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Kenize Mourad: Unveiling the Truth

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By Ayman Munaf

In the literary world, few authors bring the depth of cultural, historical, and geopolitical insight that Kenize Mourad does. Born in Paris to a Turkish mother, Sema Sultan, and an Indian father, the Raja of Kotwara, Mourad’s life has been anything but conventional. Her latest novel ‘In the Land of the Pure’ is a gripping geopolitical thriller set in Pakistan—one that shatters Western misconceptions and presents the country in all its complexity.

A life shaped by borders and conflicts Mourad’s life story reads like an epic novel in itself. Born during World War II, she lost her mother at a very young age and was raised in a French Catholic convent, unaware of her Muslim heritage. “When I finally reconnected with my father at 21, I was introduced to Lucknow’s deeply traditional world, living in purdah—a stark contrast to my upbringing.” However, it was in Karachi, Pakistan, in the 1960s, where she found freedom, joy, and an entirely different side of South Asia.

“I found Karachi to be a vibrant, dynamic place—completely different from the rigid, narrow portrayal the West had of Pakistan,” Mourad recalled at her book launch event held recently. The city’s bustling art scene, literary circles and progressive social life at that time stood in contrast to the stereotypes that Western media perpetuated. This early experience laid the foundation for her lifelong mission: challenging misconceptions about the Muslim world.

Before becoming a novelist, Mourad had a remarkable career as a journalist in France. She worked in Le Nouvel Observateur newspaper, covering some of the most defining conflicts of the 20th century—the Indo-Pak War of 1971, the Lebanese Civil War, the Iranian Revolution and the Israel-Palestine conflict. Reporting from the frontlines, she saw firsthand the devastating effects of war and propaganda.

Her transition from journalism to fiction was a natural one. “As a journalist, you must capture attention immediately. There’s no room for long, drawn-out descriptions,” she emphasised. This precision is evident in ‘In the Land of the Pure’, which plunges the reader straight into the action, refusing to waste time with slow build-ups.

Her writing is shaped by her journalistic rigour, drawing from real-life interviews, firsthand experiences, and historical research. “When I wrote ‘Regards From the Dead Princess’, I had to research four countries, four different time periods, and dive into archives. I could never have done that without my background in journalism.”

One of the most striking takeaways from Mourad’s talk was her candid discussion of Western prejudice against the Muslim world, the west’s misconceptions and her censorship battles. “Forty years ago, there was less prejudice than today,” she notes. “Now, everything is blamed on immigrants. France would not function without them, yet Muslim has become a dirty word.”

Mourad has faced severe backlash for her views. After publishing ‘Our Sacred Land: Voices of the Palestine-Israel Conflict’, she was blacklisted in France, losing media coverage and publishing support. “French journalists told my publisher, ‘We don’t open books by Kenize Mourad anymore,’” she revealed. Despite this, she refuses to compromise on her integrity. “I could write something favourable about Israel and have a dozen interviews lined up—but I won’t. One must have a sense of morality.”

Mourad writes about Pakistan with empathy unlike many Western narratives that reduce Pakistan to a land of extremism, her ‘In the Land of the Pure’ paints a rich, layered portrait of the country. From Lahore’s Basant festival to the activism of women like Parveen Rehman and Sheema Kirmani, she showcases the vibrancy and resilience of Pakistani society.

“I love Pakistan,” she said simply. “I wanted to present it as I know it—diverse, modern, and full of life, not the black-and-white version the West believes in.”

Her women characters, from the intrepid Begum to the fiery activist Samia, are drawn from real-life figures she has encountered—women who, despite facing oppression, continue to fight for change.

At a time when geopolitical biases are stronger than ever, ‘In the Land of the Pure’ serves as a much-needed antidote—a book that compels the world to look beyond fear and propaganda, and see Pakistan for what it truly is: a land of history, culture, struggle and resilience.

Kenize Mourad Unveils “In the Land of the Pure”

French author and journalist Kenize Mourad launched her latest novel, ‘In the Land of the Pure,’ at an exclusive literary gathering hosted by Mr. Farooq Hasan at his residence in DHA, Karachi. The event, organized by Lightstone Publishers, brought together literature enthusiasts, journalists, and intellectuals from different walks of life for an evening of engaging discussions.

The event commenced with a warm welcome by Mr. Farooq Hasan and an introduction by Ameena Saiyid, Managing Director of Lightstone Publishers. The highlight of the evening was an insightful conversation between Kenize Mourad and Ruby Haider, in which Mourad shared her inspiration behind ‘In the Land of the Pure,’ a geopolitical thriller set in Pakistan that explores the nation’s complexities through the lens of a French journalist investigating the country’s intelligence networks and strategic alliances.

The discussion was followed by an evocative reading from the novel by Shayma Saiyid, captivating the audience with its gripping narrative. A lively Q&A session allowed attendees to engage with Mourad, delving deeper into themes of political intrigue, cultural identity, and the blurred lines between fiction and reality.

The evening concluded with a book signing session where guests had the opportunity to interact with the esteemed author and get their copies of the book personally signed. Kenize, whose literary works are known for their deep historical and political insights, expressed her admiration for Pakistan.

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Songkran – Festival of Water

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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

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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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Abdul Rafay: A Voice with a Soul  

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In the vibrant world of music, where every note tells a story and every lyric speaks to the soul, Abdul Rafay stands out as a voice that resonates with emotion and depth. His melodic journey began at home, with an elder brother whose passion for music lit the first spark. A simple introduction to a classical music teacher became a turning point, as the guru recognized Rafay’s talent—a voice reminiscent of the classical Patiala gharana. From that moment, Rafay’s path in music was destined.

Under the mentorship of Intezar Hussain at NAPA, Rafay’s talent blossomed. “Sir Intezar was more than a teacher, he was a mentor who pushed me to explore, innovate and perfect my craft,” Rafay shares. This guidance not only honed his classical roots but also introduced him to the nuances of stage performance and vocal versatility.

At just 13, Rafay’s win at the Youth Festival, competing against seasoned vocalists proved his mettle. “That moment was surreal,” he recalls. “It was a validation of my hard work and the first major milestone in my life.” The nation’s interest for Rafay deepened during his stint as a finalist on Pakistan Idol. His soulful performances captivated millions, propelling him onto international stages and into the hearts of fans across continents. “Pakistan Idol was a game-changer,” Rafay says. “It opened doors I hadn’t even dreamed of.”

In 2019, Rafay’s contributions to patriotic music earned him the prestigious Pakistan Peace Award from the Air Force. “It was an honour to be recognized for something that resonates so deeply with me—using my voice to uplift and unite.” Sharing the stage with legends like Abida Parveen, Ali Zafar and Sonu Nigam has been another feather in Rafay’s cap. “Sonu Nigam’s humility left a lasting impression on me. It’s these experiences that fuel my passion to keep growing and learning,” Rafay reflects.

Rafay’s discography is as impressive as his journey. From the heartfelt Na Hone Du Juda for B4U Music in India, to the soulful Woh Pyar Tha for Bol Beats, his voice has resonated across borders. His song Piyaaa with Laal Series showcases his versatility, while the patriotic Khaak Ki Qasam stirs national pride. Rafay has also lent his voice to popular OSTs like Apne Hei Tu Hain for Green Entertainment and Main Hun Kahani for Express Entertainment, cementing his place in the hearts of drama enthusiasts. His musical style is a blend of classical rigour and contemporary flair, drawing inspiration from artists like Arijit Singh. “Classical music is my foundation, but I enjoy experimenting with genres, always staying true to the essence of each.”

His journey hasn’t been without challenges. Navigating the music industry without connections has been tough, but Rafay’s resilience remains unshaken. “I focus on improving my craft, believing that opportunities will come when the time is right.” Looking ahead, Rafay is excited about upcoming projects, including original soundtracks and collaborations. “I’m also keen on exploring international collaborations. Music is a universal language, and I want to use it to bridge cultures and connect people.” For young, aspiring singers, Rafay’s advice is: “Stay true to yourself, work hard, be humble, and let your authenticity shine through. Success will follow.”

Reflecting on his journey, Rafay cherishes every moment, especially those with his mother, his unwavering supporter. “Her belief in me is the cornerstone of my success,” he says. As Rafay continues to enchant audiences with his soulful voice and heartfelt performances, his legacy of authenticity, passion and perseverance is one that will inspire generations to come.

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