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.

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Refusing to be reduced or read easily, Saba Qamar turns contradiction into power—and ambiguity into her sharpest weapon.

In an industry conditioned to reward binaries—good or bad, virtuous or villainous—Saba Qamar has built an empire in the in-between.

 Often likened to Hollywood icon Meryl Streep for her transformative acting range, Saba is less a performer and more a presence—an actress who dissolves into contradiction, embraces fracture, and chooses women who are difficult, disruptive, and defiantly real. “Grey characters are more real… more human,” Saba says. “Perfection is boring… flaws are interesting.”
In that ethos lies her quiet rebellion—not just against the industry, but against the very idea of being easily understood.

Her journey into acting—particularly from a conservative Syed family—was not rebellion, but alignment. “Choosing acting wasn’t simple. There was hesitation… resistance… even within myself. But there was a quiet, persistent pull I couldn’t ignore,” Saba stresses. “Acting wasn’t about glamour—it felt like a way of expressing what I couldn’t say out loud.”
At some point, waiting for approval became more dangerous than uncertainty.
“If I kept waiting for everything to feel safe, I might never step into what I truly felt aligned with. So, I chose the leap. It wasn’t rebellion—it was conviction.”
Saba also resists the mythology of reinvention. “I think the woman I am today was always there… in an unformed way, “Saba asserts. “Life didn’t create her—it revealed her. The losses, the uncertainty—they strip away what isn’t real.” Her strength was not constructed—it was uncovered. “I didn’t become someone new. I understood who I already was—and learned how to stand in that fully,” Saba emphasizes.

Saba’s early breakthrough came through the satirical comedy Hum Sab Umeed Se Hain, where her mimicry and timing revealed a sharp comic instinct—one often overshadowed by the gravity of her later work. But it was her transition into layered drama—Maat, Digest Writer, Sangat, Baaghi and Cheekh—that redefined the female protagonist on Pakistani television, particularly on Hum TV. “If the role doesn’t scare me, I don’t want to do it, Saba proclaims forthrightly.
About Baaghi, inspired by the life of slain internet phenomenon Qandeel Baloch, Saba says; “I didn’t want to copy her… I wanted to understand her. There was so much pain behind that confidence.” About Cheekh Saba opines; “Women are always told to stay quiet. I wanted to show what happens when she doesn’t. Silence is the biggest crime.”

If earlier roles challenged society, Case No. 9 demanded something more dangerous—total emotional immersion. “Emotional scenes take a real toll… on the mind and the body, Saba reveals. “I’ve learned to take care of myself and breathe through it.” The role however did not end when the cameras stopped. “These characters don’t just disappear. When you go through something intense, you don’t erase it—you grow from it. The emotions stay.” Her portrayal of a woman navigating trauma within a hostile system became less performance, more indictment.

Her biggest project, Hum TV’s Muamma, which ran through early 2026 and concluded in April, marked a striking turn into psychological territory. As Jahan Ara—a layered, obsessive, and deeply complex woman—Saba delivered one of her most intense performances in recent years. The drama drew strong audience engagement for its slow-burn exploration of trauma, manipulation and power within confined domestic spaces. Saba embodied a psychologically complex woman whose quiet volatility is driven by moral ambiguity and psychological unease, her intention not to seek redemption but to expose the unsettling truth that the darkest impulses are often deeply human—and dangerously self-justified. “There’s no bigger devil than humans. Fear is not outside… it’s within us.” Saba said about the hugely successful serial. In Muamma, empathy fractured. The audience was implicated. And Saba operated at her most restrained—and most unsettling. Industry chatter already places this role among her most compelling post-Baaghi and Cheekh performances.

Saba says her engagement with a character begins in silence. “I try to sense the soul of the character… what is she hiding… what wounds is she carrying.” She says she doesn’t construct performances—she allows them to surface.
“I don’t rush it. Slowly, she reveals herself.”
On set, ego dissolves into discipline. “I’m here to serve the story, not my ego. I’ll give a hundred takes if needed.” And ultimately Saba values honesty over flattery; “You can feel the difference between truth and formality.”

Saba’s transition to cinema—particularly Hindi Medium opposite Irrfan Khan—brought international acclaim. “Working with Irrfan was like going to an acting school… he was so real, you forgot the camera was there,” Saba enthuses. She chose the project for substance—not scale. And it showed.

Saba’s off-screen life carries the same refusal to romanticise pain. Speaking candidly about an eight-year toxic relationship; “We are taught not to leave the first man… but that one sentence ruined eight years of my life,” Saba says ruefully. “He lied to me… humiliated me… it destroyed my mental peace,” she adds.
Her clarity now is unwavering; “I don’t want to be stuck in an abusive relationship… I want compatibility. Love should be unconditional—but not at the cost of your peace,” she insists.

Saba’s voice extends beyond performance into critique. “People often joke about mental stress… but experiencing it first-hand is eye-opening”, she muses. “We’re also still stuck in labels… I believe in gender equality.” She further challenges the culture of scrutiny; “Why do we discuss someone’s appearance… and then target their personality.”  Saba’s advocacy on mental health—particularly during World Mental Health Month—remains grounded and urgent; “Mental health is just as important as physical health… talking about it is a sign of strength.”

As a National Ambassador for UNICEF, Saba has extended her influence into child rights and girls’ empowerment—particularly against child marriage in Pakistan.
“Why should any child be forced into a future they did not choose?” she challenges. Her work bridges visibility and responsibility—amplifying voices often unheard. In an industry where silence is often survival, Saba has chosen confrontation. Following defamatory claims by a journalist, she pursued legal action with clarity;
“No one has the right to make false accusations just for attention.” Her stance reinforced dignity in an environment that often weaponised speculation, especially against women.

Despite immense popularity, Saba Qamar remains curiously distant from the machinery of celebrity. “I want to live life, not just spend it,” she opines.
No relentless visibility. No overexposure. Even controversies—from the Badshahi Mosque photoshoot to public scrutiny of her personal life—have not diluted her authority. If anything, they reinforce it.
She controls the narrative—by choosing what not to reveal.

Beginning 2026 with the huge success of Muamma , looking ahead, Saba returns to a more relationship-driven narrative with Hurmat, an upcoming Hum TV drama co-starring Ahmed Ali Akbar, written by Kashif Anwar. Expected later in 2026, early indications suggest a grounded, emotionally resonant story—offering a deliberate contrast to Muamma’s psychological intensity. Beyond that, Saba has hinted at yet another undisclosed project on a different channel—signalling a multi-network presence and continued dominance across screens. Meanwhile, the Urduflix web series Mandi in which Saba plays Uzma Rana, a powerful, ambitious politician alongside Mikaal Zulfiqar, Ainy Jaffri, and Shayan Khan, remains in development, with details still under wraps. Taken together, her trajectory reflects a deliberate evolution: from social realism (Case No. 9) to psychological depth (Muamma), and now toward a balance of mainstream storytelling and experimental range.The industry consensus is clear—2026 is not a pause, but an expansion. Saba Qamar isn’t slowing down—she is widening her canvas.

There are rare moments in an actor’s career when multiple narratives run in parallel—when every screen carries their presence. Saba Qamar is living that moment.
But unlike the frenzy that consumed earlier superstars, Saba remains grounded, precise, and indifferent to noise. She shows up. She does the work. And she leaves.
“I don’t act… I feel.,” she clarifies.
From a grief-marked childhood in Hyderabad to international recognition, Saba Qamar is not merely a star—she is a shift. From glamour to gravity. From archetype to ambiguity. From performance to presence.
She gives you everything on screen.
And just enough of herself to keep you wondering…

The post Saba Qamar — The Art of Being Unclassifiable 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.

The Pakistani drama industry has always been a place where magic happens when the right blend of artists, stories, and vision come together. Every once in a while, audiences can sense that something extraordinary is about to arrive, and HUM TV’s upcoming project “Jin Ki Shaadi, Un Ki Shaadi” is one of those rare productions. Starring the internationally acclaimed Wahaj Ali and the immensely talented Sehar Khan in their first-ever on-screen pairing, and helmed by the masterful direction of Saif e Hasan, the drama promises to captivate viewers with its unique story, compelling characters, and grandeur.

Wahaj Ali, who began his acting journey in 2015 with Ishq Ibadat, has risen to become one of the most admired actors in the country. His remarkable ability to bring depth, truth, and emotional intensity to his roles has earned him fans not just in Pakistan but across the globe. With memorable performances in dramas such as Dil Na Umeed Toh Nahi, Bikhre Moti, Fitoor, Mujhe Pyaar Hua Tha and Jurm, along with his portrayal of Imam Rumi in Jo Bichar Gaye, he has established himself as an actor of great versatility. Blockbuster serials like Ehd-e-Wafa and Tere Bin further elevated his stardom, making him one of the most sought-after names in television today. His contribution to cinema with Superstar added another dimension to his career, proving that his artistry transcends mediums.

Opposite him stands Sehar Khan, a name that has charmed audiences with her innocence, vibrance, and natural screen presence. Starting her career in 2018 with Sanwari, Sehar quickly earned recognition for her engaging performances and versatile roles. Born in Islamabad, she has worked in popular dramas such as Rang Mahal, Zakhm, Mushk, Fairy Tale and Tan Man Neel o Neel, each showcasing a different shade of her acting talent. The phenomenal success of Fairy Tale brought her into the limelight like never before, with her chemistry in the drama becoming a talking point everywhere. The appreciation translated into a well-deserved HUM Award in 2024 for Best On-Screen Couple, further solidifying her place as one of the brightest young stars of the industry.

The drama comes to life under the direction of Saif e Hasan, whose name is associated with some of the finest productions in Pakistani television. Starting with Dil Ki Madham Boliyan, he has given the industry masterpieces such as Sang-e-Mar Mar, Sammi, Ehd-e-Wafa, Parizaad and Tan Man Neel o Neel. Known for his ability to weave stories that are emotionally charged and visually striking, Saif e Hasan has won numerous accolades, including Lux Style Awards, for his outstanding contribution to the craft. His vision promises to make Jin Ki Shaadi, Un Ki Shaadi not just another drama, but a memorable experience for viewers.

What makes this drama stand out is its unusual yet refreshing storyline. It is not just a tale of love, but a satire laced with humor, fantasy, and raw emotions. The title itself hints at its clever theme, portraying how society often obsesses over others’ marriages while overlooking their own realities. The narrative follows two brothers, Asad and Ali, who, in accordance with their late parents’ will, are compelled to live in their ancestral mansion. Once there, they encounter a family of jinns, which sets the stage for a rollercoaster of events. The twist arises when the unmarried brother, played by Wahaj Ali, is bound by a condition: he must marry within six months or lose his inheritance. What unfolds is a fascinating blend of comedy, suspense, and emotion, with a parallel love story between a jinn and a human adding further depth and intrigue. It is a story of love, loyalty, and the clash between human and supernatural worlds, crafted in a way that will keep audiences hooked.

Alongside Wahaj Ali and Sehar Khan, the drama boasts a stellar supporting cast including Arslan Naseer, Romaisa Khan, Sidra Niazi, Syed Jibran, and Nadia Afghan. With a strong lineup of performers, every character in the drama promises to leave an impression. The story has been conceived by Shamoon Abbasi and written by Syed Nabeel, whose script blends wit, emotions, and drama with seamless finesse. The production is in the hands of MD Productions, a banner that has consistently delivered quality dramas that resonate with audiences at home and abroad.

The on-screen pairing of Wahaj Ali and Sehar Khan has been a long-standing wish of fans, who have often expressed their desire to see the two together. With this project, that wish finally becomes a reality. Their combined star power, undeniable charisma, and acting prowess are expected to bring electrifying chemistry to the screen, making Jin Ki Shaadi, Un Ki Shaadi one of HUM TV’s landmark productions.

The drama premiered on 8th September and airs Monday and Tuesday at 8:00 PM on HUM TV. With its refreshing concept, powerful performances, and captivating direction, Jin Ki Shaadi, Un Ki Shaadi is entertaining audiences and leaving a lasting impression in the world of Pakistani drama.

The post Jinn Ki Shaadi Unki Shaadi – Where Jinns Meet Humans appeared first on Glam Magazine.

In the ever-evolving world of Pakistani entertainment, where trends change and new faces emerge constantly, only a few have managed to create a niche for themselves. These are the women whose talent, adaptability and dedication have stood the test of time, contributing uniquely to the rich tapestry of Pakistani drama and film. Their ability to reinvent themselves and remain relevant in an industry that often favours youth is a testament to their exceptional artistry and passion.

The Masters of Reinvention

At the top of the list of iconic women stands Bushra Ansari who embarked on her artistic journey in the 1960s. Initially aspiring to be a singer, she soon found her niche in acting, singing, mimicking and writing. Her breakthrough came with Fifty-Fifty, where her impeccable comedic timing and versatility won hearts. Over the years, she has seamlessly transitioned between comedic and serious roles in dramas like Aangan Terha and Udaari. Even today, she commands attention with powerful performances in Tere Bin and Jhok Sarkar. When asked how she manages to stay relevant, Bushra candidly shared, “I can do many things at the same time. I love to act and I want to pursue creativity in whatever I do.”

Samina Ahmed, another veteran of the industry, began her career in the late 1960s. She became widely recognized through the iconic show Sach Gup and sitcom Alif Noon and performed many serials including Aangan Terha and Family Front. Her ability to effortlessly shift between comedy and drama has kept her work fresh and compelling. She remains an integral part of television, with recent roles in Suno Chanda, Sang-e-Mah and Fairy Tale. Reflecting on her journey, she remarked, “The key to staying relevant is to keep learning. Every project teaches me something new, and I embrace change rather than resist it.”

Sakina Samo, known for both acting and directing, rose to fame in the 1980s with powerhouse performances in Dewarain and Marvi. Over the years, she has proven her storytelling prowess behind the camera as well. Even today, her performances in Qatil Haseenaon Ke Naam reaffirm her dominance on the mini screen. Speaking about her evolution, she said, “TV directing has given me the experience and confidence to feel like I could take the reins on a full-length feature…”

Atiqa Odho, who initially worked as a makeup artist, was discovered by Anwar Maqsood and cast in Sitara Aur Mehrunissa in 1992, catapulting her to fame. Since then, she has starred in iconic dramas like Dasht and Humsafar and films like Jo Darr Gya Woh Marr Gya. She has ventured into hosting and entrepreneurship with her own cosmetics brand. Her recent lead role in Kabli Pulao is a testament to her enduring star power. When asked about longevity in showbiz, she responded, “I feel that if you really put your heart into your craft, there’s no end to the opportunities out there.”

Sania Saeed, whose roots lie in theatre, made her television debut in Tapish (1989) but truly rose to fame with Aahat (1991). Her profound performances in Sitara Aur Mehrunissa, Sang-e-Mar Mar, and Aseer Zadi established her as one of Pakistan’s finest actresses. Even today, she remains relevant with projects like Kuch Ankahi and Sang-e-Mah. Reflecting on her choices, she said, “I believe in choosing projects that challenge me. Reinvention isn’t about staying trendy; it’s about staying true to the craft and constantly pushing boundaries.”

Saba Hameed, a powerhouse performer since the late 1970s, became a household name with Family Front, Mere Humsafar, and Aisi Hai Tanhai. She continues to dominate the screen, recently delivering a standout performance as Noor Mama in Gentleman. Speaking about her steadfast presence in the industry, she stated, “Acting was merely a hobby initially and, soon, it became my full-fledged career. I am very thankful for all that acting has given me — appreciation, fame, respect, money and I’ll keep doing it until I can…”

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