Bilquis Edhi

by Faisal Abdulla

In Newsweek International’s Special Edition Oct-Dec 2003, Ron Moreau has praised the Edhi Foundation to the skies for adopting the destitutes in Pakistan and thus filling the gap left by the government’s failure on this front. He goes on to list the achievements of the Edhi Foundation under the patronage of Abdul Sattar Edhi; “His Edhi Foundation operates the world’s largest volunteer ambulance service. In addition, Edhi’s staff runs a missing-persons hot line and more than a dozen homes for orphans, the homeless, battered women, the mentally ill and drug addicts. He has set up literacy-training courses for all ages, free medical clinics and a soup kitchen that serves 1,000 free meals a day.” Reading about this list of accomplishments, one wonders how much of it would have been possible had Bilquis Edhi not joined hands with the ‘maulana’ (as Abdul Sattar Edhi is fondly called by people close to him) when she did back in 1965.

At that time Edhi Foundation at Mithadar, the old city district of Karachi, was no more than a dispensary where just a handful of nurses provided medical aid to those in need. Many of the nurses who worked there came from Hindu or Christian families. Muslim families generally did not consider nursing a suitable profession for girls. With time a number of the nurses left the centre and Edhi sahib felt the need to induct more nurses to fill the gap. He hired several new nurses, one of whom was Bilquis Edhi.

She was studying at the time and had recently sat for her 8th grade examinations. She wasn’t very fond of school and wished instead to join the recently set up Edhi nurses training centre at Mithadar. It was a six month training program where disciplines such as midwifery and basic healthcare were taught to women who joined the program.

Her enthusiasm, response and interest during her training made her stand out from among her colleagues. Edhi sahib took notice of her at an early stage and put her in-charge of the nursing department. Later, Edhi sahib proposed to her for marriage and the two were married in April 1966. Bilquis was seventeen years old.

After being given charge of the nursing section, other women specific departments such as the maternity home section and child adoption also became her responsibilities. Since then a number of destitute women have been given shelter, raised and trained by the Edhi Foundation under the supervision and guidance of Bilquis Edhi. Widows and girls in distress who come to the hospital are trained in midwifery.“It is a 12-month course during which they are paid rupees 1000 to 1500 [per month]. Later, Bilquis refers them to good institutions as she frequently receives requests for hardworking girls. There they earn at least Rs 3000 [per month as starting salary]. In the article “Women must be skilled to earn their livelihood”, The Nation, 8th March, 2002, Bilquis proudly recalls one such girl, who had joined another hospital and donated Rs 100 to Bilquis. “I was so pleased, it seemed to be Rs 1 one lakh (hundred thousand) for me,” she said while expressing her satisfaction.

Unwanted infants that are left at Edhi emergency centers are are given shelter and cared for at Edhi homes. These children are then handed over for adoption to couples in need. Bilquis Edhi personally meets and conducts interviews with the prospective adopting parents. The background of the prospective parents is thoroughly checked. So far more than 14,700 children have been adopted through the Edhi Foundation after personal approval from Bilquis Edhi.

Besides lending tremendous support to Edhi sahib’s cause, Bilquis Edhi has also brought with her added value in terms of her ability of identifying new areas of public welfare thus adding to the number of services offered at the Edhi Foundation. The ‘Highways Project’ includes paramedical staff equipped with emergency ambulance service at Edhi Centers located every 25 Kms along the Karachi-Peshawar highway; it was the brainchild of Bilquis Edhi, according to Anwar Kazmi, Edhi sahib’s personal secretary. Apparently, on one of her trips to Europe, Bilquis had observed such an arrangement on the highways there and thought the need was there for a similar arrangement in Pakistan. “[Besides providing] ambulance service at nominal charges, [there is a] facility for vaccinating new-born babies and children against diseases, and other welfare services. The dispensary and mobile dispensary at each centre cater for medical assistance to approximately two hundred and fifty patients daily.” (Edhi: Breaking the silence, 2000, Abdul Sattar Edhi Foundation)

With Edhi sahib now mainly looking after the financial aspects of the organization, the burden of administrating and co-ordinating the daily activities of the Edhi Foundation (especially the Women’s wing) rests squarely on Bilquis’s shoulders. Edhi sahib himself has publicly credited Bilquis with being responsible for no less than 70% of Edhi Foundation’s achievements. Thus, it does not come as a surprise that Bilquis is currently being considered for the UNICEF award for Women’s Welfare Work. Besides this, she already has a number of awards to her credit handed to her by various organizations, such as, The Rotary Club Award and The 1986 Ramon Magsay Award for public service (Phillipines).

To Bilquis Edhi, the most cherishing moments for the services she has rendered would no doubt be the ones that have gone unnoticed in the public domain. Two such instances according to Anwar Kazmi are as follows:

“There was a function at the Liaquat National Library and Bilquis was invited. She asked me to accompany her to this function. Shortly after the function got started, a 10-11 year old girl went on stage and started singing. Bilquis remarked how pretty the girl was. A short while later a lady approached her and told her that she had adopted this girl from her at the Edhi Centre eleven years ago.”

“A lady doctor came to me and said she wanted to meet Bilquis. She must have been around 35 years of age. She had two children with her and was crying profusely. Bilquis at the time wasn’t around so I asked her to confide in me whatever it was she wanted to say to Bilquis. She told me that 30 years ago Bilquis had set me up for adoption - my parents (who adopted me) took me to America. They looked after me, educated me and I became a doctor. When they were dying they told me for the first time that I was actually adopted and now that they are dead I believe that Bilquis is my mother. I have come from America just to meet my mother.” (Translated from Urdu)

Bilquis has had a long, fruitful, and rewarding association with the Edhi Foundation. Her contribution in administrating, training, as well as her personal involvement in looking after both the staff of the Edhi Foundation and the destitutes that are being cared for at the institution, has been appreciated by all at the Edhi Foundation. Perhaps the greatest tribute comes from the ‘maulana’ himself, who has seen her work more closely than anyone else at the institute. When asked to elaborate on the kind of support Bilquis has provided him and to the Foundation, Edhi sahib remarked, “ When I married her we did not become one plus one equals to two (1 + 1 = 2), instead we became one plus one equals to eleven (1 + 1 = 11).” (Translated from Urdu)

Reminiscing Nazia

I vaguely remember our family gathering in the summer of 1985. Many of our relatives from the province of Punjab came to visit us in Karachi. It was a family tradition. Every other year either we would go to visit them or they would come to Karachi to spend a few weeks with us. It was one of those summers and I was hanging out with a couple of my older cousins in our balcony which faced the beach. Having survived three previous hot summers in Karachi I knew the value of the cool breeze that would rise from the sea and hit our balcony. We were chatting and listening to Michael Jackson’s ‘Thriller’ on my very first stereo. It was then when one of my cousins mentioned a song called ‘App jaisa koi meri zindagi mei aay’ (‘If someone like you comes into my life’) by a female artist named Nazia Hassan. I had no idea whom he was talking about. Nevertheless they popped in her cassette and hit the play button. I listened to the song and within a few seconds into it, I felt the melodious beat overcoming the hot summer day and the cool breeze that came from the sea. That was my first introduction to the queen of pop!

Nazia Hassan (Image from getPakistan.com)

‘App jaisa koi’ was a hit single featured in the 1980 Bollywood movie, Qurbani. The song took South Asia by storm and Nazia, who was only 15 years old, became a star overnight. This was soon followed by her debut album Disco Dewane which also featured her brother Zoheb Hassan. The album was an instant hit. Pakistani and Indian youth welcomed this new and fresh style of music and singing with open arms. The incredible success of the album signaled one fact clearly: The sibling duo was here to stay and South Asia would be singing their tunes for a long time.

Nazia Hassan was born in 1965 in London to an affluent Pakistani family. As a kid she used to sing around the house with her brother. She was gifted with this incredible nasally voice that was plain yet intriguing. Music was simply a hobby for her and she had never considered singing as a career choice. She didn’t arrive at the crossroads of her musical journey until she met Biddu, a British-Indian composer. He was really impressed by the nasally quality of her voice. After discussing his thoughts with Feroz Khan the director and star of Qurbani, Nazia was asked to sing what would become her history-making song, ‘Aap jaisa koi.’ And that was it, her crossroads, and she chose the path that began her musical adventure.

Released in 1980, the title track from Disco Diwane was a number one hit not only in South Asia but also in a few countries in South America and the Middle East. Both the audio and video albums made record sales in India. However, Pakistani media took some time to accept this non-traditional style of singing and dancing. Pakistan Television (PTV) was reluctant to put these edgy and bold videos on air as the Pakistani television audience at the time was not used to disco/pop genre. It wasn’t long before they were able to see the Pakistani youth going crazy over the audio album and the success of the music videos in India. The videos were aired in 1981 and they were a blast. The “disco deewane mania” took over the country and Nazia and Zoheb Hassan became household names. Jinnah’s land was finally introduced to pop music.

Nazia and Zoheb Hassan (Image from PakistaniMusic.com)

The duo released another album ‘Boom Boom’ the same year. The songs from this album were featured in another Bollywood movie, ‘Star’. The movie didn’t do very well but the songs made history yet again. It was time for young Pakistanis, who only had Alamgir, Sheki and Naheed Akhtar as their listening choices, to get accustomed to the music of Nazia and Zoheb. And they did. Nazia and Zoheb Hassan became superstars in both countries. They were on TV talk shows, on the cover of magazines, on radio and on everyone’s lips. Historically India and Pakistan had a very unstable and dangerous relationship since their independence from the British rule. Both countries have had a really tough time in getting along with each other. Thus it was refreshing to see the youth in both countries singing the same tunes.

The Hassans released two more albums, ‘Young Tarang’ and ‘Hotline’ in 1985 and 1987, respectively. Both were hit albums. The siblings loved what they were doing and the audience simply wanted more. It wasn’t just one particular thing about their songs or their style of music. It was a combination of factors. The lyrics were provocative, energizing, exciting, intriguing and listeners were able to relate to them. Nazia’s nasally voice, MTV style videos and disco/pop music all played into what felt like a cultural revolution.

Razia Bhatti

by Laila Kazmi

Razia Bhatti has been described as a crusader, a torch-bearer, and a symbol of courage. In 1996, the Pakistan Press Foundation called her untimely death at the age of 52 an "end of a golden chapter of journalism in Pakistan." For those who attempted to silence Pakistani press, Razia Bhatti was undoubtedly a force to be reckoned with during her almost thirty-year long journalistic career. Despite constant harassments and threats to her safety, she wrote bravely on issues ranging from women’s rights to political corruption. She nurtured two of Pakistan’s leading English language publications, as editor of the Herald for 12 years and then of Newsline for another eight. In 1994, less than just two years before her death, Razia Bhatti was a recipient of the “Courage in Journalism” award from the New York based International Women's Media Foundation.
Razia Bhatti first entered professional journalism in 1967 when she joined The Illustrated Weekly of Pakistan after completing her Master's degree in English and Journalism from Karachi University. The lifestyles magazine she joined was later renamed Herald and turned into a monthly publication reporting on current events and political issues. In 1970, Razia Bhatti became the assistant editor of Herald and then became editor in 1976.
Shortly, thereafter, General Zia-ul-Haq took over the country in a military coup. A period of repression and censorship followed as Zia used religious fundamentalist rhetoric to strengthen his grip on power. Not one to be easily intimidated, Razia continued her valiant reporting. "General Zia once got so infuriated that he waved a copy of her article at a press conference and said he would not tolerate such journalism," recalls Beena Sarwar in her article, “Razia Bhatti and Najma Babar: Two Champions of Independent Journalism in Pakistan.”
Since early in her history, Pakistan has had the misfortune of being run, democratically or undemocratically, by corrupt or self seeking politicians and feudals. Little economic progress has been made and the literacy rate remains among the lowest in the world. The result has been an atmosphere where corruption, bigotry, and intimidation of press and human rights activists are the norm. To speak up against injustice and the ruling elites in such an environment is no small achievement. Razia Bhatti did just that.
When pressured to curb her writing and support the policies of General Zia's regime, Razia resigned from the magazine on an ethical stance. Most of her team of journalists resigned with her and together they established a new current affairs magazine called Newsline. In July 1989, the first issue of Newsline was published with an editor’s note written by Razia which began, “Forty-two years down the road from independence, this nation seems to have bartered away the promise of its birth. To a whole generation of Pakistanis, fear, violence, authoritarianism and deceit represent the norm, for they have known no other.”
Newsline which started on a meager budget, under Razia Bhatti’s editorial ship, soon became a competitor to other well known English language publications like the Herald itself. Newsline covered a wide range of stories including drug trade, corruption by politicians and financial institutions, religious persecution, and abuse of women’s rights.
In December 1994, Newsline published a story about then prime minister Benazir Bhutto’s inaction in stopping the rampant riots, killings, and looting which became daily occurrences, terrorizing the population of Karachi, one of Pakistan’s largest cities. Benazir responded to this criticism by banning Newsline from all Pakistan International Airline flights. This action of the government did little to quiet the Newsline journalists and in the months that followed, Razia and her staff continued reporting on the flaws of Benazir’s government including its foreign policy, the methods government used to finally respond to the Karachi violence, its stringent policies designed to weaken the press, and the taxation system which allowed the richest of the population to get away with paying little or no tax while the average working public carried almost the entire burden of taxation.
Even after she received international recognition, the Pakistani politicians did not stop harassing her when she exposed their misuses of power. In August 1995, police raided Razia Bhatti’s home in the early morning hours demanding her appearance at the police station regarding a criminal case filed against her. The case was brought about by then Sindh Governor, Kamal Azfar, in retaliation for a story published about him in Newsline. The news of the raid on Razia’s house resulted in protests from journalists and human rights activists from across the country, following which Kamal Azfar retreated and completely withdrew all charges against Razia and the journalist who wrote the story.
Through her integrity and dedication, Razia Bhatti contributed much to the Pakistani society. She furthered the cause of women's rights by proving that a woman is as capable of earning a respected spot in serious journalism as the toughest of her male counterparts. She also reinforced the importance of free press and journalistic integrity in a country where honesty and free speech are often overrun by corruption and fundamentalist ideals. The examples she left us through her writing, serve as inspiration to speak up against repression and question the leaders whose actions do not follow their rhetoric and who use public service position for personal gain.
Razia's willingness to question powerful government officials without fear is the reason that respected Pakistani philosopher and author, Eqbal Ahmad, wrote in his tribute to Razia Bhatti, "She was always in official disfavor. She understood better than most of us, that the relationship between power and the press must necessarily be adversarial if the latter is to fulfill its professional and moral obligation to the public." It is a lesson which much of the world’s press has yet to learn.
In the first issue of Newsline Razia Bhatti wrote, “The press in Pakistan shares the guilt of this nation’s state. It has been silent when it should have spoken, dishonest when it should have been forthright, succumbed when it should have stood fast.” Had she been alive to witness the state of the world today, one wonders what Razia Bhatti would have to say about the role of the press, not just in Pakistan, but in the largest of the Western nations. The volatile state of world politics today demands that the press of every free nation, in the East and West, must carry out its duty and hold accountable the elected and non-elected leaders and remind them again and again that the people of their nations want to live and prosper in peace.
In her efforts to speak to the conscience of those she reprimanded in her articles, Razia did not merely rebuke, she also reminded them of their abilities and laudable qualities. In the same Newsline editorial as mentioned above, Razia continued, “Yes, like this nation, the press retains the strength to rise above its weakness… We can see reality yet refuse to abandon hope.” Perhaps it is this hope which drove her to work passionately for the remainder of her years and which still guides the principles of the magazine she helped form.
Of his first impression of Razia Bhatti, Eqbal Ahmad wrote, "She will crash, I had thought then, or else she will help transform journalism in Pakistan. She did both." Razia Bhatti used her pen to fight oppression and this constant battle eventually took its toll on her. She died of a brain hemorrhage in 1996 leaving behind a husband, two children, and thousands of admirer

Reviving the Pakistani Cinema, One Film at a Time

Produced by Mehreen's father, Javed Jabbar, Ramchand Pakistani is a fictionalized account of a real-life story of a Pakistani father and son of the Hindu dalit (untouchable) caste, living in the desert village of Bhimra near the Pakistan-India border. In 2002, as tensions between the two countries flare up following an attack on the Indian Parliament, eight-year old Ramchand (Syed Fazal Hussain) and his father, Shankar (Rashid Farooqui) inadvertently cross the marked but open border into India. The pair is immediately arrested and jailed by Indian security on suspicion of being spies. While the father and son spend years in prison (with an older Ramchand being played by Navaid Jabbar – no relation to the director), the mother, Champa (Nandita Das), struggles at home, awaiting their return. The screenplay is written by Mohammad Ahmed.
Das is of course the versatile Indian actress of Fire and Earth fame. Jabbar has put together a talented cast, which includes several well known actors from Pakistani television. Maria Wasti is Kamla the feisty prison officer, Noman Ijaz is the interloper Abdullah, who admires Champa from afar, and Shahood Alvi is the officer in-charge of the Indian prison.
Even though the protagonists of Ramchand are Pakistani Hindus wrongfully jailed in an Indian prison, this film is not about religion and not even about political ideologies. Instead, the film is about people and bonds forged out of circumstances. There are strong women characters and no unnecessary plot-twists. Mehreen, who was present at the SIFF screening, described the film herself as “a simple story of a family torn apart through no fault of their own.”
If you are looking for a hard-hitting film on the lives of prisoners in Indian or Pakistani jails, that is not this film. Here the prison is a bit too clean, the guards a bit too likeable, and the prisoners a bit too accepting of their grossly unjust fate. And perhaps the least interesting thing about the film is its unoriginal title. A film so beautifully done deserved a more intriguing title. But don't let that distract you.
Even in its soft representation of a troubling issue lies one of the strengths of the film. Ramchand focuses on the human similarities that draw us together even under adverse circumstances. In a way, the Indian prison guards holding the innocent prisoners are as much at the mercy of the system as the prisoners themselves. Resulting from decades of antagonism and suspicion between the two neighboring countries, the system of course is likely the same on both sides of the border.
Through the story of Ramchand and Shankar, Mehreen aptly brings attention to the plight of hundreds of innocent people held in both Indian and Pakistani jails in border-crossing cases, often forgotten in the system for many, many years. Although, here the protagonists are Pakistanis jailed in India , the film makes a point to remind us of the similarly situated innocent Indians jailed in Pakistan . Bollywood addressed this topic, though less directly, in a typical song-and-dance love-story, epic hit ‘Veer Zaara' in 2004.
Unlike Mehreen's short films and teleplays, which tend to consist of a small number of cast members – sometimes even just two, Ramchand is filled with a variety of characters. There are the cellmates with whom Shankar and Ramchand spend their years of imprisonment, the Indian prison guards, and the villagers back home in Pakistan . Each of the characters, the protagonists and a handful of supporting characters, is uniquely human with individual idiosyncrasies. It is a sign of a skilled director, when all the actors fit into their roles naturally as they do here.
On that note, all of the actors in this film, from supporting to the protagonists deserve credit for their fine performances. Child actor, Syed Fazal Hussain, playing the younger Ramchand, is superb as he very naturally portrays a range of emotions – childish curiosity, anger, fear, and longing. The 12-year Navaid Jabbar, playing the older Ramchand, is a newcomer with an endearing smile. To Mehreen's credit, the transition between the two actors is so craftily done that it is tempting to believe that we are actually watching the same child develop into an adolescent. Of course, the alluring Nandita Das shines in her role as usual. Among the cellmates, the political activists Sharma (Adnan Shah) and Vishesh (Saleem Mairaj), who has lost his mind from being locked up for some ten years, make a lasting impression.
The cinematography is beautiful. Sofian Khan captures the desert skyline of the Thar in riveting wide shots, making it a film worth watching on the big screen. The musical director is India 's Debajyoti Mishra, whom Jabbar recruited after being impressed with his work for the Indian film Raincoat . And with lyrics by the renowned Pakistani writer, Anwar Maqsood, performed by Shafqat Amanat Ali and the Indian singer, Shubha Mudgal, the film is a truly collaborative effort between Indian and Pakistani artists - a recent phenomenon that seems to be occurring with an increasing frequency. Mehreen's co-editor, Aseem Sinha, is also from India .
Pakistan 's once-strong film industry has suffered from severe neglect and lack of funding over the past thirty years, making television the primary source of entertainment. Ramchand is the latest among a sporadic number of films marking a slow but hopeful re-emergence of a viable film scene in the country. While the talented Sabiha Sumar raised the standards high with her finely directed Khamosh Pani , films like Raat Chali Jhoom Kay ( A Long Night ) (2001) by Hasan Zaidi and last year's super hit among Pakistani audiences around the world, Khuda Kay Liye (In the Name of God), were refreshingly bold and non-formulaic. Still, despite its relevant subject, Khamosh Pani didn't get a theatrical release in Pakistan , and Raat and KKL could not compete on an international scale. Raat , about a young man's late night adventure in a seedy part of the busy city of Karachi , was an all-too-obvious low budget production. KKL tells the story of two musician brothers from Pakistan who take two very divergent paths. One comes to America to attend a music school, only to suffer dire consequences in a post-9/11 America, while the other is persuaded by zealots to join the ‘jihad' in Afghanistan. Even with a much higher production quality and being credited with bringing the mainstream audiences back to the theaters in Pakistan , KKL suffered from some very weak acting by some of the cast members. A small number of short films by Pakistani filmmakers screening at various festivals over past several years have also been signaling the talents that are yet to emerge.
After the commercial success of KKL in India and Pakistan last year, Ramchand is now the second Pakistani film to have a theatrical release in India. As for the audiences in Pakistan, release of Ramchand has given them another reason to return to the theaters.
This film is yet another sign that the Pakistani indie filmmakers may yet succeed in reviving the country's ailing film industry and competing in the international film scene.
Mehreen Jabbar currently divides her time between Pakistan and the United States. More on the film at: http://www.ramchandpakistani.com.

film review jazbah

August 2008
For those who have been following the recent slow but promising trend of indie films from Pakistan, watching Mehreen Jabbar's feature-length debut, Ramchand Pakistani, is a thrilling experience. Recently released in Pakistan, the film premiered earlier this year at the Tribecca Film Festival in NYC then played at the Seattle International Film Festival and the Osian's Cinefan Film Festival in New Dehli. It is perhaps only the second Pakistani feature to make it to major international film festivals.
The first was of course the much-celebrated Khamosh Pani (Silent Waters) of 2003. And for those of us who have since been patiently awaiting another quality film by a Pakistani director, Mehreen Jabbar has just provided a reason for excitement. Ramchand Pakistani is skillfully directed, beautifully shot, well acted and offers a moving sound track.

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