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.

As one of Pakistan’s youngest education leaders, Muhammad Faizan Khan is bringing a fresh, globally informed perspective to the country’s academic landscape. Managing Director of Happy Palace Group of Schools, his focus is on innovation, educational reform and future-ready learning environments that extend far beyond traditional classrooms.

You are among the youngest educationists in Pakistan in a leadership role. How has it shaped your approach to educational reform?

Being a young educationist has allowed me to remain closely connected to the mindset, aspirations, and evolving realities of today’s students. I believe one of the advantages of young leadership is the ability to better understand how rapidly the educational landscape is changing whether through technology, shifting career pathways, or the increasing importance of creativity, adaptability, and emotional intelligence.

My academic background in Economics from King’s College London, followed by a diploma from City University London and a Master’s in Education, exposed me to a range of global educational philosophies and institutional models. Those experiences shaped my belief that modern education must move beyond memorization and focus more deeply on critical thinking, communication, confidence-building and intellectual curiosity.

At the age of 25, being recognized as one of Pakistan’s youngest and most impactful educationists was both humbling and motivating. More importantly, it reinforced my sense of responsibility toward contributing meaningfully to educational reform and institutional development.

As someone who has studied at international universities, what led you to choose a role in a family-led education business?

For me, education was never simply a profession, it was part of my upbringing and identity from the very beginning. I was born in 1995, at a time when the school itself was operating on the first floor of our building while our family lived on the ground floor. Most of my pre-teen years were spent in that environment, surrounded by classrooms, teachers, students, and constant conversations about education.

In many ways, I feel I grew up alongside the institution itself. That early exposure gave me a deep appreciation for the transformative role schools can play in shaping individuals and communities. Later, studying internationally broadened my perspective significantly, but it also strengthened my desire to contribute to Pakistan’s educational landscape. Joining the institution was therefore not simply about continuing a legacy it was about evolving it through modern educational thinking, innovation, and long-term institutional vision.

As Managing Director, how do you define the identity and long-term vision of the Happy Palace School Network?

The identity of Happy Palace is rooted in academic excellence, discipline, ethical values, and holistic student development. Our objective is not merely to produce academically capable students, but to nurture confident, intellectually curious, and socially responsible individuals. Our long-term vision is deeply ambitious and future oriented. We are currently developing five purpose-built campuses ranging from approximately 5,000 to 50,000 square yards, designed to provide modern learning environments that integrate academics, technology, sports, creativity, and student well-being within a unified ecosystem.

Beyond school education, we are also planning to establish two universities within the next five to seven years. Our broader vision is to create a complete educational continuum that supports students from foundational learning through higher education while maintaining a consistent philosophy of excellence, innovation and character development.

When I reflect on where the institution began with the school operating upstairs while we lived downstairs and compare it to where we are today, planning large-scale campuses and future universities, it becomes deeply meaningful. It represents not only institutional growth, but decades of commitment to education and community impact.

What does effective governance look like when managing a growing school franchise across multiple cities?

Effective governance, in my view, is the ability to preserve consistency of vision and educational quality while operating at scale. As institutions expand across multiple campuses and cities, strong systems become essential for sustainability and long-term success.

At Happy Palace, we place significant emphasis on centralized academic planning, teacher development, performance evaluation, institutional oversight, and continuous coordination between campuses. However, effective governance also requires balance. While maintaining unified standards, campuses must still retain the flexibility to respond to the specific cultural and community needs of their local environments. Ultimately, strong governance is about building systems that sustain excellence beyond individuals and ensure that every student receives the same standard of education regardless of location.

Technology integration is one of your priorities. How is this being implemented across the network?

Technology has fundamentally transformed the way students learn, communicate, and engage with information. Educational institutions therefore have a responsibility to evolve alongside those changes rather than resist them. Our approach is to integrate technology meaningfully across the entire network instead of treating it as a superficial enhancement. This includes smart classrooms, digital learning platforms, centralized academic systems, and technology-focused teacher training initiatives.

Teacher training is central to your agenda. How do you scale professional development across so many schools?

I strongly believe that the quality of an educational institution is ultimately defined by the quality of its teachers. Infrastructure and curriculum are important, but meaningful education depends on intellectually engaged and continuously evolving educators. For that reason, teacher development remains one of our most important institutional priorities. We conduct regular workshops, centralized training programmes, classroom observations, mentorship initiatives, and professional development sessions throughout the academic year. More importantly, we aim to cultivate a culture where learning is not limited to students alone. Teachers must also remain adaptable, reflective, and committed to lifelong professional growth in order to meet the evolving needs of modern education.

Early childhood learning is a major focus area for you. How is this being strengthened across all branches?

Early childhood education plays a defining role in shaping cognitive, emotional, and social development. The foundations established during those formative years often influence a child’s long-term relationship with learning itself. Our focus is therefore on creating a standardized yet nurturing early learning environment across all campuses. This includes curriculum consistency, teacher specialization, activity-based learning methodologies, and classrooms designed to encourage curiosity, creativity, and confidence. We believe early education should not merely prepare children academically; it should cultivate independence, communication skills, emotional intelligence, and a genuine enthusiasm for learning from an early age.

In your view, what defines a strong school brand in today’s education landscape?

A strong educational brand is ultimately built on credibility, consistency, and trust. In today’s educational landscape, parents are increasingly evaluating schools not only on academic outcomes, but also on how effectively institutions prepare students for the future. A respected school must therefore offer far more than examination performance. It must develop confidence, communication abilities, leadership qualities, ethical awareness, and intellectual maturity.

Beyond academics, how do you ensure personality development and confidence-building across campuses?

We strongly believe that education should focus on the development of the individual as a whole rather than academic achievement alone. Across our campuses, we place considerable emphasis on public speaking, debates, leadership initiatives, sports, co-curricular engagement, and student participation programmes. These experiences help students develop confidence, communication skills, emotional intelligence, and adaptability.

Looking ahead, where do you see the Happy Palace Group of Schools in the next 5–10 years?

Over the next decade, I see Happy Palace evolving into one of Pakistan’s leading educational groups with both national influence and growing international recognition. Our expansion plans through five purpose-built campuses and the establishment of two universities represent not simply physical growth, but institutional evolution. Alongside expansion, we intend to continue strengthening academic quality, technological integration, teacher development, research culture, and innovation-driven learning. Personally, receiving international recognition for my contributions to education, including an upcoming award ceremony at Oxford University, has further reinforced my commitment toward contributing meaningfully to educational advancement both within Pakistan and beyond.

Artificial Intelligence is rapidly transforming education globally. How is Happy Palace integrating AI into its educational model?

I believe Artificial Intelligence will fundamentally reshape not only education but the broader relationship between knowledge, creativity, and human potential. Educational institutions therefore have a responsibility to prepare students not merely to exist within an AI-driven world, but to engage with it critically, ethically, and intelligently. At Happy Palace, AI integration is not treated as an optional or isolated initiative. It has been systematically embedded into our academic framework, and from Kindergarten through Grade VIII, AI education is mandatory across the network. Our approach goes beyond simply exposing students to technology; we aim to cultivate technological fluency from an early age.

Students are introduced to AI tools in ways that are age-appropriate and intellectually progressive. At foundational levels, the emphasis is placed on digital familiarity, curiosity, and responsible interaction with intelligent systems. As students advance, they begin learning how to utilize AI tools for research, creativity, problem-solving, productivity, and analytical thinking. Equally important, we are teaching students how to think alongside technology rather than become dependent on it. There is a significant difference between using AI passively and understanding its implications, limitations, ethical dimensions, and transformative potential. We want students to develop discernment, adaptability, and intellectual independence while interacting with emerging technologies.

In parallel, we are also integrating AI into teaching methodologies and institutional systems. Educators are being trained to utilize AI-assisted platforms for lesson planning, differentiated learning, academic analysis, and student engagement. This allows teaching to become more personalized, data-informed, and responsive to individual learning needs.

What do you believe truly sets the Happy Palace Group of Schools apart within Pakistan’s educational landscape?

What truly distinguishes Happy Palace is that we do not view education through a purely academic lens. Our philosophy centres on building a complete educational ecosystem that combines academic excellence, innovation, leadership development and future readiness within a single framework. While our network has grown to more than 55 campuses, our identity is defined not simply by scale but by the diversity of opportunities available to students.

We offer multiple educational pathways across various examination systems, ensuring students can pursue learning environments suited to their strengths and aspirations. At the same time, we have integrated STEM education, robotics, artificial intelligence, financial literacy and practical skill development into our broader educational approach. Beyond academics, students engage in sports, leadership initiatives, clubs and co-curricular programmes that support holistic development.

The post Reimagining Education for a New Generation – Muhammad Faizan Khan 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.

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.