Magazines
SPOTLIGHT: LOVE UNDER CONSTRUCTION – Newspaper
The courtyard is awash with marigolds. I am told that it has been like this for a few days now.
Several episodes of Mirza Ki Heer — IDream Entertainment’s new drama, which has just started airing on ARY Digital — are currently being shot here and they revolve around a ‘shaadi ka ghar’ [wedding home], which means that the mayun décor will stay put until the scenes are wrapped up.
A seating area is set up in one corner, a bright yellow sheet laid over it and yellow and orange cushions strewn across it. There are marigold garlands bordering the stairs, the window sills and the pillars. They keep falling every now and then, and one of the spot-boys patiently tapes them back on.
A HOUSE THAT TELLS A STORY
There are little details in the various nooks and corners of the house, quietly reinforcing that this is, indeed, our hero, Mirza’s (played by actor Ali Raza) home. Family portraits hang on the walls, an old TV set has been placed inside the room belonging to the grandparents, bowls and vases are scattered on ageing tables, old crockery can be seen in a cupboard with dusty glass doors and there are bags, carelessly propped on chairs, symbolising the hotchpotch, not very affluent lifestyle of the residents of ‘Mirza House.’
With meticulous world-building, young, new leads and a formidable antagonist, director Aehsun Talish’s Mirza Ki Heer is betting on grand romance — the verdict on how well it will do remains to be seen
Evidently, the staircase snaking its way up from the courtyard to the upper floor has been specially constructed for the drama. When you go up it, you realise how makeshift it is, with some of the planks slightly rickety and creaking as you step on them. However, Mirza prances up them quite adeptly in the drama’s first episode, thus proving his acting mettle.
The cast can be found in one of the rooms on the first floor. Around the time that I arrive, Ali is about to have lunch with some of the cast and crew while the titular Heer — actress Hina Afridi — is getting her hair and make-up done.
Ali Safina, who plays Mirza’s happy-go-lucky uncle, walks in a few hours later. Zahid Ahmed, the villainous Dilnawaz, hell-bent on thwarting the two young lovers, is going to arrive at night for his scenes. Perpetually pacing up and down the courtyard are director Aehsun Talish and his right hand, his son Raza Talish, ironing out the nitty-gritties before the camera rolls.
DETAILING THE EVERYDAY
“Details are very important,” Aehsun says, once I have navigated the entire location and peered into all the rooms.
“In a lot of dramas, you see rooms that look completely artificial. They usually have a bed, two lamps, a very proper curtain, and then the hero puts on a tie, the heroine gets her hair curled, and they are both filmed there. It doesn’t connect because it’s all so perfect and manicured. TV audiences are very sharp and notice such things.”
He explains that, since Mirza’s family has been living in the house for 70 years, the team ensured the space looked lived-in. Simply placing portraits on the walls wasn’t enough; clutter was deliberately added — including plastic bags strewn around on a sofa — as such homes sometimes lack adequate storage space — to reflect the reality of such households. These personal touches, he emphasises, are essential.
The drama’s producer, Abdullah Seja, observes, “Hundreds of dramas have been shot in this very house, but we went the extra mile, restructuring it, so that the audience would not recognise it from previous dramas. I think it’s important to make these efforts in order to improve the visual experience and keep the story fresh.”
He further reveals that the courtyard was originally a covered area; the roof was removed, the staircase built, and the interiors redesigned to make the setting believable as Mirza’s home.
There’s more: “We have been experimenting a lot with Artificial Intelligence [AI] and, in this drama, we have utilised it to create most of the background music,” says Seja. “This is just the beginning. I am hopeful that soon we will be implementing AI into many more aspects of production.”
A SHIFT TO GRAND ROMANCE
Mirza Ki Heer, according to its makers, is a ‘grand romantic drama’, a genre that iDream Entertainment and Aehsun Talish hadn’t explored extensively before, both having focused instead on social commentaries in Sharpasand, the painful family tug-of-war in Bismil and the heightened filminess in Sher.
While shooting these earlier dramas, I had met Aehsun on various occasions and he had been very enthusiastic every time, excited about what was to come and discussing the nuances of the scripts at length. Today, he is similarly energised for Mirza Ki Heer.
“It’s very important to be excited,” he says. “You need to be convinced that there is something special about the script and then figure out ways of storytelling that will keep the audience engaged. Most stories are more or less the same. It is the way they are translated visually that makes them stand out.”
A fresh new romantic ‘jorri’ (pair) has been cast in the drama. Why Ali Raza and Hina Afridi?
“They are both young and there is a freshness to them,” says the director. “Young actors have a lot of energy and both Ali and Hina are very enthusiastic, offering new ideas, owning the project and promoting it. It helps that they are both friends and so they are comfortable with each other and are able to perform without any inhibitions. They have both acted very well.”
I later get to talk to these two young actors, who agree that they are very comfortable acting out romantic scenes, though they end up laughing through most of them.
“We do laugh a lot but, then, it’s work and we have to try and get the scenes right,” says Ali. “It’s a good thing that we’re friends. Hina is like family to me and so we are very comfortable with each other. We improvise a lot and we react well to each other, so that the flow of the scene does not get disturbed.”
Hina adds, “We often discuss a scene beforehand, suggesting how he could act and, then, what I would do and running our ideas by Aehsun sahib.” She laughs and continues, “Aehsun sahib doesn’t say cut very loudly. We will be acting out a scene, looking into each other’s eyes, not realising that he has softly said ‘cut’ and the shooting has wrapped up!
It’s very important to be excited,” director Aehsun Talish says. “You need to be convinced that there is something special about the script and then figure out ways of storytelling that will keep the audience engaged. Most stories are more or less the same. It is the way they are translated visually that makes them stand out.”
“There was this one time when I had to cry in a scene and for three-and-a-half minutes, I was crying, giving different expressions. Then, I heard Aehsun sahib’s voice behind me, asking: ‘Why is she still crying? Why are you crying, Hina?’ I hadn’t realised that the scene had already been completed,” she grins.
Both Ali and Hina’s initial acting trysts have been promising and both young actors have built up considerable fan followings. What attracted them to Mirza Ki Heer?
“It’s a very romantic drama, and I wanted to act in one. And in all the scripts that have been offered to me recently, this was the best one,” says Hina. “Ali’s mother is actually a very good friend of mine. She helps him decide what project to do, and she helped me out, too. She read this script, and we would be WhatsApping long voice notes back and forth, discussing the story.
“I was excited to be working with Aehsun sahib,” she adds. “I have been his fan ever since he directed Suno Chanda. By then, I had made my acting debut with this production house, in Pehli Si Mohabbat. This is my second project with them.”
Hina continues: “This drama was offered to me around the time that I was getting married and my manager told me that, if I signed up for it, I would be giving up the 15 days that I had taken off after my wedding. I said that I did not care and I was on the set just five days after getting married. That’s how excited I was!”
And what about you, I ask Ali. “I wanted to work with Aehsun Talish and I was excited to be working with iDream Entertainment for the first time. The last drama I had acted in was for Hum TV, while this one was for ARY Digital — I like switching channels with each project.
“I also really liked my character. He is an athlete and, to some extent, I got to show my comedic side in some of the scenes. Later in the story, the character undergoes a complete transition, which also struck me as very interesting.”
Ali, in his short career, has often been linked to his co-stars, with fans conjecturing whether there is a real or reel romance on screen. Why does he think this happens?
“Yes, why?” he questions with a grin. “I think I am able to build chemistry well on-screen which is why people just start assuming things. It has never made me or my co-actors uncomfortable, because we’re just doing our jobs. And it’s good for the project.”
Hina adds, “That’s how it should be. We’re doing our job and trying to do it right.”
Here, Ali decides to offer some acting tricks, “Not just with dialogues and your actions, I think that it is important to emote with your eyes in a romantic scene. Position the lighting towards our eyes so they sparkle.”
They both burst into laughter.
ENTER THE ANTAGONIST
Putting a spanner in the works of this romance, sparkling eyes and all, is Zahid Ahmed’s Dilnawaz. The drama’s teaser introduces him as someone with ‘fear in his shadow’ and the initial episodes depict him as the nefarious villain, stalking about predatorily, speaking in a deep, sinister drawl, intent on seizing anything that captures his interest.
Just as expected, the unassuming Heer, reeling from the shock of her father’s suicide and trying to repay his debts, catches Dilnawaz’s attention.
Zahid, of course, is a veteran actor with a slew of exceptional performances to his credit. His trajectory has never leaned towards being a generic ‘hero’ or ‘villain’. Instead, he has always professed an interest in a role that is meaty. “That’s me, always in search of meat. The perpetually malnourished actor!” he quips.
So, there’s meat to Dilnawaz?
“Yes, the villain plays a prominent role in this story,” says Zahid. “He’s a central character and so, I put my faith in the producer and director and signed on.”
For producer Abdullah Seja, Mirza Ki Heer is a “high-octane love story” in which the villain is actually more powerful than the hero.
“Zahid is a brilliant actor, which made him a great choice for this role,” says Seja. “This villain is scary and crime is an everyday part of his life. In the drama, the hero actually gets created because of circumstances. He is originally a happy-go-lucky young boy, and it is because of the villain and what happens with Heer that he changes. And then, how the hero goes on to defeat the villain is going to be interesting.”
Aehsun Talish agrees. “We needed a powerful antagonist and Zahid is a wonderful actor. He has a voice that commands attention and an immense screen presence. It is only when the villain is formidable that it becomes enjoyable seeing how the hero will beat him.”
While the drama has already started airing, the shooting is still ongoing. “I think we’ll be shooting for the next few months,” says Ali.
WAITING FOR THE VERDICT
Do they get encouraged or discouraged by the audience’s reviews of a drama that they are still shooting?
“You can get influenced and this has its advantages and disadvantages,” says Ali. “If they like the drama, there is a chance that you might get overconfident, thinking that what you’re doing is good enough and not trying to do even better. Your 110 percent doesn’t come through because you decide that you’re doing very well and just keep working at that pace. As long as you don’t become overconfident, positive responses from the audience keep you motivated.”
And what if the response is negative? “Then, we just keep working. We are actors and we have to do our job,” he says.
Hina adds, “You can’t let negativity affect your work. There are so many good projects that just don’t become commercial successes. You never know.”
“But this drama has been shot very well,” says Ali. “New technologies have been used and a lot of details have been added in. It is a story with commercial appeal and, as long as it is executed in a compelling way, I think that people will enjoy it.”
It’s early days yet for Mirza Ki Heer, with only the first few episodes having aired so far. Will the audience like it and pronounce it an all-out hit? You never know. But the cast and crew are certainly putting in their all, investing long hours into the shoot, discussing scenes at length, traversing Mirza House in Karachi and, before that, Dilnawaz’s ancestral haveli at a location in Wazirabad, their smart watches clocking in more than 20,000 steps daily (as revealed by Aehsun Talish).
Perhaps some of that passion, that excitement, that belief in this grand, romantic rollercoaster of a story will ultimately filter through on screen.
The writer is a fashion and entertainment journalist with over two decades of experience. She can be reached at maliharehman1@gmail.com
Published in Dawn, ICON, April 19th, 2026
Magazines
POLICY: THE CASE FOR PUBLIC TRANSPORT – Newspaper
Pakistan’s fuel vulnerability is usually discussed as an economic problem. It is that, but it is also a national security problem. Every few years, some external shock reminds the country how exposed it is to imported fuel and how quickly that exposure filters down into inflation, fiscal stress, and everyday hardship.
The latest crisis as a result of the war in Iran is only the newest example. Reuters reports that soaring prices and fears of shortages have already pushed up demand for electric motorbikes, after disruption around the Strait of Hormuz rattled Pakistan’s transport economy. What this episode exposes is how fragile Pakistan’s transport model really is.
Pakistan has built a transport system that leaves both the state and ordinary households hostage to fossil fuels, which is largely imported. The country’s urban development model has been built around the creation of signal free corridors that incentivise private transport. Reuters notes that about 40 percent of Pakistan’s petrol is used by two and three-wheelers in a country where public transport remains inadequate and that, after the latest fuel-price hike, a median household was spending 31 percent of its daily income on a litre of petrol.
THE COST OF TRANSPORT
Transport costs do not rise in the abstract. They rise for workers getting to their jobs, for parents trying to reach schools and clinics, and for households already struggling to absorb inflation. For wealthier groups, a fuel shock is painful, but for poorer groups, it can be destabilising. The World Bank estimates that economic instability and inflation pushed an additional 13 million Pakistanis into poverty over the last few years, raising the poverty rate to 25.3 percent in 2023-24.
Pakistan frames its transport crisis as an affordability problem. It is actually an institutional one — and every fuel shock makes the cost of that confusion clearer
Once households slide backward, recovery is slow. Recent ridership data released in a tweet by the Punjab government points in the same direction. Comparing a paid day with three fare-free days, the government reported a 60 percent increase in ridership, equivalent to roughly 528,000 additional passengers per day.
Read in isolation, that looks like a simple story about fare sensitivity. But in the context of recent fuel-price increases, it reveals that a large number of households are being pushed towards public transport not only by fares, but also by the rising cost of private mobility itself. Put simply, when fuel shocks hit, demand for affordable, collective transport surfaces immediately.
The people showing up on those fare-free days are not a statistical abstraction. They are workers who have been absorbing private transport costs because no reliable alternative existed. They are women for whom a rickshaw fare is not a minor inconvenience but a real constraint on whether a job outside the neighbourhood is worth taking. They are households that have quietly been running a daily calculation — motorcycle fuel versus bus fare versus staying home — and finding all the options expensive. The ridership surge did not create new demand. It revealed demand that was always there, suppressed by cost.
MOBILITY AS INFRASTRUCTURE
Energy security is, therefore, also a national security issue — and transport policy needs to be treated accordingly. A country that cannot move its people affordably without imported fuel is not dealing with a narrow transport problem; it is dealing with structural vulnerability.
Every shock to oil prices or supply chains quickly shows up in inflation, commuting costs, and political pressure. The burden, moreover, is not evenly shared. When transport costs rise, poorer households have far less room to adjust.
The most common objection to public transport in Pakistan is also the laziest one: the country cannot afford it. Pakistan is not too poor for public transport. It is already paying, every day, for its absence — through fuel vulnerability, high household transport costs and cities that keep sprawling without becoming more productive.
The issue is not whether Pakistan can afford public transport, but whether it has built the institutions needed to finance and sustain it properly. Too much of the debate still treats transport as a cost centre rather than as economic infrastructure. A functioning public transport system expands labour markets, lowers the cost of mobility, improves access to jobs and services, and reduces the drag created by congestion and fuel dependence.
Seen that way, it becomes obvious that public transport does much more than shorten commutes.
WRONG DIAGNOSIS, WRONG SOLUTION
Even when Pakistan does invest in transport, the conversation tends to stop at congestion — how to move people faster, how to unclog roads. That framing is too narrow, and it produces the wrong solutions.The real question is accessibility: whether people can reach jobs, schools, clinics and markets in a reliable and affordable way.
A city can keep building roads and still become less efficient, less inclusive and more expensive to live in. Once the issue is framed properly, the benefits of public transport extend far beyond shorter commute times. Good systems widen labour markets, reduce dependence on private vehicles and make it easier for lower-income groups and women to access work and services. The World Bank’s work on Karachi makes this clear: poor mobility restricts women’s access to jobs, while better transport can expand economic participation.
The environmental case is just as strong. Lahore’s 2023 emissions inventory found that transport accounted for 83 percent of the city’s emissions, underscoring how closely mobility and environmental stress are now linked.
Pakistan’s cities are also sprawling outward in ways that make daily life more expensive and public service provision more difficult. Longer trips, weak public transport and low-density growth lock households into motorcycles, rickshaws and other costly private solutions, deepening fuel dependence.
HOW TO PAY FOR PUBLIC TRANSPORT
The harder question, then, is not whether Pakistan can afford public transport. It is whether the country has built the institutions needed to finance and sustain it — and here the record is particularly weak
Too much of the policy conversation still assumes that large transit systems can be sustained through some crude mix of debt, operating subsidies, and farebox revenue. That is not a serious long-run model. The Organisation for Economic Cooperation and Development (OECD) argues that, with tightening public finances, ‘land value capture’ has become an attractive tool for financing transport infrastructure.
The World Bank has made a similar argument for developing countries, stressing that transport investments raise surrounding land values and that part of that increment can be used to help finance infrastructure.
Public transport does not only benefit the passenger standing at the station. It changes land values, commercial activity, development patterns and the accessibility of entire corridors. If new transport makes nearby land more valuable, improves market access and attracts denser development, some of that value should help pay for the system that created it. That is the principle behind land value capture. Land value capture is no longer a fringe idea; it is now a standard part of the global transport finance conversation.
For Pakistan, the problem is not only a shortage of funds. It is a failure to capture the returns that public transport already generates. Public transport creates benefits that extend far beyond the fare-paying passenger. A financing model that ignores all of that and relies mainly on fares and fiscal transfers is crudely designed from the start.
The issue is not that public transport generates too little value. It is that Pakistan has made too little effort to capture it.
The current disruption around the Strait of Hormuz is a live demonstration of this. While the policy conversation catches up, households are already adjusting — switching to electric motorbikes, reducing trips, absorbing costs the public system should have been designed to spare them.
THE REFORMS PAKISTAN KEEPS AVOIDING
Land value capture only works if the institutions around it are functional. That requires, at a minimum, integrating transport planning with land-use planning, improving land records, enabling denser mixed-use development around major corridors, and building financing models that do not rely so crudely on fares and subsidies alone.
Pakistan does not need more standalone transport projects. It needs a planning model that treats transport, land use and urban development as a single system. It also means recognising that public transport cannot be delivered as a narrow engineering project and then left to survive on fares.
Cities across both developed and developing countries have shown this for years. The OECD and World Bank literature on land value capture is useful not because Pakistan can copy any one model wholesale, but because it makes clear that sustainable public transport depends on institutional coordination. It depends on planners, economists, transport authorities, land managers and political actors working from the same view of what transport is supposed to do.
That is the harder reform agenda, and it is the one Pakistan tends to avoid.
The state is often more comfortable building visible infrastructure than reforming the institutions around it. But that is precisely why the affordability argument is so misleading. The obstacle is not simply money. It is institutional coherence. Public transport becomes financially and politically fragile when it is disconnected from wider urban development, broader economic strategy, and a credible plan for capturing the value it creates.
None of this is to suggest that progress is not being made. Punjab has already launched electric bus services in Lahore, with 27 buses placed on a 21-kilometre route, charging infrastructure set up, digital payment options introduced, and accessibility features built into the service. The route is expected to serve around 17,000 passengers a day. These are useful steps, and they matter.
The Lahore pilot is worth reading carefully precisely because of what it cannot do alone. Seventeen thousand passengers a day on a single 21-kilometre route is a meaningful number — but Lahore is a city of over 13 million people sprawled across an area where a single corridor barely registers. The pilot shows that, when affordable, accessible service is provided, people use it. That is not a trivial finding in a policy environment that has long used low ridership on underserved routes as evidence that Pakistanis simply prefer motorcycles.
What it cannot show on its own is whether the financing model is sustainable, whether the route will be extended, or whether the surrounding land use will be managed in ways that increase ridership and help pay for the system over time. A pilot answers the demand question. It leaves the institutional question entirely open.
THE STRESS TEST
The latest fuel disruption is only the latest reminder that Pakistan’s current transport model is deeply fragile. A country in which millions rely on motorcycles and rickshaws because quality public transport is missing will remain exposed to every jump in oil prices, every exchange-rate shock and every supply disruption in global energy markets.
Public transport shapes far more than commutes. It determines whether lower-income households can absorb a fuel shock or are pushed back into poverty by one. It determines whether women can access work reliably. And it determines whether Pakistan continues to build cities that deepen its dependence on imported energy, or begins to reduce it.
The country cannot afford to keep asking whether it is rich enough for public transport. It needs to ask a harder question: if it is already paying so much for bad mobility, why has it done so little to build the institutions that would allow better mobility to pay for itself?
This article draws on original research on public transport financing, land use and urban development in Pakistan by the writers
Bakhtiar Iqbal is an urban economist and climate strategist. He can be reached at iqbalbakhtiar@gmail.com
Sheheryar Khan focuses on environmental issues and is currently associated with WWF-Pakistan. He can be reached at sheheryarkhan95@gmail.com
Published in Dawn, EOS, April 19th, 2026
Magazines
ENVIRONMENT: SWALLOWED BY THE SEA – Newspaper
On most nights, octogenarian Ali Mallah lies down on a boat anchored at the jetty in Kharochhaan, one of the tail-end settlements in the Indus delta in Sindh’s Thatta district. He has his cigarette, the water and memories of his days at Sukhi Bandar.
Ali’s gaze wanders not into the depths of the sea but across its surface, seeking something that he cannot find: a once prosperous harbour that hosted fairs and wrestling matches, bull races and kite-flying competitions. He vividly remembers walking through the markets of Sukhi Bandar — which literally translates to ‘prosperous harbour’ — that has since been swallowed by the Arabian Sea.
GOLD MARKET AND GOURDS
The memory of that harbour town is still etched in the lines of Ali’s face. As he recalls those memories, tears roll down his cheeks and disappear, just as Sukhi Bandar has, into the sea.
“Sukhi Bandar was a major commercial hub,” Ali tells Eos. “There was a thriving gold market in Sukhi Bandar, along with trade in textiles, grain and gourds,” he continues. The area was full of crops, says Ali, including those of rice, pea, chickpea, sesame and barley. “Coconut, date and olive orchards were abundant,” Ali adds.
Once a thriving harbour town, Sukhi Bandar now lies beneath the Arabian Sea. Its disappearance tells a larger story — of a delta starved of freshwater, collapsing ecosystems and communities forced to retreat
Ali doesn’t know exactly how or when Sukhi Bandar was swallowed by the sea. He is unaware of the complex web of upstream dams and shifting climate patterns that starved the delta, resulting not only in the loss of Sukhi Bandar but also the disruption of his livelihood and way of life.
“After the partition of India, I saw this city start to collapse,” says Ali. His view carries weight — Pakistani coins found among the ruins suggest the decline accelerated after Independence, even if its roots go further back.
THE UPSTREAM DECISION
Standing at the Kharochhaan jetty, it is difficult to imagine that what stretches before you — flat, saline, encroaching — was once fed by one of the great river systems of the world. The Indus delta did not surrender to the sea overnight. It was given away, slowly, upstream.
According to the late Tahir Qureshi, an environmentalist associated with the International Union for Conservation of Nature (IUCN), the Indus delta actually started shrinking in the 1920s, with the construction of the Sukkur Barrage in 1923. “Before that, 150-million-acre feet of water reached the delta every year,” he told environmental webzine Dialogue Earth in 2019.
The downstream flow of water into the delta has decreased by 80 percent since the 1950s, as a result of irrigation canals, hydropower dams and the effects of climate change on glacial and snow melt, according to a 2018 study by the US-Pakistan Centre for Advanced Studies in Water at the Mehran University of Engineering and Technology in Jamshoro.
“It all happened because freshwater stopped reaching the delta,” says environmentalist Nasir Panhwar.
While sea-level rise plays a role globally, experts argue that, in the Indus delta, reduced freshwater flow has been the dominant factor. “The issue of sea-level rise doesn’t apply here,” Panhwar tells Eos. “The lack of freshwater is why the sea has swallowed up millions of acres of land.”
Ali has watched this happen in real time. “The fish moved further out, then the land started going, then the people,” he says, pausing to light another cigarette. “Now, there is only water where there used to be everything.”
THE MANGROVE FACTOR
There is one partial reprieve in an otherwise bleak picture. Mangrove cover across Sindh and Balochistan has increased by roughly 300 percent in under three decades, according to an IUCN report presented at COP29 — the United Nations Climate Conference — in Baku in November 2024.
But environmentalists caution that planted mangroves cannot fully compensate for the loss of freshwater and sediment that once sustained the delta naturally and kept saline seawater at bay.
Shoukat Soomro runs the Hyderabad-based Hamdam Foundation that works on mangrove plantation in the Thatta-Sujawal-Badin coastal belt. His organisation has planted around 200,000 mangrove saplings along the coastal belt of Thatta, Badin and Sujawal as part of a project with the United Nations Development Programme (UNDP). “We will plant an additional 100,000 mangroves along the Badin coast in June this year,” he tells Eos.
But Soomro is clear-eyed about the limits of what replanting can achieve. “We can’t restore the former glory of this harbour, but our efforts can secure the future of the currently inhabited islands, including Kharochhaan.”
VILLAGES SUBMERGED
Kharochhaan once comprised about 40 villages, but most have disappeared under rising seawater. According to revenue records reviewed in 2025, in Kharochhaan alone, around 400,000 acres out of 595,091 acres — or 67 percent — are under water.
The situation is similar in nearby areas, including Shah Bunder — with 518,895 acres out of 735,706 acres having been lost. Jati taluka [administrative division] in neighbouring Sujawal district fares no better: 405,000 acres out of 879,373 acres (46 percent of its land, spread across 13 of 133 dehs) now lie beneath seawater.
It has resulted in mass displacement. More than 1.2 million people have been displaced from the overall Indus delta region in the last two decades, according to a study published in March 2025 by the Islamabad-based Jinnah Institute, a think tank led by former climate change minister Sherry Rehman.
Ali does not know the figure of those displaced but he knows many of the faces from his immediate surroundings. “Everyone I grew up with has left,” he says. “Some went to Karachi. Some just went.”
WHAT REMAINS
If you start a boat journey from Kharochhaan Jetty — past the Redho and Baghaan towns in the coastal belt of Thatta district — you’ll see ruins of an island after about three hours. There, broken flags, smashed utensils, graves and crumbling walls mark what remains.
Back at the jetty in Kharochhaan, Ali Mallah finishes his cigarette and lies back on the boat. Above him, the sky is wide and indifferent. Somewhere beneath the water ahead, a market is still standing.
The writer is a researcher focusing on climate change, green economy and energy. He can be contacted at santoraisbc@aol.com
Additional input and editing by Hussain Dada
Published in Dawn, EOS, April 19th, 2026
Magazines
IN MEMORIAM: THE ETERNAL ASHA – Newspaper
It was a Sunday. She was 92. The place: Breach Candy Hospital in Mumbai. A voice that had enchanted millions for decades fell silent forever.
Four years earlier, on a Sunday at the same hospital, Lata Mangeshkar too had passed away at the age of 92. Now it was the turn of Asha Bhosle, her younger sister. Both left countless admirers mourning the loss.
Born in 1933 in Bombay, Asha’s journey to the top was a rocky one. For a girl who started singing at the age of 10 and was born into the Mangeshkar family, with the towering presence of Lata, life was far from smooth sailing. Asha ran away with her neighbour and personal secretary, Ganpatrao Bhosle, at 16 and became a mother by 17. Her singing career was going nowhere and her decision to marry someone deemed unfit led to strained familial relationships.
Her early years were marked by immense struggles, both personal and professional, and Asha carved her own path with quiet determination. While many of the era’s most sought-after songs went to someone else, she built a career out of every opportunity that came her way. Afraid of merely imitating her didi [sister], she sought her own identity. Few remember that she once sang in the chorus of the iconic ‘Pyar kiya tau darna kya’ in Mughal-i-Azam (1960) — a fleeting moment in a song that became timeless.
But difficult beginnings often lead to defining journeys. As Lata became the first choice for leading composers such as Naushad, Salil Chowdhury, Roshan, C. Ramachandra and Shankar-Jaikishan, Asha had to work even harder to find her own space.
Asha Bhosle, who passed away on April 12 in Mumbai, wasn’t just the singer of an era. With a career spanning over eight decades, and moving seamlessly between film music, pop, sultry cabaret numbers, ghazals, bhajans, folk and qawwali, she was not just a singer of an era. She became a voice across generations
Music composers O.P. Nayyar and S.D. Burman recognised her unique voice and gave her the platform to shine — helping her create a place in music that was entirely hers.
O.P. Nayyar never used Lata’s vocals for his films and instead relied on Asha. From ‘Maang ke saath tumhara’ (Naya Daur, 1957) to ‘Aaiye meherbaan’ (Howrah Bridge, 1958), ‘Isharon isharon mein’ (Kashmir Ki Kali, 1964) to ‘Yeh reshmi zulfoon ka andhera’ (Mere Sanam, 1965), Asha became indispensable to Nayyar’s films until 1974.
With Lata being extremely busy with many composers to cater to, S.D. Burman stopped working with her in 1957, after she reportedly refused to re-record a song. S.D. believed that composers, not singers, shaped careers — and Asha stepped in as his leading female voice. This marked a turning point in her career, with songs such as ‘Chhor do aanchal’ (Paying Guest, 1957), ‘Haal kaisa hai janab ka’ (Chalti Ka Naam Gaari, 1958), ‘Achha ji main haari’ and ‘Nazar laagi raja’ (Kala Pani, 1958) and ‘Sambhalo apna dil’ (Kala Bazaar, 1960). Asha went on to dominate much of the decade — until a new force reshaped the soundscape: R.D. Burman.
It was the era of dance numbers, cabaret and early pop, with Shammi Kapoor’s flamboyance redefining screen energy and even pushing stalwarts such as Raj Kapoor and Dilip Kumar to the sidelines. The music scene was ready for something fresh — and it came from the son of her mentor S.D. Burman.
Pancham, as R.D. Burman was fondly known, burst on to the scene with Teesri Manzil (1966). Its soundtrack didn’t just succeed — it transformed Hindi film music, capturing the restless, youthful spirit of a generation eager to embrace the possibilities of a newly independent nation. Asha married R.D. Burman in 1980, 20 years after her divorce. He was six years younger than her and the songs they created together are truly immortal.
These include ‘O haseena zulfon wali’ and ‘O mere sona re’ (Teesri Manzil, 1966), ‘Piya tu ab tau aaja’ (Caravan, 1971), ‘Jaan-i-jaan dhoondta phir raha’ (Jawani Deewani, 1972), ‘Keh doon tumhain’ (Deewar, 1975), and ‘Do lafzon ki hai’ (The Great Gambler, 1979). They went on to deliver evergreen classics such as ‘Mera kuchh saaman’ (Ijaazat, 1987), ‘Tum se mil ke’ (Parinda, 1989), ‘Baadal jo barsay’ (Gardish, 1993) and ‘Chhor ke na jana’ (Gang, 2000).
What distinguished Asha was not merely her range, but an instinctive versatility and a willingness to experiment. She moved seamlessly from film music to pop, from sultry cabaret numbers to deeply expressive ghazals, from bhajans [religious hymns]and classical compositions to folk and qawwali— inhabiting each style with equal ease.
Singing in over 20 languages, she transformed her voice into something far greater than merely popular — it became unmistakably universal. Whether it was for Bollywood sirens such as Waheeda Rehman or Helen, Sadhana or Poonam, Asha Parekh or Aruna Irani, Sharmila Tagore or Farah, she possessed a rare ability to express each persona through her voice.
While Lata largely stayed rooted in her established style, Asha chose to lend her voice to every new face that emerged, helping shape entire careers. From Dream Girl Hema Malini — with songs such as ‘Zindagi aik safar hai’ (Andaz, 1971) and ‘O saathi chal’ (Seeta Aur Geeta, 1972) — to the mesmerising Zeenat Aman — through ‘Dumm maaro dumm’ (Hare Rama Hare Krishna, 1971) and ‘Chura liya hai tum ne jo dil ko’ (Yaadon Ki Barat, 1973) — Asha’s voice became inseparable from their screen presence.
From the glamorous Parveen Babi — with ‘Pyaar karnay walay’ (Shaan, 1980) and ‘Jawani janeman’ (Namak Halal, 1982) — to the effervescent Sridevi — in ‘Taki o taki’ (Himmatwala, 1983) and ‘Guru guru aa jao guru’ (Waqt Ki Awaaz, 1988) — she was not merely singing songs but defining cinematic identities.
Even Rekha and Dimple Kapadia owed much of their second innings to Asha. For Rekha, it was the spirited tracks from Khoobsurat (1980)— ‘Sunn sunn sunn didi’ and ‘Inquilab zindabad’ — as well as the haunting ghazals of Umrao Jaan (1981), such as ‘Inn aankhon ki masti’ and ‘Dil cheez kya hai’, that revitalised Rekha’s career after her ‘split’ from superstar Amitabh Bachchan.
Similarly, Dimple Kapadia’s reinvention, following her separation from her superstar husband Rajesh Khanna, carried deeper emotional resonance through Asha’s songs in films such as Manzil Manzil (1984), Aitebaar,Saagar and Lava (1985).
Eight decades is not just a career, it’s a legacy. And Asha built hers note by note. She sang for films, albums and stages across languages, collecting along the way an enviable list of honours: two National Film Awards, multiple BFJA (Bengal Film Journalists Awards) and Maharashtra State Film Awards, and nine Filmfare trophies — including a Lifetime Achievement Award and a record seven wins as Best Female Playback Singer. Her voice even reached global platforms, earning two Grammy nominations.
With the rise of singers such as Alka Yagnik and Kavita Krishnamurthy in the mid-1980s, Lata became more selective, no longer signing everything that came her way. Asha seized the moment, giving singers half her age a serious run for their money. Between 1995 and 2004, she remained unstoppable, delivering hits in iconic films that defined the generation, such as Rangeela, Dilwale Dulhaniya Le Jayenge (1995), Aar Ya Paar (1997), Taal (1999), Kaho Naa…Pyaar Hai (2000), Lagaan, Pyaar Tu Ne Kya Kiya (2001), Company, Mere Yaar Ki Shaadi Hai (2002) and Bewafaa (2005).
She even ventured into acting with the feature film Mai (2013), marking her on-screen debut alongside a comeback performance by her real-life niece, actress Padmini Kolhapure.
As for the media-created rivalry between the siblings, Asha often took it upon herself to dispel any such notions and set the record straight. They may never have been equal — Lata Mangeshkar remained the towering benchmark, while Asha spent years in her shadow — yet, Asha carved a space entirely her own, through remarkable versatility, moving effortlessly across genres, moods and styles in a way few could match.
And in the end, there was a quiet, poetic symmetry — death treated them alike, as both passed away at the same place, on the same day of the week and at the same age, as if destiny chose to blur the distinctions that life had drawn.
The writer is a vintage cinema enthusiast. He can be reached at suhaybalavi@gmail.com
Published in Dawn, ICON, April 19th, 2026
-
Magazines1 week ago
Story time: A lesson in caution – Newspaper
-
Sports2 weeks ago
Atletico punish 10-man Barca as red-hot PSG beat Liverpool in CL – Sport
-
Today News1 week ago
British Parliament acknowledges Pakistan’s role in Iran-US talks
-
Sports2 weeks ago
Zalmi edge spirited Kingsmen by four wickets in PSL thriller – Sport
-
Sports1 week ago
Pakistan ready for Mauritania clash after record-breaking win, says Nadia Khan – Sport
-
Magazines1 week ago
Story time: Phantom of my loneliness – Newspaper
-
Sports3 days ago
Pakistan end FIFA Series with defeat to hosts Ivory Coast – Sport
-
Magazines1 week ago
ARTSPEAK: UNRAVELLING THE FAIRY TALE – Newspaper