Arts and humanities are parallel narratives that generate critical collective discourse. In Pakistan, these can play an important role in highlighting social issues (vulnerabilities) and generating dialogues. Vasl Artists’ Association in collaboration with Open Society Foundation (OSF) invited artists from all disciplines to share proposals to research and execute fully funded public art projects.

2019

The Hazaras

Documentary Film Screening

August 6, 2019

Bussiness Executive Center

by Sibte Hassan Azad

This film is a reflection on the lives and culture of the Hazara Community of Pakistan, clustered largely around the border city of Quetta. There are close to a million Hazaras in Pakistan – a vulnerable ethnic and religious minority with a long history of persecution. In the last twenty years in Pakistan, besieged by anti-Shia violence, more than 4,000 Hazaras have been killed by sectarian attacks and terrorism. The Hazaras are a group of Turko-Mongol people. Their name ‘Hazara’ means thousand in Persian, derived from the Mongolian word ‘Ming’ or ‘Mingan’, originating from Chinggis Khan’s strategy of dividing his army into divisions of 10, 100, 1000 and 10,000 soldiers. During the 12th century, after the Rise of Chinggis Khan and the subsequent consolidation of the Mongolian Empire under him, the Hazaras moved along the Silk Road, with the trade and the armies, and eventually settled in Eastern Persia, what is known as modern day Afghanistan. After adopting Shia Islam, the Hazara’s Turko-Mongol relations and lineage faded through the centuries. The brutal sectarian persecution of the Hazaras began mid 19th century in Afghanistan. At that point in history, the Hazaras were the largest Afghan ethnic group constituting nearly 67 percent of the total population of Afghanistan. From the 1880s onwards, and especially during the reign of the Pashtun Amir Abdul Rahman (1880-1901), they suffered severe religious, political, social and economic persecution. Their homeland in Afghanistan’s central highlands was invaded and an estimated 60 per cent of the Hazara population was wiped out. A significant number fled to then British India, which is present day Pakistan. Hazaras speak a dialect of Dari and Farsi called ‘Hazaragi’ and have a rich, unique tradition of music and poetry. Their food, games, music and culture still reflect nomadic Mongolian lineage. The Hazaras today are among the most educated communities of Baluchistan in Pakistan, committed to education of their young men and women. In the recent past, the relentless targeted killings of Hazaras have created an acute sense of insecurity and vulnerability in the community. There is not a single Hazara family that has not lost a loved one. This has effectively ghettoized the community in two localities in Quetta’s eastern and western sides: Marriabad and Hazara Town. Over 70,000 Hazaras in Pakistan have left their homes for Australia, Europe or Malaysia, leaving behind the lives that they and their forefathers had painstakingly built.

The Throwaway Culture

Public Art Project

April 30, 2019

IVS Sculpture Park

by Muhammad Noman Siddiqui

supported by Indus Valley School of Art & Architecture

Vasl extended it’s public art project Loud Speaker to the IVS Sculpture park with the support of the Indus Valley School of Art and Architecture. Muhammad Noman  Siddiqui is a Karachi based multidisciplinary artist, graduated from the Central Institute of Art and Craft, Karachi in 2005. For this project, Noman studied his surroundings and documented various automobiles which had been discarded on the road sides around the city. Their burnt, rusted, and dysfunctional states made Noman rethink what could be the ‘best out of waste’ situation for these abandoned cars. Currently, towed and stationed at the IVS Sculpture Park, an old Mazda Taxi is being revitalised as an oasis with various trees and plants patent to the city.

Adaptation | Alteration | Variation

Public Art Project

April 5, 2019

Jamshed Memorial Hall

in collaboration with Citizens Archive of Pakistan (CAP)

assisted by Asim Mohammad Ameen & Tooba Shahbaz

From 23% in 1947, to 3% in 2012*, the percentage of minorities in the Pakistani inhabitancy continues to diminish. *Adaptation, Alteration, Variation* reflects on this continuous shift in the dynamic of the country’s population through the lens of its shrinking minorities; of stories that reminisce a collective past, of memories associated with Pakistan as a shared homeland and of generous contributions made to the country in a true sense of ownership.*quoted by Farahnaz Ispahani, media advisor to the president of Pakistan from 2008 to 2012 in her book Purifying the Land of the Pure: Pakistan’s Religious Minorities.

Saat Daryaon Se Dhuli Meri Rooh, Phir Bhi Rahi Gadli

Public Art Project

March 24, 2019

Sea View Beach

directed by Natasha Jozi & Mavera Rahim

participating artists Amna Khan, Asim Mohmmad Ameen, Maha Minhaj, Ramsha Nesar & Zoya Alina Currimbhoy

This project is a chance for participants to situate themselves in performance, space and art on an experiential level. It aims to provide a collaborative space where artists can discover what performance is and what it means in our cultural and environmental context. The concept of this project comes from a drive to re-examine our place in a constantly shifting, commodified, urban, increasingly compartmentalized lifestyle. Through reacquainting ourselves with basic elements like water, air, and sand, we look to take an internal journey and situate our body in nature. Central to our approach for this performance/workshop is the presence of the sea and our relationship as human beings to it – both literally and in terms of what the sea represents, as a reminder of the ever presence of the infinite, the unknown, the enigmatic, the holy, and the basic necessity of all-natural life. The sea is one of the most mysterious and alienated places to human beings on the earth, yet is central to all life on earth and the origin of all living beings.Just as we all came from the sea, so can we return and reinterpret our identity as human beings through engagement with our original home.

Contemporary Anxieties | The Body and Its Politics

Public Art Project

March 14, 2019

IVS Gallery

curated by  Seher Naveed & Omer Wasim

participating artists Ayesha Jatoi, Ainne Muqtadir, Farooq Soomro, Nausheen Saeed, Saba Khan, Zahra Asim & Zulfikar Ali Bhutto

2018

Zambeel Dramatic Readings

Public Art Project

December 13, 2018

Abdullah Haroon Vocational Training Centre, Lyari

with Asma Mundrawala & Shama Askari

First performance of Loudspeaker by Zambeel Dramatic Readings in a story telling session by Asma Mundrawala and Shama Askari at Abdullah Haroon Vocational Training Centre in Lyari, Karachi.

Zambeel Dramatic Readings aims to present texts in Urdu and English rendered in their dramatised form, to create a dynamic collusion between literature and performance. Referencing traditions of storytelling and the contemporary form of the radio play, our works traverse time and geographical boundaries to interpret and enliven narratives through sound and recitation.

Asma Mundrawala

Asma Mundrawala is a visual artist and theatre practitioner with a PhD from the University of Sussex UK. She is a Professor in the Department of Fine Art at the Indus Valley School of Art and Architecture, Karachi. She has been associated with the arts and education and has been represented in national and international exhibitions. Her association with theatre began in 1997. Asma is the director and sound designer for Zambeel Dramatic Readings.

Shama Askari

Shama Askari began her acting career with the theatre group Tehrik e Niswan in Karachi. Her roles in theatre plays Insha ka Intezar, Zikr e Nashunida and Birjees Qadar Ka Kunba amongst others have earned her much acclaim. Shama has participated in theatre festivals in Pakistan and internationally. She has been a familiar face in popular television plays and has also explored the medium of film as an actor. Shama is a performer, and a valuable researcher and resource person for Zambeel Dramatic Readings.