Pakistani hot Model Photo shoot in Fasilabad
Pakistani hot Model Photo shoot in Fasilabad
Pakistani hot Model Photo shoot in Fasilabad
Latest Dress Collection 2012
Latest Dress Collection 2012
Latest Dress Collection 2012
Latest Dress Collection 2012
The Culture of Pakistan
Pakistan, a country in Southern Asia, has a rich culture and heritage. Formerly, a part of 'Hindustan', Pakistanbecame an independent country on August 14, 1947. The highly traditional Pakistani culture borrows heavily from the cultures of different countries like the Arabs, Greeks, Persians, Aryans, Moghuls and the British. The neighboring countries of Pakistan, like Iran (in the west), Afghanistan (in the northwest) and India (in the east) also influence its culture.
Language
Although, English is widely spoken in Pakistan, Urdu is the official language. The other languages that are spoken in Pakistan are Punjabi, Sindhi, Pushto, Balochi, Hindko, Saraiki, Brahvietc.
Religion
The majority of Pakistan's population are Muslims and they follow the Islamic religion in a strict fashion. They offer namaz (prayers) five times everyday. Ramadan, the most important festival of the Muslims, is also considered as a sacred month. During this month, they fast from morning till sunset without drinking water and are strictly prohibited from smoking and consuming alcohol. The last day of Ramadan is Eid which is celebrated with great fervor with family and friends.
Islam is the major religion in Pakistan, but is not the only one. The minority population comprises Christians, Buddhists, Hindus and the Persians. Christmas (also the birthday of Ali Jinnah, first governor-general of Pakistan), Jashn-e-Baharan (spring festival celebrated by the Punjabis), Baisakhi Purnima (the birth date of Buddha) andNaoroz (Parsi New Year) are among some of the festivals celebrated in Pakistan.
Architecture
The architecture of Pakistan is miscellaneous, as every nation that invaded and settled in this country has left a mark on it. In ancient times, this Islamic country was a part of the Indus Valley Civilization and the architectures of Mohenjo Daro, Harappa and Kot Diji, are considered as the heritage sites.
One can also see the Buddhist monuments that were constructed during the time when Buddhism was prevalent in Pakistan. The advent of the Moghuls put an end to the Buddhist architecture. During this time, due to the influence of Greeks and Persians, there was an amalgamation of these styles in the architecture of the country which was known as the 'Greco-Buddhist' style.
The invasion of the Mughal empire led to the development of Islamic architecture. The Shah Jahan Mosque of Thatta is the first building that was constructed according to the principles of Mughal architecture. One of the very important monuments that came up during this period is the Badshahi Mosque. It was built during the rule of Emperor Aurangzeb, and is flanked by the magnificent Alamgiri gate.
Later, during the time of colonization, the constructions were majorly of Indo-Western style. Today, in the post-colonial era, we can see a mixture of all these styles along with the modernized structures.
Sports
Although, field hockey is the national game of Pakistan, cricket is a game that is followed with lot of passion. In recent times, even soccer has become popular among the people. The country also internationally represents in sports like swimming, boxing, shooting and athletics.
Art and Literature
Poetry is the most important form of literature in Pakistan. One of the most known exponent of Urdu poetry is Mirza Ghalib. He has written various poems in Urdu and Persian. His poems are still read and loved by Urdu and Hindi speaking people around the globe.
Pakistani literature is not restricted only to Urdu poetry. There is an embodiment of works written in English, Punjabi, Sindhi and Pushto languages. Also, there are Pakistani diasporic writers around the world.
Music is a primary interest of the Pakistanis. Qawwali, which was said to have been introduced by Amir Khusrau, is one of the most traditional forms of music that exists in Pakistan. Film, Urdu and Punjabi pop music is also popular among the people. Nowadays, it is blended with western music and this amalgamation has developed into a popular music genre.
The most popular entertainment medium in Pakistan are the television and the radio. Pakistan's film industry is referred to as Lollywood with a production of 40 motion pictures every year. Indian movies are also popular in Pakistan, although, it has been banned by the Government of Pakistan.
Social Culture
The Pakistanis are mostly conservative in nature. They follow a strict code of conduct. They live in a patriarchal family where the eldest male member is the head of the family. The elders are given lot of respect and their opinions are regarded with utmost importance while taking important decisions.
Although education is considered as a very important factor among the middle class people, most Pakistani women are not given the freedom to work. But nowadays, many joint families are disintegrating into nuclear families due to the social and economic limitations that are enforced by the joint family system.
Pakistan, is a country, that adheres to its traditional beliefs, values and customs especially in matters of religion. Although, the Pakistanis are deeply rooted in their cultural values, the nation is not lagging behind, with globalization affecting every part of the world. Westernization has embarked into the Pakistani culture which has paved the way for positive development.
Language
Although, English is widely spoken in Pakistan, Urdu is the official language. The other languages that are spoken in Pakistan are Punjabi, Sindhi, Pushto, Balochi, Hindko, Saraiki, Brahvietc.
Religion
The majority of Pakistan's population are Muslims and they follow the Islamic religion in a strict fashion. They offer namaz (prayers) five times everyday. Ramadan, the most important festival of the Muslims, is also considered as a sacred month. During this month, they fast from morning till sunset without drinking water and are strictly prohibited from smoking and consuming alcohol. The last day of Ramadan is Eid which is celebrated with great fervor with family and friends.
Islam is the major religion in Pakistan, but is not the only one. The minority population comprises Christians, Buddhists, Hindus and the Persians. Christmas (also the birthday of Ali Jinnah, first governor-general of Pakistan), Jashn-e-Baharan (spring festival celebrated by the Punjabis), Baisakhi Purnima (the birth date of Buddha) andNaoroz (Parsi New Year) are among some of the festivals celebrated in Pakistan.
Architecture
The architecture of Pakistan is miscellaneous, as every nation that invaded and settled in this country has left a mark on it. In ancient times, this Islamic country was a part of the Indus Valley Civilization and the architectures of Mohenjo Daro, Harappa and Kot Diji, are considered as the heritage sites.
One can also see the Buddhist monuments that were constructed during the time when Buddhism was prevalent in Pakistan. The advent of the Moghuls put an end to the Buddhist architecture. During this time, due to the influence of Greeks and Persians, there was an amalgamation of these styles in the architecture of the country which was known as the 'Greco-Buddhist' style.
The invasion of the Mughal empire led to the development of Islamic architecture. The Shah Jahan Mosque of Thatta is the first building that was constructed according to the principles of Mughal architecture. One of the very important monuments that came up during this period is the Badshahi Mosque. It was built during the rule of Emperor Aurangzeb, and is flanked by the magnificent Alamgiri gate.
Later, during the time of colonization, the constructions were majorly of Indo-Western style. Today, in the post-colonial era, we can see a mixture of all these styles along with the modernized structures.
Sports
Although, field hockey is the national game of Pakistan, cricket is a game that is followed with lot of passion. In recent times, even soccer has become popular among the people. The country also internationally represents in sports like swimming, boxing, shooting and athletics.
Art and Literature
Poetry is the most important form of literature in Pakistan. One of the most known exponent of Urdu poetry is Mirza Ghalib. He has written various poems in Urdu and Persian. His poems are still read and loved by Urdu and Hindi speaking people around the globe.
Pakistani literature is not restricted only to Urdu poetry. There is an embodiment of works written in English, Punjabi, Sindhi and Pushto languages. Also, there are Pakistani diasporic writers around the world.
Music is a primary interest of the Pakistanis. Qawwali, which was said to have been introduced by Amir Khusrau, is one of the most traditional forms of music that exists in Pakistan. Film, Urdu and Punjabi pop music is also popular among the people. Nowadays, it is blended with western music and this amalgamation has developed into a popular music genre.
The most popular entertainment medium in Pakistan are the television and the radio. Pakistan's film industry is referred to as Lollywood with a production of 40 motion pictures every year. Indian movies are also popular in Pakistan, although, it has been banned by the Government of Pakistan.
Social Culture
The Pakistanis are mostly conservative in nature. They follow a strict code of conduct. They live in a patriarchal family where the eldest male member is the head of the family. The elders are given lot of respect and their opinions are regarded with utmost importance while taking important decisions.
Although education is considered as a very important factor among the middle class people, most Pakistani women are not given the freedom to work. But nowadays, many joint families are disintegrating into nuclear families due to the social and economic limitations that are enforced by the joint family system.
Pakistan, is a country, that adheres to its traditional beliefs, values and customs especially in matters of religion. Although, the Pakistanis are deeply rooted in their cultural values, the nation is not lagging behind, with globalization affecting every part of the world. Westernization has embarked into the Pakistani culture which has paved the way for positive development.
“It is through dance and culture that we can connect”
Dancer, activist, and artist Sheema Kermani shares her thoughts and experiences with Muniza Agha-Fawad
Classical dance in Pakistan is closely tied with identity politics, projected by a section of society as “Indian” or “Hindu”. But for Sheema Kermani, dance is about empowerment and communicating, especially with women, in Pakistan.
Her mission is an uphill task in a country where subsequent governments have restricted the practice of many art forms through damaging policies and ideologies. These anti-culture campaigns have politicised the arts, crushing them regularly to ‘prevent’ vulgarity, to ‘promote’ Islam, and to forge Pakistan’s identity so as to distinguish it from India.
No art form is more politicised, made more taboo, or seen with more suspicion than dance. Given this situation, dance in Pakistan has become far more than artistic expression. Combine it with Tehrik-e-Niswan (Women’s Movement) and you get a culture-based action group focusing on human rights and women’s empowerment.
Founded in 1979 by Sheema Kermani, Tehrik-e-Niswan uses theatre, dance, music, and video productions to raise awareness about women’s and family health issues, domestic violence and rights. The group also uses street theatre with song and storytelling to reach the public directly, in an entertaining and engaging manner.
“In a country with low literacy, especially among women, theatre and performance art is a powerful, alternative form of education,” says Sheema Kermani. “Charity is important, but its ability to help is finite, whereas a cultural exchange or experience stays with a person, just like your education will always stay with you.”
I ask about her childhood, and what brought her to establish Tehrik-e-Niswan, expecting to hear that this artiste-activist was raised in a household of conscientious objectors capable of wielding paint-brushes.
Not quite. Her father was in the army, but “both my parents felt it important to expose us children to art, to bring out our creativity and fire our imaginations,” she says. The family lived in several cities due to her father’s postings around Pakistan before settling in Karachi. “As children we used to scrapbook, paint, make birthday cards, write poems. With our cousins at large family gatherings, we would put on plays and performances.”
In 1964, when she was around 14, her parents enrolled her at Mr. and Mrs. Ghanshyam’s Rhythmic Arts Centre, where she began learning yoga, dance, singing and music. This was in addition to going to a regular school.
I found this emphasis on arts education particularly striking given the tendency of Pakistani families to push their children towards the sciences, business and economics, even religious studies; rarely ever humanities or the arts.
But apparently, I have little idea what things were once like in Pakistan. Patiently, Sheema Kermani explains that her parents didn’t do anything unusual; Pakistan in the 1960s was comfortable with culture and arts. “People understood culture to be beyond religion. They saw culture as a connection to those around them from other religions or backgrounds.”
Things started to change after 1971, when East Pakistan became Bangladesh. “Until then, the Bengalis had influenced the arts in Pakistan. They ran many of the arts, dance and music academies in Karachi. When they left, their academies also closed. The Ghanshyams were also Bengali, but they didn’t leave in 1971. It was later that General Zia’s anti-minority laws drove them away.”
She always knew that she wanted to pursue the arts, but also that the life of an artist “could be a lonely existence. Dance was a form of creativity that I found to be less isolated”.
After studying Fine Arts at the Croydon College of Art, U.K., she came back to the Ghanshyams’ Centre, where she studied and taught dance for ten years. Then it was 1981, and she left for India to study dance professionally. She trained under the renowned dancer Leela Samson of the Kalakshetra and studied Odissi under Guru Mayadaur Raut at the Bhartiya Kala Kendra, returning to Pakistan in 1983. By then, the Ghanshyams were leaving the country. They asked her to take charge of the Rhythmic Arts Centre. Many students had already left; Sheema Kermani took on the few who remained. She returned to India to further study dance in 1988 with a scholarship from the Indian Council of Cultural Relations (ICCR), and trained under Gurus Aloka Pannikar and Ram Mohan.
Artists tie societies to their history and to their heritage, linking the diverse cultures within (and without), while giving voice to new ideas and opinions. Gen. Ziaul Haq’s predecessor, Prime Minister Z. A. Bhutto, had already introduced ‘Islam-based’ laws, but Zia’s “Islamisation” of Pakistan (1977 to 1988) created an oppressive environment that stymied and perverted the practice of art, especially dance.
As a woman, as an artiste, and as a Pakistani, Sheema Kermani witnessed the paradigm shift towards obscurantism and intolerance. At the height of Zia’s dictatorship, in December 1984, she held her first solo performance “at the home of a dear friend”. Only 100 people were invited but “three times that many showed up. My performance was in defiance of the regime; those who attended were also sick and tired of the regime and expressing their defiance.” The power of dance and the overwhelming response of that evening still electrifies her.
Society’s sense of ‘self’ is made possible by artists who ensure an awareness of its past, its presence, and its future. Over time, art provides society, a group of individuals, with a common, collective identity. Archaeologists and sociologists attribute the survival of our early human ancestors and the continued success of our species to this fostering of a collective identity. The establishment in Pakistan has long projected India as an existential threat to the country, whereas the serious threat to Pakistan really is the non-existence of any cohesive identity that brings its people together, and binds them with the Subcontinent.
Having witnessed the break-up of Pakistan and spent time in India, Sheema is keen to “...use dance to bring out the similarities and celebrate the diversity of Pakistan and of the Subcontinent”.
“I believe that it is through dance and culture that we can connect. Culture can unite us, and that is what we should promote and teach our children”. For example, the Indian Council of Cultural Relations, she points out, “was established by a Muslim cleric, Maulana Azad, who believed that schools and colleges should actively teach and promote art to children, throughout their academic careers”.
Through Tehrik-e-Niswan, Sheema Kermani attempts to establish a serious platform for the arts, especially dance. “Dance is an important part of heritage,” she asserts. “When people from different backgrounds find themselves living side by side in a new setting (such as Pakistan), the result is often a fusion of dance forms...”
So perhaps, the fusion of dancing styles is a metaphor for the emergence of that greater identity that Pakistan needs. And Sheema Kermani being who she is, is not one to dance around any issue, even one as major as Pakistan’s identity crisis.
Classical dance in Pakistan is closely tied with identity politics, projected by a section of society as “Indian” or “Hindu”. But for Sheema Kermani, dance is about empowerment and communicating, especially with women, in Pakistan.
Her mission is an uphill task in a country where subsequent governments have restricted the practice of many art forms through damaging policies and ideologies. These anti-culture campaigns have politicised the arts, crushing them regularly to ‘prevent’ vulgarity, to ‘promote’ Islam, and to forge Pakistan’s identity so as to distinguish it from India.
No art form is more politicised, made more taboo, or seen with more suspicion than dance. Given this situation, dance in Pakistan has become far more than artistic expression. Combine it with Tehrik-e-Niswan (Women’s Movement) and you get a culture-based action group focusing on human rights and women’s empowerment.
Founded in 1979 by Sheema Kermani, Tehrik-e-Niswan uses theatre, dance, music, and video productions to raise awareness about women’s and family health issues, domestic violence and rights. The group also uses street theatre with song and storytelling to reach the public directly, in an entertaining and engaging manner.
“In a country with low literacy, especially among women, theatre and performance art is a powerful, alternative form of education,” says Sheema Kermani. “Charity is important, but its ability to help is finite, whereas a cultural exchange or experience stays with a person, just like your education will always stay with you.”
I ask about her childhood, and what brought her to establish Tehrik-e-Niswan, expecting to hear that this artiste-activist was raised in a household of conscientious objectors capable of wielding paint-brushes.
Not quite. Her father was in the army, but “both my parents felt it important to expose us children to art, to bring out our creativity and fire our imaginations,” she says. The family lived in several cities due to her father’s postings around Pakistan before settling in Karachi. “As children we used to scrapbook, paint, make birthday cards, write poems. With our cousins at large family gatherings, we would put on plays and performances.”
In 1964, when she was around 14, her parents enrolled her at Mr. and Mrs. Ghanshyam’s Rhythmic Arts Centre, where she began learning yoga, dance, singing and music. This was in addition to going to a regular school.
I found this emphasis on arts education particularly striking given the tendency of Pakistani families to push their children towards the sciences, business and economics, even religious studies; rarely ever humanities or the arts.
But apparently, I have little idea what things were once like in Pakistan. Patiently, Sheema Kermani explains that her parents didn’t do anything unusual; Pakistan in the 1960s was comfortable with culture and arts. “People understood culture to be beyond religion. They saw culture as a connection to those around them from other religions or backgrounds.”
Things started to change after 1971, when East Pakistan became Bangladesh. “Until then, the Bengalis had influenced the arts in Pakistan. They ran many of the arts, dance and music academies in Karachi. When they left, their academies also closed. The Ghanshyams were also Bengali, but they didn’t leave in 1971. It was later that General Zia’s anti-minority laws drove them away.”
She always knew that she wanted to pursue the arts, but also that the life of an artist “could be a lonely existence. Dance was a form of creativity that I found to be less isolated”.
After studying Fine Arts at the Croydon College of Art, U.K., she came back to the Ghanshyams’ Centre, where she studied and taught dance for ten years. Then it was 1981, and she left for India to study dance professionally. She trained under the renowned dancer Leela Samson of the Kalakshetra and studied Odissi under Guru Mayadaur Raut at the Bhartiya Kala Kendra, returning to Pakistan in 1983. By then, the Ghanshyams were leaving the country. They asked her to take charge of the Rhythmic Arts Centre. Many students had already left; Sheema Kermani took on the few who remained. She returned to India to further study dance in 1988 with a scholarship from the Indian Council of Cultural Relations (ICCR), and trained under Gurus Aloka Pannikar and Ram Mohan.
Artists tie societies to their history and to their heritage, linking the diverse cultures within (and without), while giving voice to new ideas and opinions. Gen. Ziaul Haq’s predecessor, Prime Minister Z. A. Bhutto, had already introduced ‘Islam-based’ laws, but Zia’s “Islamisation” of Pakistan (1977 to 1988) created an oppressive environment that stymied and perverted the practice of art, especially dance.
As a woman, as an artiste, and as a Pakistani, Sheema Kermani witnessed the paradigm shift towards obscurantism and intolerance. At the height of Zia’s dictatorship, in December 1984, she held her first solo performance “at the home of a dear friend”. Only 100 people were invited but “three times that many showed up. My performance was in defiance of the regime; those who attended were also sick and tired of the regime and expressing their defiance.” The power of dance and the overwhelming response of that evening still electrifies her.
Society’s sense of ‘self’ is made possible by artists who ensure an awareness of its past, its presence, and its future. Over time, art provides society, a group of individuals, with a common, collective identity. Archaeologists and sociologists attribute the survival of our early human ancestors and the continued success of our species to this fostering of a collective identity. The establishment in Pakistan has long projected India as an existential threat to the country, whereas the serious threat to Pakistan really is the non-existence of any cohesive identity that brings its people together, and binds them with the Subcontinent.
Having witnessed the break-up of Pakistan and spent time in India, Sheema is keen to “...use dance to bring out the similarities and celebrate the diversity of Pakistan and of the Subcontinent”.
“I believe that it is through dance and culture that we can connect. Culture can unite us, and that is what we should promote and teach our children”. For example, the Indian Council of Cultural Relations, she points out, “was established by a Muslim cleric, Maulana Azad, who believed that schools and colleges should actively teach and promote art to children, throughout their academic careers”.
Through Tehrik-e-Niswan, Sheema Kermani attempts to establish a serious platform for the arts, especially dance. “Dance is an important part of heritage,” she asserts. “When people from different backgrounds find themselves living side by side in a new setting (such as Pakistan), the result is often a fusion of dance forms...”
So perhaps, the fusion of dancing styles is a metaphor for the emergence of that greater identity that Pakistan needs. And Sheema Kermani being who she is, is not one to dance around any issue, even one as major as Pakistan’s identity crisis.
Reema khans's Rukhsti and photo
RICHMOND: Lollywood Barbie doll Reema Khan, the bride and Dr. Tariq Shahab, the bridegroom attired in their traditional wedding dresses arrived at the ‘Rukhsati’ ceremony being held at Tysons Corners local hotel in the US State Virginia, Geo News reported.
Reema Khan had officially tied knot with the American cardiologist surgeon Dr. Tariq Shahab Wednesday in Virginia court. Sources said the Nikkah took place at a local court in Virginia according to American law, while ‘Rukhsati’ ceremony is underway today at Tysons corner’s local hotel.
Besides the relatives of the bride and bridegroom’s families, friends also attended this ceremony. Conspicuous among those was Lollywood actress Meera who had specially arrived for attending this event.
Reema a mix of beauty and brain, who ruled the Pakistan film industry for nearly two decades, talking to Geo News said that she had left the film industry 8 years ago and now she is focussed on TV shows. Reema said that her 'Walima' ceremony would be held in Lahore.
Reema Khan had officially tied knot with the American cardiologist surgeon Dr. Tariq Shahab Wednesday in Virginia court. Sources said the Nikkah took place at a local court in Virginia according to American law, while ‘Rukhsati’ ceremony is underway today at Tysons corner’s local hotel.
Besides the relatives of the bride and bridegroom’s families, friends also attended this ceremony. Conspicuous among those was Lollywood actress Meera who had specially arrived for attending this event.
Reema a mix of beauty and brain, who ruled the Pakistan film industry for nearly two decades, talking to Geo News said that she had left the film industry 8 years ago and now she is focussed on TV shows. Reema said that her 'Walima' ceremony would be held in Lahore.
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Rehearsal Pictures of lux style awards 2011
Rehearsal Pictures of lux style awards 2011
Rehearsal Pictures of lux style awards 2011
Lux Style Awards 2011 hot Photo shoot
Lux Style Awards 2011 hot Photo shoot
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