Tag Archive | "the Friday Times"

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The Taliban are not nationalists

Posted on 02 February 2012 by Tea Server

There is a conventional wisdom out there — parroted often by the likes of Imran Khan — that the Taliban and their local affiliates act the way they do because they are solely and exclusively motivated by the presence of foreign troops in Afghanistan, as well as Pakistan’s alliance with the U.S.

By this logic, the Taliban are a nationalist force, standing up for their nation, which is alternatively considered the Pashtun nation or the Afghan state, depending on one’s own beliefs and opinions on the boundaries of their political identity.

With that as background, here’s an excerpt from a piece by Ijaz Khan in the Friday Times:

Nationalist movements promote and protect national language, culture and identity through political expression. They aim to control their affairs without outside interference. They are about managing their economic resources by themselves. They may want autonomy within a multinational state in order to structure it to protect their identity, or in certain cases for an independent state of their own.

Taliban meet none of these criteria in Afghanistan or Pakistan, and therefore cannot be considered a Pashtun nationalist movement. They take ideological and political inspiration from Arabs and other non-Pashtuns. They have consciously, as a matter of policy, targeted different cultural traits of Pashtuns, like tribal councils and folk music; they are not concerned about the language and promote mostly Arabic and/or interestingly, Urdu; Economic resources or their control is not their concern; neither is any political or administrative manifestation of Pashtun identity their goal.

They have killed a large number of traditional Pashtun elders in FATA and banned the Jirga as means of dispute settlement in areas under their influence. They have been eliminating the Pashtun way of life.

Isn’t it instructive that scholars who actually know the area, such as Ijaz Khan (University of Peshawar) or the oft-cited Farhat Taj, completely and unequivocally reject the Imran Khan thesis? This idea that the Taliban are somehow representative of the Pashtun nation, and are fighting and dying for them, is just silly.

Within the study of civil war in political science, non-state movements are generally divided between ethnically focused and ideologically focused. Obviously this is often a too-rigid categorization, but it’s useful because the two types of mobilizations often have different goals.

Those movements that are ethnically motivated are generally what we call nationalist movements. These tend to be focused heavily on a particular piece of territory, since group identity and territory have a very strong relationship. So if all xs are concentrated in region X, then it’s unlikely that the xs will launch a movement, violent or otherwise, in regions other than X. This is because (a) they don’t care about regions other than X; in fact, their mobilizations are often motivated by demanding increasing separation from X and non-X areas, and (b) there’s not enough xs in the non-X region for them to congeal in a movement worth worrying about. Examples include the Tamils in northern Sri Lanka or the Bengalis in former East Pakistan.

Those that are ideologically motivated tend to be focused on control of the state or political unit at large. They are not interested in controlling a sliver of territory, they are interested in re-orienting the state. The important thing to note is that granting a piece of territory to the agents of the movement is unlikely to satisfy them, since their movement is not based on the control of territory in the first place. Examples include the Communist Party of China or the various right-wing militias operating in Latin America during the Cold War.

This distinction matters because it gets at the heart of the debate on the war in Pakistan and whether it is worth fighting. If you believe that the Taliban and their local affiliates are nationalists, then it makes sense to give them control of various districts or maybe even a whole province, in the hope that that’s what they want, and will therefore cause them to stop mounting violent challenges to the state.

If you believe that the Taliban and their local affiliates are ideologues, then it doesn’t make sense to give them control of various districts because they will only use that control to consolidate their material capabilities to launch yet further assaults on the state and its citizens.

I wish we lived in a world where the Taliban were indeed nationalists because it would mean that there is fairly self-evident solution to the violence. Unfortunately we do not and there is not. Imran Khan, however, continues to believe that they are and that there is. Reasonable people can disagree on the extent to which force should be used, what type of force (air power vs shock troops vs full-blown incisions) is to be used, how negotiations should be constructed, which actors should be invited to the negotiations, and so on. But no reasonable person can believe that the “war can be ended in 90 days” or that the Taliban are likely to go quietly into the sunset if you hand over a bunch of territory to them.



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The slutty MA pops again

Posted on 20 January 2012 by Tea Server

Much as the little world around it tries everything to make this pregnancy as difficult as possible, the MA (Hons.) Visual Arts at NCA has popped its 11th baby. The Class of 2010-2011 graduated last week, January 2012. This post is long and has many pictures so grab a cuppa chai and take out some time to browse it. 

I might sound like a broken record when I relate the same stories that we suffered when our batch graduated. Space wars, display date dilemmas, nervous breakdowns and respect issues. All fought and sustained on the NCA battle turf. Yet again the show seems to be cowering in the bowels of the far more renowned, far larger and far more elaborate Bachelors thesis. Don’t get me wrong. That happens to be my favourite time of the year too. But at the expense of the glamour kitty, the street urchins really do get the boot. FYI: The Bachelors Thesis is currently on display at NCA. 

The current MA class went through many labour pains despite the tireless efforts put in by a handful of dedicated faculty members. Their thesis dates were shifted around so many times they got dizzy marking their calendars. Tutors were impossible to find and sign on. A preponement nearly gave one or two a heart attack and some considered pulling out and displaying next year instead. A plan to display with the BFA thesis went to the dogs. Yet the show did go on and was displayed in the three Zahoor-ul-Iklhaq galleries, store-room and the Main Courtyard. It was curated by Dr. Atteqa Ali. (They were also asked to pull down their show early on the last exhibit date because the galleries were needed for the BFA work…but no more on that. I’m keeping my bitter pill for me this time.) 

Now to the work, of which I have sadly only seen pictures myself. I was lucky enough to be constantly updated by a few of the students who kept me posted with photographs of artworks in progress and display plans. Because I was unable to experience the works in actuality there is little to what I can say on execution and finesse. NCA theses (BFA/MA) have been making leaps and bounds in their display skills ever since they were rudely pinched in their soft buttocks by the much more savvy students of BNU. Now BNU thesis displays are something to talk about. Some might say its just the amount of exposure – one lacks it, the other overdoses on it. However, a balance of some sorts is being achieved in the last few years. But what NCA students need most to focus on is that a finished artwork and its display context speaks volumes about the artist.

Reading Salman Toor’s review in The Friday Times, it seems that the issue is not with the how the work has been done and executed. After detailed descriptions of the work and a polite sendoff he writes: No work in this show seems to strive towards defying classification itself, towards generating new forms. And this is confirmed when you read the artists’ statements in the slim catalogue for the show. They don’t read much. They think about their work in terms of feeling, but not yet in terms of the starkly lucid art-speak with which art history is being written every day. 

To some extent I agree and disagree with him equally. I too felt that much of the display relied heavily on classic clichés that perhaps become tiresome for the art community that has seen it, been there, printed it and stuck it to their bathroom door. But I do disagree on the last line. I do know that many of them read, and not just cheap fiction. Additionally, just like painting seems to be going IN and OUT of the art scene, contemporary arts have somehow made it criminal to be emotionally vested in art-making. Last it was seen and heard of in the late 80′s.

Sarah Mumtaz – Performance

Stemming from Toor’s comment on no performance star to be seen, I would really like to jump in with my completely opinionated views! Sarah Mumtaz‘s performance piece is bold, brave and her own. It doesn’t stem from another, neither does it have to promise a future. She sits in a sparkling blue dress (disturbingly scanty) and pushes a needle and thread through her stocking-ed legs to sew row upon row of stitches. She talks in a monologue, while recorded conversations between her and a boy play in the background. She keeps repeating to herself  that everything will be ok. The mantra starts slow, builds up in rhythm and volume until she is shrieking and crying. Her entire upper body, arms and facial expressions are agitated, while her limp legs remain silently still. She supports herself with the chair when she gets up, embracing her physical disabilities as what defines her past, present and future. It is intense and has moved many to tears in the internal juries as well as the public performances. It also leaves people feeling extremely uncomfortable and unsure as to how they should react.

Performing Arts (in the field of Arts and not dance/theater), is not a very common medium in our art schools and rarely seen in galleries/exhibition spaces. There is no actual degree in it, and little to none exposure of performing artists. So when I see an artist perform a devastatingly personal and vulnerable piece, even I know when to put my critical pen down and use my hands to clap instead.

But I’m glad that Toor spoke out what he felt and saw. There is very little straightforward talk in reviews these days. Toor has had good international and national exposure working with various artists and galleries and he speaks from his personal experience (that so far has been saved from the famous Lahore politics methinks!) He also made many visual inspiration connections that were obvious - Zahoor-ul-Akhlaq, Rashid Rana, Mehreen Murtaza and Faiza Butt – painfully so, as some of these students have been very unhappy with these labels and the apparent downgrading of their creative process.

The Express Tribune has a rather tame review that titles the entirety of the work under ‘Dark, demented and grotesque’. Read it if you must. It’s about the only other coverage the show got. SO many bones to pick with the writers that seem to be present everywhere but the MA thesis, every year. 

I was given the honour of writing for their catalogue – alongside their tutors/teachers/mentors  Sajjad Kausar (Principal NCA), Murtaza Jafri (Director MA Visual Arts), Saamia Ahmed (Coordinator), Laila Reman (Printmaker/Associate Professor), Dr. Atteqa Ali (Curator/H.O.D Cultural Studies), R.M.Naeem (Painter/Assistant Professor)and I went off on a little happy rant that was printed here.

I also got to work in detail online with Mohsin of the family picture wall and Maria of the wild-eyed corpulent charcoal ladies. Mizna‘s work took me most by surprise because I had not seen this direction of hers. Trained as a miniature artist, Mizna was experimenting with medium and form from day 1 at the programme (or maybe day 14?) so maybe I should have known she wouldn’t stick to the ordinary. Irfan‘s foray into installation was perhaps expected as he was looking to expand his practice into uncharted territories. However the old TV set of Amra, Sarah and Irfan became too similar as one thought, even if it was not deliberate. Imrana returned to her roots of textile after much fumbling in the programme, Esmaeil worked in his maddening solitude to produce metal sculptural forms that I had seen developing over time, and Rabiya jumped to a whole new level.

But it is how Imrana and Mohsin had trouble merging their textile/graphics background in the MA programme, and Esmaeil his new-found creative freedom in Pakistan, that pointed out some fatal flaws in the current coursework that put these three through some terrible anxiety attacks over the past 2 years….

Aaaaahh there is much, SO much to say. But perhaps I’ll save it for another post.

Presenting the works of 9 contemporary artists, practicing in the field of Visual and Performing Arts, here is the graduating class of MA (Hons.) Visual Arts, NCA.

MA NCA 201150
MA NCA 201151
MA NCA 201152
MA NCA 201153
MA NCA 201138
MA NCA 201139
MA NCA 201140
MA NCA 201141
MA NCA 201146
MA NCA 201147
MA NCA 201148
MA NCA 201149
MA NCA 201142
MA NCA 201143
MA NCA 201144
MA NCA 201145
MA NCA 201122
MA NCA 201123
MA NCA 201124
MA NCA 201125
MA NCA 201118
MA NCA 201119
MA NCA 201120
MA NCA 201121
MA NCA 201126
MA NCA 201127
MA NCA 201128
MA NCA 201129
MA NCA 201130
MA NCA 201131
MA NCA 201132
MA NCA 201133
MA NCA 201134
MA NCA 201135
MA NCA 201136
MA NCA 201137
MA NCA 2011 - saira ansari
Sarah Mumtaz - Performance
Professor Lala Rukh watching one of the videos by Amra Khan

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–> MORE IMAGES can be seen here at the Public photo album on facebook.

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Visit The s.a. Project facebook page for more regular updates or join me on my adventures on twitter – SairaAnsariPK

Syndicated from: The s.a. Project

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Question time

Posted on 13 January 2012 by Tea Server

By Sonya Rehman

We’re sitting on a sunny patch of grass at Peeru’s Café – the Rafi Peer Theater Workshop’s food joint located far out on Raiwind Road, in Lahore. The compound also hosts the Workshop’s office space as well as their colourful Museum of Puppetry. Even if you were born and brought up in the city, you’d still be compelled to walk around and take photos – given the colourful aesthetic sensibility of the place.

It’s a Friday and Yamina Peerzada – part of the Rafi Peer Theater Workshop (RPTW) – has an extended lunch break from the studio where she and the rest of the ‘Sim Sim Hamara’ (Sesame Street Pakistan) team have been hard at work shooting episodes for the localized version of the popular US-based television show. She’s dressed in a snug black jacket, a black knit cap, jeans, sneakers, and greets me with an enthusiastic smile.

Sim Sim Hamara

Much has been said and written about ‘Sim Sim Hamara’ – such as whether or not the project will eventually make an impact on Pakistan’s future generations, by way of its educational content that is to aid and condition young Pakistani children. But apart from all the dissemination and intellectualization, one thing is for certain: ‘Sim Sim Hamara’ sure will provide good quality entertainment for children tuning into local television.

In 2008, having graduated with a Masters in Screen Acting from the Central School of Speech and Drama in London, Peerzada performed in the Edinburgh Fringe Festival where she put up a one-woman show for 21 nights.

Yamina Peerzada

“I practically grew up in festivals,” she says with a laugh. Peerzada hails from a family of puppeteers and artists, and throughout school found herself in the midst of festivals, puppet shows et al.

On her return to Pakistan after grad school, Peerzada acted in two local television serials for both PTV and ARY Digital, but from 2011 onwards, she has had her hands full – literally – performing her endearing, chubby, 6-year-old puppet, Rani, for ‘Sim Sim Hamara.’

In August 2011, puppeteer Nyanga Tshabalala, part of ‘Takalani Sesame’ (translated as ‘Be Happy Sesame’ in Venda) – the South African version of Sesame Street – flew in to Pakistan to train the ‘Sim Sim Hamara’ crew of 10 key puppeteers for two weeks. After which, the RPTW took over in their training.

Apart from Elmo, all the puppets that feature in ‘Sim Sim Hamara’ have been made in Pakistan by the RPTW. Infact, initially for a year, Peerzada served as the Creative Manager for the project and took part in the conception and building of the puppets with the RPTW’s puppet-building team.

“I didn’t know that I’d be playing Rani before the auditions, so when I got selected I thought; ‘oh I know her!’ Maybe that’s why I feel so close to Rani,” Peerzada says affectionately.

“Although she’s 6, she talks like she’s 8 or 9,” Peerzada states grinning, “Because sometimes I forget how young she really is. Rani’s really enthusiastic; she’s very curious and wants to know how everything works! She asks a ton of questions, infact we even have a segment in the show called ‘Rani’s Questions.’”

Given Peerzada’s naturally husky voice, speaking like a 6-year-old with a high-pitched voice must be quite a challenge. “It is,” she says, “I think my voice has become hoarser because we’re in the studio practically all day!”

Sadly, local television shows for children are few and far between. Peerzada states that the main reason for this is due to the lack of investment in productions targeted towards Pakistani children. “I remember when I was growing up there was a local show called ‘Ainak Wala Jin,’ and ‘Uncle Sargam,’” the latter of which, Peerzada states wryly, “was more like a political satire targeted towards adults.”

“With the funding [from USAID] we’re able to put up a show that I don’t think has ever been done in Pakistan before – on such a large scale…I mean we have about 200 people working on this project with us.”

Yamina Peerzada and her puppet, Rani

Even though ‘Sim Sim Hamara’ only went live in December, 2011 (on PTV Home airing Saturdays at 5:30pm), the overall packaging of the show – from the content to the puppets and the colours-that-pop set design – seems highly promising.

Concerning the show’s content, the Content Head and Education Directors sit with the show’s writers for content and script development. Once complete, the translated scripts are then sent to the Sesame Street headquarters in the US for review and feedback.

“If the production looks a certain way, children will be attracted to it,” Peerzada says while speaking about the show’s packaging, “It has to be up to international standards for kids to want to watch ‘Sim Sim Hamara.’ I mean if you do a shoddy job, they’ll change the channel because they have access to other foreign channels like Nickelodeon, Pogo, you name it.”

Coming back to Rani, “in many scenes we’ve shown her wearing the local government school uniform,” Peerzada mentions, “to encourage Pakistani girls to want to go to school.” However, Peerzada does clarify that Rani’s school uniform wasn’t to enforce going to school, but rather to encourage education that can even be learnt in one’s own backyard – just as Rani does, on the show.

Because through Rani, Peerzada explains, education doesn’t only come from going to school, but also through a child’s own curiosity, experience and questions posed towards adults.

Towards the end of my interview with Peerzada, we take a quick walk towards the Museum of Puppetry which features the RPTW’s own puppets in addition to foreign puppets sent in from different countries around the world.

Walking downstairs to the ‘Sim Sim Hamara’ workshop and two tailors are seen hard at work tailoring outfits for puppets. In the adjoining room, post production work for the show is well underway.

The tailoring room is small, with colourful outfits, buttons, rolls of cloth and other bits and bobs spread out and stocked on the tables. In the glass cupboards that line the walls, feathers, bundles of puppet fur, hair and half-complete, bald puppets are displayed.

Rani’s little uniform is hung on one of the clothing racks as well, along with her tiny school bag. And as I look around the room, in the midst of all this colour and creativity, wishing I were 6 again, I am hopeful that ‘Sim Sim Hamara’ will eventually prove to be a successful project for the children of Pakistan.

The Friday Times

Syndicated from: Sonya Rehman’s Archive

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Right here, right now

Posted on 23 December 2011 by Tea Server

By Sonya Rehman

At the behest of some friends, I finally got around to enrolling myself in a 6-day ‘Art of Living’ workshop in Lahore at the Al Razi Healthcare centre on MM Alam Road at the tail-end of November this year.

I’d heard about Shahnaz Minallah – one of the founders of the Pakistani chapter of the Art of Living Foundation – and was keen to experience the workshop under Minallah’s tutelage. Friends had told me she was thoroughly vivacious, had a hysterical sense of humour, and above all, was a great teacher.

Shahnaz Minallah. Photo: Sonya Rehman

I was intrigued. Besides, I’d always been interested in yoga and meditation – but never really got around to studying and practicing the subjects in too much depth. I had realized I’d needed a teacher to guide me through the process.

I’d always been big on psychology, extra sensory perception, dream interpretation, etc as a teenager. I would read whatever book I could find on the subjects and read in my free time. By the age of seventeen I began having premonitions, strong hunches and gut feelings about friends, family members, strangers and situations in general.

Every human being has a sixth sense, but it all really depends on whether or not we want to nurture or suppress it. But the ‘calling’ (so to speak) is always there, constant, within us – and if one has a strong, unflinching hunch about something, it’s probably correct. Anyway, I digress.

Initially, to be honest, I didn’t have any expectations from the workshop. I didn’t think my life would miraculously be put right in less than a week. But I was slightly at odds on a personal level, energy-wise. I felt sapped. Plus, I thought the activity would do me some good – and if nothing else, provide me with some entertainment rather than gassing about at coffee shops with friends in the city.

My class comprised of an interesting assortment of people: corporate types, housewives, artists and students, including some who’d come to Lahore from Faisalabad and Multan just to attend the workshop.

'JUMP!' The Art of Living group, Lahore, Pakistan.

In a nutshell, the Art of Living classes with Minallah comprised of some yoga, heart to heart group discussions, meditation and some very intense breathing exercises. Infact, the breathing exercises made up a fair chunk of the workshop.

Each day we’d meet early evening and begin the session with some light cardio: dancing. After working up a bit of a sweat, our group would begin the day’s activities for the next three hours. For the first two days most of us were moaning and groaning over the yoga exercises: our bodies felt rigid and inflexible – due to sedentary lifestyles. But over the next few days, the exercises felt easy. My body felt far more flexible, energetic and supple.

The daily breathing exercises on the other hand were an experience I don’t think I’ll ever forget. Performing Sudarshan Kriya – a rhythmic breathing technique – for a particular time period on a daily basis during the workshop left me (and my group) de-stressed, cleansed, light and happy.

Shahnaz Minallah. Photo: Sonya Rehman

Given the intensity of the technique and the (almost) immediate soothing after-effects, many of us were left intensely relaxed and emotional. As silly as this may read, some of us even wept a little afterwards.

Later, during a group discussion, some of my group members talked about how they were able to shed some of the emotional baggage they’d been hanging onto for years, and/or coming to terms with a particular aspect of their lives and subsequently were able to find closure.

I felt that way too. The Sudarshan Kriya was cathartic. And by the end of each Kriya session, I felt bright-eyed, inspired, affectionate and full of love.

Shezzy and Nida – posing for me. Photo: Sonya Rehman

It was true – everything everyone had ever told me about the inner and outer changes one goes through during and after the Art of Living course. Towards the end of the workshop I’d lost four pounds, shed some emotional baggage, and felt stronger and happier.

I’d bid adieu to the toxicity within.

Throughout the course Minallah spoke to us often about living in the ‘now’ – to quit dwelling in the past, in addition to worrying about the future.

Sounds so simplistic, right? But it’s true. We take our present for granted – we fritter away the hours worrying incessantly about things long buried, forgotten, and those which we anxiously anticipate – not really giving a toss about what can/could be achieved in the now.

On the last day, before our potluck lunch was to commence, all of us sat around in a circle with Minallah and talked about our experiences during the course so far and how it had changed us.

Nazish Nadeem, this wonderful woman who I’d had the pleasure of befriending during the course shared with us how good she felt as a result of the workshop.

“I feel happy all the time,” she’d said enthusiastically. She was beaming. I couldn’t have agreed more.

The Friday Times

Syndicated from: Sonya Rehman’s Archive

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Civil society terms “memogate” scandal an attempt to thwart democracy

Posted on 17 December 2011 by Tea Server

Please note, the names on the signatories list will be updated as more endorsements are coming in.

PRESS RELEASE

Civil society terms “memogate” scandal an attempt to thwart democracy; Says threatening the representative system tantamount to attack on sovereignty of people.

December 17, 2011

We, the representatives of the Civil Society including non-governmental organisations, labour organisations, academia, women’s rights bodies, and media persons express deep concern over the current political situation in the country where a crisis is being manufactured on frivolous grounds, and is being referred as the so-called “memogate”. This has the potential of subverting democratically elected Parliament and the Constitution.

It is time all conspirators against democracy and the sovereignty of the people be called to account. Sovereignty belongs to the people who have agreed to exercise it through their representatives in a federal, parliamentary, and a democratic system. Any attempt at arbitrarily altering this arrangement is tantamount to an attack on the sovereignty of the people. Various institutions of the state are supposed to function within their defined constitutional parameters and complement each other but they seem to be working at cross-purposes, to the determent of public interest.

We emphasise that the role of political parties and political leaders is to represent their constituents’ interests and arrive at negotiated agreements to differences in agreed political forums.

The role of state’s security organizations is to serve the people through stipulated constitutional arrangements, under the command of the executive, and not to define what is or is not in the national interest.

The role of the judiciary is to protect the rights of the citizens from arbitrary abuse of executive power, and not to itself become a source of arbitrary executive power.

The role of the mass media is to help citizens hold powerful interests groups within and outside the state to promote their legitimate interests and hold violators of rights accountable, and not to itself act as an unaccountable interest group.

In our opinion, parliament is the appropriate forum to discuss and investigate this issue and come up with findings.

We believe that any attack on the sovereignty of the people will be unjust. It will necessarily lead to conflict and must be resisted.

We appeal to the people of Pakistan to stand united and firm in support of democracy and to resist all attempts aimed at its subversion. The people of Pakistan have made great many sacrifices for the cause of democracy and they should not let any vested interests trample their right to have a democratic and an elected representative system run the country.

Undersigned (in alphabetical order by first name)

  1. Abdulrahman Rafiq, Founder & Operations Coordinator http://SARelief.com
  2. Abrar Qazi, Awami President Awami Jamhori Party
  3. Adam Malik, Human Rights Activist
  4. Adnan Rehmat, Executive Director Intermedia
  5. Aisha Gazdar, documentary filmmaker
  6. Ali Asghar Khan, Aman Ittehad Pakistan
  7. Ali Raza, Shirkat Gah
  8. Amir Aziz Syed, businessman
  9. Anis Haroon, Women Action Forum
  10. Arif Hasan, Architect, Urban Planner,
  11. Arshad Mehmood, Executive Director Society for the Protection of the Rights of the Child
  12. Arshid Mirza, Baidarie Sialkot
  13. Asad Mufty columnist daily Jang.
  14. Asad Rahman, Sungi Foundation
  15. Asad Sayeed, Director, Collective for Social Science Research, Karachi
  16. Ayesha Tammy Haq, Journalist
  17. Aziz Abbasi, President Watan Dost mazdoor feder
  18. B. M Kutty, Secretary, Pakistan Peace Coalition
  19. Babar Ayaz, journalist
  20. Beena Sarwar, Independent Journalist
  21. Bushra Khaliq,
  22. Danial Noorani, social worker
  23. Dr Haroon Ahmed, President Pakistan Mental Health Association
  24. Dr. Abid Qayoum Suleri, Executive Director Sustainable Development Policy Institute
  25. Dr. Aly Ercelan, Senior Development Economist
  26. Dr. Arif Azad, Development Consultant and Campaigner
  27. Dr. Badar Siddiqui, Ex-President, Pakistan Medical Association,
  28. Dr. Jaffar Ahmed, Irtiqa Institute of Social Science,
  29. Dr. Kaisar Bengali, Senior Economist
  30. Dr. Manzoor Ahmed AwanDirector Program OperationsSungi Development Foundation
  31. Dr. Mohammad Taqi, Columnist/Physician
  32. Dr. Pervez Tahir, Economist
  33. Dr. Taimur Rahman, Laal
  34. Faiza Haswary, Lecturer, Hameed Law College, Karachi
  35. Farooq Tariq, Spokesperson, Labor Party Pakistan
  36. Fatima Zafar, National Focal Point, Youth Peer Education Network Multan
  37. Fauzia Viqar, Shirkat Gah
  38. Ghulam Fatima, Executive Member BLLF,
  39. Haider Nizamani, Human Rights Activist
  40. Haris Gazdar, Independent Economist
  41. Harris Khalique, Development Consultant,
  42. Hassam Qadir Shah, Lawyer
  43. Hoori Noorani, Publisher
  44. Human Fouladi, Aman Ittehad Balochistan
  45. Ibrahim Malick, Technologist, Social Entrepreneur
  46. Idrees Kamal, Idrees Kamal Coordinator Pakhtunkhwa Civil Society Network
  47. Iqbal Alavi and Friends of Irtiqa and National Council of Academics
  48. Iqbal Tareen
  49. Irfan Ali, Aman Ittehad, Balochistan
  50. Irfan Mufti, South Asia Partnership -Pakistan
  51. Ishaq Mangrio, Independent Journalist,
  52. Jaffar Memon, We Journalists,
  53. Jami Chandio, Executive Director, Centre for Peace and Civil Society,
  54. Jugnu Mohsin, The Friday Times
  55. Kamran Noorani, Businessman
  56. Kamran Shafi, Columnist
  57. Karamat Ali, Executive Director, Pakistan Institute of Labour Education and Research,
  58. Kausar S. Khan, Women Action Forum
  59. Khawar Mumtaz, Shirkat Gah,
  60. Lala Hassan, Co-convener Asian Muslims Lawyers Human Rights Network for South
  61. Lateef Mughal, General Secretary, Peoples Workers Union KESC
  62. Mansoor Ahmed, SAP-Pakistan
  63. Maqbool Dal, President, Village Community Development Organization Mirpur Khas
  64. Marvi Sirmed, Columnist Daily Times
  65. Masood Punjabi, trade union activist Sweden
  66. Mehnaz Rehman, Regional Director Aurat Foundation,
  67. Mirza Abdul Shakoor, Executive Director, Community Development Concern, Sialkot
  68. Mirza Yusuf Agha
  69. Mohammad Ali Shah, Chairperson Pakistan Fisher folk Forum (PFF)
  70. Mohammad Tahseen, Executive Director, South Asia Partnership Pakistan,
  71. Mohammad Waseem, IRC Lahore
  72. Mohsin Sayeed, journalist
  73. Mola Bux Leghari, Executive Director, SPEACH Development org, Dadu, Sindh
  74. Mumtaz Mughal, Aman Ittehad Punjab
  75. Naeem Mirza, Aurat Foundation
  76. Naeema Malik, South Asia Partnership -Pakistan
  77. Najam Sethi, anchor, Geo TV
  78. Najma Sadeque, Women Action Forum
  79. Naseer Memon, Chief Executive, Strengthening Participatory Organization, SPO,
  80. Nasir Iqbal, Lahore Social Forum
  81. Nasir Mumtaz, Kashf Foundation
  82. Nasreen Azhar, Women Action Forum
  83. Nausheen Ahmad, Advocate
  84. Naziha Syed Ali, journalist
  85. Nazim F Haji, industrialist, Former Chief Citizens Police Liaison Committee,
  86. Nazir Ghazi, Godh Lahore
  87. Nazish Brohi, Women Action Forum
  88. Nighat Saeed Khan, ASR Resource Centre and Women Action Forum
  89. Noman Quadri, student, Karachi
  90. Omar Ali, Columnist and Moderator Asia Space
  91. Peter Jacob, National Commission for Peace and Justice
  92. Prof. Arfana Mallah, President Sindh University Teachers Association,
  93. Prof. Dr. Ijaz Khan, Chairman, Department of International Relations, University of Peshawar
  94. Punhal Saryo, President Sindh Hari Porhiat Council,
  95. Qamar Hayat, Executive Director Sahara Development Foundation,
  96. Rabia Khan, Women Rights Activist, Karachi
  97. Raja Abbas, ANCE Lahore
  98. Rana Bilal, Youth Parliament Pakistan
  99. Rana Riaz Saeed, Development Activist and Lobbyist
  100. Rashida Dohad, Omar Asghar Khan Foundation
  101. Raza Rumi, writer/columnist
  102. Raziq Fahim, Director College of Youth Activism and Development
  103. Rehana Shaikh, Institute of Social Policy
  104. Rubina Jamil, NTUF
  105. Sabahat Ashraf, “iFaqeer” Communicator, Citizen
  106. Sabiha Shaheen, Bargad Foundation Gujranwala
  107. Saeed Ahmed Rid, Commonwealth Scholar, Peace Studies, University of Bradford, UK & Lecturer, National Institute of Pakistan Studies (NIPS), Quaid-i-Azam University, Islamabad.
  108. Saeeda Diep, Institute for Peace and Secular Studies
  109. Salima Hashmi, Artist and Academician
  110. Samina Khan, Executive Director Sungi Development Foundation
  111. Samina Khan, Sungi Foundation
  112. Sayed Masud-ul Hassan
  113. Shahzad Ahmad, Country Coordinator, Bytes for All, Pakistan
  114. Shaikh Tanveer Ahmed, Chief Executive HANDS Pakistan
  115. Sheema Kermani, Tahreek –e- Niswan,
  116. Sheen Farrukh, Inter Press Communications,
  117. Syed Ali Abbas Zaidi, Chair & Founder Pakistan Youth Alliance, Central Executive Committee, Khudi Pakistan
  118. Tasneem Ahmed Siddiqui, Chairman, Saiban, Former Chief Secretary Sindh,
  119. Ume Laila, Home Net Pakistan
  120. Uzma Noorani, Council Member HRCP
  121. Waseem Akram, SAP-Pakistan
  122. Zahid Islam, Director, SANGAT-Lahore
  123. Zia Banday
  124. Zia Rehaman, AWAZ CDS Multan
  125. Zubaida Noor, Noor Education Trust, Peshawar
  126. Zubair Faisal Abbasi, Development Consultant
  127. Zubair Malik, STEP, Khushab
  128. Zulfiqar Halepoto, Sindh Democratic Forum,
  129. Zulfiqar Shah, Institute for Social Movements Pakistan

Syndicated from: Journeys to democracy

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