Our Soulful Songstress

Author: Qasim Fareed

 

Allah Rakhi Wasai was born in the city of Bulleh Shah in 1926, who then went on to act on the big stage alongside stars such as Dilip Kumar and Neelo. She was also known as the mother of Shan, sharing an onscreen kiss with the latter in 1959. It comes as a surprise to learn that a girl-on-girl kissing scene was included in a major picture, considering the fits people are throwing now over a make-believe wedding.

Always dressed to the nines adorned in silk saris, the benevolent giggle, copious eyeshadow, highlighted cheekbones, overlined rosy red lips with a gajra in her ever-changing hair was our Madam; one coquettish flicker of her raven lashes is all it would take to have you entranced. Madam’s opulence, both timber and cosmetic, made her a symbol in more ways than one.

Madam Ji was a wild one who lived life to its fullest. Be it her famous and scandalous flings which included a who’s who of actors, an up-and-coming cricketer and the then highest in our land at the time (in more ways than one) General Yahya Khan, who was so smitten by Madam that he once had her sing “Sayeeon ne mera mahi” from Tokyo in his usual state of intoxication while we were amidst the 1971 civil war.

There were numerous accounts about Madam’s generosity regarding philanthropy; through the grapevine, we hear she supported several families in her hometown and was the patron of the lawaris trans-community of Lahore and a symbol of the gay community owing to her decked-out looks.

She was not one to be ordered around. The story goes that she was once called upon for a benefit during the Ayyub regime, where she was given strict orders not to perform any ghazals of the revolutionary Faiz, who was then in the Hyderabad Jail after being convicted of being involved in the attempted coup. But Madam Ji did not give a damn and sang Mujhse Pheli si Mohabbat, which was broadcasted countrywide. After hearing the broadcast on a radio in his jail cell, Faiz Sahab famously relinquished it to Noor Jehan, stating, “Woh geet ab mera kahan, Noor Jehan ka ho gaya hai“.

Much need not be said about her career as one of the most prolific singers the subcontinent has ever produced.

That’s all right, but what’s a playback singer of olde got to do with me and my troupe of followers? Madam Ji is not just an ex-singer/actor who just so happens to be the grandmother of Ahmed Ali Butt. She was a force of nature who, through her geet, touched the hearts of millions, was the role model for the daughters of our nation for literal decades and was the epitome of the “rok sako tou roklo” spirit.

Despite all the scandals, tabloids, and fake news, nothing could taint the image or extinguish the love people had for Madam Ji on both sides of the border, as discerned by the generous reception she received from fellow playback singer Lata Mangeshkar.

In these dark times where most of us can not wait to vacate this burning building and desire that coveted stamp of the Canadian Immigration office, we must reflect on our roots and what

those roots represent. Not the literal soil, but the culture and heritage. It’s all about the people of the land and what they represent.

The next time you think of Pakistan down the road in your abode in whatever part of the world you choose to call home, try and remember the artists like Madam Ji who redefined our culture and raised entire generations, whose voice could not be evaded in any part of the subcontinent from busses in metropoles to dhabas in the rural, from blockbusters in cinema to the ordinary person’s theatre, all the way to your home on both the radio and television. Even during the ‘65 war, you could hear Madam Ji on the radio where her Milli Naghmas were a much-needed pick me up for both the soldiery and citizenry alike.

A songstress like no other, she was an icon for the state and soul.

“Khel Khel Mein,” LUMS Mein

‘Do you think we’ll get to take a selfie?’

‘I’m pretty sure they’re inside. Let’s try getting in through the side door.’

‘I wonder if she remembers me from 6 years ago.’

‘His last movie was Laal, right? Maybe I can ask a question about that.’

As the author shuffled her way through the crowd of fans pressing against the glass doors, she found the auditorium pulsating with unendurable ecstasy. The LMA had done the improbable: they had invited the matchless Sajal Aly and Bilal Abbas Khan along with the rest of the cast to LUMS for a Meet and Greet prior to the release of their groundbreaking film, Khel Khel Mein. Had we not arrived an hour early, we would’ve never gotten in. After 20 minutes of pushing and prodding from all sides, we managed to find cramped seats in the far left corner.

Within half an hour of settling down, the cast, producer, and director strolled into the dainty little auditorium. Once the excitement had died down a little, our LMA hosts opened up with their introductory spiel highlighting LMA’s projects and vision. Following this, a short introduction to the film Khel Khel Main was made and an enrapturing screening of the trailer was carried out. As Gen Z says these days: the vibes were, no cap, absolutely immaculate.

To satiate their die-hard fans, the entire cast introduced themselves, revealing that for some of them, this was their debut film project. Qudsia (with her fabulous curly hair), Aneesha Altaf, Hasaan min Javaid, Faid (who, by far, was the shyest), and Hammad (who was donning a flawless man-bun) all made a performance.

After this, the director Nabeel Qureshi spoke. He has a history of directing and writing politically controversial films like Actor-In-Law and Na Maloom Afrad, and he shared his keen interest in the historical implications of the 1971 war. He also spoke of his singing endeavors and various awards. Following this, the producer, Fizza Ali Meerza, who worked alongside Nabeel in Na Maloom Afrad, told us about her experience in experimenting with sociopolitical screenwriting.

This was followed by a plethora of anecdotes that the audience listened to in stunned silence. Talking about living together, eating together, and traveling together, the cast established that they had come to know each other very well. The author also discovered that the cast was contractually obliged to eat their meals timely. The novice actors shared what parts of the shooting process they had found rather absurd as well as how the film opened up several avenues of opportunities for them. It came to our attention that during the shoot, Sajal tested positive for Covid-19, and the crew was forced to freeze all venue booking, rentals, and appointments, which proved to be a major obstacle in the filmmaking process.

The cast was filled with nothing but admiration and praise for their director and producer, with Sajal and Bilal mentioning they had never, in their entire careers, seen a director and producer so dedicated to their work; the two were even putting the set together themselves and actively partaking in the smallest of decisions. Fizza, the producer, then highlighted that during casting, she had a true sense of responsibility that came with her authority and in order to choose fairly, the cast was finalized while writing the script.

During the rapid-fire round, we learned some tidbits about the actors’ lives. These include: Hammad would want to wake up as Shahrukh Khan, and Sajal would prefer to be stranded on an island with Mojiz (while Fizza preferred Faid). Sajal also confessed that Mojiz made her the angriest on set as he would always be late. Hammad, however, was unanimously declared the sweetest, although he takes the longest to get ready (hence the perfect man bun). Sajal was known for forgetting her lines most often, but she was forgiven after her hilarious parody of Aneesha. This heartwarming and hilarious episode ended with Bilal being ousted for always sleeping between takes. When asked if they ever felt the urge to abandon the project, they confessed that they wanted to do so “all the time” and that it was impossible to lie to Fizza and Nabeel.

When asked what the set was like, they all agreed it was insane. Their time in Balochistan was especially hectic. Fizza painted a hilariously touching picture of Sajal approaching her in the dead of the night with tear-stained cheeks in a remote guest house of Balochistan, asking to leave for Karachi for 4 hours because her husband, Ahad Raza Mir, was going to South Africa for 3 months. While Fizza did allow her to go, she ensured that Sajal would be back in 4 hours.

The spectacular event ended with the cast holding a mesmerizing dance performance to their hit song, “Nayi Soch” which the audience thoroughly enjoyed. With a few moments to spare, the cast played a short game of never have I ever along with the audience, which we later realized was an excuse to give out promotional gift bags to selected members of the audience.

 

Pandemic Diaries: The Khoka Rave

Having campus access and the opportunity to create memories to cherish later became a dream of the student body once the pandemic hit. This dream did turn into reality, all thanks to the incredible Student Council that was elected this year. They tediously worked day and night to reach a consensus regarding the campus reopening with the university management. Was it, however, appropriate to take the work of the Student Council for granted? Even if returning to campus instills a semblance of normalcy, the actual reality is far from it. The novel coronavirus is still prevalent, perhaps stronger than ever, and ignoring the seriousness of the problem can significantly harm students’ standing. This is exactly what the recent khoka rave has done.

Following all regulations and receiving approval from the CCA, LUMS Dramaline set up a small stall at the Khoka on September 2nd to give the incoming batch a chance to get to know the society and as a brief orientation. As we are aware, the khoka would be incomplete without some music. And so, speakers were placed along with fairy lights and other beautiful decorations the society could think of. Dramaline’s EC members rigorously followed all SOPs, wore masks, kept sanitizers available, and sought to keep socially distance themselves while jamming with jubilant vibes. You must be thinking: if everything was done according to instructions, what went wrong? Why was the society criticized and blamed for the rave all of a sudden?

From our conversation with one of the EC members, Shafaq Jafri, we came to know how it all went downhill. The society concluded their event responsibly after following all of the appropriate and requires procedures, but they admit that not guarding the speakers carefully was their fault; it gave an opportunity for people to begin a rave. Later on, the members attempted to disperse the crowd, but people were “far from listening to anyone”, as reported by one of the OB members of Dramaline.

Not long after, the rave went viral, drawing a lot of criticism from the student body and targeting of students who behaved in such a wildly irresponsible manner. Under normal circumstances, the music of Abrar-ul-“Nach Haq’s Punjabi” pushes just about anyone to show off their killer moves, but it was insanity to allow yourself to be moved by it in the midst of a pandemic. Gathering around where a stall was set previously without masks, not listening to anyone, and dancing your heart out could cause several students to be expelled from LUMS once the management takes notice. Nothing of the sort has happened yet, but students should pay heed to following SOPs. We realize that everyone wants things to return back to normal, but violating SOPs will not help you get there. We’re all adults now, and we can’t tell each other how to act; now, what’s done is done. It is important that in this case, history should not be repeated for the sake of our fellow Luminites.

 

Longing For The Past And Learning From It: A Conversation With The Pioneers Of LUMS Historical Society

Earlier this month, I stumbled upon an image of a clay female figurine called the “Mother Goddess.” Bedecked with a flagrant headdress and endowed with prominent breasts, the figurine, one of the many recovered from the Neolithic site of Mehrgarh in Balochistan, is a celebration, even deification of the female form. The curvaceous contours of the figurine do not sexualize the female body but lend a cult-like reverence to it. When I look at these figurines, 1000-year old glorifications of the female body preserved in the softness of clay, I cannot help but compare them to modern-day perceptions of the female form in Pakistan and the notions of shame associated with it. How did we go from venerating the female body to demonizing it? So, when Haanya Channa, Founder and President of the recently-launched LUMS Historical Society (LHS), tells me, “History defines our past, forms our present, and draws our future,” I wonder if we, as a society, had not overlooked the exalted history of Mehrgarh women, would we have been kinder to the women of today and tomorrow? I wonder if we had rescued these figurines buried deep into the heart of Balochistan, would we have had to bury so many of our women in recent times? This then, is Haanya’s vision for LHS; to recover and reclaim our history in a way that carves out a better future for all. 

A Word With The Pioneers 

A law major minoring in history, Haanya’s passion for the latter and its multiple realities was stirred by none other than Dr. Ali Raza, the HSS faculty member with the most sought after and frustratingly elusive courses. Fortunately for her, Haanya landed a course with him in her freshman year; a course that would completely alter her understanding and perception of history for years to come. She tells me, “In the first class, he asked us to define ‘colonialism.’ The only definition that I knew was the two-line definition that we had in our textbook, and he told us that he did not believe in the textbook definitions. He said that by the end of the year, our perspective of history and what it is will completely change. And it did.”

Haanya’s colleagues in the Executive Council have had journeys of their own in discovering their passion for history. Heer Cheema, the Head of Publications and a history major, had taken World History in her A-Levels but had never felt drawn to it enough to consider pursuing a degree in it. It wasn’t until she started having conversations with her grandparents about their experiences of the 1947 Partition that her interest in the discipline was truly confirmed. “The more I heard, the more I knew that there were stories I was not hearing, and that just drew me closer and closer to the realization that this is what I wanted to do,” she says. 

For the Head of Research, Mohid Ahsan, who is a senior majoring in history and minoring in CLCS, history has been the exploration not just of the past but also of the self. “I went to a madrassa, some seven or eight years back,” he says, “And after that, I was really confused about the world; coming from an elite school, going to a madrassa with a completely different pedagogy and set of values. History, in some ways, has allowed me to stitch together why I am feeling the way I am feeling.” 

Zarmeen Sajjad, the General Secretary, came to LUMS as a potential political science major, but the history courses she took steered her in the direction of the discipline that resonates with her essentially because of the stories it tells. “History itself has the word ‘story’ in it, so for me, it has always been about the stories of the people, stories from the past that determine the way we view our present,” she says. 

What To Expect: A Comic Series, An Oral History Archive, And Much More! 

One of LHS’ primary goals is to democratize the preservation of history. Instead of restricting the narration, collection, and compilation of historical narratives to an exclusive circle of the educated elite, the Executive Council is committed to ensuring that their publications and archives are accessible to a wider audience. “Our goal is not necessarily to publish research papers which will be read by people like ourselves. We want our work to be able to connect with a broader audience,” says Heer. To achieve this, the society will take on a number of projects, one of which is conducting discussions with Pakistani historians on topics of history that are relevant to the Pakistani narrative. “These conversations will be conducted in Urdu, because that language is at the core of our society, and we already have plenty of historical research available in English which is only read by a small group of scholarly people,” Mohid elaborates.  Hence, LHS is not solely focused on documenting Pakistani history, but also on doing it in a way that makes it accessible to the masses that are usually denied this information on account of linguistic or socio-economic barriers.

Oral history has always been a radical and empowering tool in understanding how past events impacted the lives and experiences of people. In a country where history is largely constructed and rewritten by the state, the oral testimonies of people who were eyewitnesses to and lived through historical occurrences allow us to disentangle the historical truth from state propaganda. But more importantly, it renders history humane. This is why creating an archive of oral history is one of the fundamental objectives of LHS, so much so that Haanya had initially wanted to create an oral history society. “Initially, I had wanted to create a society that would solely focus on oral history, because it is so interesting. It’s not just about the stories people tell, but also the language they use, their expressions, the pauses they take. You can tell so much from just that,” she expresses. LHS understands that oral history has not flourished significantly in Pakistan, and elevating its position and bringing it on the same pedestal as written history is a foremost aim of theirs. “Archiving and making available audio files of oral testimonies is an important part of what we will be doing,” Heer points out. 

Visuals and illustrations have always been the most enchanting ways to tell a story, leading to LHS’ decision to introduce  a comic series that will compel people to visually connect with the past. “The comic series will be published throughout the year, and its point is to capture nuance in an intimate manner, and visual imagery just connects with people, and this is what history is ultimately about; connecting with things around you in ways that you never foresaw,” Heer states. She further informs me that the comic series will be published in a history magazine that the society intends to release. “The magazine will have a variety of pieces in it. Students who have written strong papers in any history course can send their pieces and we will try to publish those because you write these pieces in class and they go nowhere. Now there is a space for them. Along with that, we will also be publishing creative pieces that ask questions like what does it mean to be a researcher? What does it mean to be a historian in a country like Pakistan where so many sources are often kept from you?” she elaborates. 

Stories From The Margins: Unearthing The History Of The Silenced 

The experiences and narratives of religious, ethnic, and gender minorities have almost always been distorted, or worse, erased from the pages of Pakistani history. Very few people know of the Therhi massacre of 1963, during which 118 Shia Muslims were killed by a mob of Deobandi Muslims in Therhi, Sindh. Even fewer are aware of the 1953 Lahore riots which were citywide incidents of arson, looting, and murder against the Ahmaddiya community of Pakistan. In relegating the stories of these minorities to the sidelines, there is a conscious attempt to wipe out their history, and in doing so, to obliterate their identities as well. Therefore, LHS is committed to salvaging these tales of suffering and oppression from the vicious sands of time before it is too late. “Our aim is to get a conversation started on these incidents, and our podcasts, online blogs, and other publications will definitely incorporate historical narratives and vantage points that have been left out in the past. In Pakistan, history has almost always been told from the perspective of the Sunni Punjabi male, but we are committed to retelling history in a way that sidelines no one,” Zaremeen assures. 

Combatting Toxicity And Covert Sexism In A New Society

While student societies are indispensable to the LUMS life, they also sometimes develop a proclivity for nurturing problematic cultures that not only hamper the society’s own growth but also that of the people who devote their time and energy to it. Complaints about society inductions becoming ridiculously selective and instances of covert misogyny have surfaced on LDF repeatedly. Although still navigating through its embryonic stages, LHS is conscious of the ways in which societies can collapse into toxicity and become unfavorable for the people who join them. The EC is committed to forming a community that promises safety and equality. “As students ourselves, we understand the value of learning, and we understand that students enter a society to learn a certain skill set, therefore, we do not expect them to have any sort of rigorous past training or experience. A small example of this is that when we were writing the questions for our application, Mohid stated in brackets that even “prior interest” instead of prior experience in a department is enough,” Heer says. Similarly, the EC is passionate about making the society a safe space for everyone, especially women, who are often discriminated against or treated disrespectfully by male seniors in student societies. “We understand that our responsibility is not just to form a disciplinary committee and come up with a harassment policy; we know that we also have to implement a behavior and culture where women do not feel uncomfortable,” Haanya reassures. 

Spearheaded by a brilliant group of individuals, the LUMS Historical Society promises not just an exploration of the past, but also a re-examination of it. It pledges to take you on a journey that will make you realize that history pervades everything, that reclaiming your past is a way of reclaiming yourself, your roots, and your heritage. With its commitment to diversity, creativity, and nuance, LHS is already asserting its place as one of the most innovative societies that LUMS has to offer. Students cannot wait for its operations to officially start! 

Woes And Hopes: Dreading Enrollment And Salvaging The Damage

Enrollment at LUMS is similar to a Black Friday sale: students are like desperate shoppers frantically trying to bag the best offers of elective and core courses. But just like you never go empty-handed from a Black Friday sale, rest assured, despite the limited number of seats in core courses or surprise Zambeel glitches, you will always end up with courses in your shopping cart. The only problem is that these courses will not always be the ones you wanted. However, worse comes to worst, there are multiple channels you can explore to secure your enrolment in a course that is indispensable to your degree or academic year. Emailing Department Heads or Instructors and explaining that a particular course is integral to your major declaration or academic year bucket usually, if not always, helps. However, enrolment has long cast a nefarious shadow on the lives of LUMS students, and pre, as well as post-enrolment anxiety, has haunted many in their sleep for days. Like the steaming Khokha tea, enrollment woes are a crucial feature of life at LUMS!

Prior to enrolment, students begin planning their course preferences as the course memo is released and later embark on the harrowing process of collecting reviews on instructors/courses, designing weekly class schedules, and ruling out clashing classes. Amidst all this planning and organizing, the sense of impending doom keeps on mounting. Such is the uncertainty of enrolment that students can be found ceaselessly perusing the course memo to hunt for courses that serve as backups for their backups. Core courses often turn out to be the most elusive, forcing students to begrudgingly settle for courses they are disinterested in only for the sake of completing their credit hour requirement. After returning from the enrolment battleground, students, like disillusioned warriors coming from war, take the LUMS Discussion Forum (LDF) by storm. Some furiously complain about the flawed enrollment system. Others post desperate swap requests, offering everything from monetary compensation to the delish Bunker brownies, in a final bid to land a course of their choice.

There are several reasons why the student community at LUMS dreads enrollment:

  1. Limited capacity in core courses:

This is the most frequently raised issue by students who fail to enroll in core courses years before their majors are declared. This delays the mandatory fulfillment of their requirements for core credit hours. The situation doesn’t change even after the allotment of majors; however, students are assured that the university will force enroll them in the end if they constantly fail to get a seat in the core courses. Therefore, while not getting compulsory courses in the freshman or sophomore year is extremely stressful, there is no way that you will not be able to graduate in the major you have declared just because you could not land a seat in a course.

  1. The hoarders:

Students who struggle to get major electives or cores for their minors are often seen protesting against the hoarding issue. Hoarders are the students who enroll in courses from their school only to swap them with students from other schools later to eliminate the risk of unavailability of seats in phase 2. Unfortunately, some of these courses happen to be the major cores for many students, and the relentless hoarding becomes a perpetual source of distress for them. While this may compel students to give up on the dream of completing minors, the university constantly reassures them that towards the end of their degree, they will be force-enrolled in any courses that are crucial to the major or minor they want to graduate with.

  1. Wi-Fi problem:

Although enrollment takes months of planning and analyzing courses, it is a matter of seconds before you can evaluate and control your wins and losses. It is like hitting the jackpot. Many believe it to be a game of luck, but it is also heavily dependent on a good/stable Wi-Fi connection. If your Zambeel lags due to the heavy traffic on the website, or you lose internet for merely a minute, or you don’t blindly validate and press “enroll,” for your selected courses in the shopping cart, the chances are that you won’t be able to score a seat.

Pro-tip: Press enroll strictly at 11:00 a.m. (according to the LMS clock) to avoid a lag, or a reload on Zambeel. Don’t start pressing ‘enroll’ a minute before the due time.

  1. Limited courses on-campus:

The pandemic and the subsequent shift to an online semester have also exacerbated enrollment challenges. During the enrollment for Fall 21, LUMS decided to allow complete access to the campus. Students, mainly from MGHSS, were provided with limited courses on-campus, a few of which consolidated core courses for offered majors and minors. These courses drew student attention and hence birthed a new problem: demand exceeded supply as students longed to re-experience in-person classes.

Embittered and dissatisfied, students have made many suggestions that could help the administration in overcoming problems and ensuring a smooth and successful enrollment.

  1. Increase capacity per course:

This is a unanimously agreed recommendation for core courses. Students can study what they are willing to pay for and not just any other course to fulfill credit hours for the semester. Students also believe that this request should be easy to implement in an online semester since the university won’t bear increased overhead expenses.

  1. Reduce credit hour limit for phase 1:

Students think that the generous limit of enrolling in 16 credit hours during phase 1 encourages students to hoard courses. If the credit hours are reduced to 12, students will be forced to focus on opting for essential classes and won’t be left with a choice to hoard for their friends from a different school or use it later to bribe someone into a swap for a course of their choice.

  1. Pre-enroll students into major core courses:

Struggling to score a seat in major core courses is a genuine problem for many students at LUMS. They fear the unfulfilled core requirements that may put their graduation at stake. Therefore, they recommend pre-enrollment of students (with declared majors) in core courses.

Rightfully so, students at LUMS expect the administration to pay heed to their concerns and take a step to end the continuous loop of disappointments and complaints regarding enrollment.

It is important to keep in mind that while enrolment at LUMS is never a stroll in the park and looms like a specter over your conscience for days, fate and luck do consort in your favour at times and end up enrolling you in some, if not all the courses of your choice. Moreover, LDF becomes a godsend in the aftermath of enrolment. Amidst the winding strings of swap requests on the forum, you will most likely find someone who is willing to take a course off your hands in return for the course of your dreams. Happy Enrolling!

Tales from the Town Hall: Q&A with Dr. Adnan Zahid

Authors: Aiman Rahman, Areej Akhtar, Maha Uzair

As soon as the clock struck four today, LUMS students frantically began rummaging back and forth through emails to find the Zoom link for the Town Hall with the Dean of OSA. With the atmosphere reeking of premonition, tensions seemed to be running high as Dr. Adnan Zahid occupied center stage and was barraged with a tsunami of student questions. Some prominent concerns were brought to light such as hostel accommodation, campus facilities, and measures to combat Covid-19.

Traversing Through the Toils of Triple Occupancy: When a residence survey circulated by the Student Council revealed that accommodation options boiled down to either triple occupancy rooms with no tables and chairs to study or off-campus accommodation at Askari apartments with stringent curfews, many students felt as if they had to choose between the devil and the deep blue sea. Despite being agitated about the inconvenience of inhabiting triple occupancy rooms, students were more inclined towards LUMS hostels. Out of 1100 respondents, 70% opted for triple accommodation as opposed to 30% opting for Askari, allowing the Student Council and the administration to finalize the decision based on the results. During the Town Hall, Dr. Zahid further clarified that not only has the batch size increased this year, but the increase from last year has also aggravated the situation, when the campus was not fully functional and the entire student body could not be absorbed on campus premises. “There’s a two-year increase in the student body now,” he commented. Furthermore, he stressed that while triple occupancy may not be the ideal solution, it is one of the only two that are available right now, “Having double occupancy on campus across the board is a solution we do not have. Having triple occupancy or moving students out of the campus were the only solutions we had. It’s like being stuck between a rock and a hard place.” When asked about the health hazard posed by triple occupancy rooms since they would result in the violation of SOPs, Dr. Zahid stated, “On-campus engagement is happening because we are vaccinated. You cannot argue that triple occupancy alone is a health risk.” He further clarified that a system of random rigorous testing in hostels will be implemented to keep the virus infection at bay.

In regards to triple occupancy, an important concern raised by the student body was the rent of the hostel rooms. Many felt that they should not have to pay a staggering amount above PKR 30,000 for rooms meant for two people being inhabited by three instead. In response, Dr. Zahid stated that the rent of the hostel rooms was set by the finance department, and it was determined after multiplying the rent of double occupancy rooms by two, and dividing it by three. It was also communicated that accommodation applications will go live on Wednesday and there is a possibility that students will be allowed to mention their roommate preferences.

Salient Sorrows about Study Spaces: While double occupancy rooms provide adequate space for studying and taking classes inside the room, triple occupancy rooms certainly do not. With no desks or chairs for studying and working, students allotted triple occupancy rooms will not be able to take classes, writing assignments, or prepare for quizzes and exams conveniently inside their rooms. When this concern was raised, Dr. Zahid responded that within each hostel, two to three rooms will be converted into “study rooms” with sufficient furniture that students can utilize for studying. Moreover, he also assured students that other areas of campus were being converted into communal working spaces with chairs and desks to ensure that students can study undisturbed in a peaceful environment.

Spring Prophecies: Will the Next Semester Bode Well for Students?

As things already look hazy for Fall’ 21, students found themselves posing the ultimate question, “Would Spring’ 22 bode well for the students or would it only usher in another semester of fall blues?”. Dr. Zahid declared that the construction of a new building is underway and that students will no longer have to be crammed up in triple occupancy since upon completion of the said hostel building, LUMS will revert back to double occupancy. This appears to be a promising possibility for the students honeycombed into limited spaces this semester.

Money Woes: Fees, Inflation, and TAship Salaries

An interesting thing that LUMS students have noticed is how the university attributes yearly increases in fees to inflation. When Dr. Zahid was asked about why TAship salaries are never increased for the same reason, he replied that he will look into it. Hopefully, this point will be taken into consideration and TAs will be paid more, which is just what they deserve.

Additionally, another important point raised in the Town Hall was the matter of fees in an online system, “How is it that we are paying hundreds of thousands of rupees, which are increasing each year, to just essentially sit behind a screen and attend Zoom calls?”  Dr. Zahid emphasized that while it is true that in virtual classes students are not availing any campus facilities, the academic quality of the courses has not changed, and therefore the classes being offline or online should not affect the amount students are paying. He also quoted his own experience, saying that in the classes he had taught online, he had felt that the students had learned just as much as they had learned from him on-campus.

The Silent Bell of the Curfew

Among other things, changes in curfew timings have brought a halt to the exciting buzz of campus life since the beginning of the pandemic. The last communicated curfew timings were from 8 AM to 10 PM, and no student is allowed to leave or enter the premises outside this timeframe. When the Dean of OSA was asked about where the administration stands on removing the curfew, he responded by saying that they plan to impose a generous curfew, something like ‘till midnight’. He added that possibly in a month or so, they might reevaluate these timings and relax them further, reasoning that the curfew is in place just to exercise caution.

The Constant Crusade for Campus Facilities

When asked about the degree to which campus facilities will be accessible, it was established that all facilities will see a “phased” opening, not a full-fledged one. Therefore, complete access will not be offered to the student body. It was clarified that students should instead anticipate a phased reopening of these facilities so that a return to normalcy can be ensured for all in the next few months.

Quarantine Quabble

When asked about the quarantine guidelines that will be implementable in Fall, it was revealed that students will be allowed to visit their homes for a few days each month, and upon returning they might have to submit a negative PCR test in order to not be quarantined. If this policy is implemented, the expenses will be borne by the students themselves. This raises a question: do the same rules apply to instructors? The short answer is no.

Dr. Zahid proclaimed that the same quarantine rules cannot be applied to faculty members since “we are not responsible for them, we are responsible for the students.” Interestingly, faculty members are allowed to leave the campus as they wish, with no PCR tests required from them or and strict quarantine rules and regulations.

Shifting Online Classes Offline: A Tale as Old as Time

Several students expressed a sense of being wronged as a couple of their courses were converted from physical classes to remote ones. The decrease from the promised 60% to 51% in-person classes came across as an unpleasant surprise to the students who were already packing their suitcases and planning an on-campus semester. Dr. Zahid reasoned that this was because a lot of instructors have old parents and are petrified by the possibility of being carriers of the Delta Variant, and this has led to them reevaluating their decision about holding physical classes. He claimed that exercising caution fell under the domain of an instructor’s rights, especially since such a vicious variant of Covid-19 has cropped up.

Mr. Khan and His Series of U-Turns

You would think that an Oxford graduate with a considerable amount of exposure and awareness would have a better understanding of the world. Unfortunately, that is not the case with our Prime Minister.

On 21st June 2021, in an interview with HBO Axios, the Prime Minister stated that raising temptation in a society leads to acts of sexual violence. When asked whether he thinks that women’s clothes have anything to do with it, the PM resorted to a very ignorant reply:

“A woman wearing very few clothes will have an impact on men unless they are robots”.

Such a comment is problematic on many levels. Not only does this imply that the victim is somehow responsible for the crime committed against them, but it also validates the actions of rapists; normalizing the behavior of men who commit sex crimes while reducing the rest of the men to mere machines. In a country where half of the population suffers on the account of patriarchy, such statements aggravate the already alarming levels of misogyny in society.

Khan failed to mention how dangerous the desires or “temptations” of these men are since they threaten anything in close proximity; be it women, children, animals, or even dead bodies. His failure to recognize rape as a crime solely based on lack of accountability and unstable power dynamics resulted in him receiving a lot of backlash on social media. It is not surprising that many individuals who associate harassment with the way a woman is dressed deemed this criticism unnecessary and viewed it as a personal attack on Imran Khan, proving yet again the damaging impact of an irresponsible remark. Being a populist leader, there is no denying that this proclamation rendered the premier a noble character among these groups.

Furthermore, femicide in the country is a pressing concern. Incidents as barbaric as the Noor Mukkadam murder case began making the news. From Quratulain to Noor to Saima bibi, such events left the nation shook and anger grew among the masses as new cases surfaced every other day. Under these circumstances, government officials and the Prime Minister remained silent, leaving the nation feeling helpless.

Meanwhile, Imran Khan continued to plant trees as if the women of the country were going to magically survive the violence against them, considering how oxygen deprivation suddenly became a bigger concern. To make matters worse, the domestic violence bill was also rejected during this time.

Amidst all the chaos, in a recent interview with PBS News Hour, Khan said that only the rapist is to blame for the crime that is committed and never the victim. This abrupt change in stance came as a surprise to the public. Hiding under the umbrella of “cultural imperialism”, he claimed that his words were taken out of context. However, in what context is it acceptable to compare men, living, breathing human beings, to robots, and justifying this comparison by saying they have no control over themselves.

While the unexpected change of his stance does convey a positive message, it seems nothing more than a publicity stunt to wipe the slate clean. It appears to be a calculated political move given the general public outrage. This is a rather fine way to gain sympathy when the government fails to serve otherwise.

Whatever the intention behind this change in opinion, any kind of hope was short-lived as the declaration was soon followed with some more problematic comments. Once again, Khan resorted to undermining the violence, abuse, harassment, and trauma that Pakistani women go through. When addressing the nation, the PM stated, “I can say, after going all over the world, this society gives more respect and dignity to women”. Keep in mind, he is talking about the sixth most dangerous country for women to live in. Seems like Mr. Prime Minister needs a fact check.

It is important to understand that being the Prime Minister of a country comes with great responsibility and delivering such apathetic statements is a luxury that the Prime Minister of a country cannot (and should not) enjoy.

As a leader, the least that Khan can do is to watch what he says. Being a blatant rape apologist, blaming victims, and refusing to recognize the ongoing gender-based violence are not the characteristics upon which the foundation of “Riyast-e-Madinah” can be laid.

Though Khan’s recent statements about the Noor Mukkadam case seem promising, the nation needs more than just words. The public shouldn’t have to beg for justice every time misfortune strikes. Justice should be served whether a case catches media attention or not. There should be laws that protect women and the implementation of these laws should be ensured by the government regardless of whether an issue makes it to the top trends on Twitter.

Nonetheless, at this point, the Prime Minister’s statements appear as bare minimal effort. Too little, too late.

A Review of the Painfully Chaotic Midsummer Chaos

From one saas-bahu drama to another, it seems that the Pakistani entertainment industry tends to keep different, out-of-the-box storylines at an arm’s length. Midsummer Chaos is a web series that attempts to be unique and gives an insight into the lives of Pakistani teenagers belonging to the elite class, and their mind-boggling set of life problems. It appears as if the makers of this show were trying to cater to the Gossip Girl and Riverdale audience in Pakistan with a local twist. With an influencer-studded cast, this web series easily garnered a lot of attention – however, that backfired very quickly.

I was introduced to Midsummer Chaos by a friend of mine and I watched the first episode in the hopes of discovering something profound and life-changing. Much to my surprise (not really), the first episode left me with a look of complete confusion on my face. I wasn’t quite sure what to make of it. With dialogues and scenes that didn’t make any sense whatsoever, I quite frankly started doubting my personal mental capacity to comprehend things. Ranging from the Harris-Samir fight, who were apparently best friends, to Alynah and Harris’ relationship problems, one has to admit that some parts of it are pretty entertaining to watch, while others you can’t make through without cringing and fast-forwarding.

Some of the most noticeable things about the show were its riveting and fascinating story plotlines and scriptwriting. Some highlights which I can’t seem to forget are:

  • 20 different ways to say yaar
  • Harris accusing poor Sameer of being too drunk even though the party started like seven minutes ago

  • Harris being adamant about how he loves Alynah because their parents know each other, even though he asked her out over a ridiculous dare
  • Bisma Khan’s introduction to her amazing “Faces Behind Faces” show 
  • Sameer’s pseudo-philosophical answer when he was asked about his off-screen self: “I don’t remember life before social media. When I made my Instagram account public, that’s when I found myself.” 

  • Sameer’s public confession about his daddy issues: “My father wasn’t always around, he was never around actually.”

  • The awkward and cringy hug Harris gives Alynah – this scene alone is enough to make you uncomfortable for a decade (what’s up with her hands??)

  • The iconic café scene where crybaby Harris gets dumped by a newly rebellious Alynah 

  • Alynah’s delusion that teenagers are expected to date in Pakistan 

  • “Mujhey kuch nai samajh aa raha yaar yeh kya ho raha hai.” (And numerous other variations of this, because apparently, we weren’t the only ones confused)

 

  • Harris defining selfishness like a typical philosophy major, but dramatic: “Selfishness comes from a lack of self-worth that this world has gifted us” (????)

  • Harris exposing the real reason behind every relationship: “Tumhari koi self-worth nahi hai, aur na hi meri hai. Is liye ham saath hein.”

  • Sameer’s savage “Self respect nahi hai tere mai?” reply to when his best friend, Harris, needed a shoulder to cry one

 

  • The excess of Pinterest and Tumblr quotes forced into Mahar Bano’s dialogues at the end of each episode to immaculately wrap up the cringe fest 

The number of scenes and dialogues I could mention here are endless, and standing at just three episodes so far, the show has become the subject of a plethora of memes online. If you’re ever bored, go and take a look at the comment section of the episodes on YouTube, (ironically) you will find yourself thinking that it is one of the very few justifiable reasons for watching the show. I’m no movie/show critic, but anyone who has watched TV at some point in their lives would wonder what was Ahmed Sarym’s thought process behind putting together this show and allowing it to be revealed to the world, just like that. Frankly, there were even moments when I wondered whether it was a satire. 

If you haven’t seen the show yet and have some free time on your hands, I would not ask you to watch it. If you wish to catch up on the memes as you scratch your head in confusion and perhaps even laugh and cringe at the same time; then you probably should check out at least one episode. After experiencing the quirky accents, questionable life problems, and supposedly deep conversations at the end of each episode, you will not want more. Or maybe you will because it’s so bad that it’s good.

Verses of Vengeance: When Protest and Poetry Met in Palestine

“Even though they walk daily to the gallows, Palestinians would rather love life where death is king than live life where love is dead.”

~ Yousef Khanfar

When Israeli forces started uprooting Palestinian olive trees in 1967, Mahmud Darvish wrote, “The olive tree does not weep and does not laugh/ The olive tree is the hillside’s modest lady,” in The Second Olive Tree. When the young children of Palestine took to the streets to pelt the humongous Israeli tanks with stones, Fadwa Tuqan wrote, “They died standing, blazing on the road/ Shining like stars, their lips pressed to the lips of life/ They stood up in the face of death/ Then disappeared like the sun,” in Martyrs Of The Intifada. When Israel began colonizing Palestinian lands, one after another, Tawfiq Zayyad wrote, “In Lidda, in Ramla, in the Galilee/ we shall remain/ like a wall upon your chest/ and in your throat/ like a shard of glass/ a cactus thorn/ and in your eyes/ a sandstorm,” in Here We Will Stay. For Palestinians, poetry is not just a literary genre; it is an instrument of protest, of rebellion, of swearing vengeance upon those who have usurped their land, culture, life, everything.

PALESTINIAN POET AND POLITICIAN TAWFIQ ZAYYAD ACCOMPANIED BY AMAL AND RĀBʿA MURQUS, THE DAUGHTERS OF NIMER MURQUS IN RĀAS AN-NĀQŪRA. PHOTO FROM THE DIGITAL ARCHIVE OF THE PALESTINIAN MUSEUM

Resistance literature has always been one of the most efficient weapons in the arsenal of the oppressed against the oppressors, and Kate Shannon from The New Yorker tells us why; “No dictator can take creation itself away, nor erase from the people’s consciousness existing art that has already worked its magic.” In recent and modern history, literary resistance has become almost as important and pervasive as armed resistance. When a group of twenty-three Iranian teenagers was captured by the Ba’ath forces during the Iran-Iraq War of 1983, Ahmed Yousafzadeh, one of the captives, published a book titled Those 23 People, to highlight the suffering of the prisoners. Throughout the 17th and 18th century, while people were being abducted from Africa and sold into slavery in the American colonies, Harriet Beecher Stowe penned his novel titled Uncle Tom’s Cabin, which depicted, in harrowing detail, the daily horrors of life endured by slaves, and catapulted the anti-slavery cause to the forefront in the US.  In wake of the mounting racial discrimination in the States, James Baldwin wrote the nonfiction book, The Fire Next Time, poignantly exploring the fury, frustration, and disillusionment riddling the black community in America. Hence, in times of socio-political upheavals and injustices, people have lifted the pen as readily as they have brandished a rifle, because as Iranian writer Azar Nafisi says, “The poet and the tyrant are rivals for the possession of reality. Tyrants have always known the danger of poets and writers.”

Up until 1948, Palestinian literature had largely been part of the Arab literary movement, which was inspired by Egyptian, Syrian, and Lebanese literature, and thrived during the first half of the century. However, after 1948, the wheels of a new literary movement were set in motion; poetry became the dominant genre and underwent significant changes in terms of themes, technique, and quality.

The Arab-Israeli war of 1948 concluded with a brief literary sabbatical which was succeeded by a patriotic awakening of sorts as poetry became the mode of expression for people, their nationalistic fervor, their unbridled rage at having been dispossessed of their land. During this time, Palestinian poetic language and technique also underwent an evolution. Arab literary trends collided with foreign poetic style, leaving deep fissures in the traditional rules of technique, and forging a new form in which the profound sorrow and anger of Palestinians figured predominantly. After 1948, Palestinian poetry essentially became representative of the harsh reality Palestinians found themselves in under the Israeli occupation. Poets ferociously penned verses dripping with not just grief, but also a retaliatory vehemence and an unwavering steadfastness or sumud, the Palestinian cultural value of perseverance. The reason poetry became the most popular and sought after genre in Palestinian resistance literature is because it could spread easily and quickly by oral recitation, and did not have to rely on publication. Furthermore, since ancient times, poetry has been intimately associated with the Arabian sense of identity, cultural heritage, and communal history. In the Arabic tradition, the role of the poet is not limited to the realms of literature, but is actively invoked in political and social activities. Within this tradition, the role of the poet has been of major significance. From the pre-Islamic era when poets were charged with the task of composing celebratory odes in praise of tribal heroes or ridiculing verses to defame enemies, through the pre-modern period when poets were patronized by the Islamic rulers to extoll their virtues and narrate the tales of their valor, to the modern period where Palestinians defy the Israeli apartheid and express their desire for communal freedom through the poetic language, poetry has always been an essential pivot point in Arabian history and culture.

Since 1948, Palestinians have ardently used poetry as a vehicle to create resistance and assert their identity. At the same time, these poems seek to arouse the Palestinian sense of revolt to struggle against the Israeli settler-colonialism and the numerous injustices dealt to them every day in Gaza and the West Bank. For example, in his poem The Passport, Mahmud Darvish writes:

Do not ask the valleys about their mother

The sword of light cleaves from my forehead

And from my hand springs the river’s water…

All the hearts of people

Are my nationality

So take away my passport.

 

In these lines, Darvish uses the image of the passport to defy Israel’s relentless attempts to extirpate the Palestinians from their land of birth, nationality, and culture, and annihilate their sense of identity in doing so. In addition, the images of sword, light, hands, and water also serve as metaphorical expressions of resistance. Another poem, Fadwa Tuqan’s To Christ, uses Al Quds (Jerusalem) as a rallying symbol of Palestinian identity, and depicts how this symbol is being mutilated under the Israeli occupation:

Lord, father of universe,

Jerusalem’s feasts are crucified

This year.

On your day,

All the dells, O Lord

Are silent!

They rang

For two thousand years

But now

They are dumbfounded,

The domes are black

Black news overwhelms all

Jerusalem walls

On the cross

Jerusalem bleeds

On the hands of torture.

 

During a live Al-Jazeera Stream, Palestinian poet Ibtisam Barakat said, her voice quivering with tears, “There is a Naqba that has been going on for seventy years; geographical and political, a Naqba of life, but there is also an emotional Naqba that is happening with all the Palestinians all over the world, and we don’t have a place to express it. Poetry is just a tiny oasis where we can express some of that Naqba.” In the end, for Palestinians, poetry is not just mere words stringed together in verses; it is a way of reclaiming the voice that they have been so cruelly stripped bare of.

 

Palestinian Poetry to read/listen:

http://www.thehypertexts.com/Fadwa%20Tuqan%20Palestinian%20Poet%20Poetry%20Picture%20Bio.htm

http://www.24grammata.com/wp-content/uploads/2014/07/PoetryOfResistance_Sulafa_Hijjaw-24grammata.comi_.pdf

https://www.poetryfoundation.org/poems/52553/i-have-a-seat-in-the-abandoned-theater

https://www.poetryfoundation.org/poetrymagazine/browse?contentId=46724

https://www.youtube.com/watch?v=aKucPh9xHtM

https://www.youtube.com/watch?v=m2vFJE93LTI

https://www.youtube.com/watch?v=thVPpbpqVbo

 

The Ungentle Underbelly

The purpose of this essay is to make a delicate incision through your thick skull and offer you a sip of mine. The human skull does not have sensory neurons, so this should not hurt in the least. Just be sure to have your scalp peeled off. The author conveniently holds no responsibility thereof.

You, trippy, tipsy darling with your subtle puffed up head corroded by too many fascinations, walk across the pavement, half lost in the dark side of your mind and dreaming of little bombs whizzing off as the rain lashes on mercilessly. Your umbrella harkens to the angst of mother earth raging in all her merciless furies. It leaves you and scurries off into its own distant dreams, receding from SSE – that ageing giant whose somber, pitiless stare scans the deep, eternal, endless pit. You wonder what hope it seeks, whom it seeks, and if you are among the ones sought after.

In the deep night, its stare persists, lingering on your skeletal frame as its gaze pierces right through you as if it can see all of your weaknesses. You, trudging on drowsily at this delayed hour of the night, are only holding up because of the caffeine. Yet, now as even then – then, when the machine was unborn, nature humbles the man at the edge – that lone warrior wages battle against the night. Calamitous against the night, nature humbles you with its own spells of drowsiness, with its own incurable spells of nauseating sicknesses. Across the void, it spills your guts, which now float in the abyss of space-time. Spilled, slashed, bloodied, and gashed to the truth of their bleak existence, remnants of your being roam past your containment, their freedom and their battles lost in a mere night.

At first, a gentle shudder. Then, a mighty roar from the heavens as a lightning bolt strikes and a glass breaks. Nature strikes again.

The giant SSE yelps in pain as a glass window breaks and falls off. In the deep pit of the night, startled science kids come running out of the building, looking around hurriedly to explain this phenomenon. The giant yelps and moans while they beg for the cause. The giant rages fiercely in the night – rages battle against this nature that turns to humble it.

You, lone warrior now spilled, bloodied, and lying half dead in the lawn, don’t bother about the goddamn glass. For you, it is the unknowable, and you have learnt to be at peace with your unknowability. Alas, you belong to the underbelly. You are to SSE as Will Graham to Hannibal and as Desdemona to Othello: doomed to love-crime. You swoon in its desire even as it torments you to the utmost, to the core, and to that which emerges as your sole in the myriads of all your selves. Deep within, you want as Othello wants, to “put out the light, and then put out the light.”

As the underbelly, now, you watch the mammoth building howling in its mad pain. The wind gushes through its corridors, recreating a strange phantasmagoria: howling banshees beating drums and lining the corridors. Bats rise from the trees as tiny aero battalions, their wheezing sounds numbing the life out of the air. With this strange custom of bats and banshees forging a new battleground, you struggle to choose your alliance — the giant howling in pain or this strange concoction of your mind.

Bloodied, broken, and with your wet clothes clinging to your bare skeletal body, you rise like a phoenix out of the ashes and push your way through even as you are terrified for your laptop in your bag. This is your sole battle now – to make it to the building. You wage this mighty war against nature with your bare skeletal body drenched in rain and your own blood. You push yourself through this ordeal as you push yourself to meet every deadline, as you wake your weakened body every morning for those godforsaken 8:00 AM classes, and as you take a quiz while a pandemic gently arrives.

Today, as on many other days, you return to this strange home to traverse the edges of its underbelly. You feel the haunting cold of the labs that keep the experiments running while you look for your fleeting soul in strange murky places – in other departments, on meme pages, and even in thick textbooks for graduate students.

Of all the unimaginable sounds, you hear that of a child arguing with his father – a well-reputed professor in this building. You suddenly feel more at ease; you ache for the shrill sound of a stubborn child weeping in this abyss, where only the machine hums. Yet another baby suddenly pierces the silence; the void is ruptured, the machine cannot be heard, and the cold is replaced with a sudden, startling warmth. The howling wind turns into a zestful lullaby.

The lullaby of revolution is sung. Even as the wind howls like a moaning banshee and the bats fill in with their wheezing, new drums are beaten. One by one, battalions of little babies pour in from the elevators, transforming into a giant ocean. An army rages in the lobby — to redeem the irredeemable, to reverse the irreversible, to do the undoable, to restore the disorder, and to stare back at the pitiless stare with the absurdum of infanthood. Your brain screams at you: “pick a side!” You, a mere spectator, have now become a historian of this strange occurrence that records itself as viscerally as if it were to become a live performance in your mind for the rest of time.

The helpless child crying for his mother emerges as the new hero — emerges as the only response that can pierce through the impregnable walls of SSE. Little babies invade its departments. One by one, they will take its labs down, lay siege to the offices, cut off their funding, build their own cradles, fill the refrigerators with milk, sing lullabies at the top of their lungs, and have their own melodies bemoan through the giant building that has now been  overtaken.

The experiments are all ruined now, and the sheer madness of this dull delight – this delirium of the mad – has ended.

The underbelly roars in delight.

You sip your coffee in the ghastly hollows of your undelight. The brooding hour of the dark returns. It torments you, piercing you nauseatingly. Your insides swoon in the vomit that fills you in this loss. Sick to the core, your soul slips out into the night as you go back to studying quantum decoherence.

Author’s Note:

I would like to offer my sincerest gratitude to my editor, Irfan Javed.