was good to see that the Pakistani public appreciates cultured theatre.

Staging 'Ethics'

Published in 'Images' [Dawn]
May 27th, 2007

By Fariha Rashed
What are the ingredients for a successful comical farce? The play should entertain and make you laugh, its message should be clear and concise, and it should engage you throughout the duration.

Ethics of Job Hunting, an original script written by Saad Sultan, possessed all these qualities and more. Directed by Ian Eldred and Saad Sultan, and produced by Younis Chaudhry, the play ran for three consecutive nights last week at the Alhamra in Lahore.

The story revolves round Mujtaba (Taimoor Shakuri), a young graduate from Lahore looking for a well-paying job. After more than six years of waiting in vain, he gets a once-in-a-lifetime break when a family friend, Zahid, settled in London (Timothy Abel) visits Pakistan. The friend is seeking out local talent for business purposes.

In order to land the job, Mujtaba is willing to wipe out any obstruction in his way, even if it is his own girlfriend who applies for the same position. However, when he visits Zahid equipped with a worthless degree, a frustrated, religiously-inclined elder brother and father, he has to face tough competition and his prospects look bleak. But he has a secret weapon at his disposal — Zahid’s engaged but flirtatious daughter.

The director points out that he thought the play was a good idea, as most of the scripts that have been performed locally in the past have been either European or American. “We thought it might be good if we encouraged local youth and talent with a script that carries indigenous characters that show Pakistani’s unique situations.

“I also thought it would be a good experience since I haven’t really done a production before,” says Ian about his stint as director. Saad had a skeletal outline for a script and Ian advised him to keep it simple and go with that.

‘Ethics of Job Hunting’ was a good effort by a bunch of daring youngsters who
put up a production in Lahore that sat well with the audience, despite facing
great limitations and hindrances. As Isaam pointed out, “People here need to get
out of that Shakespearean mindset and move on”

Ethics of Job Hunting was relevant in the sense that it tried to show, albeit subtly, that if society is to advance and progress, we should keep our ideals with us but not let them control us. This point was driven home through the character of Mujtaba’s brother, Mustafa, played brilliantly by Isaam Haris. Taimoor further points out that the characters in the play mirror people we see everyday as an intrinsic part of our society.

In spite of the voice projection classes before every rehearsal, there were still a few voice-projection blunders during the play. At times it was felt that the actors were running through their lines. The performance was also packed with a lot of moving and jumping around on the entire length of the stage as Ian meant for the play to be that energized. “We would have loved to cut down the pace, but to be very honest when you are doing it with new actors, they are sort of unsure of what to do on stage, so I gave them very precise movements to avoid any fidgeting. Taimoor was the only one given liberty to move around freely as he is an experienced actor,” said Ian.

“I played upon a topic that is so relevant to everyone out there who has looked for a job,” says Saad who plans to learn literature, philosophy and theatre from here on, not sure at this point if he would write another script anytime soon. “I just want to get an education first,” he says, talking about his plans for college.

The cast featured a good ensemble that worked well together and their performance on a whole was perfectly synchronised. Timothy Abel (also known as the gentle giant) in particular did a scene where he was meant to act high after accidentally smoking a joint. His performance was outstanding in this regard and had the audience in fits.

According to Timothy the best part about working in an amateur production is that one gets to meet lots of talented people. Uswa Amjad, Huma Mobeen and Jennifer Bhatti, who play the female leads in the play, believe that team work is what made the play a success.

Overall, Ethics of Job Hunting was a good effort by a bunch of daring youngsters who put up a production that sat well with the audience, despite facing great limitations and hindrances. As Isaam pointed out, “People here need to get out of that Shakespearean mindset and move on.”

“What each one of us will take away from this play and the experience overshadows any amount of financial loss we might have suffered,” said Saad on a concluding note.

The Passive Voice

Published in 'The Friday Times' [TFT]
May 25-31, 2007

By Fariha Rashed
'Maawaan Noo Na Satao' is an interactive exercise that is meant to create awareness about the issue of violence against women. It was performed by the Interactive Resource Centre [IRC] as a theatre performance, followed by an interactive session on preventing violence against women. The event was specifically held on the occasion of Mother’s Day this year. The White Ribbon Campaign and FCC Rotaract Club organized the afternoon at Sinclair Hall, Forman Christian College [FCC], Lahore. GTZ must be commended for funding such educational events.

The hall seated a packed crowd of 700 students, faculty and staff members. Surprisingly, the event started on time. It began with the beautifully synchronized playing of a tabla and a flute. I thought this was an ingenious way to allow a rowdy crowd of students in uniforms to settle down in their seats and relax. As told to us by Mr. Amen Jaffar, Advisor, FCC Rotaract Club, the performance was put up to encourage all of us to learn a lesson. The crusade is an effort to educate both men and women about women’s rights. The White Ribbon Campaign takes up volunteers and offers summer internship programs to anyone interested in joining in to help forward the cause.

As the show was about to begin, an IRC performer took to the stage and explained the format of the performance. Since it was an interactive play, the actors brought forward an issue, acted it out, and later invited people from the audience to come on stage and complete the story. Completing the story would of course in essence mean that the audience was giving the solution to the problem highlighted through the performance.

The story discussed a woman who was beaten and abused by all the men in her family --- her husband, her brothers and her sons. What IRC did was leave the woman’s story behind for awhile and instead gave us a peak into each one of the men’s lives. As we witnessed the husband going to work as a laborer and being ill-treated by his boss; the brothers making money off of gambling and getting into all kinds of trouble; and finally the sons being beaten by the teacher in class as a means of punishment, we realize the reason for each one of their frustrations. Unfortunately, it is the woman who suffers their wrath at home as they unleash their aggravations upon her.

Throughout the performance the actor playing the abused woman interacted directly with the audience, asking them questions pertaining to her plight. By the end of it, a scenario had been presented to us, yet no solution had been offered. One by one young audience members went on stage and gave their opinions as to how the situation could be resolved and what they thought of violence against women. A few very interesting remarks and observations were made. A question was posed as to whether kids who are beaten at school should leave and stop studying. The audience was quick to disapprove. A teacher of FCC took to the stage at this point and agreed that beating students was acceptable because according to him, the teacher knows best how to make a child listen. When asked to take the place of the kid being beaten in the play, the teacher did so and still stuck to his guns. “If I did something wrong as a student, I should be hit”, he said as the crowd booed him off stage. Another audience member brought it to everyone’s notice that it is not only the girls who are suppressed and ill treated at childhood. Boys are sent to off to work at very tender ages and huge responsibilities are put on their shoulders. Yet another person pointed out that at least boys have a right to speak out against any injustice done to them; girls have no such rights in our society. A few girls felt that if they were ever beaten or abused they wouldn’t take it. They would go to court and divorce their husbands. Loud cheering and clapping resounded through the hall as these thoughts were expressed. However, immediately someone raised the question as to whether our society would accept such a step taken by a woman. Would it be easy for her to walk into a court and file for divorce? To this, the audience became double minded and one girl admitted that it is not an easy step for women and the only solution is to educate men and teach them how to respect women. She pointed out correctly that women are only respected by men so long as they stay within the four walls of their homes and stay obedient. Although change would be slow in coming, the audience felt that we should at least try. They believed that awareness programs such as the IRC performance would help immensely. Also, it was noted that every family has its own policies regarding education for their children, and whether it is necessary at all.

At this point a young man came on stage and provided us with a perfect example of certain factions of society, mostly men, who are in complete denial regarding the issue of violence against women. “Women are not as violated as you portrayed them to be through your performance”, he said. He goes on to state, very optimistically, that even if there are problems, there are matching solutions. However, he failed to pin-point what these solutions might be. “Bardasht kee had hoti hai” shouted a young lady as she grabbed the mike from another student. She stressed that the education of men with regard to how they should treat women should have been enforced from day one. She raised a pertinent question; how long will women run? A daring your man admitted on stage that men should sit down and think about how to behave with the opposite sex.

On the whole the event was a brilliant success. A very important issue was presented to the youth in an intelligent manner. The message got across to them clearly and they were provoked into actually ‘thinking’. For a society where social theatre is not yet recognized and accepted as a good form of ‘entertainment with a message’, the IRC did an excellent job. They must continue to perform interactively in various schools and colleges around Pakistan, as these young minds are the ones that need to be fueled to bring about change.

Strike A Pose

Published in 'Fashion Avenue Quarterly' [FAQ]
9th Edition.

By Fariha Rashed
There is absolutely no doubt in my mind that in Pakistan, there is a stark contrast between the modeling industry of the 80’s and the modeling industry of today. If we sit down and try to pin point what the major difference is, we will realize, as I have, that it’s a whole new ball game now. However, whether the industry has changed for the better or the worse is another debate altogether. In the 80’s, the industry was in its infancy and had been initiated by some daring individuals. As veteran designer Rizwan Beyg points out, “Initially the fashion scene was about a lot of friends working together. People like Atiya Khan were all part of the same group of people and what happened was that friends ended up asking friends to work for each other. It was not about making a buck back then and people came across work through word of mouth and contacts”. That was a different time. Models back then came from seemingly educated backgrounds. I use the word educated very carefully here as its meaning may be easily misinterpreted. When I say educated I am simply referring to the fact that in the 80’s and 90’s women taking up modeling as a profession were not only good on the ramp and in shoots, but could also carry off a conversation if engaged in one. That is the kind of overall persona internationally expected of super models. Do the new models taking up fashion as a profession fit this bill? Do they exude that state-of-the-art super-model quality or even look like they belong on the ramp?

We have to keep into account that the modeling industry’s trends have with time transformed or rather evolved if you will. In the late 80’s and early 90’s we had models such as Bibi, Zoyla, Atiya Khan to Aliya Zaidi leading the way. They had poise and were all unique in their own right, knowing how to carry themselves and taking what they were doing seriously. Shehzad Raza is right on track when he says “before, photographers and designers were educated and experienced in their fields. Even if they had no formal training there was no copying going on and they were all good at what they did. There was an air of professionalism and they worked with professional models as well. Now anyone gets up and becomes a designer or a photographer and therefore the models coming in are also less qualified and skilled.” Frieha Altaf who has been one of the top models in her time and currently recruits models herself [through her agency] has a slightly different point of view on the matter and states that “Even at that time there were two types of models. You either came from a good background or what we called an ‘ifi’ background. I personally was very hesitant before doing a commercial. I stayed away from poor quality, ‘pan masala valai’ offers. The ‘ifi’ models were doing all that and there were very few models that came from serious backgrounds. I kept away from the ‘ifi’ models because they gave a bad reputation to the modeling industry. Girls from good families were not allowed to take up modeling and those who did had to fight a lot of misrepresentation. I believe it is the same deal right now.” Amina Haq takes it one step further and says that “the 80’s saw no models as such. It is in the mid-90’s that modeling developed in Pakistan as it was a paid profession. Modeling has always attracted a varied kind of people.”

The 90’s saw the coming of exceptionally talented models such as Vinny, Iraj, Amina Haq, and ZQ. The advent of fashion schools in the mid-90’s also encouraged more females to take up modeling as a career. However, modeling at this time was still more or less about creating and maintaining a certain image and class that comes with exclusivity in the business. Grooming became important as modeling agencies led by Ather Shehzad and Nabeela primarily came into being. Male models also entered the arena and today we see talents such as Abdullah and Emmad Irfani making waves. Although male ramp models are paid relatively less than female models, they tend to find plenty of work in the corporate business sector and are often found on multi-national company’s billboards and in their TV advertisements. Shehzad Raza says very confidently that “we [Ather Shehzad] are the ones who introduced all the educated models in the industry from Amina Haq, to Vinny, to Iffat Rahim, to Cybil, to Iman Ali, to Nadia and even Meesha”. Shehzad goes on the express that it is therefore they who feel the pain the most when they see that the bar has gone down tremendously when it comes to the kind of girls becoming models. However, Shehzad agrees that it is an inevitable trend which is difficult to curb and the industry is suffering as a result. Iraj agrees and says that when she started out the field was tiny. There were fewer dedicated people who were only interested in fashion and had purely aesthetic reasons for joining the industry. “It’s completely different now. People want to do more now than just fashion. They are more interested in what’s happening after midnight. Women in the modeling industry have become distracted. The media is huge and models don’t eat and end up looking anorexic. Today you don’t have to do much to become a model”, says Iraj. She also insists that a girl is not measured according to her brains. So who is responsible for making sure that models are brought back on track? To this Iraj says “me just talking about it will not make a difference. Designers need to be responsible; people at the top need to be responsible. I have heard designers putting models down and telling them they are too fat. If my lot leaves the industry it will get worse. New girls don’t voice themselves. We used be particular about quality and now girls are willing to do anything. Lobbies are killing the industry. You can survive if you strive to survive. Talent has a lot to do with it and your intentions have a lot to do with it.” Iraj also hints that there is a difference between Karachi and Lahore when it comes to professionalism. “Karachi is still a little better. Take Nadia Hussein for example. She had presence and was modeling solely for fashion. Some newcomers are also good and it is my duty to guide them. Everything negative that crops up in the industry is very contagious but we try to stay decentralized and not get into that chaos.”

One can not deny that to some extent the modeling industry, along with many other industries, has become excessively commercial and media driven. Rizwan Beyg further clarifies this issue when he says that “now everything has become about money and models are doing shows to gain easy and fast cash. Designers are also commercially driven and fashion is suddenly at the forefront everywhere. Our clients are now making clothes and this is a reflection of our culture and the times we live in. Earlier there were no fashion magazines and now we have magazines solely based on fashion. There are no longer any standards or criteria for what is good and what is bad…..and this is sad.” The pertinent question arises. Does the current frivolous, glam-driven and ever changing nature of the modeling industry demand that models should be well groomed and well educated? Does it make a difference to the overall impact they exude? Frieha Altaf for one, when hiring models, does not care if they are literate or not. “I don’t give a damn about someone’s education. They should be groomed properly and should look like a model; they should come on time and take orders well. I am non-judgmental about what a model does with the rest of her/his time and I don’t care if they can speak English or not.” Amina Haq is perturbed by the insinuation that education is a criterion for judging a model’s caliber. “Since when do models have to become nuclear scientists? It is not necessary for models, actors or people in the performing arts for that matter to be PHDs. Why is it necessary for a model to speak English to be considered educated?” she exclaims. Vinny on the other hand believes that grooming and training is very important for a model. “A model needs to know how to deal with clients and how she or he does that depends on their background. Models are now personalities around the world and modeling is all about how you carry yourself. It is a good thing that more people are coming in and I feel it is the model’s own responsibility to get appropriately groomed. Nabeela has groomed models and Shehzad’s girls are also all groomed. Think of Iman Ali when she did Dawlance and now…what a big difference! A model must definitely know how to speak well.”


Say the word ‘model’ and what instantly comes to mind is a sassy, hot individual wearing great clothes and posing like there is no tomorrow. Scratch the surface and you will realize that there is a whole lot more to this species than just glamour and good looks…at least that’s what you are supposed to find under all the paraphernalia! A model is meant to be a complete persona equipped with taste, beauty, sophistication and above all else…brains! So have the modeling standards really dropped in Pakistan or are we making a big deal out of nothing? Hassan Sheheryar couldn’t agree less with the fact that fewer educated females are coming into the modeling business now as opposed to in the 90’s. “Meesha and Farheen are both newcomers and well educated. Nadia has a LUMS degree for God sakes! Those who were educated just used to shine through more before although there were uneducated models even back then. Now even models that are uneducated have been given a chance to come in and shine through and let’s give them that chance instead of insinuating that they aren’t any good”, says Hassan. Maybe if some of the influential people in the fashion world erected some modeling schools and agencies with all the money they make, it would ensure that well-groomed, educated, and trained models came onto the scene and eventually got invited and represented us abroad as well. The people who can truly make a difference need to re-invest in the industry. As far as I can see, the modeling world is fast becoming a second rate business where anyone who gets a shoot done can claim to be a model. Models such as Bibi, Vinny and Iraj etc have worked so hard to raise the standards and here we are disrespecting their efforts. With the way things are unfolding, we are only ensuring that modeling in Pakistan goes to the dogs. Everything can not only be about making money or else progress shall never see the light of day.

Cover Up

Published in 'The Friday Times' [TFT]
April 20 - 26, 2007

By Fariha Rashed
Ajoka Theatre recently put up a new play Burqavaganza, an outrageous musical extravaganza which daringly touches upon the sensitive issue of the veil with a laissez-faire touch of humor. The play, written and directed by Shahid Nadeem, highlighted the significance of agreement and understanding in preventing the spread of extremism and the poison of uncertainty. Nadeem said he aimed to tackle problems faced specifically by the youth and middle-aged women of the Islamic world, who are caught up in a whirlwind of contradicting perceptions about the veil.

The satirical play revolves around the false perception of many that women need to be hidden, and the female species is something to be ashamed of. Through the storyline Shahid Nadeem reveals an ugly truth ---- the practice of and belief behind veiling a woman has been perverted and shamefully linked to religion. However, the obsession with the burqa, face-veil, niqab, hijab, or parda has nothing to do with religious beliefs and everything to do with a tribal and feudalistic mindset strongly prevalent in our country and value system. Burqavaganza mocks the phony rationale created for veiling a woman, and leaves no possible room for its justification in modern times.

The play speaks of the current fixation with the veil being a product of the Pan-Islamic fundamentalist political movement which is supported by repressive Muslim rulers and the ‘great’ powers of the West. In Pakistan’s recent history the Zia regime actively supported and followed this policy. It was pursued as a part of the West-supported policy to promote religious militancy. Similarly, the burqa ‘fad’ was taken to atrocious and peculiar extremes in Afghanistan by the Taliban. Quite ironically, the Saudi rulers, whose less than discreet shenanigans while holidaying abroad are well known to all, have also applied a strict veil policy. However they don’t stop there. In addition, they have enforced other humiliating and repressive restrictions on the free movement of women. On the other hand, the veil has become a central point for Muslim communities trying to claim their distinct religious and cultural identity. Banning of the veil with anti-Muslim intent and underlying racist connotations is deplorable and is in fact accomplishing nothing but negative and extremist reaction among the Muslim youth. However, it must be remembered that those who want to cloak women in burqas are merely a small fanatical ultra-conservative minority. There are also other important issues explored in Shahid Nadeem’s play. Unfortunately, the trademark of our moral and religious establishment is to cover all things beautiful and conceal all things horrible. These issues have very broad political and social dimensions. The establishment tries to cover up the inconvenient truth and they have double standards of moral and ethical values.

Burqavaganza, although void of any specific central plotline or story, portrays modern youth in veils going out on dates, sneaking out of educational institutions, offices and homes for discreet affairs with friends of the opposite sex. The play begins with the story of two burqa clad lovers, Haseena [Nosheen Sheikh] and Khoobroo [Raza Abbas], who cannot be together openly because of the restrictions placed on them by society. They sneak about and find ways to meet without being caught. The irony and twist is that by the end of the play it is revealed that these lovers are actually married. They are STILL penalized for being seen enjoying themselves in public, and are eventually put to death. The play aims to challenge set mindsets and to provoke audiences to think for themselves and break the chains of prejudice and obsolete values.

Hilarious news clips were screened in between to show misconceptions existing in different countries which have banned the veil in the aftermath of terrorist strikes. The fictitious channel on which these news clips appeared was named ‘Burqa Vison’. Among other issues, the play sought to address the compulsive obsession to confine the female species to secrecy. It sought to reason that whatever the rationale for covering women's faces in primitive or medieval times; there could be no justification in modem times for such practice. No society could encourage indecency or immodesty. Right through the play, characters appear in veils and abayas. The play highlights the impact of the veil on the society, as it becomes a tool to hide what a person wishes to keep private. The play refers to Osama Bin Laden as “Burqa Bin Badin”, allegedly hiding in Afghanistan, where the Taliban regime once enforced the burqa. He is eventually caught and put to death by hanging, but enacted by Sarfraz Ansari, the character was comical and quite droll. At one point, while “Burqa Bin Badin” gave his sermon to the public in Urdu, an actor stood on the side and translated everything that was being said by ‘Badin’, in his own hilariously concocted version of sign language. In another part Razia Malik, playing the part of a character known as ‘Hijab Hashmi’ is rolled in, seated uncouthly on a takht like piece of furniture with wheels. She is clad from top to bottom in a shimmering veil that covers her face completely. To her audience of a few, she gives an amusing sermon in which, even though farfetched to an extreme, the advantages of wearing veils and burqas are highlighted. The audience of the play applauded dialogues such as “Burqay Kay Peachay Kia Hai”, “Ye Jo Burqa Hai Dushman Hai Hamara” and “Burqa Associations”.

The best performances of the night had to be those of Iqbal Naqvi and Imran ul Haq. They pose as two maulanas addressing people’s random problems and handing them out preposterous [to the point of being utterly humorous] solutions, that too in the name of religion! The play was meant primarily to make people laugh at radicalism and extremism in society and it accomplished that objective superbly. However, Shahid Nadeem stressed that the main reason for staging the play was to educate people about the prevailing and rather serious situation of ‘forceful veiling’ as it may. Burqavaganza’s execution may have been slightly lacking only with regard to being treated as a musical. The songs were funny, but the performances began dragging slightly halfway through. The costumes were colorful, and innovative, sparking among the audience, a great deal of interest in each character. Costume designer Zahra Batool must be applauded for coming up with unique, deconstructed options to veils, burqas, hijabs and so on. The set and lighting, designed by Kewal Dhaliwal and Malik Aslam, were suitably appropriate with regard to the topic of the play. Both set and lighting succeeded in rendering the play visually pleasing and lent the ambience great authenticity.

Even though the serious issue of oppression of freedom was treated satirically in the play, dialogues and connotations expressed with regard to the veil became slightly crude at times. For the veiled women sitting in the audience the blunt ridiculing of their attire may have been a bit much. However, sometimes people need to be shocked and jolted into thinking and questioning obsolete mindsets. I believe Burqavaganza certainly succeeded in leaving people questioning various issues brought forth in the play long after it ended.

Setting The Stage for Bigami

Published in 'The Friday Times' [TFT]

July 21 - 27, 2007

By Fariha Rashed

In a country where there is an extreme dearth of stimulating entertainment, parallel amateur theatre comes as a relatively new, yet refreshing concept. It is in particular a welcome addition to the only place on the planet, where fashion shows are considered a source of entertainment, usually packed with an audience comprising bureaucrats and the nouveau riche. Surprisingly, media and potential buyers are seldom seen at these ‘grand events’. The clothes or designers matter little and instead the skimpily clad models, awkwardly strutting down the catwalk, are of more importance. Keeping in mind the above mentioned sad state of Pakistani entertainment, Shah Sharahbeel’s play ‘You Only Marry Twice’ came as a breath of fresh air. The man has managed to carve a niche for his theatre company called Centre Stage Productions as audiences and sponsors acknowledge his unique vision and insight. Shahrabeel has had numerous successful plays in the past, shown in Lahore, Karachi and Islamabad. His latest play was performed in Lahore’s largest hall at Al-Hamra and was sponsored by one of the leading telecommunication companies in the country, along with the Lahore Arts Council.

‘You Only Marry Twice’ is based on the farce ‘Caught in the Net’ by Ray Cooney. It centers on bigamist John Smith who has been juggling two separate families which are living in two different areas of the city. He tries desperately to keep his two wives from discovering each other, and manages to do that successfully for 18 years. However, one fine day his daughter and son, from two different wives, date on the internet and decide to meet up to discuss their fathers, who ironically have the same name and are both taxi-drivers. From then on the play takes the audience on a roller coaster ride. Twists and turns occur in the plot as it falls upon John’s best friend Stanley Gardner to try and stop the children from meeting each other. The slogan “who knew mayhem was a mouse click away” cleverly puts the play’s central theme into perspective. In essence, ‘You Only Marry Twice’ is a light play that although comical in nature, revolves around the delicacy and intricacies of relationships and marriage. The best part about watching this play was that almost every person in the audience could relate to the theme in one way or another. They saw their own reflections in the myriad of characters, and on a personal level, were able to relate to each of these character’s dilemmas.

The set, designed by Asad Zaidi who has just completed his third year at Pakistan School of Fashion Design, was cleverly constructed. Asad made use of different colors to separate two different households created on one set. Lighting and sound, managed largely by Hassan Suleman Rizwan, was effective. Hall management was on its toes at all times during the play, ready to snatch away people’s mobiles if they rang. Although many complained that this kind of treatment is oppressive, for the first time in history, a Lahori audience sat through a non-stop one hour and forty minute long play, without a single mobile ringing or a single hoot being heard from any audience member. This indeed is an accomplishment worth noting. Choreography was taken care of by the talented Atif Khan who even managed to get a stiff Ian to miraculously dance. Although the dance segment at the very end was not well synchronized, it was thoroughly entertaining none the less.

One area where Shahrabeel needs to be a little more careful is timing. The play began late each night and therefore ended late as well. Due to this, a few people with other commitments had to sadly get up and leave during the performance. Also, Al Hamra’s AC’s were not cooling the hall well enough and one could see both actors and audience members sweating and feeling uncomfortable owing to the heat. Although all actors did well on the whole, a few of them did a better job in understanding and portraying their character. Ian Eldred’s performance while playing Stanley Gardner was crisp and almost flawless. His dialogue delivery and face expressions were in sync, and his body movement accompanied by his talent to use the stage space well, served to instantly captivate audience members. He, along with Muhammad Ali Jan who played John Smith, gave energized performances day after day, as if performing the play for the first time each night. Others, including Ushna Shah [playing Vicki Smith], A’hera Mathew [playing Barbara Smith] and Shaan Lashari [playing Gavin Smith] started out a little rusty as far as voice projection and speech clarity is concerned, but they got better with each passing performance, as their confidence and comfort on stage increased. Irsa Ghazal, playing Mary Smith, and Ijlal Khan, playing Mr. Gardner, both had excellent voice projection and are competent performers on stage. While established stage and television actress Isra lent her roles emotional depth, Ijlal’s love for theatre at once came spilling through on stage, translating itself into a passionately hilarious portrayal of Mr. Gardner.

It seems Sharahbeel’s reputation for putting up quality theatre far exceeded him, as the play’s opening night instantly drew in crowds of people. By the fifth night, word had spread all across the city and the hall was suddenly jam-packed till the last day. Furthermore, hundreds of eager, young, aspiring actors were keen to audition for a part in ‘You Only Marry Twice’. Sharabeel, as the director of the play, explains that “there are a few basic things that have to be kept in mind when choosing actors for particular roles during auditions. These include compatibility with the rest of the cast, voice projection and appearance.” Rehearsals, according to Muhammad Ali Jan, “went on for two whole months…..stretching at times till three in the morning.” Sharahbeel is most respected by his team for encouraging new talent and giving them a platform on which to prove themselves and show their potential. Mudassir Sheikh, a senior undergrad at LUMS and an RJ in his spare time, acted as everything from the Assistant Director, Media Coordinator, Presenter, Props In Charge, Production Manager to being involved in Backstage Management. He says “this experience has given me great exposure; great fun, great new friends and I have managed to learn a lot”. Ian Eldred who is known to be a master of improvisation on stage, adding a dozen extra ‘bloody’s’ to his lines in the play, exclaims “this experience has given me access to bloody good food, every single night, on the house!” Apparently the whole cast was treated to scrumptious food at various restaurants across Lahore. Ian also feels that working in Shahrabeel’s play cannot be compared to working with any other director in Pakistan. Shahrabeel’s motto as a director is “discipline, hard work, and passion”, to which his whole cast chants “discipline is an understatement!”

It is strongly felt by the cast members and by Shahrabeel himself, that the responsibility to encourage the efforts of young, amateur talent that has put in hours and hours of hard work to bring twelve consecutive nights of thrilling entertainment to the people of Lahore falls upon the shoulders of the media. Healthy criticism is always appreciated by actors, who feel they can learn from it and improve where they are lacking. However, reviews should not carry criticism for the sake of criticism and praise should be given where it is due. It is commendable that these youngsters and Shahrabeel, even in the face of poor tradition and infrastructure when it comes to theatre, have brought to Pakistan a new form of praiseworthy drama. The government and the corporate sector should work together to nurture this budding theatre culture and create an atmosphere where it can blossom further.

International or citywide?

International or citywide?
Published in Instep [The News]
Sunday 26th March, 2006

The 2nd International Fashion Festival Awards, were far from being international, but they are a step forward all the same

By Fariha Rashed
As glamorous fashion events have suddenly come into vogue in Pakistan, so have giving out awards to acknowledge the great talent inherent in these fields. Lahore was once again highlighted as a potential international fashion ground, as Kamber Entertainment Group organized the second International Fashion Festival Awards 2006 from March 15th to 18th at the Pearl Continental Hotel. It was last year in April, that two Lahore based designers Salina–Wardah held the first fashion awards, aiming at putting the vibrant city of Lahore on the map of the fashion world. A great deal of hype and excitement had been created prior to the beginning of this festival, with well known fashion labels such as HSY, Karma, Lajwanti, Nabeel Aqeel, Walid Atallah, Amna Malik, Arshad's and many more participating.
Kamber Entertainment's Vice Chairman Syed Rehan Ahmed, who is a Dubai based businessman and designer, rightly pointed out that the Pakistani fashion industry is unfortunately controlled by a few names, that do not appreciate or let budding fashion designers and models come to the forefront, or share the limelight with them. Ahmed says he wants to genuinely help the Pakistani fashion scene flourish at the international level and holding such events is his way of accomplishing just that and at the same time, encouraging upcoming talent. It is pertinent to mention at this point however, that of the 20 international countries that were meant to participate in the festival, only a given few were present.
The International Fashion Festival took place at the spacious yet sophisticated Crystal Hall at Hotel Pearl Continental, Lahore. As people made their way in, they were met with various colorful stalls spread across the sides of the room. A long white ramp at the centre ran, like a slithering snake, from one end of the Crystal Hall to the other. The stalls were abundantly laid out with formal and informal clothes displayed either on mannequins or hung on racks, and accessories such as shoes, bags, belts and other fashion-related items, lying decoratively on tables. Each designer displayed the latest trends and their newest collections. Karma's stall was very well equipped, with three or four representatives for the label available at all times, incase anyone wanted information about Karma designs. There was a multimedia screen in the background running Karma fashion shows constantly. Even Maheen and Kami made an appearance once or twice to check up on things and meet potential buyers. Designer Walid Atallah had his catalogue available for viewing, as well as some beautiful white dresses from his couture line, displayed on mannequins. Chic Wear House, headed by Malaysian educated fashion designer Imran, had its women's and men's wear collection on display. The designer himself was seated very comfortably and rather quietly at his stall throughout the festival. However, strangely enough it was his PR person who gave any necessary information to curious passers by.
Other than fashion designers, cosmetic companies such as Cosmetica and Diana of London had a wide variety of luscious make up items in a number of colors available for purchasing and sampling on the spot. As we all know, beautification is the most important thing for a woman. Therefore, it was no surprise to see, that a bunch of ladies were found, every now and then, huddled all around the cosmetic stalls, testing products and giggling away as they saw themselves transformed when they peeped into mirrors. Also, SAAI Concepts, headed by designer Sahar Atif had displayed among other things, a myriad of beautifully crafted steel decorations such as small chests, in hues of greens and blues. Other items on display by them were scented candles, exotic looking cushion covers, steel coasters beaded jewelry and clothes.
Although excitingly enough, models from Germany, Greece, Cyprus, Hungry, Philippines, Romania, Norway, Dubai, Italy, Australia, Belgium, India, South Africa, Kenya and Bulgaria were expected to catwalk at the show, one only saw a handful of models from a very few of these countries actually on the ramp and that also for a very short period of time. The fashion shows on both the 16 and 17 March were held at 7:30 pm after the exhibition had wrapped up.
Four exclusive models from Ukraine, Lithuania, Azerbaijan and Uzbekistan also took part in the fashion show on March 16. Pakistani models showing off designer clothes on the ramp included Hina, Aleena, Mehreen Syed, Neha, Sara Gillani, Seemab and Sanam. Male models included Gul Danyal, Emad, Naeem Haq and Meekal, who was appreciated on the first day, but was not seen the next day among the male models. A few unknown models also appeared in Nabeel & Aqeel's segment, which managed to surprise the audience quite a bit.
As always, the awards were the highlight and climax of the whole fashion festival. National Assembly member Riaz Fatyana was the guest of honour. What was a little disturbing was the fact that at the awards ceremony, many people had to stand outside the crystal hall, as passes distributed to the public exceeded the seating capacity. Even inside the hall, several guests had to watch while standing since they had no seats allotted to them. The award categories included best smile, best photogenic face, best model, best designer and best formal and informal dresses. The jurors making all the decisions about who won the many awards included the likes of Yusuf Salahuddin, Wasim Akram, Moammer Rana, Yahsir Waheed, Aaminah Haque, Vaneeza Ahmed and Khanito, Lebanese choreographer and adjudicator.
On the whole and in circumspect, the Second International Fashion Festival went off well. Many of the products were sold out and media coverage was at its height. However, it was a little sad to observe that the turnout of people was a little less than expected, and the response of buyers was minimal. It did not come up to the expectations of many. Compared to the first fashion festival held last year, people seemed less enthusiastic to attend or display their work at this particular fashion forum. Perhaps better organization and marketing of the whole festival will encourage a higher attendance, more sales and better participation by designers next year.

The New Age

The New Age
Music & the Internet
Published in Images [DAWN]
Sunday, 19th March, 2006


With the sudden explosion of the internet in Pakistan, a fresh and innovative channel has opened its doors to the local music industry. It has managed to reel in a new age and new form of listening to music. The lack of any rules and regulations for internet usage means that people from all age groups find “cheap” and “comprehensive” entertainment through the World Wide Web. Furthermore, marketing through the net ends up being much cheaper than it is through other mediums and therefore, underground bands which are not financially strong find it a cost-effective way of advertising their music.

It is safe to say that an internet presence has become compulsory for any musician who wants to make his or her mark in the market. It also allows our local musicians easy access to the world market, since the World Wide Web has now become “a global business directory”, as Mr. Arshad Mahmud, Editor of World Music Magazine and Director Programs of NAPA very rightly points out. Much to their glee, the Pakistani communities abroad can also now listen to [and to some extent directly participate in] the local music scene. Their “jazba” for their country can be manifested through their active participation by way of the internet. It is avenues such as “blogs”, “discussion forums”, “communities on Orkut”, “webzines”, “ezines”, “music portals”, “and yahoo groups”, which are available to the global community for this very purpose. The much visited and talked about Orkut for example, is an online community site designed for friends. The main goal of their service is to make the visitor’s social life, and that of their friends, more active and stimulating. One can also create and join a wide variety of online communities which have been launched by the myriad music bands, artists, producers, and directors which make up the Pakistani Music Industry. Orkut to some of the upcoming music artists has become a marketing haven and self promotional platform. Every important TV Channel, radio station and music website has a community on Orkut and it provides the added advantage of having the presence of an international audience. Therefore, one can almost immediately gage the importance Orkut possesses in the bigger picture of things. Other than Orkut though, one of the most visited music oriented e-zines is called Bandbaj.org, and as their writer and PR Manager Huma Imtiaz explains “Bandbaja was one of the first e-zines that came up with comprehensive reviews and interviews that took a fresh look at the state of affairs in the music industry. Not only that but we have promoted a lot of artists that were being ignored elsewhere”. E-zines are online versions of music magazines that can be viewed by anyone in the world.

I feel that an apt description of the relationship between the internet and music is best described by Mr. Adeel, owner of the popular online entertainment e-zine DesiTwist: “It is plug-and-play, turn on your favorite music website, download and/or play the track”. The truth is that the internet is having a “label – breaking” effect on society. This is a medium which anyone, anywhere can use to voice their opinions, to listen to or watch what they want. With its advent, we are no longer an “isolated” society. Furthermore, limitations of time have also been countered by the internet. Music is available at your fingertips “when” you want it … unlike TV and radio channels where you have to wait for a specific program to be aired. Cellular technology has also supported this explosion of access to music; you can use your mobile phone to use the internet and listen to the latest music. However, there are some negatives to the whole scenario also. With the use of the internet comes a sense of responsibility on the part of the website administrators – to ensure that only those singles and albums are made available for download which the musician has given permission for. The wide availability of unreleased music leads to decreased album sales for the musicians. As says Mr. Arshad Mahmud of World Music Magazine: “The only download sites which are popular are the sites which offer free downloads. We some how never acquired and acknowledged the responsibility of spending money on entertainment”.

Another infamous creation of the internet is the internet radio station, which has become popular because of the wide variety of music it offers and the relative lack of commercials it airs. Listeners can also customize play lists to their own liking, thus giving them greater freedom than ever before. There is FM Mast 103.com, FM 100, City FM 89 and a few other internet radio sites for the Pakistani youth to listen to.

Although TV and radio are also important modes of communication for the music industry, the internet I feel is the medium of the future. It has no limitations and can be accessed from anywhere in the world at any time of the day. Furthermore the availability of constant updates and downloadable material online is unprecedented. One can be linked and have instant access to the ‘going-ons’ of the local music industry, sitting at literally any location on the globe. However, it is important to note that with all the freedom it enjoys, the electronic media also has a responsibility to promote and project our music industry and a more “liberal” way of thinking. This is the only means for our industry to evolve and make a name for itself internationally.


By: Fariha Rashed.

Round is a shape. I am in shape.

"Round is a shape. I am in shape"
Published in 'YOU' [The News]
21st February, 2006.
By Fariha Rashed

A curvaceous and fuller bodied woman has as much a right to wear elegant and fashionable clothes as a perfect size 12 woman

More than half the women in Pakistan fit into plus size outfits but you won't find a single local, ready-to-wear designer creating clothes for larger women, or even thinking on those lines for that matter. This is quite a shame because I believe as a designer you need to research your market not just in terms of what colour, style or fit people prefer but also with regard to what sizes they can wear and what the average woman's size really is! The Asian figure is fuller and the average size for a Pakistani woman in particular is in the range of 14 to 16. There is also a large and rapidly growing plus-size teen market on the horizon. I am sure if our local designers go with public requirements, they will receive an overwhelming demand for plus-sized clothing in the market.

The idea that the Pakistani designers cater to this largely overlooked chunk of the market is not only an appealing idea but also a smart business move. The trick is not to just make plus-sized garments, but also to design them in a way that is stylish, chic and trendy. Slightly plump or overweight people also want to feel and look good in what they wear and feel satisfied with their image. Finding the right fashionable plus-size clothes for themselves can help them do just that and avoid feeling like 'outsiders'. It becomes a kind of 'body-image therapy' for them. They would willingly spend large amounts of money to buy trendy alternatives than wearing baggy clothes that hide their bodies and do nothing for their self-esteem.

Abroad, outlets such as The Gap, Banana Republic and Old Navy, J.C Penny, Sears, Nordstrom and many more, all offer extended sizes. Even the celebrities pitch in. Hip-hop star Nelly has launched her own label called 'Apple Bottoms' for larger, broader and fuller-bodied women. J.Lo started her fashion company 'Sweetface' in 2004, also catering to plus-size women and to everyone's astonishment, her company grossed over $130 million that year. All these companies and stars have shrewdly recognized that the women's plus-size market is currently the fastest growing segment of the apparel industry. They have tapped into it by making the necessary expansion in size variations.

Local designers offer no such options for larger Pakistani women. As a result, they are forced to buy imported garments. Pregnant women can't walk into any fashion outlet and pull out a smart and fashionable maternity dress for themselves. Due to this lack of choice, pregnant ladies continue wearing baggy and shapeless clothes that hang off of them like dough drooping off a wooden rod. They feel undeserving and fat who don't have the right to look good because they are suddenly shunned from 'fashion'.

I believe the wind of change and opportunity is blowing our way and our designers should make use of it. They need to stop depriving the plus-size market of the fresh and fashionable options afforded to their "average" sized counterparts.

Having an outlet in Y-Block, Defence or on Main Boulevard is no justification for the ridiculously high prices designers charge for the limited variety in sizes they offer. They should expand their target market and cater to all sizes, which will automatically increase demand and ultimately result in profit. I am positive the response to this strategy will be overwhelming for designers and they will become the 'advocates of change'. There is nothing like a happy and satisfied customer, even if that customer isn't a "perfect" and petite size 12.

Link: http://www.jang.com.pk/thenews/feb2006-weekly/you-21-02-2006/index.html

The Mafia.

The Mafia
Published at Chowk.com
Link: http://www.chowk.com/show_article.cgi?aid=00006143&channel=chaathouse
10th February, 2006.

To understand the word mafia in the context in which I am referring to it in this article, one must first specify its dictionary meaning, which is “a close-knit or influential group of people who work together and protect one another’s interests or the interests of a particular person.”

In almost very field of entertainment in Pakistan, sly workings of a tight knit group of people appear to be at work, who end up benefiting from a large chunk of the gains from that industry. This group is called a mafia and they do their best to make sure that no bustling new talent trying to break into the industry makes it very far without their help or without going through them first. In the same way the music industry has also been plagued by a similar mafia that includes a cluster of people ranging from directors, choreographers, heads of record labels, event managers to even VJs from various music channels. They form an understanding among themselves to exclusively support and work with each other in order to capture the entire market and safeguard each others interests. They end up monopolizing the industry and all work is conveniently supplied to them alone. There is also a great deal of pathetic exploitation taking place by various parties in the music industry of unsuspecting new artists coming onto the scene.

This ‘hardcore mafia’ hangs out at all important events and parties taking place in Lahore, Karachi and Islamabad. They usually comprise of a group of people already very well known and established in the music industry. Since Pakistan does not yet have suitable organizations to promote and market artists the way they do in the west, this ‘mafia’ takes over that crucial role in a negative and rather oppressive way. Record labels, for example, are scarce in Pakistan, but the ones that exist are very well established and have been running their manufacturing factories of CDs, tapes and DVDs since a very long time now. They are equipped with all the relevant contacts to back them and an abundance of finances which allows them to perpetually stay at the top of the game. They are not worried about competition because they know the competition would have a tough time against their esteemed success and power built out of sheer monopoly rather than through the dissemination of quality products.

Tragically record companies do not offer the artists whose albums they plan to release a whole lot to chew on in terms of incentives and support. Artists get no royalty on the sale of their CDs and cassettes and the record label offers the minimum amount of marketing for them and for the promotion or launch of their album. Coming out with a video to support the release of the album is also the artist’s own headache. The sad part is that the record label knows it can get away with this half hearted and almost unfair offer that it unjustly ‘grants’ the artists, because it realizes that it has no particular competition in the market. This lack of available competition in turn, ensures that the artists will turn to no one else for the release of their music.

An artist has to have and has to continue building a good rapport with the owners of the record labels who often have absolutely no idea about music. They only view the album as a product from which they want to gain maximum profit for themselves. They are least bothered about the quality of work or genre of music they promote. I think that if there was good and healthy competition for these already well established record companies that offered much better incentives and quality to artists, this mafia like condition would be done away with and our artists would feel more encouraged, optimistic, secure and motivated. Our music industry would flourish too!

Furthermore music directors often ask for ridiculously exorbitant sums from new artists to direct relatively easy videos, knowing that the musicians could not possibly afford that kind of a budget at an early stage in their career. As if that isn’t enough, they also insist that they will only work with particular choreographers, designers and make up artists who all come together as a package and thus form that dreaded mafia [once again]. Taking it one step further, when companies agree to sponsor a video for an upcoming musician, they too stress on the use of the same mafia of directors, make up artists, choreographers and so on. Every step becomes interlinked and dependant on the other and the music artist finds himself/herself confined and compelled to work with the same people that everyone else has worked with. It’s almost like eating the same dish of food every single day of your life, even if it starts rotting or becoming stale.

RECIPE FOR SUCCESS!
If you happen go to parties and ‘get-togethers’ anywhere in Pakistan, you will see the same faces over and over again almost like a serious case of ‘deja-vu’ happening right before your very eyes. You want to know why? Because if you want to be a success in any industry related to entertainment in Pakistan, you have to be seen at all these events and you must fit in and rub shoulders with important people. If you are a musician and the director of your next video invites you to a party, you have to go, or you take the risk of losing his interest in doing your work. If you’re an upcoming, budding music artist striving to be a huge success, more than making great music, you have to hang out with the ‘plastic mafia’ that helps shape and determine how painlessly or painfully you move forwards with your career as a musician, and with what speed. If you want your video aired relentlessly on the few music channels that there are in Pakistan, star one of the VJs in it and watch it magically enter into the charts and shoot to one of the top spots. You may even win an award for it! Better yet, just party with the VJs all night long and you’ll then be guaranteed an amazing airing on all shows on the channel that they work for. If you want your video or song to be nominated in the ‘prestigious’ Music Awards, make sure you get the ‘mafia’ behind you and don’t forget to thank them when you win and pit pat onto the stage to receive your award; and if you are a talented, new director trying to get a foothold in the music industry and create a name for yourself, you won’t be able to do it without the help, involvement or support of the ‘big fish’ already in control of the whole video making scene. It’s a jungle out there and every time I think of how our music industry has been overtaken by a few control freaks that can’t see anyone else succeed or rise to the top without their consent or direct involvement, I am reminded of the Italian mob (mafia)….and it scares me. I fear a bloodbath coming our way very soon.

By: Fariha Rashed
Chowk link: http://www.chowk.com/show_article.cgi?aid=00006143&channel=chaathouse

Step into Maria's World.

Step into Maria’s World
Published in Fashion Collection-Annual Issue 2006.
Issue No. 103

I can’t explain this as anything else but one of the most relaxed and casual interviews I have ever taken and that also of such a well known and respected designer as Maria. B. As I sat at her comfortable home in Lahore, sipping on deliciously hot, pink colored ‘kashmiri chai’, Maria and I broke into an easy conversation about her life, career and experiences in the fashion industry. The best part of the whole ambiance was the presence of her baby daughter Fatima, who kept the mood alive with her occasional little shrieks of excitement and naughty antics throughout
the stretch of the interview. Step into Maria. B’s world.

What is your qualification as a designer?

I graduated from PSFD. Before that I did my A Levels from Karachi Grammar School. After fashion school I went straight into work.
When did you decided to create the label MARIA.B and why?I decided in second year at PSFD. I didn’t want to start something from the home or do just bridal. I wanted to reach out to people and have fashion and street wear accessible to everybody. Before we started there was just Neepunhal and Generation and nothing else. I feel there is still nothing else. I wanted to reach out to as many people as I could and if I would have just stuck to bridal wear I would have been limited. At the end of the day I had a greater purpose where I wanted to sort of revolutionize fashion.
Which countries besides Pakistan does MARIA.B cater to?
We have an Asian clientele whether it’s in the UK, US, Netherlands, Pakistan or India for that matter. Not only that, but recently some people said that my clothes work very well for the Arab women because they want trendy stuff like bootleg pants and short shirts. That’s the market I especially want to expand into, the Muslim belt of countries.

What was it like to be the first Pakistani to win an international fashion competition?
It was surreal. I was a part of the first batch of PSFD students going to Belgium and I remember thinking to myself very casually “ok so we are just going to be one of the 50 countries there and probably won’t win anyway”. The experience was amazing though because I got selected to participate on the basis of my portfolio and the judges actually said that mine was the best portfolio they had seen so far.

How has winning that competition helped you since?
It made a difference in the beginning because it gave me a lot of confidence. I thought if I can win by going to Belgium and competing with students from fashion schools from all over the world and make my own impact in the process, then I can do anything. It gave me a high and encouraged me to start something of my own. If you look at the Pakistani fashion industry, unfortunately people just want to play down achievements. There are these older designers that are just hanging onto their ‘glory’ and when I first came in to the scene they wanted to literally rip me apart. Not only me, but even today they want to put all the younger designers like Nomi Ansari, Karma and Usman Dittu down also because they are insecure and can’t handle any competition in the market. However I am above all that now and it doesn’t upset me as I realize it’s all part of the game.

What range of garments does MARIA.B offer to women?
I do everything from casuals, semi-formal party wear, formals to bridals. The casuals and formals include the prêt a porter [ready to wear] line and then the couture [high fashion] bridal line and are totally separate. I did Western wear for a while but that’s not my particular clientele. My clientele would occasionally wear the sleeveless or short shirt but 85% of them wouldn’t. When one is catering to a large group of people, these restrictions do creep in and they should be taken as a challenge. When you’re retailing in the market as a designer you can’t afford to make choices for the client. You have to give your client what they want otherwise you fail. My casuals range from Rs. 900 to Rs. 3000. My semi-formal party-wear ranges from Rs. 3000 to Rs. 6000 and the formals start from Rs. 10, 000 onwards. Bridals start from 70, 000 onwards.

Why have you decided to only stick to women’s wear?
Since I have had a baby I really want to get into children’s wear and there is such a huge market for it. Sadly, I do not have time to go into that kind of production. Designing is not a problem for me but production is, as controlling the labor is a huge responsibility. However, I would love to go for it in the future as I know I have a feel for it and ridiculously there is no choice for children’s wear in Pakistan. Mothers have to shop abroad for their kids.

What is MARIA. B’s design philosophy?
My design philosophy is generally centered on my belief in fusion. I am a big believer in fusion and gelling together of Eastern and Western influences so that I can come up with something that is internationally viable. The designing however should not be overbearingly Western or overbearingly Eastern. There needs to be a perfect balance. Furthermore I want my clothes to be different and have a certain mark in the market. They should instantly be recognized as Maria .B outfits by customers and I try to follow the latest trends to achieve that uniqueness.

What do you believe the woman of today desires in a wardrobe and what kind of an image do your clothes help her to portray of herself?
I think above all else the woman of today desires functionality and also to have some sort of an edge in her style of dressing. She does not want to look like everyone else. My clothes follow the international trends and I feel that they help the woman of today portray herself as ‘one in a million’ wearing signature clothing.

You have a bridal couture line. How do you define ‘couture’?
Couture is made to measure and it is created on order. It has the element of exclusivity. In Pakistan bridal wear or formal wear is called couture, but true couture is something that a designer designs for the first time for somebody in their own measurement and it is the only garment of its kind. That is a rare phenomenon in Pakistan at the moment but it does happen.

Who does the make-up and grooming for your shoots?
The two or three make-up artists that I have worked with are all fabulous and I choose them according to the nature of the shoot. I have a good idea now about which make-up artist [or photographer for that matter] would do well with which theme.

How important do you think it is for a designer to have photo shoots appear in magazines/publications regularly? Why?
It is extremely important because as a designer I am selling an image. It is a form of marketing and because we always put so much stress on this aspect of marketing ourselves, the Maria.B label became a big name in just two years. We were actually building our brand through constant shoots in magazines and now a Maria.B shoot is recognized instantly by people.

How have you grown as a designer in the last 4 years?
I have learnt a lot. When I was in college I had these huge dreams and I told myself I would make all kinds of clothes and be very experimental but now I know it doesn’t work. You have to create what sells and I learnt that the hard way. At the end of the day market forces are what drive the designer. You have to make your mark and give your clothes that special edge within the confines of those forces.

How old is your baby and what is her name? Do you find it difficult to balance your personal life with your career?
My baby is called Fatima and she’s a year and a half. She’s completely changed my life and made me realize that nothing is as important as her.

Which is your most memorable fashion show and why?
It is the Paris collection because the scale was very big and I hardly get to show western clothes in Pakistan. My whole Paris collection was western wear. I enjoyed it for the freedom I had.

Do you think an education in fashion is absolutely necessary for a designer? Why?
Yes, pretty much. Aesthetically I don’t think anyone can teach you anything. Either you have it or you don’t. However, if as a designer I am not technically educated then the stitcher, cutter and other people that work for me will not respect me too much as a designer and I won’t be able to guide them properly. They would take me for a ride if I didn’t know anything about the technicality of making a garment. Therefore it makes a huge difference. Do you have an accessory line? What kind?I have started an accessory line and I have hired a girl for that. She has studied Accessory Design from FIT in the States. We have a completely separate accessory department with shoes and bags now.

What is the process you go through while designing a complete line for a season?
I first think of a theme for the next season and then I think of the print and get that made. Then the silhouette and the color palette are decided and finally I do the designing.

What kind of fabrics do you use?
I work with all kinds. For casuals I use ‘khadars’, cottons, lawns and ‘marina’. For semi-formals I use silks, georgettes, ‘jamawars’ and chiffons [as well as other transparent fabrics].

If you were not a designer, what would you have liked to be?
I would have been a nuclear scientist because I loved physics and I wanted to do nuclear physics. I applied at a University in Houston [America] but my cousin who was studying there told me that as a Muslim I wouldn’t be able to study it in the States.

Which local designers do you think are doing a good job?
Out of the older lot I love Imrana [Body Focus] from Karachi and Seher Saigal in Lahore. I think she is a true entrepreneur. I also like the eccentricity of Zubair Kuman. In the younger lot I like Karma and Nomi Ansari. Do you think having an online presence (website) is important for designers?Yes it is, and although we have one I have neglected it because I don’t have the time and I need people to manage it. A lot of our customers wanted us to have online sales but I have not gotten to that yet as far as an e-service is concerned where the customer can just click on the garment they want and choose the size.

How do you dress personally? What is your fashion statement?
I am very whimsical. I get sick of looking one way constantly and I need change. I dress according to my mood. I also mix and match a lot and I always design something that I myself would wear.

Link: http://www.fashioncollection.com.pk/html/interview3.htm

By: Fariha Rashed

The Last Poem

The Last Poem

It started out as a sad tale regarding a severe phobia of death, and ended up being about a poem that saved me.

Sometimes while I lie in bed at night gazing up to where I know there is a ceiling, but being able to see nothing but darkness with the lights turned off, I think about death. The very thought sends shudders up my spine and an overwhelming sensation of fear grips me. I lie there like a log wondering what happens to us when we die. All kinds of peculiar questions arise in my mind such as ‘do we undergo a transition from being living, breathing human beings to becoming mere souls floating about without purpose in space?’ or ‘do we become pure energy and unite with the Universe?’ I ponder over whether heaven and hell exist as we have stereotypically imagined tem to be and mind you, do we actually get to meet God after hearing about him for so long? What in God’s name [excuse the pun] will I say to the big ‘G’? Will I tell him I’m sorry for being a naughty child or will I ask for forgiveness for stealing my friend’s rather nice looking pen when I was in eighth grade? I think I should just shut up and let him do all the talking.

You must be wondering by now where this article is leading and why I feel its ‘My Story’. Well, let me take you back to December 7th, 1998 when my father passed away suddenly, and things might get a little clearer. It was the saddest, most horrific day of my life as my father meant the world to me, my mother and my sister. He was the pillar of strength on which we all rested and relied. Unfortunately, he had been admitted in the hospital in Uzbekistan the night before, after undergoing his second heart attack in eight months. The doctors managed to stabilize him but decided to keep him overnight, under observation in the hospital. My sister, mother and I therefore made our way home for the night, expecting to see him the next morning. However something just wasn’t right, as I had a sudden feeling of depression as I walked out of the hospital door. I lay in bed and drifted off to sleep with an uncomfortable feeling deep inside. I suddenly found myself snapped out of sleep by a dreadful feeling and I sprung off the bed unable to understand what was happening. I instinctively turned my head towards the window sill where I found myself gazing straight at my father’s smiling picture and right next to it I vaguely remember seeing the clock strike 5 a.m. Rather confused and shook up, I made my way back to the bed and fell asleep eventually. The next morning we found out that my father had died at 5 a.m. from a third heart attack and I believe my waking up at that precise moment was not a coincidence.

My father’s demise managed to develop in me a phobia about death which became unshakable. I lay in bed day in and day out the way I have described above, driving myself to the point of insanity. Death and its mystery became my obsession. They say time heals all wounds and although it did to some extent decrease my pain, it could not convince my mind to stop its fixation on our ultimate end as human beings. However, the most extraordinary thing happened a few years after my father’s death which eased my mind a great deal. We unexpectedly found a poem that he had written in the hospital right before he died. In it he described the angels in white that were coming to take him away to a wonderful place of peace. The poem had not been titled and I named it ‘The Last Poem’.

After uncovering that poem, all I know now is that this thing called death is inevitable and I have got to face up to it. I know for sure that even though my father has physically left this world, he lives spiritually, continuing to discipline me. The part that had really gotten to me the most when my father died, was the actual time of death; the slipping away from reality, entering an unknown, unseen realm, in a totally new form of oneself. I had envisioned it to be scary, but I now believe it will be a completely comfortable and pleasant sensation. It could end up being the best feeling in the world as my father described it to be in his last poem.

I do believe in God and I have faith in my religion, but it is a very natural feeling for us humans to be afraid of the unknown. To me life is just a temporary phase of a bigger scenario. It is a precious gift given to us which we must cherish, for it will never be given to us again. I don’t know if time ever stops or just goes on forever, but I do believe that after death, the place where we all go to, will have no concept of time. So “forever” is what we’ll be in our new state of being. My father had meant for me to find his last poem and I look forward to seeing him again, on the other side.

By: Fariha Rashed

The Ajoka Awakening

The Ajoka awakening
COVER STORY
Published in 'Images' [DAWN]
October 16th, 2005

By FARIHA RASHED
lt seems like a crime that an institution of the calibre of Ajoka Theatre has its main office in Lahore hidden away at the very end of an almost invisible gali in the main Cantt area. However, upon entering the cozy and inviting setup, the very air carries with it the determination and resolve to bring about change.Seated with the driving force behind Ajoka, Madeeha Gauhar, she spends hours talking about her life as a political activist, a TV celebrity, the founder of Ajoka Theatre and then becoming its artistic director.Born in Karachi in 1956 and still carrying wonderful memories of the city, Madeeha has spent most of her life in Lahore. Her father, Ali Gauhar, a Peshawar-born, Persian-speaking army officer died when Madeeha was only 14 years old. Her mother, Khadijah, born to a Gujrati speaking family from Bharauch, India, was, in her words, “a dedicated socialist, fearless writer, committed human rights activist and an untiring social worker.”She was of great inspiration to Madeeha who now feels that her political consciousness stems from observing her mother’s interaction with journalists and political activists, “My mother always encouraged me to form Ajoka when Gen Ziaul Haq’s rule was at its oppressive peak.” Her mother faced disapproval for Madeeha’s career choice from relatives who were shocked and upset, but even in the face of such opposition she pushed her daughter forward. Together with her sister, Faryal Gauhar, also an actress, Madeeha formed a small group of women who had the courage to take up acting in a society where music and dance were and are still prohibited in certain regions.In 2002, Madeeha received recognition and was awarded the Tamgha-i-Imtiaz by the Pakistan government. Furthermore, Ajoka was invited to perform the play Aik Thi Nani at the London Theatre Festival along with the other participating countries. The play was also well-received in India and is one of Ajoka’s few Urdu plays, most of them being in Punjabi. Aik Thi Nani, according to one of Ajoka’s flyers, is ‘inspired by the true life story of two extraordinary sisters, Zohra Segal and Uzra Butt. After Partition, Uzra migrated to Pakistan and Zohra stayed back. This play, especially written for the sisters by playwright Shahid Nadeem, brought them together on one stage after four decades. The play was first performed in 1993 and has since toured India twice and the UK’.Madeeha studied at the Convent of Jesus and Mary Lahore, and then acquired her B.A from Kinnaird College where she was also the president of the Najmuddin Dramatic Society. It was here that her skill and expertise as an insightful actress was honed. Later, as the secretary of the Government College Dramatic Society, she took part in an anti-establishment play which ruffled quite a few feathers. At 17, she acted in her first TV serial, Zanjeer (Chain), by Anwar Sajjad. After doing her Masters in English Literature from Government College Lahore, Madeeha taught at a government women’s college and then joined the Women’s Action Forum (WAF) where she got a chance to practice her activism with great fervor.
‘Stand up for your rights as a daughter, sister, mother, wife and in any other role you play.I am a firm believer in gender equality,’ says Madeeha Gauhar
At a time when there were no means for expressing outrage concerning the so-called ‘amended’ laws made by Gen Zia, WAF organized rallies and protests. Madeeha, Faryal Gauhar, Rubina Saigol and Asma Jahangir and Hina Jilani were all at the receiving end of a brutal baton-charge. Madeeha was arrested and subsequently jailed twice at Kot Lakhpat. She also lost her job as lecturer. “Banning or arresting people is not a solution. Let all things flourish and give viewers the right to reject,” she says while remembering those days.“Ajoka Theatre emerged out of extreme diversity, anger and a fiery zeal to bring about change in 1984,” she says. The first play performed under its banner was Juloos (Procession), written by Badal Sircar. Due to the absence of the NoC (no objection certificate) from the government, which scrupulously examined every script through and through, the play, could not be performed in any public hall or auditorium. Therefore, it was performed in Begum Khadija Gauhar’s lawn in the Cantonment area of Lahore. Madeeha adds, “Our activities went undiscovered until the last portrayal of the week-long performances. They then banned the second play we were to perform at the venue. We then approached the ‘Max Mueller’ institute and the German institute accommodated us by lending us space to perform. In the meantime, I went abroad to get a Masters degree in theatre from the University of London.”Madeeha acquired a British Council scholarship for the degree in drama. It was a one-year course that amalgamated both the practical and academic sides of the subject. Madeeha feels that her experience was very useful as she had the chance to view a lot of theater there. She also met her future husband, writer Shahid Nadeem, for the very first time in London. He was working with Amnesty International after being pardoned from a jail term in Pakistan during Gen Zia’s era due to his trade union activities. He was a documentary producer at PTV Lahore centre at the time of his arrest.In London, Madeeha asked Shahid to do the script of a play, Mara Hua Kutta (The Dead Dog), directed by his late friend Shahryar Rashed. “I had seen the play at a Kinnaird College festival while still at school and it had left a lasting impression on my mind. At the time, Ajoka needed original scripts for stage plays, which I felt no one was delivering at that time, with the exception of Sarmad Sehbai. I did not want to rely on mere translations.” Shahid Nadeem ended up giving Madeeha scripts for two stage plays, Mara Hua Kutta and Barri. “Barri was one of the first plays on the issue of the Islamic laws and a patriarchal system. The play also raises questions about the class basis of the woman’s movement in Pakistan and its direction,” she says. It was initially performed on International Women’s Day in 1987.Madeeha and Shahid had both been married before. Savera Nadeem is Shahid Nadeem’s daughter from his previous marriage, who is now a successful stage and television actress. Nirvaan, now completing his A levels, is Madeeha’s son from her first marriage. From their marriage to each other, Shahid and Madeeha have a son, Sarang.According to one of the annual newsletters, Ajoka set the wheels turning with their ‘cultural marathon’ which also marked the ‘beginning of the theatre for social change movement in Pakistan’. Most of their plays have been on daring social issues such as dowry, honour killing and discriminatory laws. “My vision has always been to help promote a secular, just, humane and egalitarian society,” says Madeeha.“Some of the other prominent street and stage plays by Ajoka include Kala Qanoon which revolves around the Hudood Ordinance; Kala Meda Bhes which deals with a real-life incident in Sindh where a woman was exchanged for an ox and Dukhini which portrays the practice of women trafficking by deceiving Bangladeshi women living in rural areas to come to Pakistan,” she says. Shahid Nadeem has also done a Punjabi adaptation of Brecht’s Arturo UI in the play, Bala King.Madeeha has had to deal with the reality of women’s issues in her own backyard, so to speak. “Some of the girls that act in my plays have had to face a lot of hurdles and obstacles created by their families. In a few cases, I have had to watch some of the girls with great acting talent leave Ajoka as they could no longer bear the stress of family pressure and opposition.” Her message to women: “Stand up for your rights as a daughter, sister, mother, wife and in any other role you play. I am a firm believer in gender equality.”Ajoka has also contributed to Indo-Pak peace by collaborating with Indian theater groups. They managed to collectively put up an indo-Pak theater festival, Zonani, also held in Lahore in March 2004. Ajoka Children’s Theatre has done plays such as Gali Kay Bacchay (Children of the dead-end street), Kaali Ghata (Grey clouds), and Bhola.Madeeha is saddened by the fact that besides Ajoka there are not many other theatre groups emerging in Pakistan, especially since the possibilities for artistic expression is much greater now. “The environment is very encouraging. Motivation and freedom is a prerogative of an artist. Our collaboration with the government has been very successful. We have done two plays, Bullah and Bala King with the Arts Council. We can change the trend if the government pays the expenses of productions, provides facilities and pays actors.”For the future, Madeeha hopes to have many more performances in Pakistan and wants to attract all kinds of people to her plays. She feels she has done countless street plays already and would like to concentrate more on stage plays held in various auditoriums across Pakistan, theatre festivals and conferences. She is also looking to expand the management team for Ajoka, with the aim of projecting it further and on a wider scale, in print and electronic media.Madeeha confesses that Ajoka is her whole life and everything she does is related to it. “At times I feel I cannot even give my children enough time because of it.” She commends Shahid Nadeem for supporting her throughout her career. As our chat comes to a close, she tells me that she would be leaving for India soon as a few of Ajoka’s plays were being performed there. Ajoka is most certainly her entire life and would continue being so.