European Union team to train CAA officials
In a first, a team of European civil aviation authorities will visit Pakistan next week to train Pakistan's civil aviation security regulators.
According to a spokesperson of the Civil Aviation Authority (CAA), the team comprising two members will provide training to the regulators on the Explosive Trace Detection (ETD) and Explosive Detection Dog (EDD) as per European standards.
These trainings will be held at Islamabad International Airport.
The ETD training involves learning how to operate explosive trace detection equipment used in airports and security zones. The EDD training refers to the training of canines (dogs) and their handlers to detect explosives using scent.
In civil aviation, the ETD and the EDD training are crucial parts of aviation security protocols to prevent the transportation of explosives through air travel.
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Express Tribune
7 hours ago
- Express Tribune
From hymn books to hashtags
In the region of Pakistani Punjab, particularly in urban centre's such as Lahore, Sialkot, Sheikhupura, and Faisalabad, Christian hymnody has undergone a transformative process, emerging as a hybrid and multilingual artistic expression. This music serves as a mediator of memory, power, and resistance, reflecting the interplay of historical, linguistic, and technological shifts. Originating from 19th-century colonial missions, this music has undergone a metamorphosis, bearing the imprints of British religious structures, vernacular adaptations, and the advent of digital expression. In contemporary Pakistan, worship music transcends its traditional role of accompanying liturgy. It assumes the roles of theological witness, cultural repository, and political voice. Drawing upon Homi K. Bhabha's concept of 'Third Space,' theories of cultural memory, liturgical inculturation, and the burgeoning field of sonic theology, this article delves into the ongoing renegotiation of identity and place by Punjabi church music. From the rendition of Psalms in ragas to the creation of Instagram worship videos, this music has consistently reimagined its boundaries and positioned itself within a broader cultural context. Following the British annexation of 1849, missionaries from Presbyterian, Anglican, and Methodist denominations commenced arriving in Punjab. Initially, prominent centre's of mission activity were established in Ludhiana, Jalandhar, and Sialkot, where English hymnals and pipe organs were introduced into educational institutions and religious settings. By 1854, Ludhiana had emerged as a hub for Bible translation efforts, overseen by the American Presbyterian Mission. These missionaries introduced a European musical landscape characterised by rigid hymn structure, translated liturgy, and choral singing. Additionally, they introduced the harmonium, a portable reed organ manufactured in France, which became an integral component of worship. The harmonium's entry into India was facilitated by military regiments and Christian missionaries, initially appearing in northern cities such as Jalandhar and Ludhiana. Over time, it gained widespread popularity within rural Christian congregations due to its portability, affordability, and harmonious compatibility with Indian musical traditions. By the early 20th century, it had become an indispensable instrument not only for churches but also for Sikh, Hindu, and Sufi musical practices, often supplanting more delicate stringed instruments such as the sarangi and dilruba. This indigenization constituted a subtle act of cultural negotiation: the European instrument that once symbolised colonial distinction became a shared devotional medium across religious affiliations. In 1904, the establishment of the Sialkot Convention further accelerated vernacular expression in worship. Organised by a coalition of foreign missionaries and local Protestant leaders, the Convention quickly became the most significant revivalist Christian gathering in colonial Punjab. Held annually in Sialkot, it featured preaching, collective Psalm singing, and teaching sessions in both Urdu and Punjabi. The Convention served as a liturgical counterpoint to Western ecclesiastical formalism, empowering Christians to explore faith in familiar languages and sounds. After Partition, it continued to shape Pakistani Protestant identity, embedding musical memory into spiritual revival. A pivotal moment in the creation of contextualised church music emerged from the work of Rev. Imam-ud-Din Shahbaz (1845–1921). A former Muslim convert and linguistic prodigy, Shahbaz rendered the entire Book of Psalms (Zaboor) into lyrical Punjabi verse between 1888 and 1905. These translations were composed in many ragas like kafi, pahari and bhairavi, melodic modes employed in Punjabi folk, Sufi, and classical traditions. Shahbaz's Psalms transcended the role of mere theological texts; they were poetry imbued with rhyme, rhythm, and call-and-response structure. In the kafi tradition accompanied by a harmonium, these Psalms resonated not only with Christians but also with the broader village soundscape. According to mission records from that era, villagers, including Muslims and Sikhs, were drawn to Shahbaz's compositions. In Bhabha's terminology, Shahbaz had established a Third Space: he reinterpreted colonial Scripture by integrating it into the core of Punjabi musical culture. Even after Punjabi became the dominant language in the liturgical sphere, Urdu retained its position as the primary language of worship, particularly in urban settings. As the lingua franca of colonial administration and post-partition national discourse, Urdu facilitated the gathering of worshippers from diverse regions and dialects in a unified liturgy. Its theological versatility also contributed to fostering interfaith familiarity. Words such as 'Allah' (God), 'Ruh-ul-Quddus' (Holy Spirit), and 'Masih' (Messiah) are shared across Islamic and Christian traditions, despite their divergent meanings. According to liturgical scholars, Urdu provided a rich repository of poetic devices, drawing upon Arabic, Persian, and Turkic traditions. Hymns and Psalms composed in Urdu were frequently set to musaddas (six-line) or ghazal-style meters and accompanied by tabla-driven ragas. This fusion of scriptural depth and lyrical intimacy rendered Urdu hymns both accessible and spiritually resonant. In the 1960s and 1970s, a second wave of vernacular creativity emerged, particularly within the Catholic Church. Inspired by the emphasis on liturgical inculturation outlined by Vatican II, missionaries in Pakistan embarked on the creation of Urdu-language hymnals that seamlessly integrated local musical traditions. Father Liberius Pieterse, a Dutch Franciscan stationed in Multan, published 'Hamd-Ullah' in 1955 and later co-edited 'Naya Geet Gao (Sing a New Song)' with poet Ghulam Masih Felix in 1972. Parallelly, figures such as Father Exo-Pierre and Father Laborious Azad composed settings of the Kyrie and Gloria in Urdu, employing raag bhairavi phrasing and tabla rhythms. These hymns introduced melodic scales and rhythms that resonated deeply with the Pakistani audience, transforming the auditory experience of Mass and imbuing it with both sacredness and familiarity. 'Naya Geet Gao' swiftly transcended denominational boundaries, finding resonance with Protestant choirs as well. Its triumph underscored the transformative power of inculturated hymnody in uniting Pakistan's fragmented Christian communities and conferring musical and theological significance upon worship. While church music shared many characteristics with Sufi qawwalis and Hindu bhajans, such as harmonium accompaniment, tabla rhythms, and poetic metaphors, it retained a distinct theological structure. Church hymns typically followed SATB (soprano, alto, tenor, bass) harmonies or unison singing with call-and-response sections. In contrast, qawwalis relied on solo improvisation, and bhajans on antiphonal chants. Terminologically, church hymns emphasised concepts like 'Yesu,' 'Najat,' and 'Salib,' while qawwalis focused on 'Nabi,' 'Wahdat,' and 'Ishq-e-Haqiqi.' It is also noteworthy that the call-and-response form in Christian music carries deeper psychological implications. This participatory structure has historically empowered congregants, particularly in rural and marginalised communities, to engage with Scripture not as passive listeners but as co-creators of worship. This is one reason why even today, the performance of the Zaboor continues to play a central role in village churches and revival meetings. Music, in these settings, becomes both a method of instruction and a mode of emotional healing. From 2010 onward, Pakistani church music entered the algorithmic era. YouTube channels such as Hallelujah Band and Zaboor Studios commenced producing professionally recorded Urdu and Punjabi worship videos. These were often structured in the musical language of Hillsong-style global worship: guitar-driven praise, layered harmonies, and emotionally charged choruses. However, unlike global megachurch music, these productions retained tabla, dholak, and folk instrumentation. One of Hallelujah Band's most viewed tracks, 'Rab Janay,' commences with a bhangra beat and transitions into an English hook: 'You know my heart.' This musical code-switching reflects a broader diasporic sensibility: young Christians singing to both God and algorithm, to both local community and global audience. Church music has long served as a form of spiritual resistance in Pakistan. Following the 2013 bombing at All Saints Church in Peshawar, mourners gathered amidst the rubble to sing Psalm 23 in Urdu. The footage, captured on mobile phones, gained widespread attention and became a symbol of national unity. In 2015, when suicide bombers targeted Catholic and Protestant churches in Lahore's Yohannaabad neighbourhood, youth choirs responded by singing through the streets, demonstrating their resilience and determination. In response to the Joseph Colony arson in 2013, which resulted in the destruction of over 150 homes, churches held overnight Zaboor recitations using harmoniums and candles. Following the Jaranwala church burnings in 2023, where 26 churches were torched, worshippers returned to sing Psalm 91 amidst the ashes, invoking divine protection. In Sargodha in 2024, after a mob attack on a Christian household, survivors gathered in homes to chant Zaboor in whispers, resisting erasure through sacred sound. Theologians and musicians argue that these acts exemplify monumental memory: the preservation of suffering and hope through sound. Church music not only commemorates trauma but also reclaims space. In a sonic-theological perspective, lament transforms into protest through praise. Simultaneously, in the diaspora, from Toronto and Dubai to Birmingham and Melbourne, Punjabi Christians continue to practice their faith in three languages, spanning across four time zones. Diaspora churches harmoniously blend Shahbaz's Punjabi Psalms with Hillsong choruses, disseminate Sunday services on platforms such as Facebook and Instagram, and creatively remix Naya Geet Gao classics into electronic dance music (EDM) sets for youth conferences. This transnational musical fusion transcends geographical boundaries, fostering a vibrant and postcolonial liturgical community that is both multilingual and distinctly alive. Numerous Pakistani renowned musicians, including S.B. John, Saleem Raza, and A. Nayyar, initially received training in church choirs. Their contributions to Lollywood film music incorporated elements of gospel phrasing, harmonic layering, and spiritual lyricism. Presently, programmes like Coke Studio Pakistan continue this crossover legacy. For instance, Hadia Hashmi's rendition of 'Bol Hu' draws upon Christian vocal stylings and melodic structures prevalent in Urdu worship. In Pakistani Punjab, church music serves not merely as a liturgical embellishment. It constitutes a space where colonial form intersects with local expression, where Scripture is sung in folk metre, and where faith persists despite adversity. Whether through kirtan-like harmonium chants or digital mashups incorporating English refrains, this music embodies a theology that undergoes constant reimagination through resistance, sound, and community. Church music plays a pivotal role in interfaith dialogue and public memory. In various regions of Punjab, Christian worship groups are invited to perform at civic festivals or university gatherings, particularly during Christmas or interfaith harmony week. These performances, often delivered in Punjabi and Urdu, underscore the shared aesthetic and emotional language of religious music across Pakistan's diverse communities. When Zaboor is performed in a setting that also includes Sufi qawwalis or Sikh shabads, it not only demonstrates musical convergence but also fosters mutual respect. In such moments, sacred sound becomes a connecting bridge between traditions through emotion, narrative, and reverence. Another aspect worthy of note is the role of female voices in church music, which is often underrepresented in formal liturgical settings. Over the past decade, more Christian women have emerged as soloists, worship leaders, and composers. In choirs from Youhanabad to Gujranwala, female vocalists now lead Psalms in congregations and livestream performances. Their presence adds novel textures to sacred music and challenges traditional gender hierarchies within ecclesial spaces. Furthermore, youth-led worship collectives such as The Worship Project Pakistan and Rising Faith Ministries have commenced organising open-air concerts and praise nights, particularly during Easter and Christmas. These gatherings often combine classical Zaboor settings with contemporary genres such as pop-rock, acoustic folk, and even spoken word poetry. By merging tradition with experimentation, young Christians ensure that church music remains a pertinent and evolving expression of faith. Lastly, education initiatives surrounding music literacy are gaining traction. Institutions like Forman Christian College in Lahore and St. Thomas Seminary in Karachi now provide formal training in church music, composition, and theology. Through workshops, certificate programs, and performance ensembles, a new generation of trained liturgists and composers emerges equipped not only with musical proficiency but also with a profound understanding of their heritage. Church music in Pakistani Punjab encapsulates the intricate and multifaceted identity of a post-colonial nation: multilingual, devotional, politically aware, and profoundly resilient. Drawing inspiration from Bhabha's concept of hybridity, it seamlessly integrates Western liturgical practices with Punjabi emotional expressions. Through cultural memory, it effectively resists the erosion of historical recollections; through inculturation, it maintains its strong connection to its cultural roots; and through sonic theology, it effectively communicates without the need for verbal articulation. As Christian communities persistently face marginalisation, their music continues to serve as a poignant soundtrack of survival, embodying a theology not merely spoken but also manifested through the act of singing. Brian Bassanio Paul is a music enthusiast whose expertise lies at the intersection of music business, artist development, music appreciation, and cultural studies. He can be reached at and on LinkedIn @brianbassanio All facts and information are the sole responsibility of the author
Business Recorder
04-06-2025
- Business Recorder
Karachi Airport's main runway upgrade reaches 53%, says PCAA
The Pakistan Civil Aviation Authority (PCAA) on Wednesday announced that the upgradation of Runway 07L/25R at Jinnah International Airport (JIAP) has reached 53% completion by the end of May 2025, exceeding the planned target of 51%. 'The project, which began in July 2024, is progressing on schedule and is expected to be completed by January 2026,' PCAA said in a statement. The authority informed that double shift operations are ongoing at the site 'to ensure timely delivery of this vital national infrastructure'. PCAA shared that a key milestone was achieved with the arrival of the first shipment of imported Airfield Lighting (AFL) equipment at the project site. 'In preparation for the deployment of this advanced system, PAA engineers have successfully completed training abroad,' it said. 'Valued at Rs8.3 billion, the JIAP Runway Upgradation Project reflects the Authority's commitment to enhancing airport infrastructure across Pakistan,' it added. Once completed, the upgrade will allow Karachi Airport to achieve Category 4F status, making it capable of handling wide-body aircraft with higher operational requirements. This upgrade is expected to attract both domestic and international airlines to operate at JIAP in the future. Upon completion of the upgrade, it will feature the latest energy-efficient LED CAT-I Airfield Lighting System with runway centreline lights. The project also includes an extension of the runway by 1,000 feet, making it 11,500 feet. Reconstruction of taxiways and overruns at both ends, and asphaltic overlay of four taxi links near the 07L end.
Business Recorder
04-06-2025
- Business Recorder
‘Nothing is stopping': Peace talks feel far away for Ukraine's soldiers
DRUZHKIVKA: Sipping a coffee under the blazing sun around 20 kilometres from the front line, Ukrainian platoon commander Andriy is ready for peace. But as Russia and Ukraine hold direct talks in search of an end to the three-year war, he sees no let up to the fighting in east Ukraine, ravaged by Russia's full-scale invasion. 'Nothing is stopping. Everything is as it was,' the 27-year-old told AFP, in the town of Druzhkivka while on a break from the combat. Hours after negotiations in Istanbul ended on Monday, the sound of Russian glide bombs flying over – and down onto – the town resumed. The next morning, those civilians who refuse to leave set about their daily business, meandering through streets dotted with destroyed buildings. Andriy was clinging to hope the war will end this year, and said talks should continue, despite little sign of progress. But asked about Moscow's hardline demands for Ukraine's army to completely pull out of the four regions Russia says it has annexed – Donetsk, Kherson, Lugansk and Zaporizhzhia – he is sceptical. 'That's too much, I would say. But if the border remained as it is now, then maybe.' 'No real impact' Nearby, another young soldier who goes by Leleka, in his early thirties, was trying to relax. He is just back from near Toretsk, one of the hottest spots on the eastern front where Russian and Ukrainian soldiers have been killing each other for months in a battle for the city, claimed by Russia earlier this year. 'To be honest, I haven't watched the news for a long time because it doesn't really affect the reality we face here. So it's a bit like a parallel reality,' he told AFP. After two rounds of talks that yielded only prisoner exchanges, the ginger-bearded soldier sees no point in trying to deal with the Russians. 'It does not work. Negotiations with them? How? How do negotiations work? We talk about peace, and at the same time, they are shooting at us,' he said. Moscow has repeatedly rejected calls by Ukraine, the United States and European countries for a full and immediate ceasefire. Ukrainian President Volodymyr Zelensky has accused Russia of dragging out the talks and not seriously wanting to halt its invasion. The Kremlin said Tuesday negotiations were 'extremely complex' and that it was 'wrong' to expect a speedy breakthrough. Leleka said there is 'no way' Ukrainian troops would pull back from territory they still control. 'The local commanders will not allow it.' One killed, several injured in Russian attacks on Ukraine, officials say For 59-year-old deputy commander Did – a call sign which means 'grandfather' in Ukrainian – an unconditional ceasefire is the only 'logical' way to end the fighting. But he understands why Russia is refusing. 'They have more weapons, their factories are working, they have more men, and North Korea and China are supplying them. Why would they stop?' 'Give us weapons' Instead of a full and unconditional 30-day ceasefire, Moscow has proposed a partial pause to the fighting – two-to-three days and only in certain areas of the frontline. 'They really need this. They need to regroup their troops. They need to restore their logistics,' Leleka said of the Russian call for a temporary truce. Both Did and Leleka instead issued their own request for the West to step up its military support to Ukraine – saying that could help give them a leg-up on the battlefield, and at the negotiating table. 'Give us more weapons. We know how to use them … Give us good weapons and we will stop them. We will stop them, we know how to do it,' Did said. Standing away from the other two, Andriy, his head bowed, was thinking of home. 'I want to be with my wife, to rest,' he whispered. He has been fighting for three years and got married amid the war. 'Whatever it takes, I want to go home.'
