Sonya Rehman’s Archive

Broken vows

Posted by: Sonya Rehman on: March 27, 2009

By Sonya Rehman 

Over the past few years, as the outer skin of Lahore has undergone a colossal metamorphosis, so has its society…on a very deep, subconscious level. As the branded stores, foreign food chains, multinationals and buildings have burgeoned, there has been an equally rapid shift in mass consciousness. 

Long gone are those condemnatory days where hushed remarks, lingering trails of gossip and malicious whispers of so-and-so being a divorcee and so-and-so’s daughter calling it quits and walking out from a half-baked marriage as a single woman ready to face the world, head-on. 

The hypocritical tittle-tattle may well, still be there, but it floats about mindlessly as it remains tinged with boredom and a certain amount of acceptance and recognition as one of the major options for a stale marriage. 

Honestly, I never thought I’d see the day. Belonging to a single-parent family (I loathe calling it a ‘broken home’) most of my life, I witnessed my mother being judged on a daily basis for being a ‘single woman’. 

And whilst judging my mother, they would in turn judge me – by telling each other that I too, would wind up being divorced and single. Why? Because oh, I was my mother’s daughter after all. 

But the past five to seven years has inked out those disparaging days. For a majority of those very men and women who labeled divorcees as ‘bad’ people, have wound up with their very own divorced children back on their doorsteps – suitcases and toddlers in tow.

This is not to state that every Lahori family out there has truly ‘evolved’ in the marriage department, but a majority has. 

Sure the city still retains its pockets of conservative, orthodox (and some backward, judgmental) families, but divorce, I reiterate isn’t taken as an earth-shattering family calamity anymore. It’s taken in stride. 

Karachi may well have had its fair share of societal issues, but regarding marriage, divorce and the firm resolution to stay single? It has fared better than Lahore. 

Only now, over these past few years has Lahore truly come to terms with it being ‘okay’ to be a divorcee, and that being a divorcee does not necessarily mean a dreadful thing. 

So now, while parents across the city encourage their daughters to take up solid careers and become financially independent, the rate of early divorces and late marriages has shot up. 

These days it’s not uncommon for a young woman to get married in her late 20s and sometimes even, her early 30s. In addition, the disengagement from a marriage after barely a year or so hardly comes as a shocker anymore.

People may well still talk, finger-point and wrap their dim-witted social banter with sympathy for the “poor” young divorcee, but give or take a week, and it’s shrugged off. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

But the rapid increase in divorces amongst young couples could mean many things such as; the media boom in Pakistan (and the awareness that it has brought with it), the stress for a good solid education for young women (by families) – and the gradual build-up of a feeling of empowerment which follows, and so on.

See, divorce isn’t a bad thing. It stands as a good option, but only if one party finds himself/herself shoved into a corner with a point of no return – such as; bearing physical/emotional abuse at the cost of one’s partner, infidelity, etc. 

These days, young couples (and young people in general) are rather flippant. Forget the whole theory of ‘wanting to be married for the love of the idea of marriage’ – that stands as one reason too, but the main reason right now is the empowerment of women in Lahore and the inherent flippancy of young adults. 

A mix of flippancy and far too much pseudo-pragmatism if you will. A “let’s see how it pans out” pragmatism.

But coming back to the alteration in a woman’s place in Lahori society, I recently came across a paragraph in well-known Erica Jong’s best-selling novel, ‘Fear of flying’: “Back in the days when men were hunters and chest-beaters and women spent their whole lives worrying about pregnancy or dying in childbirth, they often had to be taken against their will. Men complained that women were cold, unresponsive; frigid…they wanted their women wanton. They wanted their women wild. Now women were finally learning to be wanton and wild – and what happened? The men wilted.”  

Jong was right. Female empowerment in Lahore may well be a very good thing, but why is it that some of the strongest women I know marry some of the most emotionally impotent men out there? 

And on the flip side, why is it that men these days prefer a strong-headed, career-oriented woman yet begin doing cart-wheels after the marriage vows are exchanged? What really is wrong with this picture?

Nancy Friday, another best-selling author subscribes to the notion that empowered women in the workforce don’t really know how to play the dual role of a wife and a career-woman. 

Somewhere along the line they fall short – while on one hand they may appear tough and cut-throat at work, but on the other hand they may become too clingy and emotionally dependent on their partners. Why? Is the empowerment just a façade? Has society drilled it into our heads for decades – that a woman without a man is nothing but an empty shell? Is divorce these days a self-defense mechanism to cut one’s losses before they begin hurting? Does consumerism in Lahore really have a role to play in all of this no matter how far-fetched it sounds? The notion that there’s so much ‘choice’ out there that it drives one a little wonky? The silly belief that one can always ‘do better’ and possess someone better in the marriage department? 

Have we really begun changing our partners just as swiftly as we would change our brands?

Marriage always comes with a bit of compromise – I mean that’s a given, it’s never a Mills & Boons novel from start to finish. But young adults in this day and age follow an almost zero tolerance policy for anything that would/could rub them the wrong way in the marriage/companionship department. 

I admit, I have my hang-ups too – but I’m working on it. Just as it took us years to be conditioned this way, it’ll take us time to gradually re-condition ourselves to view love and marriage in a balanced way. Without presumptions. Without bias.  

The Friday Times

Five cavities and Michael Buble

Posted by: Sonya Rehman on: March 13, 2009

 

By Sonya Rehman


 

 

 

 

 

 

 

 

 

 

 

 

In all my piddling twenty-six years, I’ve never found myself in a dentist’s clinic. But recently, my mother thought it’d be wiser to have a general check-up before my departure for grad school this summer. 

And so, off I went to Dr. Rizwan, one of the finest dentist’s in Lahore. His clinic, situated in Gulberg has to be one of the most unusual clinics I’ve ever been to (not that I frequent clinics on a regular basis).

With jazz-boy Michael Buble cooing away in the background, fresh yellow flowers set in a massive vase – that sat atop a large sea-blue chest – and patches of warm sunshine reflecting off the walls and floor, I seriously thought I’d entered someone’s living room, rather than a ‘clinic’. 

Sometimes when I think of clinics I always imagine walls lined with tube lights, shiny, fake leather couches (in white or beige), polished shoes, sadistic needles, broken weighing-machines, buttoned up, prude-ish white jackets and chits of paper filled with diagnosis and medicine lists in square-ish, peculiar handwriting, that would make even the world’s best handwriting expert gawk in confusion. 

But Dr. Rizwan’s clinic was something else. Heck, I could’ve camped out there for the rest of my life. Okay, maybe that’s stretching it, but perhaps for half of my life. Atleast. 

After a general check-up (whilst sniffing in the fact that Dr. Rizwan’s gloves smelt like baby milk); I was advised by him to get braces for both my lower and upper teeth. Not that I have buck-teeth, but let’s just say that all those years of sucking my thumb (till I was 11) ‘upset the balance’. 

“Good, let’s get you those braces”, my mother had said. But I fought it out. “Look Ma, there’s absolutely no way I’m going to be walking the streets of New York for a year in those steely contraptions looking like Ugly Betty!” 

That did it. So it was decided that the braces would be put on hold until I returned, and for the time being, I’d get my teeth cleaned prior to getting my cavities filled up. 

The teeth cleaning bit, I was advised, was necessary to avoid the off-shoot of further cavities. 

Cool. So the following week, I walked back into Dr. Rizwan’s clinic in my favourite sweats and plopped down onto the dentist’s chair (what a fine invention). 

A young and attractive Dr. Sadia was due to clean my teeth, and so, while she put on her milk-scented gloves, we chatted away about New York – with my telling her what a lumbering paindu I was going to be once I landed at JFK International Airport (since I’d never set foot in another country, save for India), and her appeasing me about the fact that the ‘Village’ is going to be a lot of fun and that I’d take to it like a fish to water. 

Lowering my chair down, placing a spotlight of sorts smack in my face, and placing tissue paper around my neck (like a bib), I was told to; “Open wide please”.

“GaaaAaA-k-l-aaaAaAaaa”, I said confidently – trying to keep my cool as Dr. Sadia had placed a tube (which hissed and acted like a mini vacuum cleaner) into the side of my mouth. 

Wearing goggles, she set to work on my lower jaw with a horridly unsettling, frightening little device that made the most unsettlingly loud “RrrrRrRrrRrRRRR” sounds. 

Oh dear, I was in for the long innings. Help me God, I’d thought.

The little drill machine snaked in, out and around, rattling the very core of my lower jaw’s teeth. 

And sometimes, it’d scrape just a fraction of my gum. But I persisted and ground my hands together tightly. ‘Gotta be brave, gotta be brave now’, I told myself. In the distance, Michael Buble continued singing in an amorous and lazy fashion amidst the plinkety-plink of the piano. 

 

 

 

 

 

 

 

 

 

 

 

 

The dashing Mr. Buble

I wanted to throttle him, or, run into his chubby arms screaming; “Help me, for the love of God jazz-boy, save MEEEEEE.”

“HiiissssSsSsSSsSssSss”, the little tube went. It’d popped out of my mouth. Taking a thin pipe, my mouth was then sprayed by Dr. Sadia. I gurgled. Choked rather. 

“I feel like my teeth have just been treated to a mini car-wash”, I told her good-naturedly (trying to ease my frayed nerves). 

She smiled and then handed me a pair of goggles. “Wow, futuristic”, I had said excitedly, “um, what exactly are these for though?”

“Just in case the water sprays in your eyes”, she had replied. Okay not so futuristic anymore.

After a few minutes, Dr. Sadia then got to work on my upper jaw. I was compelled to yank open my mouth to make it easier for her, but for some reason, my mouth felt incredibly numb. The ‘puch puch’ kinda numb. 

“RrRrrRrRrrRrrrrrrrrrrr” the blasted drill machine shrieked. It slowly made its way to my horrified face. The mini vacuum cleaner in my mouth continued hissing. Michael Buble went on crooning. 

‘NOoOooOoOOooooooo’ I wanted to yell as my mind began doing pretty little convulsions. It dug into the crown of my teeth, pulling out anything that came in its way. Beads of sweat clung to my forehead (thought I’d throw that in for good measure), and I plucked away deliriously at my skin. 

If I was going to get up from the chair (once it was over) and prance down the road in a tutu, I couldn’t be blamed. 

“RrRrRrrrrr”, “hisss hisss hisss”, “gurgle”, “choke”, “sputter”, “RrrrrrRrR”, “mommy?”

And then, everything went blank and I woke up two hours later. No, I jest. There was suddenly, dead silence. “You can gargle now”, Dr. Sadia had said with a smile, pointing to a paper cup containing a pink liquid. “Phewie”, I’d said as I struggled to get up and reach for the cup. 

After I was done, she handed me a mirror, “Take a look”.

Looking at my face – which thankfully wasn’t contorted like Regan from ‘The Exorcist’ – I grinned, widely. 

What a fine set of teeth, I’d thought to myself, still grinning away at my reflection.

Walking out of Dr. Rizwan’s clinic with a spring in my step, I was told I had five cavities which had to be treated right away. 

“You bet”, I’d said – still grinning. As long as they had Michael Buble singing, I’d be game.  

The Friday Times

Daniyal Mueenuddin: son of the soil

Posted by: Sonya Rehman on: February 20, 2009

 

By Sonya Rehman 

We meet at his nephew’s house on Halley Road (in Lahore). Daniyal Mueenuddin’s collection of short stories, titled ‘In Other Rooms, Other Wonders’ has just been published by Random House India with impressive comments from Anita Desai – who regards Daniyal’s debut as “a restrained, economical prose that is not without touches of tenderness and lyricism”, and William Dalrymple – who considers Daniyal to be “a writer who seems to combine the intimate rural rootedness and gentle humour of RK Narayan with the literary sophistication and stylishness of Jhumpa Lahiri.”

Born and brought up in Pakistan to a Pakistani father and an American mother, Daniyal left Pakistan to attend boarding school in Massachusetts at the age of thirteen. From thereon, he progressed onto college where he graduated with a degree in English Literature from Dartmouth. Soon after, Daniyal’s father – whose health had begun to take a turn for the worse – urged his son to come back home to take care of his farm, based in Southern Punjab. 

 

 

 

 

 

 

 

 

 

 

 

 

With the demise of his father, Daniyal took over the reigns and managed his father’s lands for seven long years which he describes as an “intensely happy” and “brutally lonely” time. 

What followed after those seven years was the author’s transition back to America to study law at Yale, and after three years – whilst working in New York as a lawyer, Daniyal decided to move back home once again. 

And that’s when ‘In Other Rooms, Other Wonders’ came into existence. They were penned from the author’s experiences as a child through the years spent on his father’s farm, intricately conveying the characteristics and way of life of the villagers that he’d grown so accustomed to.  

I’m hoping Daniyal is one of those talkative writers in person. Because that way, it’s easier to sculpt out a story rather than scrape and prod for details with a less chatty one. But Daniyal, I soon discover, is a man of few words. He doesn’t waste any time in pleasantries, and will answer questions directly – without any unnecessary, verbal fluff. 

Dressed in pants and a black, half-sleeved shirt, he greets me warmly with a handshake.

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“The short story form is more manageable for someone who’s learning the craft”, Daniyal tells me in answer to my question of why he decided to compile a collection of short stories as opposed to penning a novel. He’s leant back in a soft beige couch as he speaks. “Also, short stories”, he says quickly, “are much more shapely…it’s a much more rigorous discipline. So very early on, I thought it’d be good for me to try something very small, and contained. And in a short story, there can be no extraneous parts. Whereas in a novel, you can have all sorts of digressions.”

Having done some readings at the well-known ‘Jaipur Literary Festival’ in India, Daniyal tells me that he’s also due to embark upon a book tour in America in a few weeks. 

Considering how imperative discipline is for a writer to churn out work, did Daniyal follow any particular routine whilst penning his short stories? 

“Oh very much”, he says, “My typical day at the farm starts at 6 in the morning when I talk to my managers about farming matters. And then from 8 till 2 in the afternoon, I write. I require myself to write atleast 300 words a day. Which, is not very much – but if I feel I’m not writing very well, I might read, write letters…basically something related to writing.”

“It’s very useful to have a life that’s separate from your writing so that you have something to write about”, Daniyal states as he fiddles with a beige pillow that sits, plumped up to his side. That seemed true, because without some sort of a ‘social life’, a writer may find himself/herself in a stagnant little fix.   

And as the trolley of tea and biscuits is rolled in, I ask the author how many of his book’s protagonists are inspired by real life people, if at all?

“None”, he answers pithily before proceeding onto say that his characters take birth from his brief (and at times, not so brief) meetings with different people, and experiences that he’s had along the way. “When you write about your characters, they become independent and start doing things on their own – as if they were real people.”

Regarding his debut ‘In Other Rooms, Other Wonders’, five of Daniyal’s short stories (from the book) were published in magazines – three of which, were printed in ‘The New Yorker’. 

And currently, the book is being published in eight countries (mainly; England, America, France, Spain, Holland, Italy and India), in five different languages. For Mueenuddin’s debut book, that seems to be quite a feat. 

But Daniyal seems to take all of this within his stride, stating all of this and the overwhelming response to his debut book with just a hint of nonchalance. 

During the interview, he never struck me as one of those starry-eyed, freshies riding the high tide of literary fame in pomp and pageantry. He appeared rather casual, and perhaps, quite content with the way things were shaping up at the moment. And I knew right then, that as he spoke, if one were to banish him far from the spotlight of media, Daniyal would go on writing, simply for the love of it. And that’s the way it always should be.

The Friday Times

Shades of grey

Posted by: Sonya Rehman on: January 31, 2009

By Sonya Rehman

Situated in suburban Lahore, ‘Grey Noise’ (a relatively new art gallery in the city) is displaying Shahlalae Jamil’s first solo exhibition (in Pakistan) and is running from the 13th to the 31st of January.

The sky is overcast, its expectant belly full. It’d been drizzling a while ago and the gravel beneath my wheels crunches deliciously as I turn into the small lane where ‘Grey Noise’ is situated, towards my right. Lahore hasn’t seen rain for a while, and the grey austerity of winter seems to be replaced by a mixture of azure and silver traces – across the sky – like the slivers of trail made by a snail.

Evergreen, and plush, the city seems to have slowly woken up from her deep stupor. Heavy-lidded and languorous, she stretches out, like a panther when it begins to drizzle again. She curls inward, purring. Walking up the stairs, I enter a small room. Towards my left, a black chair and a telephone set are situated. A few small video screens (with accompanying headphones) line the wall infront of me. Looking over the wall division on the right, I spot a single bed – with a bright orange quilt thrown over it.

 

 

 

 

 

 

 

 

 

And up ahead near a glass desk and chairs, 21 pages of text are pinned across the wall. This is Shahlalae’s work. Light, meaningful and slightly intense. Pick up the phone – near the black chair – and you will hear a recording of Shahlalae speaking. Put on the headphones, and watch a dialogue unfold. Lie down on the bed, and hear another gentle flow of conversation – that neither seems to have a beginning nor an end – taking place. Titled ‘Conversations at the edge’, Shahlalae’s audio-visual work traces the relationship between herself and Siraj, a friend who makes his living by driving a taxi in Chicago.

 

 

 

 

 

 

 

 

 

But the theme of the artist’s work isn’t as black and white as it appears to be. Infact, Shahlalae’s work comprises of many hues of grey…which question, touch upon, prod at and emphasize the challenges of maintaining such a friendship – while taking into account conformist class divides. Shahlalae describes ‘Conversations at the edge’ as “raw” and “honest” – something which is meant to “break boundaries” – when I speak to her over the phone, a few hours before she’s to fly back to the Big Apple, where she resides. “This piece of work”, she quips, “is a sociological experiment about why we think the way we do. This is the first project I’ve done about someone who isn’t so close to me. It made me step outside my own comfort zone.”

 

 

 

 

 

 

 

 

 

In an excerpt from one of the conversations, Siraj states: “I drive a taxi, it doesn’t mean I am unprofessional or that I’m a family driver”. “The things I want to make are the things I want to understand”, states Shahlalae in an excerpt from ‘Display 8’ (the wall-hanging pages of text), “One of these things is to know what would happen if I told someone in Karachi – you could have a Ph.D, that you are a taxi driver…meaning I want to know about class consciousness and class boundaries at home and here. How was this friendship made possible?” This is what ‘Conversations at the edge’ highlights – the stark class division between two friends, and the stinging awareness of it.

(Above: Shahlalae)

After walking through the gallery and reading snippets from Shahlalae’s ‘Display 8’, I sit down across from Umer Butt – the owner and curator of ‘Grey Noise’. He’s tall and light-eyed, has a shaved head, sports glasses and sits snugly in a black wind-breaker jacket. Umer’s the expressive kind, the type who moves and dices his hands in the air for greater emphasis as he speaks. He tells me that he seeks out artists – to represent under the ‘Grey Noise’ banner – who actually have the personality of an ‘artist’.

 

 

 

 

 

 

 

(Above: Umer Butt)

And this was made apparent to me, much later as I browsed through his catalogue which introduces and highlights the work of the 11 artists that Umer currently represents. “I’m listening to the demands of my artists and how they foresee their work to be exhibited. I’m also trying my best to make their work seen across the globe through my website and my exhibitions.” The current group of artists that ‘Grey Noise’ represents, I noticed – via the catalogue – are incredibly diverse. For instance, Mehreen Murtaza’s digital print piece (in sepia tone) which depicts Dr. A Q Khan in a black eye-mask amidst a tank and hordes of people was fascinating and almost impish in its overall theme and message. Amna Hashmi’s ‘The Airship Plans’ was also very, very ‘cool’…I really can’t find a better word to describe Amna’s work which is a comic book whose characters look like something out of Japanese anime! And I found myself almost disappointed to only get to read/see two pages of Amna’s work in the catalogue.

mran Ahmad on the other hand in his ‘sketch for the installation “Hum”’ illustrates 5 Urdu words which slant down flirtatiously across the page. They read: “Woh, Aap, Tum, Mein, Tuu”. Original and out of the box – in the choice of mediums and themes – are the artists of ‘Grey Noise’. The kind that produce work which makes you step back, tilt your head a little and soak it all in.

The kind which baffles, amuses and confuses you at the same time. The 11 artists are new-age without being pseudo – and almost 3D in their subject portrayal. Just like Shahlalae in her topical, ‘Conversations at the edge.’ Therefore it comes as no surprise when Umer tells me that he wouldn’t really be interested in taking on artists who produce purely commercial work.

And regarding the future of ‘Grey Noise’? “I want to slowly sink into the art scene”, says Umer. Perhaps that’s what art really ought to be all about – to make your thoughts sink in and be enveloped, gradually…with all its swirls and hues.

The Friday Times

The ‘Amero’ – fact or fiction?

Posted by: Sonya Rehman on: January 23, 2009

By Sonya Rehman 

Word has it that the US Dollar is soon to be replaced by the ‘Amero’. Is this just another conspiracy theory kicked up by a bunch of bored conspiracy theorists? 

Who knows, but at the rate the US economy finds itself sinking further into a quicksand recession, the introduction of the Amero might just turn out to be a reality. 

And this brings us to the North American Union (NAU). So what exactly is the NAU? The NAU apparently brings together the United States, Canada and Mexico under one umbrella – with the eradication of each country’s borders – to allow free trade, in addition to the free entry and exit of people residing in the three aforementioned countries. 

The NAU, infact, is quite like the European Union, which too, follows an agenda which is absolutely globalized: one system, one currency – where the US Dollar, Canadian Dollar and the Mexican Peso will be replaced by the Amero. 

But the Western media, for reasons unknown, hasn’t really addressed the NAU and the Amero. 

During my online research, I found that well-known publications such as The Washington Post, The New York Times, Newsweek and TIME failed to carry any sort of newsbyte, article or column addressing this conspiracy theory (or imminent reality). 

Drake Bennett of The Boston Globe is perhaps the only credible journalist (whose article I sourced online) who published an article in November 2007 about the entire Amero conspiracy. 

 

 

 

 

 

 

 

 

 

Bennett, in his article states: “If you haven’t heard about the NAU that may be because its plotters have succeeded in keeping it secret. Or, more likely, because there is no such thing. Government officials say a continental union is out of the question, and economists and political analysts overwhelmingly agree that there will not be a North American Union in our lifetimes. But belief in the NAU – that the plans are very real, and that the nation is poised to lose its independence – has been spreading from its origins in the conservative fringe, colouring political press conferences and candidate question-and-answer sessions, and reaching a kind of critical mass on the campaign trail.”

Another website claimed that the US had shipped 800 billion Ameros to China to cover its debt obligation! 

Could all of this really be hearsay? An interesting 2006 report titled ‘Analysts: Dollar collapse would result in Amero’ (up on a number of websites and e-zines) quotes Bob Chapman (a financial newsletter writer): “People in the US are going to be hit hard,” Chapman warned. “In the severe recession we are entering now, Bush will argue that we have to form a North American Union to compete with the Euro.” “Creating the Amero”, Chapman explained, “will be presented to the American public as the administration’s solution for dollar recovery. In the process of creating the Amero, the Bush administration just abandons the dollar.”

 

 

 

 

 

 

 

 

 

 

 

 

A reporter/commentator working for CNN, Lou Dobbs officially stated that the foundation for the NAU – a borderless nation – is in actuality, being set without the approval of the hundreds and millions of citizens that will be affected by it. 

Wikipedia covers the Amero conspiracy quite extensively. For instance, the website claims that in 2001, the results of a poll in Quebec affirmed that while “over 50 percent of respondents favoured the idea of a shared currency”; the rest opposed the notion of a common currency. 

Mexico, on the other hand quite interestingly (as stated by Wikipedia) supports the notion: “Former Mexican President Vincente Fox echoed that view and expressed his hope for a greater integration of Canada, Mexico and the United States, including an eventual monetary union while on a 2007 promotional tour for his book ‘Revolution of Hope’”. 

Why the Amero conspiracy may just turn out to be a farce is because the creation of one system – uniting the economies of America, Canada and Mexico – will transfer the reign of power into the palms of America. And this might not go down well with Canada and Mexico as then; both countries would have to forgo economic independence in addition to America tapping into Mexico and Canada’s natural resources.  

The words of caution coming by way of American scholars, writers and journalists whilst the American economy plummets further down the growth curve into heavy-duty decline, can’t help but make one wonder and feel perhaps, slightly suspicious about the Amero conspiracy actually becoming a hard-hitting truth. 

This is because the greatest superpower in the world – the United States of America – finds itself in an economic malaise, one that can be juxtaposed with the Great Depression of the 1930s. 

While some conspiracy theories remain riddled with loop-holes, others stand in a quivery state of stagnation – waiting to be proven and/or negated. 

From the New World Order, underground secret societies, and now the NAU, one wonders what the truth really is regarding the latter. 

Could the NAU and the introduction of the Amero be a looming reality – introduced just in time to save the American economy from the shambles? 

Or, could it simply be another one of those batty conspiracy theories, feeding on one’s paranoia…which, with time, will eventually be swept under the rug?

Keeping it real

Posted by: Sonya Rehman on: January 23, 2009

By Sonya Rehman

So I recently turned 26. And for some odd reason, the thought of it didn’t flip me out like I thought it would. I did however; wake up on the 9th of January feeling as if I didn’t want anyone fussing over me. 

Although, secretly, I will admit – I quite like being fussed over as long as it’s not made obvious. If it is made obvious, I feel quite silly actually. Especially on birthdays. This is because I imagine frightening little scenes where I’m dressed in a heavily embellished shalwar-kameez, with a bib attached to my collar, surrounded by friends and family, stuffing my face with frothy cake, whilst being photographed and videoed with a DJ (who goes by the name of ‘DJ Yakoob’) spinning a club version of Celine Dion’s ‘My Heart Will Go On’ in the distance. 

Birthdays can be really grand affairs these days and I suppose that’s what gives me the heebie-jeebies. 

The other day I met with a few close friends when we got talking about whether or not hitting a ‘quarter-life crisis’ in one’s mid/late 20s was a reality or not. 

I believe it is. “Our generation is so caught up with trying to make something out of ourselves that by the time we reach 26-28, we find ourselves completely burnt out”, one of my friends said. 

He was right. By our age, everyone has either gotten their ‘act together’ vis-à-vis getting hitched to an old sweetheart or finding a decent job. Or on the other hand, maybe our generation finds itself displaced – wanting desperately to appear ‘settled’ and in control of their lives. But the burnt out part I can somewhat relate with at this stage. 

 

 

 

 

 

 

 

 

 

(Above: a fuzzy photo of my birthday cake)

Gone are the days of teenage angst, acne, a passionate temper and puppy love. Maybe once we hit our mid-20s we begin to understand ourselves better, we tone down. We’re far less ignorant, and more practical. More self-assured. How bloody boring. 

I recall either reading this particular line somewhere or watching an actor saying it in some movie. I fail to remember the name of the book and/or movie but the line went something like never losing one’s ‘childish enthusiasm’ and that it should always be retained throughout one’s life. 

I believe that to be quite true. There’s a limit to how pragmatic you can be after all – pragmatic about love, about life, about careers, about friends…about everything really. Because to be pragmatic constantly, makes one calculate the pros and cons of everything on a constant basis. 

Horrid and tiring I tell you. Also, in the long-run, quite embittering. No doubt a certain dose of pragmatism can save one from a lot of hassle and heartbreak; yet, it leaves a lot to be desired. Because you’re always on your guard and on alert mode all the blinking time. Hence, new experiences – whether good or bad – are slashed down to a big zero. 

How then, does one grow internally without some risk-taking, without throwing caution to the wind every now and then?

With the onset of winter, I had the pleasure of meeting an old friend’s sibling’s friends (there’s a tongue twister for you right there). 

All in their early 20’s – not quite adults, and yet, not quite children either, with big, undecided dreams…I almost found myself slightly jealous of the few years they had – rolled out like a plush red carpet – before they were to enter the mid/late 20’s zone. 

I’m not sour about turning 26, I assure you. But it’s just that now, when I see the generation below mine, I find them to be so much wiser than how we used to be in our early 20’s. And maybe that’s what throws me off balance a little. The premature wisdom that these little fellas have. 

I was quite a goof at 21 (still am), as were my batch mates during our college days. We’d mosey about, without a care in the world. There was something very raw, teenage-ish about us back then. Highly naïve. Inherently trusting. The 21-year-olds that I see now have this wonderful, almost alien wisdom in their eyes that I never had at their age. And it baffles me at times – their self-assured gait, speech and presence. 

In all of this, the sad part is that maybe this generation has grown up too fast – so fast that they now stand a little jaded, a little broken, a little too pragmatic. 

Maybe age, really just is just a number. Maybe some of us eventually do make conscious decisions whether or not to be young at heart for the rest of our lives, or, to appear wise…well beyond our years. 

The Friday Times

‘SHARK’ bites the culture capital of Lahore

Posted by: Sonya Rehman on: January 4, 2009

Comedy comes to Lahore and leaves it howling for more!

By Sonya Rehman

On a frosty winter evening in Lahore (the 22nd of December), ‘SHARK’ (an improvisational comedy troupe) performed in an overcrowded auditorium in LUMS. 

The show truly superceded my expectations. 

While the concept of stand-up and improvisational comedy is relatively new in Pakistan, one did not expect it to become such an instant hit among the youth and, at the same time, be supported so passionately almost immediately when it stepped – toe-first with trepidation – onto the local media platform. 

From ‘Black Fish’ to Sami Shah and Saad Haroon’s solo stand-up/improv shows, and now ‘SHARK’ – a group encompassing five boys and a girl – it seems as if the road ahead for comedy in Pakistan is a promising, bright one. 

Training for six months, under the tutelage of Saad Haroon (who initiated ‘SHARK’), Danish Ali, Umair Pervez, Daniyal Ahmed, Sohaib Khan and Sana Nasir made the LUMS auditorium reverberate with laughter, non-stop for over an hour. 

Their act was an absolute scream – tweaked with crazy humour and spontaneous wit. It was mad at best, all over the place, and a complete riot.

In addition to having the audience so tuned in to their act, ‘SHARK’ also made their performance highly interactive as suggestions were taken from the audience on a regular basis. 

Getting audiences involved is extremely vital for every type of performer out there; one that must be executed confidently. In addition, a performer needs to understand his/her audience intuitively. Both the audience and the performer need to be ‘connected’ on one level. 

Without a connection, the performance will fall flat on its eager little face. That being stated, Saad Haroon orchestrated his troupe’s performance with skill, made eye contact with his audience, and in between the acts, he’d make a joke or two with someone from the crowd.

Regarding the other members of the troupe, Danish Ali and Umair Pervez seemed to have a certain edge – they carried off their performances brilliantly, rarely ever making a cheesy joke. 

Most importantly, they appeared confident in their own skin. And for comedy, that’s really important. A comedian, cannot, even for a minute, appear under confident or self-conscious. Why? Because audiences pick up on even the slightest vibe of awkwardness on the part of the performer, and that can simply ruin the entire show from start to finish. 

But Danish and Umair held their ground competently. Daniyal and Sohaib too, were pretty funny – just a little bit more polishing of continuous rehearsing and exposure, and they’d be good to go!

Sana, on the other hand was far too self-conscious for comfort; which is unfortunate considering she’s the only girl part of ‘SHARK’.  

Given the platform Sana’s been given; she really needs to brush up on her act and believe in herself. 

Without it, she simply will not be able to carry off comedy, and that too, improvisational comedy – which is live, incredibly zany, wild and spontaneous. 

That being stated, Sana simply must not be disheartened. If she gets better with time (and she definitely could), she may just go down in history as Pakistan’s first-ever female extempore comedian! Now that would be something to write home about. 

In times like these, it is important for comedy in Pakistan to remain alive and kicking. And with comedy troupes – such as ‘SHARK’ – bringing forth a new branch of comedy (completely unfamiliar to local audiences), in turn encourages more youngsters to get up and take initiatives in the field of performing arts. 

As the American literary critic, Harry Levin, once said: “The most protean aspect of comedy is its potentiality for transcending itself, for responding to the conditions of tragedy by laughing in the darkness.”

And with the sustenance of comedy in Pakistan by way of troupes such as ‘SHARK’, we just might be able to pull through. 

Images, Dawn

Funny side up!

Posted by: Sonya Rehman on: January 2, 2009

By Sonya Rehman

I recently went to see an improvisational comedy troupe (that goes by the name of ‘SHARK’) perform at LUMS. The troupe – which comprises of five boys and one girl – were apparently touring the cities of Lahore, Karachi and Islamabad. 

So on a Monday night, I found myself squished into a corner in a packed LUMS auditorium. 

So was SHARK’s bite one to remember? You bet it was. For two straight hours I found myself laughing more than I had in weeks – so much so that by the end of it my cheeks and ribs ached as I made my way to the parking lot. 

With their crazy antics, absolutely random humour and ‘all over the place’, slapstick wit, SHARK made their performance thoroughly interactive too, as the audience was asked to partake in suggesting names and objects in the skits and games. 

It was a night to remember, one where I shall forgive all those shrill, jostling LUMNITES for stepping on my toes. 

In Pakistan, there’s a lot of comedy to go around. You just have to be a little more observant than usual. 

For instance, ever noticed the massive stickers (in bubble fonts) plastered over the back windows of cars? They’re an absolute riot. I recently spotted a shady little Khyber sporting a sticker which read: “Don’t Follow Me!” 

Yes. With the bass throbbing away merrily inside from the jiggling little contraption, its black tinted windows rolled up and bright blue fog lights blazing away, anyone on the road would be enticed to stalk it. Better put up a huge silver sticker to ward off the psychos!

Even our local dailies carry bits of humour – tucked away here and there, peeking out of a column, a caption or two. 

Case in point: a heading I came across which read: “War no slution”. It made me wonder, what if the reporter/editor had – by error – left out the ‘ion’, making the caption appear as: “War no slut”. 

Yeah, you tell ‘em! Don’t go judging war like that girlfriend! America may’ve bombed Iraq and Afghanistan to smithereens, but that doesn’t mean America has a ‘loose character’, is dirty, immoral, promiscuous, and licentious – haw hai.

In another local English newspaper, the front page carried a picture whose caption read: “Members of ‘Maharashtra Navanirman Sena’, a right-wing political party, burn music disks of renowned Pakistani singer Ghulam Ali during a protest against Pakistan on Tuesday”.

Right. So now we know, whenever India ticks us off we’ll take to the streets shredding and clawing at posters of Amitabh Bachan and bonking effigies of Shahrukh Khan on the head.

Take that Mr. Bachan! Rip, shred, rip! Want a piece of me Shahrukh? No? Ha Ha, thought so, punk! Bonk, whack, bonk bonk! 

To commemorate Christmas, Nawaz Sharif and Shahbaz Sharif were shown cutting into a huge cake – whilst flanked by other PML-N supporters, in another national daily. If you think that’s funny, the dark-skinned Santa with eye-bags growing out of Nawaz’s left shoulder really took the cake (literally)! 

I do wonder – after the cake was cut by ten pairs of PML-N hands – if everyone took turns to sit on Santa’s lap with their wish lists whilst singing Christmas carols. 

So yes, in Pakistan, there’s a lot of humour to go around. And these days, boy do we need laughter. 

Of late watching a bunch of F16’s roar over the sky above was incredibly unsettling. But as I stood on my roof, looking up, I spotted some of my neighbours pointing at the jets and smiling. 

It was the strangest thing. But it made me realize that no matter what happens whether or not our national security is at stake and whether or not we Pakistanis are victims of inflation, we still find ourselves chugging along with a few grunts and whimpers. 

It’s all very bittersweet. Yet, it makes me question whether our rebounding back to routine and ‘normalcy’ is just plain optimism, numbness, or…a bit of both?

As the world enters into the New Year, one can’t help but wonder what 2009 will bring with it. Hopefully, and perhaps optimistically…a lot more laughter. 

The Friday Times

Twenty designers, one platform

Posted by: Sonya Rehman on: December 28, 2008

By Sonya Rehman 

On the 16th of December the ‘Pakistan Fashion Design Council’ (PFDC) held its first-ever trade show (at Lahore’s Royal Palm Golf & Country Club) put together by twenty fashion designers without the help of any big budget sponsors. 

Some of the designers which featured their collections were Mehdi, Ammar Belal, Libas, Maheen Karim, Sobia Nazir, Rehana Saigol, Kamiar Rokni, Karma, HSY and many others.

The timing on the invitation stated that the show would start at 6pm, but commenced after two long hours. 

 

 

 

 

 

 

 

Word had it that since the chief guest had not arrived; the show would not be able to begin. So we had to wait it out. To top it off, at around 7:15pm – when most of the guests had arrived – a sweeper was spotted on the ramp giving it a jolly good mopping. Quite a turn-off.

Nonetheless, the show took off with Sehyr Saigol’s ‘Libas’ line which seeped out in frills and dainty colours of beige and tea pink. Second in line was designer Waseem Khan’s collection which was really extraordinary. It was regal, yet gypsy, fun, yet sassy. With long kaftans, long, loose blouses and flowy skirts – with large borders adorning the skirts and the blouses, the line was something else!

 

 

 

 

 

 

 

Mehdi’s collection was surprising too – it was pretty distinctive. Gia Ali’s white dress (fitted at the thighs with forest green motifs adorning the front of the ensemble and a long, sexy slit which ran all the way down to the spine) was interesting. But Gia really needs to grow those long locks of hers back, and fast. The afro cut really doesn’t do much for her sharp features and slightly broad build. 

Sara Shahid’s ‘Sublime’ was perhaps a little bland for the ramp, but one has to hand it over to the designer because her cuts were clean and sharp. Infact, Sara’s work reminds one of Sonya Battla’s – not to draw any comparisons, but just to exemplify the understated chic that both Sara’s and Sonya’s lines carry. Besides, both Sara and Sonya understand their niche market intuitively well.

 

 

 

 

 

 

 

Frills, plaids, old school bling and funkadelic school girl oomph was what Ammar Belal’s collection was all about. While some gawked at the ‘out there’ outfits which waltzed down the ramp, I thought it was risky and fun. After all, art’s all about taking risks right? The models strutted their stuff to The Who’s ‘Baba O’Rilely’ which seemed to juxtapose Belal’s current design philosophy with the song’s melody (not lyrics) quite aptly. 

While Maheen Karim’s line was very Cher and sequincey, Asifa & Nabeel’s collection was slinky, silky, and velvety in lilacs and deep purples. Cybil looked absolutely ravishing in one of the gowns. Maria B’s collection on the other hand was tacky and Moulin Rogue-ish – with each model sporting massive feathers in their hairdos. I just didn’t get it. It was simply: weird. 

Perhaps Maria needs to understand the different between a calculated ‘risk’ and going completely over the top. 

Sobia Nazir, for instance, understands her market well. Her collection was diverse – vis-à-vis the colour combinations and they worked pretty darn well. 

New designer, Khadija’s line ‘Élan’ was decent. Iraj in particular wore one of Khadija’s loose-fitted, A-line, white kameez and pants. It was pretty stunning as it featured silver work which ran from the shoulders, all the way down to the hem line of the kameez. Coupled with Iraj’s blazing dark skin, the outfit shone on the ramp like a jewel. 

But the show stealers of the night had to be Rehana Saigol, Kamiar Rokni and HSY. Nadia Hussain wore a double-shaded sari by Rehana which was jaw-droppingly beautiful. 

No one in the audience could take their eyes off Nadia and the sari. Kamiar’s line too, was memorable and ethnic – it struck an appealing balance between ethnic patterns and contemporary cuts. Very Mongol inspired. 

HSY’s beige, brown, white, and cream ensembles were gorgeous too. They were from his spring/summer collection that he’d apparently shown at Dubai Fashion Week. Flirtatious at best, HSY’s line was heavily embellished with contemporary designs. 

 

 

 

 

 

 

 

The PFDC show was entertaining – minus the delay and the minor sound goof-ups – and it wrapped up pretty quickly. However, two things stuck out like sore thumbs; firstly the lighting on the ramp was so stark that those in the first, second and third rows could easily make out stretch marks and flabby cellulite on some of the models’ arms and midriffs. Perhaps that could be combated if some of the models quit starving, and decided to hit the gym. Sorry folks, but I’m not going to beat around the bush. If you’re a ramp model – in the spotlight – you’ve got to sculpt your body and maintain it. Eating a bare minimum just won’t cut ice. 

With the exception of Vinny, Cybil, Nadia Hussain and Sabina Pasha – whose skin was taut and glowing, the rest looked edgy and undernourished. 

Secondly, during the show, as Iraj made her way back to the centre of the stage, a relatively newer model walked down the ramp – perhaps too soon. Iraj looked incredibly ticked off, motioned with her hand and ground her teeth. The newer model looked petrified. That was nasty and in bad taste on Iraj’s part. 

Mistakes happen and models – no matter how senior – need to handle the goof-ups gracefully rather than making it obvious infront of the scores of people sitting barely two feet away from you! 

That being stated, the show was snappy, the music was great and some of the designers really shone in the spotlight. Here’s hoping the PFDC holds future fashion shows around the country real soon.  

Images, Dawn

Look who’s ‘Talking’

Posted by: Sonya Rehman on: December 21, 2008

 

By Sonya Rehman

Rizwan Saeed has to be one of the most unassuming individuals who comprises of the budding local media scene, currently.  

Young, and down-to-earth, with his long-ish, shaggy hair, and easy-going nature, he strikes you as one of those excessively creative flower children (minus the tree-hugging!). 

Part of ‘Talking Filmain’ – a production house operating from Lahore – Rizwan works in the capacity of an editor, a producer and more recently, as a director for the company which was initiated by Rizwan and two of his long-time, closest friends; Nasir Khan and Adil Sher. 

Recently, a Pakistani film (‘Kashf: The Lifting of the Veil’) which Rizwan worked on as an editor, was premiered in New Mexico at the ‘Santa Fe Film Festival’. But that’s not the only news, as Rizwan was short-listed (along with three other editors) out of 250 for ‘Best Editing’ at the festival. 

“I’m currently directing a sitcom called ‘Life’ which is about eight people”, Rizwan states. Previously, he edited Talking Filmain’s bold documentary called ‘Made in Pakistan’ which was shot last year and comprises of the lives of four, young Pakistanis in the wake of Pakistan’s tumultuous political scenario. 

The documentary took Rizwan eight long months to edit, while it only took him four months to edit ‘Kashf’.

“Editing is very tedious”, he says, “You need to be really focused. And documentary editing is very different from editing music videos and sitcoms. But actually editing documentaries is the hardest. This is because with documentaries there really is no script – and, along with that you have to make more segments, revise over the segments and make further changes as you go along.” 

It comes as no surprise when Rizwan tells me that he’s completely self-taught. These days, with the lack of good filmmaking institutions, many aspiring filmmakers put themselves through a thorough ‘trial and error’ process, while desperately probing for opportunities and experiences whenever, and wherever they can. 

Even the few institutes within Pakistan which offer degrees and courses in filmmaking aren’t exactly ‘all that’. 

This is because many courses are completely ‘DIY’ (Do It Yourself) – which if you look at it from one perspective can be challenging, but on the other hand, for someone who doesn’t know how to operate programs and cameras – the whole DIY shebang can be excessively daunting! 

But coming back to Rizwan, before ‘Talking Filmain’ waltzed into his life and changed it inside out, upside down and completely 360, he was buying and selling stocks and shares. “I realized it wasn’t what I really wanted to do”, the young filmmaker says looking back, “it was all too stressful and not really my type.”

A well-known local channel, of late, held its ‘Telefilm Festival 2008’ and Talking Filmain’s ‘14 Din’ (14 Days) bagged a number of awards. And in the telefilm, Rizwan played a dual role of an editor and a co-producer.

Slowly, yet surely, ‘Talking Filmain’ finds itself expanding as not only do they have fresh, new faces featuring in their productions, but also three aspiring editors on board out of which Rizwan has trained all three. The days now look more promising, perhaps clouded by slightly lesser doubt. Because looking back and reminiscing, Rizwan tells me how difficult it was for ‘Talking Filmain’ to truly launch itself. 

Nasir, Adil and Rizwan worked exceptionally hard – working together in a cramped room – to instigate the wheels of their production house to finally get rolling. But it was never fifth gear from day one. It was slow and steady. 

But perhaps now, these young men – full of aspirations of churning out good quality entertainment for local and foreign audiences, find themselves in a steady fourth gear. 

Just one notch higher and they’ll be speeding down countless highways with the music cranked up, and their windows rolled down just a little more. 

Images, Dawn