The Arts Council of Pakistan Karachi organised a graceful event titled “An Evening of Classical Dance” at Auditorium I to mark International Dance Day. Renowned dancer Sheema Kermani and Head of Dance Academy Mani Chao addressed the audience, while Romana Hussain moderated the event.

The evening began with a Manipuri dance performance, followed by a colourful showcase of various classical dance forms. Sheema Kermani, accompanied by her students, delivered captivating performances celebrating the beauty, heritage, and artistic depth of classical dance. She also expressed solidarity with Palestine by performing while wearing a traditional Palestinian scarf.

A large number of artists, students, teachers, and art enthusiasts attended the programme. Speaking on the occasion, Sheema Kermani said that International Dance Day was a tribute to all those striving for humanity, peace, and justice, while also thanking the audience for their support.

Mani Chao said that despite difficult circumstances, the dance community continues to spread joy and positivity through dedication and artistic expression. He added that the continued support of Arts Council President Mohammad Ahmed Shah has played an important role in promoting fine arts and providing opportunities for artists, particularly dancers.

The audience warmly applauded the performances of Sheema Kermani, Muhammad Asif, Dawood Bhatti, Taimoor, Yasir, Muhammad Alam, Javeria, Neena, KP, and Irma.

The post Classical Dance Evening Held in Arts Council of Pakistan Karachi to Celebrate International Dance Day appeared first on Glam Magazine.

Bisma Qamar is a dynamic communications strategist and youth advocate bridging the gap between Pakistan’s grassroots talent and global platforms. Through her work with the United Nations and the Prime Minister’s Youth Programme, she leverages her dual-cultural background to champion Gen Z leadership and redefine Pakistan’s narrative on the world stage.

You built a strong presence in communications and youth advocacy; what first drew you to this path?
To be completely honest, my path was shaped by a dual perspective. Growing up in the United States and then transitioning back to Pakistan, I witnessed firsthand how the power of storytelling and strategic communication can catalyze change in ways that financial resources alone cannot. I realized early on that impact isn’t just about what you give, but how you connect.
The primary spark for my motivation was my late brother-in-law, Mr. Hunaid Hussain Lakhani. He, along with my sister, was deeply immersed in philanthropic work that touched the lives of many. Watching their dedication to social work, women’s development, and youth empowerment as a child was transformative. It wasn’t just about charity for them; it was about building a legacy of empowerment. That exposure rooted a desire in me to use communication as a bridge between the problems we face and the solutions we can create together.

Was there a defining moment when you realized the power of communication as a tool for change?
That realization solidified when I moved back to Pakistan. I was essentially a stranger in my own home—I lacked a network, faced a significant language barrier, and was unfamiliar with the local cultural nuances. I quickly understood that if I wanted to sensitize myself to this environment and make a difference, I had to master communication as a survival and transformation tool.
I began by identifying small, often overlooked societal issues and unconventional challenges. I started writing and speaking about these topics, and the moment people began to engage with these “unconventional” conversations, I saw the shift. It was a defining moment because it proved that authenticity and clear messaging could bypass lack of resources. By speaking truth to power and articulating the needs of the youth, I was able to develop authentic relationships that eventually opened doors to major opportunities.

How would you describe your personal brand today, and how has it evolved over time?
When I started this journey, I didn’t have a calculated blueprint for a “brand.” It evolved organically through action and consistency. If I look back now, I would say my personal brand is synonymous with passion. Whether I am advocating for rural development, women’s empowerment, or youth leadership, that core enthusiasm is what people recognize.
It has evolved from a series of scattered projects into a cohesive mission. I don’t view it as a static image I’m trying to project, but rather a living reflection of my commitment to Pakistan’s future. For me, personal branding isn’t about self-promotion; it’s about nurturing a reputation for reliability and advocacy that continues to grow as I do. I want my brand to remain a testament to the fact that when you lead with passion, the influence follows naturally.

Your association with the UN has been a significant milestone. What did that experience teach you about representing Pakistan on a global stage?
Representing Pakistan at the United Nations taught me that our country’s narrative is often missing its most vital element: the immense, untapped potential of our youth. Having seen both sides of the world—living in the US and then Pakistan—I noticed a massive disconnect between the talent that exists on the ground and how it is perceived globally.
Being a Gen Z representative for Pakistan is more than a milestone; it is an obligation and a source of immense pride. My experience taught me that representation is about translation. I have to translate the aspirations and capabilities of Pakistani youth into a language that global stakeholders understand. It’s a responsibility to ensure that our talent is not just seen, but effectively utilized, creating a pipeline of opportunities for the generations following in my footsteps.

What are some misconceptions about Pakistani youth that you feel need to be challenged internationally?
The most prevalent misconception is that Pakistan is still in a “developing” phase when it comes to talent—that we are “getting there” rather than “already here.” On global forums and in international educational institutions, we are still underrepresented in senior leadership and high-level decision-making roles. This creates a gap in how the world views our capabilities.
We need to challenge the idea that we are merely recipients of global aid or direction. The reality is that Pakistani youth are ready to contribute at the highest levels. It is now about channelizing that energy and using our government and member-state support to aggressively uplift the image of Pakistan. We are not just a country of potential; we are a country of performers who simply need the right stage.

How do you balance global perspectives with local realities when working on youth-focused initiatives?
I believe you cannot have an effective global voice if you haven’t lived the local reality. For me, it is a “reverse mechanism.” You can only advocate for change or eradicate misconceptions on a global stage if you have a deep, lived understanding of the ground-level sensitivities and challenges in Pakistan.
I make it a point to stay connected to the grassroots because that is where the truth lies. When I speak at an international forum, I’m not just sharing theories; I’m sharing experiences of women in rural areas or the struggles of young professionals in our cities. Balancing these perspectives means ensuring that global policies are actually applicable to our local context. I strive to be the bridge that ensures global resources meet local needs in a way that is respectful and sustainable.

How can educational institutions better prepare students for real-world communication and leadership?
Our educational institutions need to move beyond the rigid compartmentalization of degrees. We have created silos where students are taught specific technical skills but lack self-awareness and the ability to pivot. Real-world leadership requires a mindset that can adapt to unconventional paths.
We must encourage students to explore beyond their set curriculum and focus on talent and passion rather than just a GPA. If students are passionate about social change but are stuck in a rigid degree programmes, they often hit social and academic barriers that stop their potential in its tracks. Institutions should be facilitators of talent, helping youth navigate these barriers so they can branch out into areas that could fundamentally change the face of Pakistan.

Through organizations like the Pakistan Society for Training and Development (PSTD), you’ve worked closely with young professionals. What trends are you seeing in the new generation?

I’m seeing a massive shift toward “hustle culture,” which is quite inspiring. The new generation is no longer satisfied with a traditional nine-to-five; they are constantly upskilling and multitasking. There is a newfound realization at a very early age that learning and development are lifelong pursuits.
As the Head of Global Learning and Conferences at PSTD, I’ve worked at the intersection of multinationals, the social sector, and academia. I’m noticing that corporates are now much more inclined toward CSR and Diversity & Inclusion (D&I) initiatives. They are starting to see Gen Z not just as “junior staff,” but as valuable contributors who can hold senior positions based on merit rather than age. This breaking of the “seniority equals experience” myth is a major trend that is opening doors for young leaders to redefine corporate culture in Pakistan.

You are working with Rana Mashood on the Prime Minister’s Youth Programme. How is it developing?
I am currently serving as a focal person for youth and global linkages for both the Pakistan and USA chapters, working closely with the Chairman of PMYP, Mr. Rana Mashood. Our focus is built on the “Four Es”: Employment, Education, Environment, and Entrepreneurship.
We are developing this by curating platforms that provide equal access to youth, whether they are in remote rural areas of Pakistan or part of the diaspora in London and New York. The goal is to create a sustainable loop where the successful Pakistani youth abroad can mentor and create opportunities for the youth back home. By leading delegations to international forums like the UN Economic and Social Forum, we are building the global linkages necessary to ensure that Pakistani talent is recognized, supported, and given a seat at every important table.

How has your family been supportive in the choice of your work?
I have been incredibly fortunate to have a family that didn’t just support my choices, but actively pushed me to be more. My older siblings have been my true mentors, guiding me through the nuances of my career and advocating for my independence.
Making the move from a comfortable life in the US to working on the ground in Pakistan—often in challenging conditions—required a lot of courage, but my parents never hesitated. Even when my work takes me to remote areas or requires me to travel internationally alone, my father and mother have always had an “always yes” attitude. They believed that if I felt a calling to do this, I should go for it, and we would figure out the logistics later. I wouldn’t be able to serve the government or represent Pakistan at the UN if it weren’t for their unwavering belief in my potential. They are the most integral part of every milestone I achieve.

The post A Beacon of Light for the Youth appeared first on Glam Magazine.

Haris Haroon Karim, CEO of Saltanat Restaurant, has redefined fine dining in Pakistan with a vision that blends quality, tradition and innovation. Managing over 1,100 employees and eight banquet halls, his journey is a testament to perseverance and purpose. In this exclusive interview, he shares insights into the making of Saltanat, the challenges of the restaurant industry, and his philosophy on leadership, team culture and future ambitions.

1. Your journey in the hospitality industry has been described as inspiring. What first drew you towards the restaurant business, and how did the idea for Saltanat Restaurant come to life?
   From a young age, I was curious about why people were discouraged from eating outside food, often due to concerns about quality and hygiene. This curiosity evolved into a passion for cooking and a desire to offer better standards. During COVID, a call from a chef friend about a distressed staff member highlighted the harsh realities faced by hospitality workers. In response, I started a small cloud kitchen from home with a modest investment, employing around 25 people. That experience reshaped my vision. I wanted to build something larger—where food could be prepared in bulk, reducing costs while maintaining quality, and allowing people to access meals with dignity. What began as a small initiative gradually transformed into a purpose-driven venture, which ultimately led to the creation of Saltanat Restaurant.
   As the CEO of Saltanat, how would you describe your vision? And what impression would you like the guests to leave with?
   My vision for Saltanat has always been to create more than just a restaurant—it is an experience. As one of the largest restaurants in Pakistan, with over 1,100 employees, it is built on scale, diversity, and strong infrastructure. We offer a wide variety of cuisines, live music throughout the week, and multiple dining environments, from open-air to indoor fine dining. Families and friends come here to spend quality time and create lasting memories. Ultimately, I want every guest to leave with a sense of joy and connection, associating Saltanat with happiness and togetherness.

• Saltanat is known for blending tradition with modern sophistication. How do you maintain the balance?
  Innovation is essential—you have to move forward with time while staying true to your core values. At Saltanat, we never compromise on quality; that remains our foundation. Our focus is not on just profit, but on serving excellent food, earning respect, and building a strong reputation. To maintain balance, we offer a diverse menu that caters to all generations from traditional cuisine to modern favourites like hot pot, which is especially popular among younger guests. We also have delicious options for children. By combining variety with consistent quality, we ensure that every guest finds something they enjoy while experiencing both tradition and modernity.

The restaurant industry can be highly competitive. What strategies have helped Saltanat stand out in such a dynamic market?
The restaurant industry is highly unpredictable—many places open and close quickly. What sets Saltanat apart is patience, consistency, and the right intentions. This business demands more than time; it requires complete dedication as it operates 24/7. At the same time location plays a critical role. Unlike typical highway restaurants, we chose a central city location to make it convenient for guests, reducing travel time to just 15–20 minutes. Most of my other businesses are nearby, which streamlines operations and allows staff to focus on service. By combining dedication, quality, and strategic location, along with hard work and perseverance, Saltanat has been able to sustain itself and stand out in a highly competitive market.

How important is team culture in the success of a restaurant, and how do you cultivate it within your organization?
Team culture is the backbone of any successful restaurant. With so many employees, our strength lies in diversity—we have people from different regions, religions and backgrounds, all working together as one. This unity reflects the true spirit of Pakistan. We focus on creating a sense of belonging, where employees feel valued and connected. By fostering mutual respect, shared meals, open communication and motivation, we build a strong community within the organization. When people work with passion and feel like they are part of something bigger, it naturally reflects in the service and overall experience we deliver.

How do you see Pakistan’s fine dining and hospitality industry evolving in the coming years?
Given the current economic situation, the future of fine dining and hospitality industry in Pakistan remains challenging. Rising inflation and increasing costs of raw materials have significantly impacted operations, while consumers’ purchasing power continues to decline. For many middle-class families, dining out—especially fine dining—has become less affordable. As a result, restaurants are often perceived as expensive, even though much of the cost is driven by external factors. Moving forward, only those who can maintain quality while adapting to these financial pressures are likely to sustain. It will be a difficult phase, with fewer people being able to regularly experience fine dining in the near future.

• Running a restaurant empire can be demanding. How do you personally stay motivated and creatively inspired and what advice would you give to young entrepreneurs in Pakistan who aspire to enter this industry?
  My motivation comes from the lives connected to Saltanat. With over 1,100 employees depending on this restaurant, I see how our work directly impacts families—their children’s education, daily meals, healthcare, and even life milestones like weddings. Knowing that our efforts provide stability and opportunities for so many people keeps me inspired and focused, even during challenging times. It reminds me that the restaurant is not just a business, but a responsibility and a source of purpose. For young entrepreneurs, this is an important lesson: the restaurant industry demands full commitment. It is a 24/7 job, and if you cannot dedicate yourself completely, balancing it with personal life becomes extremely difficult. Only with passion, perseverance, and a willingness to give your all can one truly succeed in hospitality.
• What are your long-term plans for Saltanat? Can we expect expansion, new concepts and international ambitions?
  Expansion is certainly on the horizon, as many people have requested branches. However, maintaining the quality and reputation of the original Saltanat remains my top priority. Rapid growth could dilute focus, so I am cautious about franchising. In the future, Insha’Allah, we may explore international branches, particularly in Saudi Arabia and Europe, creating a “home away from home” for Pakistanis, while keeping authenticity and excellence at the forefront. I have a total of eight banquet halls, with two more under construction. My journey began in 2012, during the hardest time of my life, when I had little money. In 2018, I opened my first hall, and over time, Allah blessed me to expand to eight. Most are on the same property, and combined with the restaurant, we can accommodate around 1,150 people.

The post Blending Tradition with Modernity – Haris Karim appeared first on Glam Magazine.

From a household steeped in music to the bright lights of Coke Studio and Pakistan Idol, Simal Nafees is carving her own identity in Pakistan’s music scene. Born into a renowned musical family, she has navigated expectations, creative challenges, and the pressures of public performance to emerge as a singer with a distinctive voice and artistic integrity. In this interview, Simal reflects on her journey, her inspirations, and the milestones that have shaped her growth as a performer and as an artist.

Q1. How did music become your calling and which people, sounds or cultural influences shaped your desire to become a singer?

I come from a strong musical lineage. My grandfather, Ustaad Fateh Ali Khan, was a highly respected sitar maestro of the subcontinent who devoted his life to music, and my father continued that legacy. Music was innate for me, a part of my upbringing. I grew up seeing my father practise the sitar in the drawing room, and we would listen and absorb it as children.

My mother also played a significant role. At home, she would play legends such as Iqbal Bano, Malika Pukhraj, Farida Khanum and Mehdi Hassan, along with Indian greats like Lata Mangeshkar and Asha Bhosle. Music was always playing in the background; it became inseparable from our lives. At the same time, my father exposed us to Western music — jazz, Whitney Houston, Mariah Carey and ABBA. I vividly remember him playing Dancing Queen and I Have Nothing, completely immersed in the experience. Watching his passion shaped my own connection to music.

Q2. What challenges have you faced in your musical journey so far, creatively, professionally and personally? How do you stay motivated and grounded when navigating them?

Creatively, my main challenge was discovering my own musical identity. I grew up with very strong influences from my parents, so when I began exploring genres such as pop, Western music and even rap in my early teens, it took time to understand what truly resonated with me. I also had to balance music with academics, as my education was always prioritised, which meant there was a period when I stepped away from formal musical training.

Professionally, the greatest challenge has been establishing my own identity while being known as my father’s daughter. I am incredibly proud of him, but that comes with immense responsibility and high expectations. I often felt there was no room for mistakes, whether in my performance or personal conduct. Creating my own space in the industry required resilience and self-belief.

Personally, stepping out of his shadow was important. As the eldest daughter, I was raised in a protective environment. Moving to Islamabad alone for my A-Levels helped me gain independence, confidence and clarity about who I am — both as a person and as an artist.

Q3. How would you describe your artistic identity and are there particular themes or stories that consistently shape your voice and style?

My artistic identity is rooted in sincerity and intention. For me, music is sacred — it is not something I pursue purely to earn money. I am educated, I work full-time, and I hold a Bachelor’s degree in Filmmaking from an institution affiliated with Collège de Paris. My profession provides financial stability, which allows me the freedom to approach music with integrity rather than compulsion. I never want to reach a point where I accept a concert solely for financial reasons and end up performing songs that do not resonate with me.

To me, good music is music that I genuinely enjoy and can share with others in a respectful environment. While I have great respect for those who earn their livelihood through music, I have consciously chosen to keep my relationship with it personal and meaningful. An experience in my teenage years shaped this perspective profoundly. After performing at Coke Studio in 2016 at the age of sixteen, I received several opportunities, including international concerts. At one particular event, I realised that the audience was disengaged, and some individuals behaved inappropriately while I was performing. I was very young, and standing on stage, I felt deeply uncomfortable and disheartened. It made me question whether I wanted to place myself in situations where my craft was not respected.

For a while, I withdrew and became more reserved. However, that experience clarified something important: I never want financial pressure or public validation to dictate my art. Music, for me, is an escape, a source of joy and expression. I want to protect that purity. That philosophy continues to shape my voice, my choices and the kind of spaces in which I choose to perform.

Q4. You’ve released music that resonates emotionally with listeners. Which milestones in your musical journey feel most meaningful to you so far?

I have released several songs and collaborated with artists such as Arshad Mehmood sahib, but for me, milestones are often personal moments of validation rather than grand achievements. One of the most meaningful was performing with the late Zia Mohyeddin sahib, who was known for his high standards. I was only eighteen, and when he expressed his approval of my performance, it meant a great deal to me. Another milestone — one I am still striving towards — is receiving open praise from my father. As my teacher, he is rigorous and rarely offers direct compliments, which perhaps keeps me grounded.

Performing on Coke Studio at sixteen was a major turning point, and more recently, receiving a standing ovation from Rahat Fateh Ali Khan on Pakistan Idol, along with his generous praise after my performance of a Noor Jehan classic, felt like a truly defining moment in my journey.

Q5. What motivated you to audition for Pakistan Idol and how did standing on that stage change your perspective on your music, and growth as a performer?

Auditioning for Pakistan Idol was a turning point in my life. Initially, I didn’t even think I would make it past the first round. At the Arts Council audition I saw so many incredibly talented singers, and I felt nervous — not just about the competition, but also about proving that my opportunities were earned through my own efforts, not just because I am my father’s daughter. I was dealing with imposter syndrome, questioning whether people genuinely appreciated my talent.

The decision to audition actually came the night before. My mother was my biggest motivator; she reminded me that there is no age limit for dreams and encouraged me to just go for it. I was 25 at the time and worried I might be too old or outshone by younger singers, but her support gave me the courage to take that step.

Even though I didn’t make the top 16, the response to my audition was overwhelming. I received thousands of messages and comments praising my voice, which completely shifted my perspective. For the first time, I truly believed in my craft and felt validated as an artist. That experience gave me confidence, ended much of my self-consciousness, and marked a significant moment of growth as a performer.

Q6. Reality shows can be high pressure. How did you manage nerves, expectations and the public spotlight while staying true to your voice?

Reality shows are definitely high pressure — from choosing the right song to thinking about what will appeal to the public. For me, though, the focus was never on pleasing everyone; it was about performing what I could do well and what I truly connected with.

For my first performance, I chose Tum Sung Naina Lage by Rubina Badar, a relatively unknown song for today’s generation. I felt a deep connection to it, and that connection allowed me to perform confidently and authentically. The audience responded positively, and the song even gained renewed popularity online after my audition. That experience reinforced my approach: focus on what I do best, stay true to my artistic choices, and enjoy the process. That’s how I managed nerves and stayed grounded in the spotlight.

Q7.  Has audience reaction ever influenced or changed the way you think about a piece you created or performed?

Yes, especially when I was younger. After performing on Coke Studio, my sister and I toured with our girl band, opening for Junoon in North America, Dubai and the UK — including a performance at Wembley Stadium. I was overwhelmed just knowing I would perform there, imagining all the artists who had graced that stage before me. During those tours, we often chose songs that would energise the audience — songs people could dance to, like Jugni — to hype up the crowd before Junoon came on. It was exciting and fun, and I enjoyed sharing the stage with my band and the audience.

Now, however, my perspective has shifted. I prefer to perform music that I genuinely enjoy, rather than trying to please the crowd. If that means the audience is smaller, I am okay with it. My connection to the music comes first.

Q8. Apart from singing and performing, are you involved in any songwriting, collaborations or creative projects that you’re especially excited about?

I’m very excited about my music and collaborations. Working with Arshad Mehmood and my father, for example, is always inspiring because of the technical depth and the legendary experience they bring. I’m also part of an initiative called Voice of World, led by singer Samra Khan, where I have the opportunity to work with incredibly talented young women. I hope to collaborate with many of them in the future. Beyond collaborations, I’m focused on my own original music and developing new material. I’m open to creative projects of all kinds, and I’m excited for what the future holds.

Q9. When you look back from where you began and where you are today, what stands out most to you? 

What stands out most is coming into my own and being recognised for my talent, not just as my father’s daughter. It took a long time to step out of that shadow, and reaching this point — where people believe in me and my work — feels incredibly rewarding. I also feel proud that this journey has paved the way for my sisters, who are musicians as well. Seeing them have opportunities and thinking about how I can collaborate with them excites me for the future.

Another significant shift has been in the perception of our extended family. Initially, there were doubts about women pursuing music, but now I feel respected and supported for the work I do. That acceptance, along with being able to protect my artistic integrity, makes me proud of how far we’ve come.

The post Soaring with the Musical Notes – Simal Nafees appeared first on Glam Magazine.

Aaleen Bukhari is redefining Pakistan’s presence in international dressage as the Pakistan’s first female rider to compete on global platforms. Inspired by the grandeur of Vienna’s Spanish Riding School, her childhood fascination evolved into a lifelong calling shaped by discipline, resilience, and faith. From overcoming prejudice abroad to carrying Pakistan’s flag with pride, she is determined to place her nation firmly on the global equestrian map.

1. How did your journey with horses begin, and at what moment did that relationship evolve into a deeper dialogue—one that led you to realize dressage was not just a sport, but your true calling?

I feel like horses have been in my blood long before I even opened my eyes to the world. Some of my earliest memories are tied to them. When I was younger than five, my father showed me YouTube videos of the Spanish Riding School of Vienna, and I was completely mesmerized. The elegance, the discipline, the white Lipizzan stallions moving like they were floating, it felt unreal. As a little girl, I noticed there were no women riding there. Instead of discouraging me, it sparked something powerful. I wanted to be the first female there. I wanted to walk into those historic halls, learn their centuries-old techniques, and understand the artistry behind that precision and harmony. That place felt like Narnia, like Harry Potter, where tradition, mystery, and excellence blended together. That was the moment dressage stopped being just a sport to me and became my destiny.

• As Pakistan’s first female dressage rider competing on international platforms, have you encountered pressure or skepticism because of your gender or nationality—and how have those experiences shaped you?

During my time in the UAE, I went through one of the most difficult chapters of my journey. I experienced racism from one of my coaches purely because of my nationality. It had nothing to do with my dedication or work ethic, it was simply prejudice. It was painful and isolating, but it also strengthened me. It forced me to develop thicker skin, sharper focus, and stronger self-belief. It taught me that not everyone will judge you by your talent, some will try to reduce you to where you come from or to your gender. But I made a decision: I will never allow anyone to define my limits. That adversity made me more resilient and deepened my commitment to prove that excellence has no gender and no borders.

• You have trained abroad, so what is it that Pakistan’s equestrian ecosystem is missing?

Pakistan’s equestrian system still lacks the discipline and structure required to meet true international standards. Many basic foundations are overlooked: grooming and stable care are not always consistent, feeding programs vary, veterinary management isn’t systematic, and horse welfare protocols aren’t strictly implemented.

Beyond that, there is an absence of professional structure, accountability, and a culture of precision. Discipline is not just riding technique, it includes stable management, training methodology, ethics, and respect for the horse as an athlete. If we want to stand confidently on international grounds, we must raise our standards in every aspect, because excellence begins long before a rider enters the arena.

• Dressage relies on an unspoken bond between horse and rider. How do you cultivate trust and connection with your horse, particularly when the pressure of competition is at its highest?

A true bond with a horse has to come from gentleness and sincerity. It cannot be forced. Horses are extremely sensitive, they read your emotions, your breathing, and even the tension in your body. That is why I always approach them with calmness, a soft tone, and reassurance through touch. In competition, the pressure is intense, and the horse feels everything you feel. In those moments, I consciously recite the name of Allah to steady my heart and slow my breathing. I also keep gently patting my horse even while performing, because that physical connection creates familiarity and comfort. It reminds my horse that this is not something frightening, it is simply another ride for us. That shared calmness strengthens our partnership.

• Every athlete encounters moments when walking away feels easier than pushing forward. In those moments of doubt, what anchors you and keeps you committed to the journey?

There are days when I genuinely feel like giving up. The pressure of training, competing, preparing entries, and constantly trying to meet higher expectations can become overwhelming. Sometimes it feels like too much mentally, physically, and emotionally.

But what brings me back is something deeper than ambition. Even on days when I’m not riding, I still find myself thinking about horses, talking about them, or watching them online. That connection keeps me grounded. At the core of everything, beyond titles and competitions, is my love for the horse itself. That love is my anchor, and it always brings me back.

• Dressage is as much about mental discipline as physical mastery. How has this sport reshaped your understanding of control, patience, and your own inner strength?

In my personal life, I’m honestly someone who could sleep all day. But everything about me changes when it comes to horses. Working closely with an animal that cannot speak back has taught me a level of patience I never knew I had. Progress cannot be rushed, and communication has to be calm, subtle, and consistent. This sport has also built quiet inner strength. Guiding an animal that weighs 600 to 700 kilograms requires confidence, self-control, and emotional stability. Beyond that, horses have become essential for my mental well-being. Being around them brings me peace, lifts my mood, and keeps me emotionally grounded. That peace is one of the greatest gifts dressage has given me.

• What has the response from Pakistani audiences, both at home and within the diaspora, meant to you on a personal and professional level?

It is one of the greatest feelings to know your homeland supports you and stands behind you. That kind of support makes me feel seen and reminds me that all the hard work and sacrifice means something beyond personal success. Representing Pakistan carries deep emotional weight for me. When I travel abroad and someone says, “You’re from Pakistan and you’re doing so well in dressage,” it fills me with pride. It feels powerful to know that Pakistan is being recognized beyond cricket or politics. If my journey helps broaden that narrative, even slightly, it means everything to me. For me, this is not just ambition, it is national pride and responsibility.

•  Do global stages such as the Olympics or major international championships feature in your long-term vision, or are you charting a different definition of success?

Yes, they absolutely do. I have officially submitted my entry, and in doing so, I am making history for Pakistan. In the 78 years since independence, I am the first to send a dressage entry to the Asian Games Aichi–Nagoya 2026. That milestone carries immense meaning for me personally and nationally. Competing at major events like the Asian Games and one day the Olympics has always been my vision, and I am also setting my sights on Los Angeles 2028. But my goals extend beyond competition. In the future, I hope to build something lasting in Pakistan, perhaps a school or a system that trains riders with proper discipline and international standards. For me, success is about legacy as much as medals.

• Looking ahead ten years from now, how do you envision Pakistan’s footprint in international equestrian sport — and what role do you hope to play in shaping it?

I believe I have already started paving the way, and I hope many young Pakistani girls will follow in the years to come. When one door opens, it becomes easier for others to walk through it with confidence. Over the next decade, I believe Pakistan can develop a meaningful presence in the international equestrian world. My dream is to see FEI-level dressage, show jumping, and endurance grow properly in Pakistan, with true international standards. I want Pakistan to become a fully active and competitive FEI-participating nation, producing riders for global events. When our flag stands confidently on the world stage in equestrian sport, it will be one of the proudest moments of my life.

The post Carving Space in Equestrian Sport – Aaleen Bukhari appeared first on Glam Magazine.

In a candid conversation with Rahat Zahid, we explored the heart of a home that has been lovingly shaped over many years. Every room carries a memory, every corner holds a story, and every decision reflects the couple’s journey of building a space that feels truly and deeply theirs. From thoughtful renovations to cherished furniture pieces collected over time, this interview offers an intimate glimpse into a home created with love, intuition, and a deep appreciation for natural beauty.

What are the most precious memories that you hold closest to your heart?

As the saying goes, every child is precious, and for me, every corner of this home feels the same. We’ve built this house with so much love that no particular space feels more important than another. Our main family room upstairs is where we spend most of our time, so it naturally feels comforting, but truly, I can’t single out a favourite spot. Every part of this home carries a sense of peace and familiarity because we’ve worked so hard to create it.

If you ever had the opportunity to move to a different or better home, would you take it? Or is this space irreplaceable to you?

It is absolutely irreplaceable. Even compared to our home in America, this is the one I call home. We’ve watched it evolve over the years, just as our children have grown within its walls. They were married here; we’ve celebrated countless milestones. When we first bought it, we couldn’t afford much because the house was enormous. We renovated slowly, sometimes painfully slowly, bit by bit. I still remember living without a dining table for six months because the chairs we loved were out of budget. We waited nearly a year to buy them, without ever compromising on what we truly liked. Those small struggles, the decisions we made with patience and intention, and the way we hosted guests despite not having much—every memory is woven into this house. That’s why it can’t be replaced.

When you bought this house, did you have a fixed idea of what you wanted to do, or did you follow your intuition as you went along?

We did have a few priorities, mainly the kitchen, flooring, and bathrooms. We decided to set those first. After moving in, everything else happened gradually. Sometimes, while living in a space, you suddenly realise what needs to be changed or improved. So, we would tweak things over time—a door here, a wall there—always based on what we could afford. It was a very slow, very organic process, and I think that’s what made it meaningful.

Maintaining such a large and beautifully kept home is no small task. How do you manage it so effortlessly?

It’s definitely not effortless, far from it. I’ve created a system where I focus on one area at a time. For example, when the children visit, we’ll concentrate on one room a day: first the upstairs living room, then another room, then the downstairs, then the outdoor spaces. But like every household, things break, people hide the evidence, and I only discover it when I’m setting things later! I always tell everyone: just be honest, don’t hide it, because it’s easier to fix something immediately.

People often say you’re blessed with a green thumb. Would you say you’re one of those who have a green thumb?

Not at all, I wouldn’t claim that! My husband is the one with the real gardening instinct. I simply guide him on the overall look. We’ve always preferred natural beauty rather than overly shaped plants. A tree should look like a tree, with its natural form and growth. We love greenery more than anything overly decorative. Seasonal flowers are lovely, but we value permanent plants and natural growth. My husband is into perfumery, so he loves fragrant plants like raat ki rani and motiya, you can smell them as soon as you enter. We sit in the garden depending on the weather. On pleasant days, especially weekends, we spend a lot of time outdoors, watching the children play or simply enjoying the fresh air.

Is there any area that you feel is your biggest comfort zone or sanctuary?

My sanctuary is the back patio. It’s peaceful, quiet, and feels wonderfully removed from the noise of the house. The upstairs living area is another comforting space, our true family hub. When my daughters visit, they refuse to come downstairs; we eat, sit, relax, and practically live upstairs for days. It feels like our true family sanctuary.

Homes often carry stories. Is there a piece of furniture, artwork, or décor element in your house with a memory or mystery you cherish?

So many pieces carry stories. Most of our furniture wasn’t bought from high-end places; we collected it gradually, often discovering pieces unexpectedly and then refurbishing them. Each item reminds us of where we found it, what moment in life we were in, and what vision we had for it. I also love printing and framing photographs rather than keeping them hidden in a phone. When you walk around the house, you’ll see memories everywhere, our lives literally on the walls.

With your demanding roles as a designer and educator, does your home ever become your creative lab, somewhere ideas spark unexpectedly?

Absolutely. Creativity comes to me very instinctively. Whether I’m designing clothes or rearranging furniture, ideas often evolve while I’m working, rather than beforehand. Many times, a room ends up looking entirely different from what I originally imagined. Since I’m not formally trained in interiors, we’ve made our fair share of mistakes, but the process has always been experimental and enjoyable. My husband visualises things instantly, while I need to see them physically—so we balance each other out.

What advice would you give someone who wants to create a home that feels both beautiful and deeply personal?

Take your time. Don’t rush to fill your home all at once. Build it slowly and thoughtfully, even if you can’t afford professional help. A home should reflect you, not an interior designer. Collect pieces gradually, place them carefully, and live with them before adding more. Everything in your home should evoke a memory or feeling. Money can buy objects, but not the emotion attached to them. Ultimately, a home becomes beautiful through the love, patience, and personal meaning you weave into it—one piece, one memory at a time.

The post Ingrained With the Creativity of The Owners appeared first on Glam Magazine.

Empower Sports Academy hosted a high-impact press conference at recently, formally unveiling its mega project and strategic partnerships aimed at transforming the future of female sports and education in Pakistan. The event was attended by leading media houses, corporate partners, sports professionals, educators, and stakeholders from across the country.

At the conference, Malika Junaid announced a landmark partnership between the Prime Minister’s Youth Programme (PMYP) and Empower Sports Academy to launch a nationwide initiative that will identify, train, and empower 10,000 young female athletes every year across Pakistan, expanding further in the years to come.

Representing the Chairman Prime Minister’s Youth Programme, Sindh, Coordinator Fahad Shafique expressed his delight at the progress made so far by Empower Sports Academy, and played a video message from the Minister and Chairman PMYP, Rana Mashhood Ahmad Khan. In the message Rana Mashood said, “This initiative reflects our government’s unwavering commitment to uplifting young women through sport. By reaching out to 10,000 girls this year and expanding even further in the years to come, we are broadening access to training, mentorship, and competitive opportunities.”

Malika further added, “Empower Sports Academy has already begun working with girls from all over Pakistan including girls in cities and underserved communities in remote villages of Balochistan, northern areas of Pakistan, Punjab, and Sindh.

The post Empower Sports Academy Unveils Landmark CSR appeared first on Glam Magazine.

In our society, a divorced woman is often treated as an outcast. The prevailing belief is that the fault in a failed marriage lies mostly with the woman, and this perception subjects her to relentless societal scrutiny. Her personal life, prospects of remarriage, and even her daily routines are scrutinized under a harsh public gaze.

It is against this backdrop of societal pressure, personal loss, and heartbreak that drama “Muamma” begins its gripping narrative. Spanning 30 episodes, this series is directed by Saqlain Khan, written by Imran Nazir, and produced by Momina Duraid. The drama features a stellar cast, including Saba Qamar, Usman Mukhtar, Nimra Shahid, Syed Jibran and Maria Wasti, Muamma airs on HUM TV every Wednesday and Thursday at 8 PM, offering viewers a rich blend of suspense, emotional depth, and social commentary.

The story revolves around the enigmatic character of Jahan Ara. Surrounded by rumours and whispered speculations. The narrative is a kaleidoscope of human emotions, betrayal, survival, and redemption, providing viewers with an intense and immersive experience.

Jahan Ara is portrayed as an intelligent, shrewd, and cunning woman. Outwardly, she may appear innocent and empathetic, but beneath the surface lies a mind that strategizes with precision.

However, Jahan Ara’s life is far from easy. She navigates a world dominated by patriarchal norms and male authority, encountering challenges at every turn. Her father’s bias, her brother’s cruelty, and the betrayal of men around her have been recurring themes in her life. Her first marriage ends abruptly, with powerful feudal lord Sarmad orchestrating events to force her into a toxic union with him. This marriage becomes a nightmare filled with abuse, humiliation, and relentless cruelty. Yet, in these dark moments, Jahan Ara’s courage, patience, and intelligence begin to shine.

Through a twist of fate, Jahan Ara eventually exacts justice on Sarmad for his misdeeds. Seven years later, she returns as a strong, influential, and fearless woman, determined to confront life on her own terms. Her mission becomes exposing the betrayals and deceit of men and overcoming any obstacles that come her way. She is now the proud owner of a beautiful house, which she rents exclusively to newlywed couples. But beneath the surface, she quietly observes their relationships, looking for cracks and tensions a subtle yet powerful metaphor for her quest for justice and understanding human frailties.

Life, however, presents yet another challenge in the form of Shah Jahan, one of her tenants. The dynamics between Jahan Ara and Shah Jahan form a pivotal part of the drama. Their relationship, evolving amid tension, attraction, and mutual discovery, has the potential to transform Jahan Ara’s life in ways even she cannot predict. Each episode reveals new layers of intrigue, suspense, and emotional intensity, keeping viewers on the edge of their seats.

Muamma is not just a story of entertainment; it is a social commentary that fearlessly portrays the realities of a divorced woman in a conservative society.

Saba Qamar delivers a powerhouse performance as Jahan Ara. Her portrayal captures a spectrum of emotions from vulnerability and grief to courage and determination. Her ability to convey the subtleties of pain, intelligence, and moral strength has won the hearts of audiences within the first few episodes. Usman Mukhtar, Nimra Shahid, and the supporting cast contribute significantly to the drama, ensuring that every character is vividly realized and essential to the storyline.

Saba Qamar’s return to HUM TV after a long hiatus has been highly anticipated. She has previously delivered exceptional performances in acclaimed dramas such as Bunty I Love You, Maat, Dastaan, and Besharam, leaving an indelible mark on every role. In Muamma, she brings maturity, depth, and nuance, making Jahan Ara a character that viewers both admire and empathize with. Her presence ensures that the drama is not merely watched but experienced.

Beyond entertainment, Muamma carries a profound social message. It teaches that a woman who stands firm for her rights and confronts societal pressures can emerge victorious despite adversity.

Muamma is poised to become a classic, remembered not just for its gripping storyline but also for its social relevance and strong performances. It stands as a testament to HUM TV’s commitment to selecting compelling themes, producing high-quality content, and contributing to societal awareness. The drama is a vivid portrayal of courage, resilience, and justice, and it resonates across generations.

By presenting a woman’s struggle with honesty, sensitivity, and drama, HUM TV has set a benchmark for quality storytelling. Muamma is a triumph of narrative, performance, and social commentary a drama that will not only entertain but also educate, inspire, and provoke thought.

The post An Epic Tale of a Woman’s Struggle, Revenge, and Enduring Hope – Muamma appeared first on Glam Magazine.

“Art will always find a way to break through and create something new”

Ozlem Ozhabes – theatre director, performer, and lecturer on theatre’s power to challenge society and inspire change.

1. How did your visit to Pakistan come about? Also give us some insight into your play.

I live in Abu Dhabi, and recently, one of the World Culture Festival organizers and the technical team members named Azaib invited artists to participate. He personally approached Bill Bragin, the curator and director of the NYU Abu Dhabi Art Centre, who then recommended my play. Azaib contacted me and extended an invitation to participate.

The play is called Subj:medeA and it tells the story of a goddess who is betrayed by her husband. In her act of revenge, she kills all her children. As a mother myself, I am deeply interested in how society places immense expectations on women—how they are supposed to be and behave, and how they often become trapped in their homes without much support. Having become a mother myself, I’ve experienced these pressures first-hand. This inspired me to create a show about a mother who takes the most extreme, tragic action – she commits the worst possible act. I wrote the play myself, with some assistance.

• How did your journey into theatre and acting begin?

My story isn’t a typical one. I’ve always been shy and introverted. As a child, I didn’t like much attention. In high school, I was planning to study political science, and also became part of a youth group. We spent a lot of time in rehearsals, and I think what drew me into theatre was the collective aspect; the idea of creating something together, working on a piece not just for ourselves but for the sake of art. The trust and transparency required to connect with twenty people at once felt like magic to me. That collaborative nature is what kept me in love with theatre.

I then studied dramaturgy and became part of a theatre company, assisting with directing, working with lights, cleaning stages – you name it. The collective spirit of theatre is what continues to inspire me.

• Why in particular did you study feminist dramaturgy?

I didn’t feel the need to call myself a feminist until I became a mother even though I consistently defended women’s rights. So, the question for me was: what’s wrong with calling myself a feminist? If you look at theatre history, it’s full of male names—male characters, male perspectives, male-dominated viewpoints and behaviours. Unless you explicitly call it feminist, you’re not making a statement. Would I simply call it feminist? No. What I hope for is a world without discrimination, where everyone is free, and where everyone including professors, understand their boundaries. On the stage, we often need to raise consciousness. I wish feminism was irrelevant, and my play didn’t exist but, in my performance, here, I had audiences from Algeria, Pakistan, Mozambique, Turkey, Azerbaijan, Ukraine and other countries, and I realised how much these themes resonated across different cultures. It’s so relevant that I feel I have to explicitly call myself a feminist.

• You have been involved in diverse projects across different countries including Florence, London and Turkey, and now in Abu Dhabi. How have these experiences shaped your storytelling methods?

In Florence, I mainly taught, and I found that Italian actors are very happy and expressive. In Turkey and the broader Middle East, restrictions on what stories can be told and what can be openly discussed influence the form of storytelling. Stories and subtleties often become less important, and bigger concepts take precedence. In London, the environment is driven by capitalism, technology, and a fast-paced culture and you have to learn the rules quickly, know your place, and understand which plays or roles are accessible.

Though my heart still beats in Turkey, I find places like Abu Dhabi or Pakistan, where I’ve only been for a short time, share a similar curiosity. I see in the students’ eyes the same questions I had at their age.

• You’ve directed a wide range of plays, from classics like Romeo and Juliet and A Midsummer Night’s Dream to contemporary works. How did that come about?

These aspects are a key part of my teaching practice because theatre of Turkey has historically been heavily reliant on translated texts and classics. Therefore, students need to engage deeply with these texts and learn how to position themselves within them. Moreover, these texts are considered “classics” for a reason—they resonate universally. They offer students an opportunity to view them as exemplary works from the West, and within them, students recognise elements of their own histories, families, and peers. Once students begin to see their own histories reflected in these texts, the works start to truly resonate on a deeper level, transforming them from distant classics into meaningful reflections of their own lives.

• Photo Credit: Anna Jopp
• You started Datça Theatre Summer Camp and have been the director of ACT, a project focused on artistic freedom. What inspired you to start them?

I am someone deeply obsessed with systems, yet I also believe that systems are inherently destined to fail. Despite their inevitable shortcomings, systems can produce something meaningful and inspiring over time. Hence Datça, a two-to-three-week camp, was my attempt to bring together various acting techniques into a cohesive approach. Later, I linked this to a core principle: it’s all about the artist – finding vulnerability, embracing fragility and discovering freedom. We engaged in intensive training, working with nature, classical texts, and monologues through clown work and Linklater method. It was about discovering creativity through extremities and pushing boundaries. ACT, a youth theatre, is particularly significant because it touches on the culture of theatre in the country. Instead of simply teaching young people what to do, we empowered them to create—giving them agency. The initiative aims to train youth as future change-makers and trainers, bringing together participants from three cities: Diyarbakır, İzmir, and Istanbul. Politically, it was especially meaningful to gather young people from different regions and backgrounds to hear their childhood stories and building connections.  

• According to what you’ve observed so far, what are some of the strengths and weaknesses of theatre in Pakistan?

I haven’t seen a lot of Pakistani work, but what I have seen is very powerful. It reminds me of my students in Turkey. However, I’ve noticed that most of the directors’ names are male. As a feminist, I believe that to truly strengthen any artistic field, it’s essential to hear women’s voices and perspectives.

• What are some of the skills that you consider are essential for an actor?

Reading texts, understanding what you read, and delivering it effectively from your positionality – these are essentials. Take Hamlet for example, he is a 17-year-old boy struggling to make sense of the world, and then he loses his father. The image of that father, and the uncertainty surrounding it, deeply influences him. To portray Hamlet convincingly, you need to grasp his dilemma and interpret his lines with empathy. Delivering the text isn’t just technical; it’s about knowing where your centre is.

• Considering how rapidly technology is transforming entertainment and communication, how do you envision the future of theatre and performing arts? Do you think theatre risks becoming obsolete – especially among younger generations?

I am quite skeptical about technology, yet I try to remain hopeful. The most progressive shows I’ve seen in recent years come from very young artists in Belgium, Amsterdam, Tunisia, and Iran—where they have created immersive experiences that are quite wild. For instance, audiences might be blindfolded and have to touch objects or engage in sensual experiences, lying down while performers approach them and communicate. You see, as human beings, the more we distance ourselves from direct contact, the more our need for connection persists.

Yes, just like the industrial revolution, this technological revolution is also frightening as this is leading to a dangerous disconnect. Today, we see children suffering and dying, yet we seem indifferent, only witnessing it through screens. If humanity isn’t strong enough to unite around these issues, then theatre becomes just a trivial addition.

But I recently saw a show in Avignon by a Portuguese director: a father and daughter, presented in a very theatrical way in its classical sense. The daughter moves to Mars without telling her father, and they exchange voice messages. It is theatre in its simplest form – two people communicating through voicemails. But it had a huge impact on everyone in the audience. That kind of work gives me hope that even if it’s not theatre, it will be something else because every era creates its own art form. Art will always find a way to break through and create something new.

The post Theatre Beyond Borders appeared first on Glam Magazine.

The Masala Family Festival, held at the Karachi Expo Centre on 27 and 28 December, drew thousands of visitors from across the city. Thousands of families flocked to the two-day HUM Masala Family Festival, enjoying shopping, an food court, children’s activities and spectacular live concerts. Organised by HUM Network in Karachi, the Masala Family Festival has evolved from a one-off event into a cherished annual tradition—one where families come together, spend an entire day immersed in entertainment, and return home satisfied. Like the previous years, Expo Centre was transformed into a vibrant hub of colour, flavour and festivity.

The two-day festival offered attendees a diverse selection of food, pet shows, a car show, games, shopping and family-friendly activities. Visitors could be seen savouring a variety of cuisines, taking part in games, browsing stalls and meeting their favourite chefs and artists throughout the day. Through its festivals, HUM Masala presents live cooking sessions, talent hunts, celebrity meet-and-greets, interactive games with prizes, and electrifying music concerts by renowned singers.

As always, discounted products proved to be a major highlight, attracting large crowds to the hundreds of stalls set up in the venue. Upon entering the Expo Centre, a stunning display of vintage cars immediately caught the attention of visitors. The dedicated children’s zone, complete with rides and games, delighted younger guests, while animal lovers enjoyed seeing parrots, cats, dogs and other animals up close. Meanwhile, the heavy bike exhibition remained a popular attraction among the younger visitors.

Renowned HUM Masala cooking experts Shireen Anwar, Mehboob Khan, Saad Butt, Zarnak Sidhwa, Rida Aftab, A.R. Jamali and Rafia conducted live cooking demonstrations. They were joined by Abeel Javed and Kiran Khan, while Dr Noreen Batool’s team presented live skincare demonstrations.

Visitors had the opportunity to meet well-known comedians and personalities including Hanif Raja, Maham Aamir, Javeria Saud, Umar Alam and Nimra Shahid. A fashion show titled “Khayaal”, presented by Shaista Hasan was popular too. On both days, Umar Alam kept audiences engaged with lively game shows on the outdoor stage, with thousands participating enthusiastically despite the chilly weather. As evening set in, power-packed performances by Ashir Wajahat, N.S. Chauhan, Khudgharz, Ali Tariq and Mudabbir Aziz Jamal captivated the crowd and brought the festival to an enjoying close.

The Masala Family Festival has established itself as a regular family-oriented event in Karachi and Lahore, offering accessible entertainment across a range of activities. Despite high visitor numbers, the festival maintains organised operations and a family-friendly environment.

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