HUM Network celebrated Pakistan’s 79th Independence Day with patriotic fervour, bringing together its employees, families and distinguished guests. Led by Chairperson Sultana Siddiqui, the gathering honoured the nation’s journey, sacrifices and enduring spirit of unity.

The occasion served as a tribute to the nation’s remarkable journey, celebrating the enduring values of unity, resilience and patriotism that continue to shape Pakistan’s future.

The celebrations were led by HUM Network Chairperson Sultana Siddiqui, who welcomed the HUM family and honoured guests to mark one of the country’s most significant national occasions. Paying tribute to the sacrifices that paved the way for Pakistan’s independence, she reflected on the visionary leadership of Quaid-e-Azam Muhammad Ali Jinnah, whose unwavering determination and steadfast resolve transformed the dream of an independent Muslim homeland into reality. She emphasised hard work was the key to success for the nation and oneself.

The event was graced by the presence of Consul Generals and diplomats, whose participation highlighted the enduring spirit of cultural understanding and international goodwill, reinforcing the importance of fostering meaningful connections while honouring Pakistan’s rich history and cultural heritage.

The headquarters were adorned with national flags and patriotic décor, creating a vibrant atmosphere of national pride. The gathering embodied HUM Network’s longstanding tradition of celebrating national milestones as one united family, bringing together people in the true spirit of the occasion. Guests were also treated to a traditional Independence Day brunch featuring halwa puri and lassi, offering a taste of Pakistan’s culinary heritage.

The event concluded with a renewed sense of optimism and pride, as attendees reflected on the ideals upon which Pakistan was founded and paid homage to the sacrifices of the nation’s forefathers. Through the celebration, HUM Network reaffirmed its commitment to preserving the country’s cultural identity, promoting national unity, and honouring the legacy of those whose vision and sacrifices made Pakistan possible.

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A seminar titled ‘Karo Kari: Bury This Barbaric Practice’ was organized at the Karachi Press Club under the platform “Dukhtaran-e-Karachi.” Senior political leaders, human rights activists, lawyers, parliamentarians and members of civil society strongly condemned the inhumane practice of so-called honour killings and demanded strict implementation of existing laws.

The seminar was chaired by politician Nasreen Jalil, while the organizers included Aamir Siddiqui, Dr. Ubaid Ali, and MNA Sabeen Ghauri. Among the prominent participants were Chairperson Senate Human Rights Committee Senator Samina Mumtaz Zehri, renowned women’s rights activist Mahnaz Rahman, Nuzhat Shireen and others.

Addressing the seminar, Senator Nasreen Jalil stated that Karo Kari is not merely an outdated custom but an outright act of terrorism and murder against humanity. She said that Islam provides no justification whatsoever for killings in the name of honour and emphasized that the feudal mindset and oppressive tribal structures have pushed Sindh into darkness.

Senator Samina Mumtaz Zehri and Senator Khalida Ateeb highlighted those 34 women had reportedly been targeted in the name of honor in Sindh during the past four months, while the horrifying incident of a young girl being buried alive in بلوچستان shocked the conscience of humanity. They noted that police and administrative authorities often appear helpless before influential feudal elements, resulting in many incidents not even being registered through FIRs.

Senator Aamir Chishti stressed that society must rise above political affiliations and unite collectively to eradicate this brutal practice, adding that the sanctity of human life must remain paramount.

Speaking on the legal dimensions of the issue, Fareeda Mangrio emphasized the urgent need to strengthen prosecution in honour killing cases so that no criminal can escape the grip of the law.  The speakers expressed grave concern that more than one thousand women fall victim to such barbaric practices every year, while nearly fifty percent of the incidents remain unreported due to pressure from influential feudal figures and the parallel jirga system. Reference was also made to the recent Rubina Chandio case, where attempts were allegedly made to weaken the case by altering legal provisions.

Participants urged strict implementation of the 2016 Anti-Honour Killing Act in its true spirit, noting that under the law, courts retain the authority to sentence perpetrators to life imprisonment even if the heirs pardon the accused.

At the conclusion of the seminar, participants demanded that the government arrest all those involved irrespective of political influence and pledged that the platform of “Dukhtaran-e-Karachi” by MQM. Pakistan would continue its awareness campaign until the complete eradication of this barbaric practice.

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In a celebration of resilience, leadership and achievement, women entrepreneurs from across the city, led by Shama Rashid, successfully hosted the Bint-e-Pakistan Awards Season 5 on International Women’s Day 2026 at the Quaid-e-Azam House.

The event brought together a dynamic gathering of trailblazing women, industry leaders, social activists, and professionals from across Pakistan, creating a vibrant platform dedicated to celebrating female empowerment and recognizing outstanding contributions in diverse fields.

A key highlight of the evening was the Women Summit, which featured a series of engaging panel discussions and keynote speeches. Relevant speakers shared insights on leadership, entrepreneurship, innovation, and the evolving role of women in shaping Pakistan’s socio-economic landscape. The sessions fostered meaningful dialogue, inspiring attendees with stories of perseverance, ambition, and impact.

The awards ceremony honoured exceptional women from various sectors, acknowledging their dedication, achievements, and influence in driving positive change within their communities and industries. Each award served as a testament to the growing strength and visibility of women across the nation. The event was attended by distinguished guests, panelists and awardees.

The Bint-e-Pakistan Awards continue to serve as a powerful platform to honour women’s achievements and inspire future generations, reinforcing the message that empowered women are at the heart of a progressive and inclusive society.

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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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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.

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By Anusha Zahid

Alisha Junaid is the founder of Empower Sports Academy, which held the first women’s volleyball tournament in Pakistan last year. GLAM interviewed Alisha two years ago at the launch of Empower Sports Academy, and this is a follow-up interview now that their second national volleyball tournament has successfully concluded.

Originally from the United States, Alisha is a TEDx speaker, a recipient of the USAID Youth Leadership Award, and a student at Babson College. She has organized national volleyball tournaments throughout Pakistan and coordinated international tours, all while advancing her personal athletic and academic pursuits.

Congratulations on successfully concluding the second year of Pakistan Volleyball Championship. Do you think this year’s tournament was better compared to last year’s in terms of participation and overall excitement?

Yes definitely. This year, we expanded the preliminary round to eight different cities, a significant increase from last year’s three. We had teams from Abbottabad, Sadiqabad, Islamabad, Karachi, and Quetta, among others. This year, we also made a conscious effort to concentrate on the younger age groups, which was a deliberate decision to prioritise the development of our next generation.

To achieve this, we leveraged social media to promote the event, engaged with our networks to spread the word and encouraging teams to participate and then share their experience with their own networks. This grassroots approach led to a significant increase in participation. But what was truly heartening was seeing girls from various cities come together to a single location and participate in the tournament. The event saw a high level of engagement and exceptional sportsmanship, with teams from the same city coming together to support each other, especially at the final stages of the competition.

Were there any standout performances or emerging talents from this year’s championship?

It’s challenging to recall a specific standout athletic performance, but what really caught my attention this year was the exceptional sportsmanship and honesty displayed by the girls. In Pakistan, this can sometimes be lacking, but in this tournament, I saw a different dynamic at play. The girls were able to connect with each other, even with teams they were competing against; suggesting that collaboration and mutual respect are values that are being instilled in our young athletes, and that’s a promising sign for the future. Also, we were fortunate to have experienced coaches on board, including the national team coach and Eric Ballelos, who had travelled from the US to assist with the event. Their expertise was invaluable, and it was also a great opportunity for the girls to learn from them.

As for emerging talent, we selected a promising volleyball player from the national team last year named Khizra, who was sent to the US to play at a Division 3 college. Not only did she excel in volleyball, but she also successfully completed her undergraduate degree and is now a working psychologist. Our goal is to replicate this experience with more girls.

Who were the sponsors this year? Do you think they played a role in the success of this year’s tournament?

This time, we were fortunate to have some prominent names supporting us, which helped elevate Empower to the next level. Jazz came on board and signed a three-year contract, Interwood, which has been with us for the past two years, renewed their support with a three-year contract. We also secured a three-year partnership with Naya Nazimabad. Two electric motorcycle companies, Hyder and Crown also contributed by sponsoring the Player of the Match awards (one for volleyball and one for badminton) in the form of electric motorcycles to motivate the players. I am incredibly grateful to all our sponsors because running these tournaments is expensive. We cover the expenses for transporting all the players to Karachi, including bus tickets and their accommodation, because we want them to focus entirely on their game without worrying about logistics. Our sponsors and the prize money they provide are essential in making this possible. Last year, we heard a heartwarming story about a girl whose father started a business using one of these motorcycles, which significantly helped their family. That’s exactly the kind of impact we want to see, contributing not just to the girls’ athletic growth but also enabling them to support their families.

What were some of the challenges that you faced during this year’s tournament, and were they similar to or different from those you encountered in previous years?

From the girls’ side, I believe there were fewer challenges this time. We were able to clearly communicate the rules and ensure everyone understood how the tournament was being organised. However, challenges exist, mainly because we imposed certain restrictions on participation. For example, we have age limits, and we do not accept girls over the age of 19 or national team players. With the addition of our coach Eric this year, and discussions with our board, our focus remains on developing young players. We faced some challenges with over-age participants, though fewer than last year when we had an open age category. While we have thought about creating a category for players aged 19 and above, we’ve noticed that training and influencing older players is much more difficult because they tend to be more set in their ways, making it quite challenging to manage.

Have you chosen any young girls to take on coaching roles for the upcoming tournament?

We have selected a few young women to serve as coaches and are currently in discussions with some of them. These women have played on the national team and possess valuable experience and insights into the game and the competitive environment. However, to be eligible, they need to be over 25 years old. Our aim is to help them develop a coaching career and livelihood, while also ensuring that the timing aligns with their career stages – some are still active on the national team and wish to complete that chapter first.

In addition, we have identified several coaches from Pakistan, including both men and women, whom we are training during the summer. We are handling their visa arrangements, and hopefully by July, we expect to have our first group of around four coaches. These individuals will have the chance to learn from Stanford’s world-class coaching staff in the US.

With the increased visibility and support, what are your hopes for the future of women’s volleyball in Pakistan after this year’s tournament? 

Our hope for next year is to bring more athletes into the fold and expand what we’re doing with Empower. This year, we started incorporating sports like badminton alongside volleyball, and we saw a fantastic response. We plan to add more sports and gradually expand into various Olympic disciplines, but since taking on new sports is a logistical challenge, we’ll proceed step by step. Perhaps next year we will bring in squash and table tennis as well. Our objective is to show the girls that their involvement in sports can open doors for their future – their energy on the court, playing and having fun – especially this year after the prize ceremony when they all danced to classic desi songs and having an impromptu dance party – it was incredible to see them let loose and celebrate. We want to create more memories for them.

The post The Journey Continues 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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The event was presided over by Anwar Shaoor himself, whose presence was an inspiration for the audience present on the occasion. A select group of poets and poetesses shared their work, adding colour and emotion to the night. The poetic session flowed unhindered under the skilled moderation of Khalilullah Farooqui, a well-known voice from radio and media. The star of the evening, poet Anwar Shaoor’s poetry was the highlight of the literary event.

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The calligraphy featured in the exhibition was done in both traditional Nastaleeq and modern, contemporary styles. The artists depicted Allah’s name and verses from the Quran in their works, in their own styles. Fatima Arzoo Hassan’s abstract calligraphy was a standout piece—her textured canvas, featuring Allah impeccably written in white against interplay of blue and white hues, was visually captivating.

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