Latest news with #SultanaSiddiqui
Al-Ahram Weekly
20-03-2025
- Politics
- Al-Ahram Weekly
Pakistani drama breaks silence on blasphemy killings - Screens - Arts & Culture
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Islam is the official religion in Muslim-majority Pakistan, and accusations of insulting religious sentiments can easily incite mob violence. Blasphemy is an incendiary charge, and the issue is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, told AFP. Her drama "Tan Man Neelo Neel", or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." - 'Malicious disinformation' - In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". It detailed cases of people killed, and followers and places of worship of Pakistan's minority religions, including Christians and Hindus, being attacked over false claims. "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken -- even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he told AFP. "At last, this conversation is happening on television". - 'Raise awareness' - Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear extremists who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." - 'Viral critique' - Pakistan's media industry has been wary of the topic -- and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film "Zindagi Tamasha", or "Circus of Life", was halted after the Islamist party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised -- and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence -- it was that the conversation centred on mob violence at such a large scale for the first time," he told AFP. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them". Follow us on: Facebook Instagram Whatsapp Short link:
Khaleej Times
20-03-2025
- Entertainment
- Khaleej Times
Pakistani drama breaks silence on blasphemy killings
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Blasphemy is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, said. Her drama Tan Man Neelo Neel, or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." 'Malicious disinformation' In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken — even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he said. "At last, this conversation is happening on television". 'Raise awareness' Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear radicals who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." 'Viral critique' Pakistan's media industry has been wary of the topic — and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film Zindagi Tamasha, or "Circus of Life", was halted after the radical party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised — and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence — it was that the conversation centred on mob violence at such a large scale for the first time," he said. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them".
Yahoo
20-03-2025
- Politics
- Yahoo
Pakistani drama breaks silence on blasphemy killings
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Islam is the official religion in Muslim-majority Pakistan, and accusations of insulting religious sentiments can easily incite mob violence. Blasphemy is an incendiary charge, and the issue is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, told AFP. Her drama "Tan Man Neelo Neel", or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." - 'Malicious disinformation' - In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". It detailed cases of people killed, and followers and places of worship of Pakistan's minority religions, including Christians and Hindus, being attacked over false claims. "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken -- even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he told AFP. "At last, this conversation is happening on television". - 'Raise awareness' - Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear extremists who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." - 'Viral critique' - Pakistan's media industry has been wary of the topic -- and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film "Zindagi Tamasha", or "Circus of Life", was halted after the Islamist party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised -- and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence -- it was that the conversation centred on mob violence at such a large scale for the first time," he told AFP. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them". zz/pjm/sco
Khaleej Times
09-03-2025
- Entertainment
- Khaleej Times
Meet the woman behind Pakistan's top-rated TV shows
Momina Duraid had no plans to become one of the most coveted storytellers in Pakistan and the diaspora today. Luck and circumstance turned her life around when she ended up at the forefront of Hum TV Network and began a journey she now believes is all heart. A professional banker, she married Duraid Siddiqui, the son of Sultana Siddiqui, a veteran TV producer. At the time, Sultana Siddiqui made private productions, and Momina was on a year-long break from her banking career. "I was always interested in social entrepreneurship, and my mother-in-law was working on a project that was along the same lines," she says in a chat with City Times. " Fair and Lovely Qismat Ke Sitaray was a project focused on stories of real women's lives, and Mummy (Sultana Siddiqui) asked me to pitch the project. My pitch got approved, and I was heavily involved in the production. I was pretty young, so I didn't have many inhibitions either. I remember having comments and pointers about it for Noor ul Huda Shah's script without realising what an established writer she was. After our meeting, Noor Aapa (sister) said to Mummy about me, 'Keep her involved with you; she will help you.'" As Duraid Siddiqui was involved in the business and commercial side of establishing Hum TV, Sultana Siddiqui tackled the marketing forefront as well as research. When it came to programming, Momina stepped in. "I kept telling them I'm only doing this for a short while," Momina Duraid remembers fondly. "But then Dastaan changed everything for me." A series based on Razia Butt's novel Bano, Dastaan became a raging phenomenon, especially in the diaspora. It starred Fawad Khan and Sanam Baloch and was based on the story of partition. Momina Duraid looked back at how she would sit with Samira Fazal (the writer who adapted the novel for screen) and talk for hours. "Script development to me is very intimate. Different people may have different processes, but to me, that's how the best stories come forward. I also remember sitting in The Lighthouse (a market in Karachi) looking for the perfect fabrics and laces for costumes in Dastaan. That's how much I like to be involved in my projects and it shows how much love and sweat and work goes into what we do." Momina recalls the various emails she got from all over the world after Dastaan. "I realised the true power of storytelling then." Hum TV tells very female-centric stories and Momina explains how that works. "The man running the show, Duraid," she states, "is someone who naturally empowers women. He gave us the space that we needed. We have also been fortunate enough in that we have never had to sell our projects to anyone, so we have never stepped into the commercialism gambit. We made what we wanted, what struck our hearts. We've never gone through a formula." Hum TV produces over 700 hours of programming per year, and while Momina has set up a very professional editorial team that oversees content, she is also personally involved in various projects. "I have been a lot less involved in the past two years, but what I try to do, at least once a year, is have a project that I can tell my grandchildren about." Momina has also made sure that she imbibes the same values to her team as she got from her mother-in-law, who has produced classics like Umar Maarvi and Zindagi Gulzar Hai. " Parizaad went to a lot of channels who rejected it, and my script department brought it to me," Momina says, referring to a blockbuster hit drama that told the story of a man who was rejected by society due to his dark skin. "My team knew it would click with me." Tan Man Neel o Neel, the recently-ended critically acclaimed show starring Sehar Khan and Shuja Asad, is part of a trilogy produced by Sultana Siddiqui. The trilogy tackles yet another subject most producers wouldn't touch with a ten-foot pole: mob violence. Momina executive produced Tan Man Neel o Neel, and the thought process was entirely Sultana Siddiqui's, she revealed. She believes it is the responsibility of the more prominent and successful writers and producers when it comes to telling daring stories. "Don't find a shortcut," she adds. "It's very easy to make formulaic shows. It's more difficult to make a message-oriented, something that is socially responsible. Very few people can handle such a project as well. We have very few Farhats, Mustafas and Hashim Nadeems who will take time on it and will keep improving it," Momina says, appreciating Farhat Ishtiaq (Humsafar), Mustafa Afridi (Sang e Mar Mar) and Hashim Nadeem (Parizaad). Momina also referred to Jafaa and how it tackled domestic violence. The show became a huge talking point when it came to how educated women also faced violence at home and were gaslighted constantly. "We were mindful that we didn't show the slaps or the hits. And that's not easy; these provocative images can get ratings on television, and those ratings are directly related to financial gain. It is tough to say, 'no I'm not going to do that, let me find another way to say this.' It was also easy to turn Mohib's character into a stereotypical character. But making his character people understood was difficult, and it took time and effort to build such a story." The producer says there is a balance you have to strike when it comes to eyeballs. 'There's a fixed point chart you need to create; you build traffic and then you talk about what you really need to. There's such a concept called 'transmedia' where you embed important messages in a wholly entertaining package. At Hum TV, what we try to do is that even in entertaining shows we try to give it as much honesty and conscientiousness as possible. Yes mistakes also happen but we try our best.' Netflix approached Momina Duraid around five years ago for producing a show and Jo Bachay Hain Sang Samait Lo, a novel written by Farhat Ishtiaq, was approved. "It is our very own drama on a platter to the world," Momina said.. "I wanted it to be a true picture of who we are and what we do best." When would the audience be able to see it? "The camera has closed on it," she answers, "and it's in the post process."
