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Karachi Literature Festival 2025 Celebrates ‘Narratives from the Soil’

The Karachi Literature Festival (KLF) 2025 opened recently with a vibrant inauguration ceremony, marking the beginning of a weekend dedicated to literary excellence, thought-provoking discussions and cultural enrichment. Organized by Oxford University Press Pakistan (OUPP), this 3-day Festival was supported by the Government of Sindh as the title sponsor. Saeed Ghani, Provincial Local Government Minister, addressed the audience, highlighting the value of culture in social development, “Sindh has one of the most iconic historic legacies in the world.” In his welcome speech, Arshad Saeed Husain, Managing Director, OUP Pakistan, said, “Oxford University Press Pakistan continues its drive for not just promoting the beautiful culture of reading and discussions, but bringing to light the power packed ‘Narratives from the Soil’ to truly distinguish the enriching legacies that geographies have to share.”
Bringing together renowned writers, scholars and literary enthusiasts from across Pakistan and beyond, KLF 2025 reaffirms its status as a premier event in the country’s cultural and intellectual landscape. Distinguished guests and consul generals shared their remarks, emphasizing the significance of literary initiatives. The keynote speech, delivered by F.S. Aijazuddin and Asghar Nadeem Syed, set the tone for the Festival, celebrating the power of literature in shaping societies.
Asghar Nadeem Syed, Playwright, Writer & Poet stated, “A story is only complete when it fulfills a certain structural compliance, however, when we hear tales, they can carry messages that are complete in themselves. So excited to be here for the three days of tales evolving.”
Keynotes were followed by the award distribution powered by Getz Pharma for; The Monsoon War by Bina Shah, which was awarded the English Fiction Prize Award; while شارق سعید کوہِ ملال (Koh Malaal by Saeed Shariq), won the Urdu Poetry Award; Urdu Prose Award went to سات جنم ، ناول ، شفقت نغمی (Saat Janam: Novel by Shafqat Naghmi) and سندھو ناولٹ جیم عباسی (Sindhu Novelet by Jeem Abbasi).
The inaugural ceremony concluded with a performance by the Khwab Dance Company. Brilliant conversations flowed in the subsequent well-curated sessions, taking a deep dive into economy, fiction, and architecture; Muhammad Azfar Ahsan led a PowerTalk on Pakistan’s economy and business climate, with prominent industry leaders and stakeholders.
16th KLF 2025 Concludes With A Call For Empowering Narratives From The Soil
The Karachi Literature Festival (KLF)’s second day had vibrant talks and music presentation by Suhel Rais Khan son of famous sitar nawaz Rais Khan, who is visiting from India. It was moderated by Malahat Awan who earlier discussed Tehzeeb’s function as an NGO.
It concluded with a shout out for upholding and endorsing the ‘Narratives from the Soil’ as voices of people across the landscape. Urban issues took center stage in ‘Urban Dialogue: The Karachi Katchehri,’ had Murtaza Wahab, Mansoor Raza, and Bilal Hassan, addressing the challenges of Karachi’s governance and infrastructural issues.
Insightful discussions on pressing national and global matters continued to engage the audience. The literary discourse acknowledging the giants of Urdu literature today, ‘Urdu ki Taza Bastiaan’ featured celebrated poets and authors Iftikhar Arif, Harris Khalique, and Ashfaq Hussain, moderated by Zarminae Ansari.
The Youth Pavilion featured interactive and entertaining sessions, including Theatre Fun and Games with Atif Badar, Mind Twisters: The Thinking Zone with Amna Ghulam Hussain, Music and Dance with Atif Badar, and Story Time by Aunty Tashi. Classic children’s songs were revived in Geeton ki Mehfil: Sohail Rana’s Famous Songs by Atif Badar who performed well in all the programmes.
KLF’s final day also celebrated the launch of 14 books, including poetry books, the closing ceremony featured notable speakers including former Senator Khushbakht Shujaat and journalist Mishal Husain. The day’s finale was the qawwali performance by the maestros Ustad Farid Ayaz and Ustad Abu Muhammad.
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Pakistan Women’s Foundation for Peace

Women’s Day 2025
The Pakistan Women’s Foundation for Peace hosted the Women’s Day 2025 event, addressing Pakistan’s persistent gender disparity and the critical need for equality. Despite women’s undeniable contributions to society—excelling in academics, breaking stereotypes, and achieving historic milestones—Pakistan ranks 145th out of 146 countries on the Global Gender Gap Index, a position it has held for years.
President PWFFP said Women make up 49 percent of the population, yet their literacy rate remains only 51 percent, and their workforce participation stagnates at 25 percent. Even in politics and corporate leadership, their presence is limited, often restricted to token roles. Rural women face even harsher realities, with unpaid labour and lack of recognition. Billions have been spent on women’s development programmes, yet tangible improvements remain scarce.
PWFFP urges a national commitment to addressing these issues through better resource allocation, strict accountability, and a stronger push for gender parity. This year’s event featured renowned experts Dr. Ishrat Husain (Economist), Ms. Nasreen Jaleel (Politician), Dr. Tasneem Ahsan (Health Specialist), Barrister Zahra S. Viyani (Legal Expert), Ms. Baela Raza Jameel (Educationist), and Dr. Asad Sayeed (Economist). Their insights highlighted solutions to break barriers and advance women’s empowerment in Pakistan.
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Songkran – Festival of Water

The vibrant spirit of Thailand came alive in Karachi recently, as the Royal Thai Consulate General hosted the Songkran Festival at the Pakistan American Cultural Center (PACC). Held in collaboration with the Pakistan National Council of the Arts (PNCA), PACC and Pakistan Print and Electronics Media. The event marked two special occasions: the Thai New Year and the 75th anniversary of diplomatic relations between Thailand and Pakistan.









Consul General Mr. Surashete Boontinand opened the evening with a warm address, highlighting the cultural significance of Songkran, recently inscribed by UNESCO as an Intangible Cultural Heritage of Humanity. He emphasized the importance of cultural exchange in strengthening bilateral ties.
Over 200 guests, including media representatives, diplomats and members of the local community, were treated to a colourful lineup of performances that blended Thai and Pakistani traditions. From elegant Thai dance to rhythmic Pakistani music and dance the evening was a celebration of unity through culture.
Guests also enjoyed a rich spread of Thai cuisine and took part in traditional Songkran activities, including the famous water-splashing ritual, which symbolizes cleansing, renewal, and good fortune.
The Songkran Festival in Karachi was more than a cultural showcase—it was a reflection of the growing friendship and mutual respect between the two nations, leaving attendees with memories of joy, connection, and shared heritage.
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Nurturing a Classical Infant

By Imran Shirvanee
Classical music has a long history, but in that long history there is a very recent entrant Sagar Veena which was created in Lahore in 1970. In fact, its present version was finalized as late as 2012 by the inventor Raza Kazim. A man of many talents and a musicologist, his love for the instrument is being carried forward by his daughter Noor Zehra Kazim, who is perhaps the finest exponent of Sagar Veena playing. Being a new entrant does this instrument have any future in this dwindling classical music environment? Noor Zehra believes it has a future. And she has a reason for saying that. “Our natural response to our own music is inherent in the raags and their structures,” she explains. “Sagar Veena is capable of exposing us to the undiscovered aspects of those emotions. The conceptual route means that it is already a part of a thought structure. If that belongs to these times and its people, then Sagar Veena is only a means to convey them.”
Noor Zehra explains the instrument was developed on the basis of ideas contrary to the evolutionary route which most of the musical instruments that are handcrafted have taken. The evolutionary stages of any instrument are mainly dependent on the aesthetics of the musician who gets those changes done, and also his own understanding of the structure of the instrument, which was always insufficient. The present instrument makers in India mainly have perfected the art. The younger generation instrument makers have also utilized the technology to make them. On the other hand, Sagar Veena was constructed on the basis of understanding the principles of how a stringed musical instrument works.
“In fifty years the Sagar Veena was standardized. Unfortunately the most crucial part of the instrument, the jowahri could not be completed, as Raza abruptly stopped working due to health issues. The sound of the Sagar Veena keeps changing on a micro level,” says Noor Zehra.
She believes potentially the instrument can communicate much more than the sitar or surbahar. Its resonant sound can tap those areas of the mind which other stringed instruments cannot. “Listeners don’t pinpoint the reason, but they respond to the resonant sound,” she says. “The music is exactly the same as on the sitar. In fact the rhythmic and fast tempo music is better expressed on the sitar. The alaap, which literally means conversation, is expressed and elaborated in the emotional domain much more, but the resonance is more pronounced in the Sagar Veena.”
When asked about the interests in classical music among the younger generation, Noor Zehra was somewhat skeptical. “If you were to say that the younger generation is getting interested in classical music, does this mean that there is a revival of classical music. These questions will demand a closer look. Sufi music is now qawwali, fusion music and kafis. And this does not come under the definition of classical music.”
She, however, is not pessimistic. “The younger generation, on a relative scale has shown interest in learning vocal and instrumental music,” she points out. “Young people have much more access to technology which enables them to learn and understand classical music better. Virtual learning is a bigger reality than guru shishya training. The younger generation is more curious to see how it is different from the music that they are acclimatized with. Some have been exposed to classical music since childhood, but they are few. More than other genres, classical music needs rigorous training. With electronic tools they substitute the rigours of learning.”
Noor Zehra believes that in the absence of guru shishya training and with little or no previous exposure to the diversity of raags, the younger generation catches on to certain moods in the traditional compositions in the simpler and attractive raags, like Daes, Bhairavi, Bihag, and some others. “They are a smart lot,” she admits. “If they have the talent to play or sing, figuring out compositions in difficult rhythms is easy for them. Improvising on the basis of certain principles is also not difficult for them.”
Noor Zehra’s optimism comes from her understanding of the classical music as it stands today. She says the future of classical music which has a restricted authentic audience, is bright. “It is basically a repository of innumerable facets of learning. This repository is not going anywhere,” she asserts. The role of music in society in the past has corresponded to the cultural, political and social structures, Noor Zehra points out. Folk songs, devotional music, religious music, and music with national fervour bear witness to this fact.
Most importantly, the instrumentalist says, this is all because of the role music plays in any society. “I think music has played a role since time immemorial. Today let us generate awareness, in order to get rid of our prejudices and ignorance,” she says.
Extract:
Noor Zehra explains Sagar Veena was developed on the basis of ideas contrary to the evolutionary route which most of the musical instruments that are handcrafted have taken.
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