As the morning sun awakes from its slumber over Karachi, the bustling city comes alive with a rhythm and energy of its own. As I look out my car window on the way to school, the racing dewdrops are not the only thing catching my attention. I see new angles to Karachi life that are both bold in beauty and culture. Vendors in the heart of Saddar, the busiest and oldest district, set up their stalls for the day. Patterns of ajrak scarves hang alongside the street, showcasing the elegance of Sindhi craftsmanship. Painted pottery stands glistening in the early sunlight. On the road, various trucks, elaborately painted with detailed motifs, patterns, Urdu verses, pass me by. Calligraphy graces the walls of public spaces and mosques, evoking a sense of spirituality.

The city I see before me is a canvas, with artistic and cultural expression existing in its every crevice. On a road trip from Karachi to Lahore, somewhere between the winding highways and turns which eventually brought us closer to Punjab, my family and I happened to come upon a small roadside market. We had stopped for a brief respite from the tiresome hours of driving and upon exploring, I stumbled upon a sea of blue and white pottery. Against the dusty backdrop, the delicate vases and plates were aligned neatly in row, their rich floral and geometric motifs catching my deepest fascination. I immediately recognised it as the unique “Kashi” pottery, crafted infamously in Multan. Next to them, an aged man sat on a wooden chair. Accompanying him was a little girl, presumably his granddaughter. Adorning her shoulders was a beautiful phulkari scarf, its vivid reds, yellows, and greens glowing against her simple outfit. The embroidery, following stitched flowers and patterns looked so captivating to me.

The traditional embroidery in Phulkari scarves originated in Punjab, however even the province of Sindh is home to its own traditional textile work. Living in Karachi, a city so used to the sun and the sea breeze, a drop in temperature is a novelty. When the cool winds of Quetta finally make their way into this city during the months of December and January, it is the ideal time to pull out our trusted ralli, a traditional Sindhi patchwork quilt, which keeps us warm and comfortable. If there are expectations of a chillier night, sometimes my mother will even utilise her Kashmir shawl to feel even more snug. Its material, woven from fine wool, will offer a gentle embrace that can put anyone at ease.

Another treasure of our cultural heritage; the woodworks of Chiniot and Swat. In homes across the nation, it is not uncommon to find wooden structures carved and built by the artisans belonging to the two cities. A blend of precision and tradition, with influence tracing back to Mughal architecture.

Since we’re down memory lane, an unforgettable cultural experience I had was within the remote valleys of Chitral, where I witnessed the lifestyle of the Kalash people. It was unlike anything I had ever seen before. The woman’s traditional attire, long and black robes filled with vibrant embroidery and detailed beadwork, flowed with grace. No, these were not clothes worn on notable occasions, but rather their common daily garments, expressing their true sense of dignity and pride in their way of living. I got the chance to try on one of their headdresses, namely susutr, a truly mesmerising experience. Later on, a performance was held, and with the rhythmic beat of the drums, the women of Kalash celebrated with synchronised and fluid motions. Soon, we all joined in, feeling connected to a culture that has flourished and become a testament, despite the changing world.

Art exists in various forms, each of which can serve to protect a nation’s cultural identity, culture, value, and perspectives. Reflecting now on these encounters, I realise how deeply they shifted my understanding of Pakistan’s multitude of ethnic groups and traditions, each one diverse in their cultural heritage. Each story connects me with a sense of national pride and belonging, and is highly integral in shaping my own values. The beauty of our roots are celebrated in homes and held dear in our families, although they are rarely woven into our national school curriculum. All my awareness of the unique history and culture of our nation was passed down to me through stories shared over chai or time spent with my elders. However, if these teachings had been established in my early education, perhaps I would have developed this sense of national and personal identity sooner. We must utilise our artistic and cultural symbols as powerful agents of educational growth.

When I say that art is important for the development of a person’s mind and identity, I say this in regards to human nature, that we do not come into this world with minds, but rather biological resources called brains. Our brains transform into minds through accumulation with culture and experience. Hence, all forms of art are imperative to turn our brains into “minds”. The right side of the brain is usually considered the “creative side” and is associated with artistic expression, intuition and holistic thinking, all aspects essential for cognitive development. As we create or appreciate art, we engage multiple regions of our brain, so let’s dive deeper. Engaging with the arts produces individuals who can think creatively, work innovatively and can utilise their imagination to approach challenges in unique ways (Eisner, E.W. 2003). Furthermore, it can administer the ability of critical thinking and judgement.

We can also define arts as a medium for emotional expression and communication. It effectively sets the stage for individuals to channel and articulate different feelings and states of minds, offering a form of release or catharsis (Philosophy Institute 2023). Studies show that when the brain engages with art, it triggers a dopamine release which can enhance emotional resilience and empathy. The development of one’s emotional intelligence is a highly important objective, one that should be a significant focus during a child’s growth (Hina, Z., 2010). On the other hand, art also plays a great role in improving one’s physical fine motor skills, hand eye coordination, and precision. It helps build muscle memory and control as repeated brushstrokes or shading require stable and focused movements, also strengthening the brain’s motor cortex. Art and Design enforces growth, both physical and mental and incorporating especially cultural arts into education will realise more than just cultural preservation; we will attain growing minds who are better equipped, better thinkers, and better adapters.

In order to comment on the current state of art education in Pakistan, it is imperative that we take a look at the evolution of art curriculum since the birth of our nation. Before 1947, the education policies in the subcontinent were heavily influenced by the British Colonials. It is noted that the focus was primarily on building literary and academic subjects, with few attentions towards artistic training. Post-Independence, Pakistan originated with a very fragmented education system that provided an overly academic and outdated education, suited to the work of “clerical assistants” (Peshkin, A. 1964). Prior to 1960, the subject Art was to much extent considered a secondary subject, not holding much importance in the broader educational framework.

However, a significant turning point came in the years following General Ayub Khan’s coup d’etat, imposing martial law. A significant review of the nation’s education curriculum was set in motion, the outcome of which led to the establishment of a national syllabus for all subjects, including Art. The Karachi Syllabus, especially, aimed to incorporate a more structured approach, with more attention being diverted towards the aesthetic and practical elements of artistic expression. There were challenges in its implementation, of course. Insufficient resources and unqualified teachers meant that art did end up holding a more peripheral status after all.

In our current time, there is a heightened need to address the gaps in our elementary and secondary syllabus, in regards to cultural arts. There are many ways to integrate a deeper connection and appreciation for our national identity and heritage through creative mediums and actions. Classes should hold discussions about different art forms along with their historical contexts. This could be followed by hands-on lessons where students interact and form their own understanding of the various crafts e.g designing patterns inspired by truck art or learning the basics of embroidery. Interdisciplinary learning is a very important bridge that can be achieved as well; arts and crafts, like our cultural phulkari designs, can provide insights on concepts like symmetry and geometry, enhancing their mathematical understanding as well (Reif, N. and Grant, L., 2010). Schools can hold workshops with local artisans, perhaps a live pottery session, which would fulfil a sense of enthusiasm and admiration for the skill. Furthermore, schools could organise “Cultural Art Weeks,” where students and artisans work together to recreate traditional crafts, helping to preserve endangered art forms. Field trips are a big part of enriching a child’s educational experience. Excursions can include visits to heritage sights, museums, textile factories, woodworks studios and more. Such can be done to allow students to fully immerse and thrive in creative dynamic environments, as well as to help them bridge gaps between theoretical knowledge and practical application (Behrendt, M. and Franklin, T., 2014). Teamwork and observational thinking are all fostered, all while providing a break from the conventional classroom.

The curriculum must also include proper teacher training programs to ensure effective delivery. Teachers play a pivotal role in introducing Pakistan’s diverse traditions; hence, they must be equipped with the right resources and knowledge in order to easily pass the learning to students with authenticity and enthusiasm. What is learnt at school should be further nurtured at home. Parents are essential in rooting a personal guidance in their child’s life, by encouraging engagement with traditional crafts at home or sharing family stories about their cultural origins. Collaboration between schools, parents and local communities can pave the way to an effective learning approach; schools can act as the hub facilitating interactions, parents can provide the connection between their respective cultures and school projects, and our local art community can offer their expertise. Together, a generation of youth that celebrates Pakistan’s heritage and identity is a foreseeable achievement.

Pakistan’s cultural arts are not just crafts or traditions; they are stories—stories of who we are, where we come from, and how we belong. Growing up, I learned these stories not from textbooks, but from life itself. However, the question remains of what if I hadn’t had these experiences that constructed my cultural outlook? The role that our education system could play is a transformative one. However, it saddens me that despite the rich cultural history we possess, it is not being utilised in our schools. They deserve to be celebrated, taught, and lived. If we don’t bring them into our classrooms, we risk losing not just traditions, but the very essence of who we are. I hope that I was able to fully reflect the urge for redecoration. The hues of our heritage are too precious to be left to chance.

Title Image: A craftsman proudly displays vibrant Ralli quilts, a traditional art form from Sindh, Pakistan. Image courtesy, Nadeem Khawar.

Disclaimer: The Karachi Collective (TKC) encourages young writers to contribute to our platform, fostering a nurturing environment for them to develop their voices as the writers and thinkers of the future. Your participation is vital in shaping a diverse and vibrant literary community.

References:

Eisner, E.W. (2003). The Arts and the Creation of Mind. Language Arts, [online] 80(5), pp.340–344. Available at: http://www.jstor.org/stable/41483337?origin=JSTOR-pdf.

Hina, Z. (2010). Use of art/art work and cognitive skill for the rehabilitation of special children of 4-9 years of age. [online] Available at: https://files.eric.ed.gov/fulltext/EJ1137145.pdf.

Peshkin, A. (1964). The Changing Function of Art Education in Pakistan. Studies in Art Education, 5(2), p.12. doi:https://doi.org/10.2307/1319749.

Philosophy Institute. (2023). Expressing Emotions through Art: The Essence of Feelings. [online] Available at: https://philosophy.institute/aesthetics/expressing-emotions-through-art/.