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Osman Yousefzada’s exhibition: Timely exploration of displacement, integration, climate change

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A three-part art exhibition crafted by British Pakistani artist Osman Yousefzada is running at the Victoria and Albert Museum in central London.

With one exception that refers to colonial buildings as spaces “divided according to race and class”, the descriptions about Yousefzada’s exhibition do not explicitly mention colonialism. 

Instead, the artwork focuses on aspects of the Pakistani, and wider South Asian, identity that exist apart from and in spite of British colonialism which, much like in many British conversations, often remains an unspoken but known spectre hovering just below the surface.

— Provided by author
— Provided by author

The theme that stood out the most was of integration. The integration, or lack thereof, of the inhabitants who migrated from modern-day India to Pakistan during partition. The integration of traditional aspects of South Asia identity and history within the forming of a new Pakistani identity and the tension or compatibility between the two.

While the theme of colonialism was not often explicit, it is naturally difficult not to reflect on it. The V&A, named after the very monarch once declared the ‘Empress of India’ and her consort, seemed the most appropriate place in the UK for an installation depicting the themes of partition. 

Education on the impact and aftermath of colonialism should strike at the heart of society and leave an indelible mark on our minds, just as this exhibition does. 

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— Provided by author

After all, it was within the context of the British colonial powers intensifying the communal tensions and animosity through divide and rule, coupled with fears for the preservation of the Muslim community in an independent, Hindu-majority India, that the demand for a separate Muslim homeland within South Asia originated. 

But, this exhibition reminds us that the Pakistani identity encapsulates so much more than this, with many of its aspects pre-dating or separate from what the British did in South Asia.

Three tapestries hang at one of the entrances to the museum. They depict figures described as “suggestive of ancient Talismanic figures, and storytelling,” inspired by a book called Falnama, which would later become the roots of tarot cards used in Mughal India among other places. 

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— Provided by author

The figures are also said to reflect those found at Mohenjo Daro, an ancient Indus civilisation settlement situated in Sindh. The striking relevance of this piece to the overarching themes appears to be that it contains figures who have a “long history of struggle who do not see themselves as ‘the good immigrant.”

The tapestries are an important reminder of the rich history of the land of Pakistan. It stands at the crossroads between diverse civilisations, cultures and religions during many different stages of history: a crucial challenge to the colonial mindset that believed it ‘discovered’ places and brought ‘civilisation’ and ‘history’ with it. Instead, each pre-existing civilisation represents a thread woven into this larger tapestry that constitutes modern-day Pakistan, influencing folklore, language, dress and music.

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— Provided by author

Another work in this challenging exhibition is a sculpture that looks like a tall stack of shelves, on which are placed household objects wrapped in fabrics or plastic.

Described as an “altar to female migratory experience,” it is a “tribute to the hidden women who were not able to or did not possess the codes to integrate in new lands”.

Indeed, its positioning within the stairwell feels like a nod to the fact that the female voice has been sidelined, not occupying the central stage of our attention. But women had their own experiences of partition, most upsettingly the well-documented kidnappings and rapes in addition to upheaval. 

But this sculpture, as an “act of agency in patriarchal spaces,” works to identify and remember those women. As the artist suggests, every unique fold and knot were “their marks of identity and ownership.”

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— Provided by author

The garden is home to a third part of the installation. To echo the fluidity of migration and change, the work consists of movable peerhi stools. In the centre are charpai beds made from salvaged fabrics and wood, the latter from what would have been pieces of colonial architecture which the artist describes as having been “dropped from vertical to horizontal axis, shifting the power dynamic from a hierarchical to communal architecture.” 

This felt like a lesson, that something quite beautiful and familiar has been salvaged from the ugly, unequal power distribution of colonialism, which South Asians have dismantled and, from it, reformed and remade their traditional items that have a history apart from the British. This would certainly be an emotive act of defiance and reclaiming.

The remainder of this section consists of a wooden vessel placed not on the water but on dry land, designed to symbolise “colonial expansion and present-day climate precarity.” 

While Pakistan has for decades been listed among the most vulnerable countries to climate change, this year’s heatwaves followed by extreme flooding hit home this point. A country that contributes relatively low carbon emissions is bearing the brunt of climate change, when former colonial powers, like the UK, have contributed more and yet suffer less. Displacement is not confined to the history books but a lived experience of today, with this year’s flooding causing migration, loss of life and the destruction of livelihoods. Unless swift action is taken by nations collaboratively to combat climate change, these experiences will become the new normal.

This exhibition plays a vital role in inspiring us to reflect upon the realities of displacement, integration and climate change by inhabiting our public spaces. It challenges the whitewashing of colonial narratives by providing an insight into the multifaceted traditions that thousands of years of history has fostered in the land that modern-day Pakistan inhabits today; traditions that not only pre-date British history in South Asia, but have survived it. And for all these reasons, Osman Yousefzada’s exhibition most certainly deserves a visit.

— Provided by author
— Provided by author

Running until September 25 at the Victoria & Albert Museum, Yousefzada’s artwork was commissioned by the British Council as part of its ‘Pakistan/UK: New Perspectives Season,’ in partnership with the Victoria & Albert Museum and the Pakistan High Commission. It has also been supported by the ZVM Rangoonwala Foundation.

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Mawra Hocane and Ameer Gilani are the newest famous coupling, shocking fans.

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Pakistani actress Mawra Hocane married fellow actor Ameer Gilani on Wednesday night in a shocking change of events.

Although there had been long-standing rumors that the couple was dating, they consistently referred to one another as friends, particularly after costarring in the 2020 drama Sabaat and the 2023 drama Neem.

The news started circulating the night before, with tweets claiming that the two were set to marry. By Wednesday evening, Hocane confirmed the rumours with a photo of herself and Gilani in wedding dress at Lahore Fort.

With its vibrant border and elaborate pale gold embroidery with pink touches, Hocane looked lovely with a sky-blue lehenga and a short shirt of the same hue.

Gilani’s tan Peshawari chapals added a pop of color to her charcoal-colored shalwar kameez, waistcoat, and shawl.

Hocane’s sister Urwa and her brother-in-law Farhan Saeed, as well as other celebrities, expressed their sincere congrats on the post.

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‘Kashmir Banay Ga Pakistan’ is a new song teased by ISPR for Solidarity Day

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A new anthem, “Kashmir Banay Ga Pakistan,” was issued by Inter-Services Public Relations (ISPR) on Wednesday (tomorrow) in honor of Kashmir Solidarity Day.

Every year on February 5, Kashmir Solidarity Day is commemorated to show solidarity with the people of Indian-Occupied Kashmir.

Renowned musician Ahmed Jahanzeb sings the song, which sends a powerful message of solidarity and dedication to the liberation fighters of Held Kashmir.

Imran Raza wrote the words, while Irfan Saleem and Kamran Khan composed the music.

The song was composed especially to commemorate the momentous day and to reaffirm support for the courageous and tenacious people of Kashmir, who are fighting for their right to self-determination, as guaranteed by the documents of united nations

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Ahad Raza Mir and Dananeer Mobeen’s tight relationship has sparked rumours!

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Ahad Raza Mir and Dananeer Mobeen, co-stars of the famous drama series ‘Meem Se Mohabbat,’ have piqued the public’s interest with their blossoming off-screen chemistry.

The drama has received accolades for its upbeat atmosphere, interesting storyline, and outstanding supporting cast.

Ahad’s mother made a special gesture.

Ahad’s mother, Samra Raza Mir, recently made a sincere gesture for Dananeer, which fuelled the rumours. She made Dananeer’s favourite ‘Dumba Karahi’ using her mother’s secret recipe.

Dananeer

Dananeer expressed her delight on social media, posting a picture of the dish and thanking the person for their considerate gesture.

Ahad’s family has been actively involved in his career and projects, with his father, Asif Raza Mir, also playing a role in ‘Meem Se Mohabbat.’ The family’s close bond with Dananeer also clear, as they previously celebrated her graduation together.

Fan Reactions

Since his divorce, Ahad Raza Mir has lived a low-key personal life. Fans, on the other hand, have been eager to speculate about a possible romance between the two co-stars, citing their developing friendship and family participation as evidence of a budding relationship.

Here’s what the fans said:

“Is Had’s mother cooking for Dananeer?” This is becoming intriguing!”

  • “They look so good together in the drama; maybe there’s something more?”
  • “Ahad deserves happiness after everything, and Dananeer seems like a sweet person.”

While the speculations are mainly based on fan observations, the bond between Ahad Raza Mir and Dananeer Mobeen continues to pique their followers’ interest.

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