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JANUARY 19-25 2014

Reels and Rivals Is banning Indian films the only way for Pakistani cinema to thrive?

JANUARY 19-25 2014


The city of good airs Top things to do and places to see in Buenos Aires


Cover Story

Positive Pakistani

The [million]nium goal

Reels and Rivals Is banning Indian films the only way for Pakistani cinema to thrive?

Dr Anita Zaidi beats entries like Doctors Without Borders for a $1 million prize that will save countless young lives



32 Regulars

6 People & Parties: Out and about with beautiful people 36 Review: Iftikhar Salahuddin’s Jerusalem — A Journey Back in Time and King of Leon’s Mechanical Bull 38 Health: Weigh your Risk

Magazine In-charge: Sarah Munir and Sub-Editors: Dilaira Mondegarian and Manahyl Khan Creative Team: Amna Iqbal, Essa Malik, Jamal Khurshid, Samra Aamir, Kiran Shahid, Munira Abbas, S Asif Ali & Talha Ahmed Khan Publisher: Bilal A Lakhani. Executive Editor: Muhammad Ziauddin. Editor: Kamal Siddiqi For feedback and submissions: Twitter: @ETribuneMag & Facebook: Printed:


Alisha Jawad


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Ayesha Sana

Kinza and Mehreen Omar

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Maheen Sh

Julia Wolfen Den and Danielle Soper Bhat


Rahat Fateh Ali Khan celebrates the launch of RFAK International by holding a concert in Lahore


Bushra and Sara

Usman Riaz and Bushra


Sundus and Asad Javaid

Fatima Faisal and Mina Yousaf

a Khalid

ed and Asm Munaza Mela, Sadia Jav

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Saima and

Mona Faisal


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Mona Shah

Sercan and Beste

Murat Onart er Yasmin Hyd

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Cyra Ali


An exhibition and performance by Turkish artists opens at Dolmen Mall, Karachi


Umaima Mustafa opens her retail outlet in Karachi

a Teli

and Momin

Aymen Ali

Sehr Asad and Salina Asad

i Ayesha Bar bbas Shahreen A

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Maryam Shiraz, Anushay Hasham and Nilo


Hira Omer




Huma, Mahwish and Fat

Minhil Malik

Ayesha Sohail

Fizza Ahmed, Umaima


Mustafa and Fatima Ah

lil and Maha

liha Tahir Huma Tawalla and Ma

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Anushay Ja


Pepsi organises a New Year’s Eve event at the Palm Grove

ru and Myra

Anum, Meh



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Fizza Ali an

Mr and Mrs. Muhammad Agha


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Naila and Ishtiaq

PEOPLE & PARTIES Furniture and interiors brand YOCA introduces its designer series at HSY’s Lahore Studio

da and Amna

li Butt, Mai a, Ahmad A



Zara Peerzada

ilgrami and

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Rumeena Is

Sonia Azhar


Mahgul Ras

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Maria and Salwa

Ayesha Kasuri, Uzma,

Adeela and Vaneeza


Huma Amir Shah

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Amna Kardar and Faatim

Mehreen Syed and Ahmad Shaikh


lid Sal Madiha Qaiser and Kha

Amna Nasir

and Gina

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Reels and

Rivals Is banning Indian films the only way for Pakistani cinema to thrive? BY SHER ALI DESIGN BY MUNIRA ABBAS

Aslam Dar is a man on a mission. With his long sideburns and leather jacket, he seems to have walked straight off the sets of a Martin Scorcese film. Regardless of the fact that age has caught up with him (he must be at least 82 or 83 years of age), he is committed to the cause of restricting Indian content in order to allow the Pakistani film industry to flourish. Dar has been leading the case from the side of local filmmakers in Lahore, who have vociferously opposed the idea of Indian films and content since Partition in 1947. “The state has never supported the industry, it actually ruined it, but that’s another story. Everything was led on private initiative,” recalls Dar, who entered the industry as an assistant in 1951 while he was still in his early twenties and eventually went on to become a leading director. He says that the issue of Indian films had initially started out as a question of getting equal access to larger markets. But today, it is a question of patriotism. “This is about seeing this out to the end. So until we [get an] answer what exactly the state’s position is on this; the court’s ruling in our favour or not is not the issue. This is not just a matter of concern for the film industry, it is connected to the broader idea of the nation,” he says. Over the last few months, the debate surrounding the role of Indian content has heated up following the ruling of the Lahore High Court. Last month, the law regulating the import of Indian content was suspended in hopes to clarify the position

on the import of Indian films. The build-up in recent weeks even included Bilawal Bhutto asking whether the country has become ‘Banistan’ due to the tendency of banning things we cannot deal with. In 2006, Shaukhat Aziz decided to ease the regulations that had banned Indian films from being screened in Pakistan after the 1965 war. Since then, local directors and producers such as Syed Noor, Aslam Dar, and Chaudhry Kamran have been at the forefront of the struggle to ban Indian films in the interest of the local film industry. To understand why the opposition to Indian films has lasted so long, it is critical to know the context in which the film industry from Lahore would shape itself from the earlier years.

New country, new drama Roughly 144 films were released on this side of the border the year before Partition. The new industry always shared an uneasy tension with the cinema houses that were demanding more content. It is well known that importing Indian films had kept the cinema houses alive, while new filmmakers, who generally had migrated from the old industry, were struggling find a firm footing in this smaller new setting. “When Partition occurred, the [filmmakers] felt they should probably go to Pakistan where there will be the advantage of citizenship, would be treated like first-class citizens and would be able to make good films. So almost all of the leading


Agreement put into place that allowed exchange of films between India

Initiation of the Jaal movement

and Pakistan. Pakistani film Dupatta

where leading filmmakers, ac-

released which sparked riots in India

tors, and producers take the

First feature film, Teri Yaad

resulting in an intensification of the

streets in protest against Indian

released in Pakistan.

anti-Indian film movement.




Santosh Kumar, Syed Shaukhat Hussain Rizvi and Syed Sibtain Fazli during the Jaal movement in 1954. SOURCE: AHMED SIBTAIN FAZLI

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people p pe eop opl ple le ccame ame am e to to P Pakistan,” akis ak istta ista tan tan n says Ahmed Sibtain Fazli, a lawyer la awy wye er a e and nd sson on o off Sy Syed ed S Sibtain Fazli, one of the pioneer film fi lm mma m ke kers rs d urin ur ing the ing the early 1950s. The prominent filmmakers during film fi lm mma make kers ke rs a nd da ctor ct orss w or filmmakers and actors who had moved to Pakistan inccluded clud cl lud uded ed dS hauk hauk kha h t Hussain Hu ussai ssai Rizvi, Madame Noor Jehan, ss Shaukhat WZ A Ahm hmed hm ed d, AR K Kar arda ar dar, da r,, and Mehboob Khan. Ahmed, Kardar, “W “Whe Whe h n th they ey a arr rriv rr ived iv e they realised that the infraed “When arrived sstructure st ruct ru cttur ctur u e was was still stil st illl very il very nascent n in Pakistan. Mehboob sa ahe heb b wo woul uld sa uld say, y ‘Iw y, o saheb would wonder how films can be made in a ccou ount ou ntry nt ry w wh here tthe here he herr is a shortage of electricity,’” he country where there reca re call ca llls Fazli. Fazl Fa z i.. Mehboob zl Meh M ehbo eh boob boob b Khan K recalls and AR Kardar ended up retu re tu urn rnin ing in g to o IIndia n ia nd aa aft fter ft er seeing the dire circumstancreturning after es,, but es but local loca lo ca al filmmakers, fiilm lmma m ke ma kerr who had been alienated by th the he elite ellit ite e class’s clas cl ass’ ass’ s’ss negative nega ne gati ga t ve opinion of artists and lacked ti sstate st tat ate e su supp ppor pp ort, or t, w e e ke er keen en to carve out a new identity for support, were tthemselves. th them hem emse selv se lves es.. es The Th e te ttension nsio ns ion io n between b tw be twee een ee n distributors and filmmakers wass pr wa prev eval ev ale al ent fr ent en from om tthe he very beginning. In his book prevalent on Pakistani cinema, Mushtaq Gazdar quotes the legendary filmmaker WZ Ahmed implying that the struggle was imminent. According to Ahmed, three local producers and twelve distributors of Indian films met government officials in the first of the meetings. The producers had pushed for a five-year ban so that local cinema could grow. Ahmed also claims that the distributor lobby, seeing fears about Indian films being banned, approached the then federal minister of industry, Sardar Abdur Rab Nishtar, telling him that thousands of jobs would be lost. As a result, the government refused to ban the Indian films. When Nishtar became the minister, the government issued a notification saying that Muslims should not get involved with filmmaking and that it was best for the infidels to be left with the job. Regardless, the undertone surrounding the ‘new Muslim’ filmmakers was that they had no genuine place in society. By 1952, an important agreement was put in place that would allow for the exchange of films between India and Pakistan. The producers generally viewed it as a loophole that had encouraged Indian content, since it was rare for Pakistani films to be screened in

Censor Board is formed under which the pre-Independence Cinematography Act of 1918 is updated. The act would centralise the censorship process which was previously done provincially, and gave powers to decertify imported films. This still does not specifically mention Indian films.


Complete ban on Indian

Producers pressure the gov-

films. A thriving black mar-

Bangladesh is formed

ernment into stopping the in-

ket emerges and piracy be-

and Pakistan loses a ma-

flux of Indian content but the

comes a strong driving force.

jor film market.

movement has little impact.




India. Sibtain Fazli produced Dupatta, which allegedly sparked sectarian riots in India the same year. The event would have an important impact on local filmmakers, whose own view was becoming increasingly driven by the idea that India wanted Pakistani films to fail in both local and international markets. The film’s controversy further intensified the movement against Indian films, which was primarily based in Lahore. The position as explained by Sibtain Fazli’s other son, Ali Sibtain Fazli, was against the quota system allowing 10 films from both sides. In fact, the position of the producers given to the government at the time was that they should either open the border completely for equal access to both markets or completely ban Indian films. “Let it be open trade for both sides because then we get the Indian market. This is essentially the basis of what became to be known as the Jaal movement,” remarks Ali. Producers, studio-owners, actors and technicians joined in the protest to stop the Indian film Jaal from screening, which had been given permission to be screened only in East Pakistan but was brought to West Pakistan by Bari Malik. The protest ended in an agreement to allow Indian films to come to Pakistan on a film-to-film basis for both East and West Pakistan. The protest, one of the major agitations by the industry, was led by WZ Ahmed, then head of the producers association, actor Santosh Kumar, director Shaukhat Hussain Rizvi and Sibtain Fazli. It also included several screen stars, such as Madame Noor Jahan, Naina, Sudhir and others. “I have this picture of Santosh Kumar, my father, and Shaukhat Rizvi, all in handcuffs. They were arrested and put behind bars during the protest. Before nationalism, it was economics that was driving the movement,” recalls Ali. The state before the Ayub Khan era never brought forth a firm policy on Indian films and cinema. There was an understanding that film could be used as a political tool, but until then the state had relied specifically on the censor board, which was more

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The motion picture ordinance repeals the previous censor acts, and becomes

Censorship of Films and Film Rules

a major framework for the film

Act of 1980 is enacted which includes

industry. However, there is still no

controversial passages related to films

Former prime minister Shaukat Aziz

concrete ruling by the state related to

including the restriction on hiring

eases the regulations surrounding

its position on Indian films

Indian actors.

Indian films.



vigilant against the communist threat than the question of Indian films. The Jaal movement managed to consolidate the local filmmakers association into a broader collective identity. After that there was a boom and the industry saw a massive increase in production. But the stigma surrounding Indian films and its influence was never out of the shadows. The build up to the 1965 decision of banning Indian cinema, was accompanied by a series of attempts by the state to encroach on the space of local industry, in terms of artistic autonomy, whether through censorship or government incentives. The government first decertified the screening of Indian films under the ambit of the Censorship of Films Act enacted in 1963 for the betterment of the local industry and then eventually banned them as a part of state policy in 1965. The producers had gained their objective and, due to national furor, it was difficult for the exhibitors and distributors to contest the ban. On the other hand, the 1965 curbs opened the door to a thriving black-market and the trend of copying gained momentum. Local filmmakers, pinched with the requirements of producing more films, were compelled to plagiarise and copy the big-budget films that were being made in India. “It was a lottery for the Pakistani film industry at the time. We had some real talent like Shaukhat Hussain Rizvi and his father, but it also gave opportunities to new assistant directors who were not so focused on producing original work,” says Mehfooz Chaudhry, owner of the now closed Ratan cinema and leading exhibitor and filmmaker. His father, Chaudhry Eid Muhammed, who had received the cinema through landallocation, was also a leading distributor and exhibitor who imported Indian films until the 1965 ban. Mehfooz fought a related case in 2008, asking the government to clarify its position on Indian films, since his father’s imported films Jhansi Ki Rani, Awara, Barsat and Bharat, had been suspended following the government ban in 1965. However, there was little conclusion to the debate surrounding Indian films. “It was impossible for the public to go to India at the time, but those with the right connections would go there and copy these films on tape. It wasn’t a question of who was doing it but of who wasn’t doing it,” adds Chaudhry. He implied that 26 6 the famed film Armaan starring Waheed Murad, was also a JANUARY 19-25 2014


copy of the Indian film Dil Tera Deewana. During the 1960s, Kabul became a frequently visited spot where many filmmakers would spend their weekends watching Indian films playing in cinemas and taking notes. The local screenwriters would then forge scripts for their Pakistani version. The situation became even more interesting as the signal from the television station in Amritsar, which screened Indian films, exposed the plagiarism of the Pakistani film industry in 1973. Dar recalls that by then the industry had developed a battered reputation due to the plagiarism and another battle had sprung up regarding banning of pirated tapes. In 1977, the producers pushed the government to stop the influx of Indian tapes, but the movement had little impact on the new government. The piracy question would never be addressed by the state. However, during the Zia regime, the regulations on Indian cinema increased significantly with the ensuing Motion Pictures Act of 1979 and then the Film Rules Act of 1980. The latter would explicitly refer to control of Indian content for the first time. The Islamisation era that promoted the idea of an Islamic culture also intensified the nationalist parameters of the debate for the public. For local filmmakers, on the other hand, the issue remained the same — that the industry must be protected.

Local cinema gaining momentum Petition filed challenging the alleged

with new filmmakers and films

Mehfooz Chaudhry files a case asking

smuggling of Indian films and their

emerging. Indian films remain an

the government to clarify its position



integral part of the distribution set-

on imported films from India from the



up and the idea of global cinema

pre-1965 era.

Lucman but was re-filed by Aslam Dar.







A game without rules The tug of war ensued for the next two decades until the decision by Shaukat Aziz to ease the regulations on Indian films in 2006. The decision had less to do with the India-Pakistan relationship and more with economic viability, and the added fact that the government could not regulate piracy in the country. Last year, the Pakistan Peoples Party government also attempted to form a national framework for Pakistani cinema, which was ironically based on the BJP’s Shining Indian model. To make matters worse, the initiative tried to use the half-baked plan of implementing it through the censor board, rather than developing a concrete apparatus to deal with the industry. So far, the current government has not laid out a concrete strategy to help the industry either, but is generally believed to accept the import of Indian films. Filmmaker Shahzad Nawaz feels that this attitude of apathy towards the industry is changing with a building consensus that film should be used as a form of soft power for the country. Hence, some form of clarity regarding the overall status of the industry is extremely important. “We are at a critical period in which a film renaissance is taking place, but the issue is that we have nowhere to go to address our complaints. I think that we are reaching the point, like in private media, where it can all unravel if we don’t make the necessary balanced changes,” says Nawaz.

seems to be changing.


The memorandum of understanding between the Pakistani Film Producers Association and Pakistan Film Exhibitors Association showed that in the absence of a clear stance by the state regarding Indian films, the local industry would have to find solutions on its own. But somehow that never was to be, since the original petition filed by Mubashir Lucman was taken back a few weeks ago. Dar re-filed the petition to ban illegal Indian films under the Film Directors Association banner. The tension between producers and exhibitors is an important one, which has evolved through the years, but the fundamentals remain the same — in the absence of viable Pakistani cinema, Indian films will always be a looming threat. The one thing that is certain is that the legal case will provide some sort of conclusion to an issue that has shadowed the country’s cinema since its existence. T Sher Ali is a culture reporter for The Express Tribune. He tweets @sherakhan46 JANUARY 19-25 2014


The city of good airs Top things to do and places to see in Buenos Aires TEXT AND PHOTOS BY MYRA KHAN

Buenos Aires, the capital of Argentina, could be South America’s answer to Europe with its dated architecture, vibrant culture and blossoming population of almost three million people. Buenos Aires, literally meaning ‘good airs’ in Spanish, mixes the best of the old and new world — as history is kept alive alongside a newer cosmopolitan diaspora. Located right at the mouth of Rio de la Plata, the city is soaked in beautiful graffiti and equally stunning porteños (Buenos Aires locals) which make it one of the most aesthetic spots in the world. San Telmo In San Telmo you will find a part of your soul that prefers times past. Though the area has many museums and vintage shops, the market on Sundays is what you must go for. At the stalls in the market square you will find antique earrings, lockets, glasses, pocket mirrors and other trinkets to your heart’s content. Books, used postcards and old journals of natives and travelers alike fill these stalls, giving you an option to find buried treasures. You will feel tempted to indulge in the used books just to run your hands through the rusty pages and feel what it must have been like to live in Buenos Aires 50 years ago. Once shopping is complete and the stalls start to close, the centre of the square comes to life as tango takes over. Old gentlemen, who you can only assume have tangoed their entire lives, invite tourists to join in for free on-the-spot lessons. It is definitely a place for you to lose your inhibition and let the music take over.

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Plaza de Mayo Plaza de Mayo is the centre of political life in Buenos Aires and subsequently the most famous plaza in the city. The famous Casa Rosada — the presidential palace and government house — is also located at this square, and has a museum which is open to all. Other famous buildings close by include the National Bank of Argentina, the metropolitan cathedral, the city hall as well as the Secretariat of Intelligence — the Argentine intelligence agency. In the 1970s during a right-wing military regime, hundreds of men and women went missing across Argentina, all without a name, face or trace. The ‘Mothers of the Plaza de Mayo’ is a famous movement of mothers whose children disappeared during the military era. Although their campaigning officially ended in 2006, some members still hold weekly marches on Thursday and important public holidays to remind people of the struggle against the regime. A white scarf is etched into the ground in the centre of the plaza to commemorate them. JANUARY 19-25 2014


Recoleta The area of Recoleta itself is a posh neighbourhood of Buenos Aires but it is mostly famous for its cemetery. This isn’t any ordinary cemetery though as the graves can rise as high as two storeys. Known as the graveyard for the rich and famous, it is often referred to as the cemetery city, as the lanes and rows of the rather large cemetery make you feel as if you are walking through a miniature city of the dead. Outside the cemetery however, a market is set up every weekend with stalls from local artisans. The stalls don’t carry antiques, but new clothes, jewellery and paintings that you can try to haggle down to the lowest prices. Street music, acting and dance performances fill the air and you can sit outside with a cup of Argentinian tea (sipped through a straw out of a cup full of leaves) to get the complete Buenos Aires experience.

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La Boca La Boca — ‘the mouth’ is famous for its colourful streets, restaurants and a passion for tango dancing. Originally known as the area where immigrants would arrive and settle as it was a small port, La Boca is now one of Buenos Aires’ top tourist sites. The neighbourhood is best known for its diversity. On one side you have the street museum known as the caminito, meaning little path or walkway in Spanish, famous for its buildings that seem to explode with colour. On the other side of La Boca you see a hardened, shipping dock which highly contrasts the caminito and is a reminder of the darker side of the neighbourhood, notorious for its street crime. The area also enjoys a vibrant football culture and is home to the Boca Juniors — a club where many players from the national Argentinian team come from. Much of the graffiti on the walls is football related, remembering the legends who have passed through the club. Most famously, a Maradona look-alike will pose with you in pictures for a mere 20 pesos (Rs319).

With mild temperatures all year round and everything from football to tango on the cards, a trip to Argentina should be on every travel zealot’s bucket list. Myra Khan works in the education sector and loves to write on the side. She tweets @myrakhan JANUARY 19-25 2014



The [million]nium


hildren display remarkable resilience — a virtue that Dr Anita Zaidi picked up while working with them. Humbled by the little ones

who smile even in the face of death, she has been engaged in a battle against infant mortality ever since she returned to Pakistan with her husband, neurologist and writer Saad Shafqat, from the US. And proudly counts her rewards in the smiles she leaves behind on her young patient’s faces.


A one-month-old child being treated for pneumonia.

Dr Anita Zaidi beats entries like Doctors Without Borders for a $1 million prize that will save countless young lives BY ISHRAT ANSARI PHOTOS BY ATHAR KHAN DESIGN BY ASIF ALI

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“I wanted to be a plastic surgeon, but when I entered medical college and began pediatric rotations, I felt it gave me so much happiness to see children on the mend. I [then] decided to become a pediatrician following [in] the footsteps of my mother,” she tells The Express Tribune. Today Zaidi is among the first batch of AKU’s medical college alumni. “My father encouraged me to [take] admission at the AKU at the time when the building was under construction as he worked near the campus and could see the magnificent architecture [which he] associated with [institutional quality],” she recalls. This was perhaps the most decisive moment in steering her career towards child health. As a medical student at AKU she developed an interest in community health with all students obligated to dedicate 20% of their time to aiding communities and suggesting plausible solutions to health concerns faced by many. It was as a crucial component of their degree requirements, and as a result Zaidi had the opportunity to work in Orangi Town, Grax colony and Essa Nagri. After graduating, she even worked in Gilgit and Chitral for a year in 1989. “That was the year I learnt the most about Pakistan and the problems children living in impoverished environments [face].” Upon her return from a decade-long stay in the US she joined the Aga Khan University (AKU) in 2002 and eight

years later became the head of the pediatric department in 2010. “I opted to work for the AKU because it offered [me] the freedom to pursue a research career dedicated to child health improvement in Pakistan.” Settling into her new role, Zaidi delved right into research which took her across Pakistan in search for communities in dire need of health assistance. She travelled to Karachi’s coastal communities including Rehri Goth and Ibrahim Hyderi, Hyderabad, Mattiari, Naushero Feroze and Thatta in Sindh, and many other parts of Punjab. And from her field research emerged a central discovery: “The biggest child health problem in Pakistan is the poor status of newborn care, leading to very high rates of deaths in newborns — one of the highest in the world.” When around 50% of the births in the country take place at home, what can one really do to save their lives is the major question posed by Zaidi’s research. “When these children become ill, hospitalisation for the families is

very difficult even if healthcare is free. [This is] because of [a] lack of facilities [available to] the mother and the family members accompanying her [at] the hospital,” she explains. “Also there is low faith in hospitals to save the baby’s life,” she reasons, identifying community-based healthcare programmes for sick newborns as the only solution to unnecessary hospitalisations. It’s this kind of sensible healthcare reform that won Zaidi ‘The Caplow Children’s Prize’, a $1 million grant to be awarded during the next three years to fight early child mortality in her proposed Rehri Goth, Karachi, which has a comparatively higher child mortality rate among all the places she has worked for. “About 11 children out of every 100 die before the age of five, and one woman out of every six living in the area has lost at least one child,” she states. The pediatrician participated in the contest financed by an American entrepreneur, Ted Caplow, to seek out innovative and cost-effective methods to save the lives of children in the area who are born in extreme poverty and suffer from malnutrition. Her proposal stood out among the other 550 submitted proposals from more than 70 organisations and individuals world over. The grant has taken her a step closer towards her goal of child health reform. “We will work to change people’s [attitude] towards planning for delivery [of babies], [secure a] transport emergency fund, [provide] nutrition support to expectant women, vaccines, and also impart an 18-month training to five women at AKU’s School of Nursing and Midwifery,” says Zaidi about her

I wanted to be a plastic surgeon, but when I entered medical college and began pediatric rotations, I felt it gave me so much happiness to see children on the mend A child being nebulised.

Dr Anita Zaidi

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A medical lab set up by the AKU maternity project.

One of the two lady doctors treating a patient.

Dr Anita Zaidi’s proposal for the Caplow Children’s Prize stood out among the other 550 submitted proposals from more than 70 organisations and individuals world over

plans for Rehri Goth, public health tool in where people spend the country when it most of their income comes to saving the on food and safe lives of children. While drinking water. “We refuting the idea that need to train young, the vaccines supplied indigenous women by the government are to deal with these not genuine, she says, situations because “Only WHO quality they live there and certified vaccines are understand [their] brought into the counneeds better than try and this process is anybody else,” she carefully regulated. It adds. is a shame that people Among other things, can pay Rs4,000 for Zaidi has also conone vaccine [at a] pritributed in the field vate hospitals but do of immunisation as a not want to utilise [the] member of Pakistan’s government’s free vacNational Immunisacines [from] the same tion Technical Advisory manufacturer.” Group. Unfortunately, Having devoted her only 29% of children life to child health are fully vaccinated in care, Zaidi is very clear Sindh which is also a Preliminary checkup facilities available at Rehri Goth. about the attributes leading cause for child of good practice. “Docmortality. According to Zaidi, by implementing three basic tors who have [a] positive outlook in life and [a] friendly initiatives on a national scale this rate can be brought down nature become pediatricians, as it is difficult for a nonby almost two-thirds. The proposed initiatives include in- friendly person to engage with kids,” she advices. And creased care during child birth, provision of nine essential with her personality characteristics fit for the trait, she is vaccines free of cost at the Expanded Programme of Immu- bound to shape the future of pediatrics in the country. T nization (EPI) clinics across the country and breastfeeding for children for at least three months. Ishrat Ansari works at The Express Tribune Karachi desk. 34 Zaidi believes that vaccines are the single most effective She tweets @Ishrat_ansari JANUARY 19-25 2014

A HISTORICAL EYE Jerusalem enshrined in pictures and a tale as old as time BY SANAIRA MONDEGARIAN

The history of Jerusalem, the Promised Land, is a long and harsh one — with barbed fences guarding the legitimacy of certain facts and access to vital pieces of information, not to mention parts of the land itself. But in Jerusalem — A Journey Back in Time, the author Iftikhar Salahuddin not only gives us a chronological tale of every battle siege, migration and revelation, but also visually captures the place that most of us can perhaps only dream of visiting. By interweaving its history, present and future, Salahuddin has composed a book that will instantly resonate with a lot of readers. The book tells the story of many through the account of one man who braved the visa offices, the shifty taxi-drivers and international picket fences to tell us that amidst conflict-ridden Israel, there is an array of monumental and historic sites that can spellbind many. The travelogue drips with details that can take you on a revealing journey through the city. A land of prophets, kings and messiahs, Jerusalem is known to many as a land of misunderstood intentions. Islam, Judaism Umayad Mosque in Damascus. and Christianity all hail from this region and for centuries, each faith has been attempting to establish its dominance. And to some extent, the outright hostilities of today can be traced to the past crusades. However, as Salahuddin paints a painfully honest picture of the atrocities carried out in the past and the present, he also shows the possibility of peace being offered to the people. His personal interaction with the inhabitants of the Holy Land are peppered with both heart-warming and upsetting experiences; a variety of individuals from varied backA statue of Salah al-Din just outside the Citadel of Damascus. Author Iftikhar Salahuddin. grounds squeezed together into small living quarters, with neither the option to escape nor the opportunity to grow. of depth and mysticism — a theme appropriate with the nature of In the book, Salahuddin also exhibits his photography skills the history narrated in the book. alongside his exquisite and balanced writing. A glossy picture is The book is a must-read for history lovers of all ages. Fresh bound to catch your eye on every page. By mastering the two in colour with a new light on old stories, it is great especially for essential skills that compose a successful book he provokes the young readers and an easy read for any lazy afternoon on a cold reader, and at the same time encourages one to think and explore winter day. the past without any former biases. Each chapter starts with a Sanaira Mondegarian is a Karachi-based writer studying humanities. 36 quote or a saying from the past, imbuing the book with an aura JANUARY 19-25 2014


Rock blues

Kings of Leon return after a three-year hiatus with an album that reminds listeners of their old spark BY FYEZ AHMED

Kings of Leon is a band that has very little to prove. Their first three albums, featuring a blend of Southern rock blues, had a dedicated cult following. Despite hailing from Nashville, Tennessee, the Mecca of Americana, they remained unnoticed by most Americans. The band was playing to thousands in the UK but still failed to evoke the same appreciation back home. Then something changed in 2008. They cut back on the moonshine and wrote about something other than having a good time at the rodeo. Only By The Night went platinum. The band got nominated for

Sounds like: Creedence Clearwater Revival’s John Fogerty jamming with Tom Petty, with Counting Crows’ Adam Duritz on vocals. Also check out: Only By The Night — Kings Of Leon August and Everything After — Counting Crows Green River — Creedence Clearwater Revival

multiple Grammys, and even won one for best rock performance. Then they sold out at Madison Square Garden. America had been resolutely broken. With Mechanical Bull, the sixth album by the three brothers and their cousin, one can sense that this is a band that has come to terms with its identity — a band that writes infectious, layered classic rock songs, drenched in the essence of the American south. When the first single of the album, Supersoaker, kicks things off, you notice a theme that continues through most of the songs in the album. It starts with a basic riff that gets piled on with layers until you reach the eventual swell of the chorus, before fading and gradually flickering out. One of the more upbeat tracks on the album, it rivals with Rock City as the song you would want playing in the background while on a road trip with your friends. Like most Kings Of Leon albums, this one too has tracks such as Wait For Me and Beautiful War that are just made for mix CDs. The rhythm of the songs along with

frontman Caleb Followill’s heart-wrenching vocals will force you to listen to each number multiple times. However, the album is not restricted to songs about heartbreak and pain and also features upbeat tracks like Dont Matter which has the band taking a page out of the Queens of The Stone Age book. Fuzz soaked guitars lead into a blistering solo, with a quiet contempt showcased in the lyrics, that remind one of their 2004 single Four Kicks. Mechanical Bull should not be confused as a return to form. Yes, 2010’s Come Around Sundown was disappointing but how do you possibly follow in the wake of Only By The Night? The only way of living up to the expectations was by creating an album like this one. Seasoned but not dated. Sensitive but not corny. Raw but not under-produced. I walk a mile in your shoes/I walk a mile away/And I’ve got your shoes. With prose like that what’s not to love?

Fyez Ahmed is a Dubai-based writer. He tweets @fyezeatscake JANUARY 19-25 2014



Weigh your Risk

Your child may be eating his or her way to a future coronary heart disease BY SEHRISH WASIF The rise of child obesity in Pakistan is directly linked to a new consumer culture and the influx of technology that entertains children with little or no physical movement. Cities across the country have also seen a boom in the fast food industry, with new burger joints and pizzerias opening by the week at every nook and corner. In comparison, there are barely any efforts to involve the youth in healthier sports. Cultural norms show that taking children to a fast food outlet has become fashion, and in some way a status symbol. Good grades, a birthday, or a minor celebration means going out to eat to the heart’s desire, without considering caloric requirements and consequences on the child’s health. Junk food is just as accessible at home, in fact only a call away with the option of home delivery at most restaurants and food outlets. Whether its convenience or out of habit, ordering in at home is fairly frequent too. “My children order pizza at least four times in a week. It happens because I usually reach home late and do not feel like going to the kitchen to cook something,” explains Saira Hussain, a working mother. Usman Khalid, a salesman at a famous fast food outlet in Islamabad confirms that most of their customers are of a younger age, “Seventy per cent of 38 home delivery orders JANUARY 19-25 2014

are being placed by youngsters”. The change in eating patterns and its impact on the younger generation has led to panic among health experts. “Every Saturday, I see at least four to five children who have gained weight due to eating fatty food,” says Dr Rezzan Khan, a consultant nutritionist at Shifa International Hospital. She attributes child obesity to factors such as genetics, medical conditions, habits, lifestyle and environment. With an alarming number of cases turning up at the nutritionist’s clinic, Khan feels there is a dire need to educate parents on eating healthy and the importance of a balanced diet for children. “While planning lunch box items for their children, parents should opt for food which is nutritious and not fatty. Teachers should keep an eye on what the students are bringing in their lunch boxes.” Her youngest obese patient is a twoyear-old boy who weighs 50kg. “He is unable to stand on his feet due to a heavy body and leans against the wall when walking.” Being obese not only weighs down a child mentally and

physically but also puts them at risk of developing high blood pressure, diabetes, constipation, joint pain, cardiovascular diseases and colon cancer in the future. The average caloric requirement of a child aged between five to ten years of age is 1,600 calories per day and increases to 1,800 calories per day for ages between 13-15 years. This can be maintained through a well-balanced daily diet including fresh fruits, vegetables, two wheat rotis, one glass of milk, one egg, dairy products and five to six ounces of meat (either mutton or chicken). Allowing room for fun, Khan says, “Fast food can be given just once a week.” According to health experts, encouraging children to exercise, play outdoor games or take up an activity like swimming, for half an hour every day instead of sitting in front of a computer or television can help reduce the risk of obesity drastically. T Sehrish Wasif is an Islamabad-based reporter for The Express Tribune. She tweets@SehrishWasif


The Express Tribune Magazine - January 19  

The Express Tribune Magazine for January 19th 2014

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