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For months now, the world has been grooving to the Ali Sethi and Shae Gill smash hit Pasoori, the lyrics of which speak of breaking barriers that divide the world. The opening shot of Pasoori is that of a woman clad in a saree dancing to lilting music, drawing the audience in. But the story of that woman and her fight for her right to wear a saree is a story for history books. In this episode of The Footnote, we speak to Sheema Kermani, a dancer, activist and storyteller, who through her art resisted the military dictatorship of General Zia ul Haq. 
Nishtha Shanti: Can you tell us a little bit about the history of your association with the saree? What was it like when Zia Ul Haq banned them in Pakistan?
Sheema Kermani: One point when I was moving on for further studies and I was still studying, but I had started teaching also. So, when I would go to teach in this college and everyone would say, "Well, we can't make you out from one of the students. So, I from that time I started wearing a saree, I thought it'll make me look older. So, since the age of almost 18, I have been only wearing sarees, all my aunts, my khalaas, my mother's sisters, they always only wore sarees. My mother has only wore a saree all her life, until the time she passed away. She never wore anything else. It was later, I would say that in the late 1970s, but actually when General Zia Ul Haq came into power, then things changed. Before that if you see photographs or films or the heroines of Pakistani cinema were wearing saris. In advertisements, you know, everywhere women were wearing saris. It was like part of the whole social, cultural set up. Zia Ul Haq, when he wanted to Islamize us and Arabise us, came out with these statements that Sari is not a Muslim dress and Muslim women must not wear it. So, he started this differentiation between what is a Muslim women's dress and what is not. But Zia Ul Haq decided to move away and move Pakistan away from what he considered Hindu culture, which was like the pluralistic culture of the subcontinent. And he wanted to just introduce the so so-called Islamic dress. So actually the military, he said to his generals and his officers that I don't want to see your wives saris and of course, sleeveless blouses, no one should wear sleeveless blouses that there was such a resistance against that that I mean, a lot of my family members were in the Army and their wives like my aunts they told their husbands that, you know, we're not going to go to your official functions if we have to dress in another way. And they just refused to change.
But of course, change did take place like the government controlled the controlled media, the television, Sari went out, the Bindiya went out and in fact, the head started being covered because that's what Zia Ul Haq wanted to impose a Chadar on to us. And of course, even there, there was resistance. There were anchors who said we will not cover our heads and they left their jobs because of because of that. So, the Sari has become actually a symbol of resistance due to the imposition of Islamist ideas or Islamist values or Islamist culture in Pakistan. And I as far as I'm concerned, I feel that this is the dress and that which belongs to me. This is a dress which I feel I look best in. I find it one of the most beautiful forms of dress for women. And I see no reason why I would stop wearing it or give it up.
NS:  Do you think art and politics can be separated? Does an artist have the responsibility of being political? 
SM: Because I am a political person, because I'm a socially conscious person, because I have an ideology and world view, because I consider myself a Marxist, because I believe in justice and equality for all. So, I believe that has to be a link between my work, my art and my politics. I see that. I feel that it has to be integrated, otherwise it is meaningless. By politics, what I mean and what we mean is, is everything is the way where men and women live with each other, the kind of exchange people have, the kind of relationships people have, the kind of values we hold. It means also how when a woman walks on the road, how the men look at her, what is the status of women in this society? Because I'm conscious of all of these things. When I produce a work of art or when I perform or when I sing or when I dance, my sensibilities are coloured by all these lenses. When we do a play in the community or when I'm dancing, what am I saying to my audience? I'm saying that there are possibilities of a better world and let's search for that better world. Let's look towards that better world, let us try to create that better world. So, yes, art and politics for me has to be to me - it's one, it's together. They're not to be separated. 
NS: How has dance proven to be empowering for the women that you teach? SM: Most of the girls who come to learn dance, you know, we have this whole concept about girls' bodies and that they should not be seen. Girls should not stand in such a way that their breasts are noticeable. And I think the whole feminist movement builds on this fact that women do not have confidence in their bodies. I get my girls to stand straight, strengthen their spine, push their shoulders back, not be hunched, be confident. Have confidence in their bodies feel that there is nothing to be ashamed of in our bodies. So, I think the politics of feminism are very intertwined with dance, because it is through dance that you make your body strong. It is through dance that can make your emotional being strong.
NS: Can you tell us an activist what gives you hope in times of uncertainty?
SM: The way the young people react when we go and perform in low-income areas and the kind of energy that we get from these young people, the feeling of their desire to change their environment, to change their conditions, change everything around them, and to find make a better life for them, especially girls. I mean, I feel that in Pakistan, girls, women, one can see, one can sense that they have just about had enough and they are ready for that change. They're ready to do kind of break all these discriminations, these taboos that they are being forced to live under. They are ready for a new set of values, a new way of life, where they can exist with equality and understand their freedoms and feel their freedoms and express their freedoms. And I think it is women in this country, as far as Pakistan is concerned, I feel it is women of Pakistan who have always resisted various forms of oppression. 

How 'Pasoori' dancer Sheema Kermani used the Sari as a symbol of resistance | The Footnote 

For months now, the world has been grooving to the Ali Sethi and Shae Gill smash hit Pasoori, the lyrics of which speak of breaking barriers that divide the world. The opening shot of Pasoori is that of a woman clad in a saree dancing to lilting music, drawing the audience in. But the story of that woman and her fight for her right to wear a saree is a story for history books. In this episode of The Footnote, we speak to Sheema Kermani, a dancer, activist and storyteller, who through her art resisted the military dictatorship of General Zia ul Haq. 


Nishtha Shanti: Can you tell us a little bit about the history of your association with the saree? What was it like when Zia Ul Haq banned them in Pakistan?

Sheema Kermani: One point when I was moving on for further studies and I was still studying, but I had started teaching also. So, when I would go to teach in this college and everyone would say, "Well, we can't make you out from one of the students. So, I from that time I started wearing a saree, I thought it'll make me look older. So, since the age of almost 18, I have been only wearing sarees, all my aunts, my khalaas, my mother's sisters, they always only wore sarees. My mother has only wore a saree all her life, until the time she passed away. She never wore anything else. It was later, I would say that in the late 1970s, but actually when General Zia Ul Haq came into power, then things changed. Before that if you see photographs or films or the heroines of Pakistani cinema were wearing saris. In advertisements, you know, everywhere women were wearing saris. It was like part of the whole social, cultural set up. Zia Ul Haq, when he wanted to Islamize us and Arabise us, came out with these statements that Sari is not a Muslim dress and Muslim women must not wear it. So, he started this differentiation between what is a Muslim women's dress and what is not. But Zia Ul Haq decided to move away and move Pakistan away from what he considered Hindu culture, which was like the pluralistic culture of the subcontinent. And he wanted to just introduce the so so-called Islamic dress. So actually the military, he said to his generals and his officers that I don't want to see your wives saris and of course, sleeveless blouses, no one should wear sleeveless blouses that there was such a resistance against that that I mean, a lot of my family members were in the Army and their wives like my aunts they told their husbands that, you know, we're not going to go to your official functions if we have to dress in another way. And they just refused to change.

But of course, change did take place like the government controlled the controlled media, the television, Sari went out, the Bindiya went out and in fact, the head started being covered because that's what Zia Ul Haq wanted to impose a Chadar on to us. And of course, even there, there was resistance. There were anchors who said we will not cover our heads and they left their jobs because of because of that. So, the Sari has become actually a symbol of resistance due to the imposition of Islamist ideas or Islamist values or Islamist culture in Pakistan. And I as far as I'm concerned, I feel that this is the dress and that which belongs to me. This is a dress which I feel I look best in. I find it one of the most beautiful forms of dress for women. And I see no reason why I would stop wearing it or give it up.

NS:  Do you think art and politics can be separated? Does an artist have the responsibility of being political? 

SM: Because I am a political person, because I'm a socially conscious person, because I have an ideology and world view, because I consider myself a Marxist, because I believe in justice and equality for all. So, I believe that has to be a link between my work, my art and my politics. I see that. I feel that it has to be integrated, otherwise it is meaningless. By politics, what I mean and what we mean is, is everything is the way where men and women live with each other, the kind of exchange people have, the kind of relationships people have, the kind of values we hold. It means also how when a woman walks on the road, how the men look at her, what is the status of women in this society? Because I'm conscious of all of these things. When I produce a work of art or when I perform or when I sing or when I dance, my sensibilities are coloured by all these lenses. When we do a play in the community or when I'm dancing, what am I saying to my audience? I'm saying that there are possibilities of a better world and let's search for that better world. Let's look towards that better world, let us try to create that better world. So, yes, art and politics for me has to be to me - it's one, it's together. They're not to be separated. 


NS: How has dance proven to be empowering for the women that you teach? 

SM: Most of the girls who come to learn dance, you know, we have this whole concept about girls' bodies and that they should not be seen. Girls should not stand in such a way that their breasts are noticeable. And I think the whole feminist movement builds on this fact that women do not have confidence in their bodies. I get my girls to stand straight, strengthen their spine, push their shoulders back, not be hunched, be confident. Have confidence in their bodies feel that there is nothing to be ashamed of in our bodies. So, I think the politics of feminism are very intertwined with dance, because it is through dance that you make your body strong. It is through dance that can make your emotional being strong.

NS: Can you tell us an activist what gives you hope in times of uncertainty?

SM: The way the young people react when we go and perform in low-income areas and the kind of energy that we get from these young people, the feeling of their desire to change their environment, to change their conditions, change everything around them, and to find make a better life for them, especially girls. I mean, I feel that in Pakistan, girls, women, one can see, one can sense that they have just about had enough and they are ready for that change. They're ready to do kind of break all these discriminations, these taboos that they are being forced to live under. They are ready for a new set of values, a new way of life, where they can exist with equality and understand their freedoms and feel their freedoms and express their freedoms. And I think it is women in this country, as far as Pakistan is concerned, I feel it is women of Pakistan who have always resisted various forms of oppression. 

In this episode of The Footnote, we speak to Sheema Kermani, a dancer and activist who challenged military dictator Zia ul Haq through the use of her sari.&nbsp;

For months now, the world has been grooving to the Ali Sethi and Shae Gill smash hit Pasoori, the lyrics of which speak of breaking barriers that divide the world. The opening shot of Pasoori is that of a woman clad in a saree dancing to lilting music, drawing the audience in. But the story of that woman and her fight for her right to wear a saree is a story for history books. In this episode of The Footnote, we speak to Sheema Kermani, a dancer, activist and storyteller, who through her art resisted the military dictatorship of General Zia ul Haq in Pakistan. Exerpts:-
 Nishtha Shanti: Would you tell us a little bit about the history of your association with the saree?
Sheema Kermani: One point when I was moving on for further studies, and I was still studying, but I had started teaching also. So, when I would go to teach in this college and everyone would say, "Well, we can't make you out from one of the students. So, from that time I started wearing a saree, I thought it'll make me look older. Since the age of almost 18, I have been only wearing sarees, all my aunts, my khalaas, my mother's sisters, they always only wore sarees. My mother has only wore a saree all her life, until the time she passed away. She never wore anything else. NS: Not many are aware that you took military dictator Zia Ul Haq head on after he banned saree in Pakistan. SM: It was later, I would say that in the late 1970s, but actually when General Zia Ul Haq came into power, then things changed. Before that if you see photographs or films or the heroines of Pakistani cinema were wearing saris. In advertisements, you know, everywhere women were wearing saris. It was like part of the whole social, cultural set up. Zia Ul Haq, when he wanted to Islamize us and Arabise us, came out with these statements that Sari is not a Muslim dress and Muslim women must not wear it. So, he started this differentiation between what is a Muslim women's dress and what is not. But Zia Ul Haq decided to move away and move Pakistan away from what he considered Hindu culture, which was like the pluralistic culture of the subcontinent. And he wanted to just introduce the so so-called Islamic dress. So actually the military, he said to his generals and his officers that I don't want to see your wives saris and of course, sleeveless blouses, no one should wear sleeveless blouses that there was such a resistance against that that I mean, a lot of my family members were in the Army and their wives like my aunts they told their husbands that, you know, we're not going to go to your official functions if we have to dress in another way. And they just refused to change.
NS: How did the mass media react to Zia's ban?&nbsp; SM: Of course, change did take place like the government controlled media, the television, Sari went out, the Bindiya went out and in fact, the head started being covered because Zia Ul Haq wanted to impose a Chadar on to us. And of course, even there, there was resistance. There were anchors who said we will not cover our heads and they left their jobs because of because of that. So, the Sari has become actually a symbol of resistance due to the imposition of Islamist ideas or Islamist values or Islamist culture in Pakistan. And I as far as I'm concerned, I feel that this is the dress and that which belongs to me. This is a dress which I feel I look best in. I find it one of the most beautiful forms of dress for women. And I see no reason why I would stop wearing it or give it up. Also watch- <a href="https://www.editorji.com/entertainment-news/how-pasoori-dancer-defied-pakistan-dictator-zia-s-dance-ban-sheema-kermani-s-story-1652635464815">How 'Pasoori' dancer defied Pakistan dictator Zia's dance ban: Sheema Kermani's story</a>
NS: &nbsp;Do you think art and politics can be separated? Does an artist have the responsibility of being political?&nbsp;
SM: Because I am a political person, because I'm a socially conscious person, because I have an ideology and world view, because I consider myself a Marxist, because I believe in justice and equality for all. So, I believe that has to be a link between my work, my art and my politics. I see that. I feel that it has to be integrated, otherwise it is meaningless. By politics, what I mean and what we mean is, is everything is the way where men and women live with each other, the kind of exchange people have, the kind of relationships people have, the kind of values we hold. It means also how when a woman walks on the road, how the men look at her, what is the status of women in this society? Because I'm conscious of all of these things. When I produce a work of art or when I perform or when I sing or when I dance, my sensibilities are coloured by all these lenses. When we do a play in the community or when I'm dancing, what am I saying to my audience? I'm saying that there are possibilities of a better world and let's search for that better world. Let's look towards that better world, let us try to create that better world. So, yes, art and politics for me has to be to me - it's one, it's together. They're not to be separated.&nbsp; NS: How has dance proven to be empowering for the women that you teach?&nbsp; SM: Most of the girls who come to learn dance, you know, we have this whole concept about girls' bodies and that they should not be seen. Girls should not stand in such a way that their breasts are noticeable. And I think the whole feminist movement builds on this fact that women do not have confidence in their bodies. I get my girls to stand straight, strengthen their spine, push their shoulders back, not be hunched, be confident. Have confidence in their bodies feel that there is nothing to be ashamed of in our bodies. So, I think the politics of feminism are very intertwined with dance, because it is through dance that you make your body strong. It is through dance that can make your emotional being strong. Watch <a href="https://www.youtube.com/watch?v=SjNeM9OfOJM&amp;t=1s">- Pasoori ( Cover Version ) - Dana Razik ft. Durra Razik and Thooba Razik</a> NS: Can you tell us an activist what gives you hope in times of uncertainty?
SM: The way the young people react when we go and perform in low-income areas and the kind of energy that we get from these young people, the feeling of their desire to change their environment, to change their conditions, change everything around them, and to find make a better life for them, especially girls. I mean, I feel that in Pakistan, girls, women, one can see, one can sense that they have just about had enough and they are ready for that change. They're ready to do kind of break all these discriminations, these taboos that they are being forced to live under. They are ready for a new set of values, a new way of life, where they can exist with equality and understand their freedoms and feel their freedoms and express their freedoms. And I think it is women in this country, as far as Pakistan is concerned, I feel it is women of Pakistan who have always resisted various forms of oppression.&nbsp; Also watch- <a href="https://www.editorji.com/editorji-specials/the-footnote-revisiting-india-s-first-pride-parade-with-pawan-dhall-1656689032958">Revisiting India's first Pride Parade with Pawan Dhall | The Footnote</a>

Palestinian lawyer-activist Salah Hammouri deported to France

The expulsion of Salah Hammouri underscored the fragile status of Palestinians in Israeli-annexed east Jerusalem, where most hold revocable residency rights but are not Israeli citizens.

Israel said it deported a Palestinian lawyer and activist to France early on Sunday, claiming he has ties to a banned militant group, despite objections from the French government.
The expulsion of Salah Hammouri underscored the fragile status of Palestinians in Israeli-annexed east Jerusalem, where most hold revocable residency rights but are not Israeli citizens.
It also set up a possible diplomatic spat with France, which had repeatedly appealed to Israel not to carry out the expulsion.
&ldquo;I'm happy to announce that justice was served today and the terrorist Salah Hammouri was deported from Israel," Israel's interior minister, Ayelet Shaked, announced in a videotaped statement. He was set to land in Paris just before 10 a.m. local time.
Hammouri was born in Jerusalem but holds French citizenship.
Also read|<a href="https://www.editorji.com/world-news/north-korea-fires-ballistic-missile-into-waters-off-east-coast-1671346132126">North Korea fires ballistic missile into waters off east coast</a>
Israel says Hammouri is an activist in the Popular Front for the Liberation of Palestine, a group that it has labelled a terrorist organisation.
He has worked as a lawyer for Adameer, a rights group that assists Palestinian prisoners that Israel has banned for alleged ties to the PFLP.
He spent seven years in prison after being convicted in an alleged plot to kill a prominent rabbi but was released in a 2011 prisoner swap with the Hamas militant group. He has not been convicted in the latest proceedings against him.
Israel, however, claimed he continued his activities with the banned group and placed him last March in administrative detention &mdash; a status that allows Israel to hold suspected militants for months at a time without charging them or putting them on trial.

Watch: how an elated RTI activist arrived at civic body office to collect 9,000-page information

Talking to reporters, Dhakad said he had filed an application seeking information about the PMAY about two months back, but the Bairad civic body denied the information.

For Right to Information (RTI) activist Makhan Dhakad it was an occasion that he had to celebrate as he was finally getting 9,000 pages of information, which he had sought, after a two-month-long struggle and payment of Rs 25,000. So elated was he that he reached the local civic body office on a bullock cart amid the beating of drums to collect the documents.
Dhakad, who resides in Bairad town of Shivpuri district in Madhya Pradesh, created a buzz among locals when he reached the municipality office amid pomp to collect the loads of papers containing information about the Pradhan Mantri Awas Yojana (PMAY) that he had sought under the RTI.
A video of the his act surfaced on social media.
Talking to reporters, Dhakad said he had filed an application seeking information about the PMAY about two months back, but the Bairad civic body denied the information.
The activist said that he was asked to pay Rs 25,000 by the civic body, but despite the payment, the information was not provided to him. He then appealed to the higher appellate authority of the Urban Administration Department in Gwalior, which ordered the civic body to provide the information to him.
The RTI activist claimed that he had arranged funds by taking loan from his acquaintances.
"So when I was told that the information I had sought under RTI was ready, I decided to celebrate the occasion by hiring a band and going on the bullock-cart to carry 9,000 pages of information," he said.
Also watch: <a href="https://www.editorji.com/india-news/watch-man-thrashed-by-ex-tenant-for-refusing-removal-of-costly-toilet-seat-1667646849599">Man thrashed by ex-tenant for refusing removal of costly toilet seat</a>
He said it took him and his four friends two hours to count the pages.
When asked, Chief Municipal Officer of Bairad Nagar Parishad, J N Para, told PTI that the civic body provided information to Dhakad only after he deposited the fee.
Four employees were assigned the work and it took five days to arrange the photocopies of all the documents asked by the activist, he said.&nbsp;

A controversial Indian figure is part of the TIME magazine's 100 most influential people of 2022. Khurram Parvez, who is currently in jail on terror funding allegations, is part of the prestigious list.
Parvez, a Kashmiri activist, was arrested from Srinagar in November 2021 by the National Investigation Agency. In March this year, an NIA court extended his custody by 50 days.
Parvez is associated with the Jammu Kashmir Coalition of Civil Society, and is also the chairperson of the Asian Federation Against Involuntary Disappearances. In 2016, Parvez had been detained under the Public Safety Act, or PSA, and spent 76 days in prison.
Parvez's description in the TIME magazine was written by Rana Ayyub. The caption read, "He had to be silenced, for his was a voice that resounded around the globe for his fierce fight against human-rights violations and injustices in the Kashmir region. The attacks against him speak volumes of the truth he represents at a time when the world’s largest democracy is being called out for its persecution of the more than 200 million Indian Muslims."

TIME 100: jailed on 'Kashmir terror funding' charge, activist Khurram Parvez in Most Influential list

TIME 100 Most Influential list includes Khurram Parvez, a Kashmiri activist, who was arrested in November 2021 by the National Investigation Agency.

A controversial Indian figure is part of the TIME magazine's 100 most influential people of 2022. Khurram Parvez, who is currently in jail on terror funding allegations, is part of the prestigious list.
Parvez, a Kashmiri activist, was arrested from Srinagar in November 2021 by the National Investigation Agency. In March this year, an NIA court extended his custody by 50 days.
Parvez is associated with the Jammu Kashmir Coalition of Civil Society, and is also the chairperson of the Asian Federation Against Involuntary Disappearances. In 2016, Parvez had been detained under the Public Safety Act, or PSA, and spent 76 days in prison.
ALSO WATCH | <a href="https://www.editorji.com/india-news/delhi-court-convicts-yasin-malik-in-terror-funding-case-here-s-what-he-had-told-nia-court-1652953103265" target="_blank">Delhi court convicts Yasin Malik in terror funding case: here's what he had told NIA court</a>
Parvez's description in the TIME magazine was written by Rana Ayyub. The caption read, "He had to be silenced, for his was a voice that resounded around the globe for his fierce fight against human-rights violations and injustices in the Kashmir region. The attacks against him speak volumes of the truth he represents at a time when the world&rsquo;s largest democracy is being called out for its persecution of the more than 200 million Indian Muslims."

With 3 educational degrees, Aaliya Mir was already an overachiever, but she wanted something more from life. So, she obtained a diploma, and became a wildlife conservationist - saving animals, and breaking glass ceilings at the same time.
Aaliya is from Srinagar, and is a graduate in Science and Education, and post-graduate in Mathematics. But her calling lay elsewhere. She also has a diploma in Disaster Management with specific emphasis on animal health, and has been working with Wildlife SOS since 2002.
She met Wildlife SOS' founders in Delhi, and inspired by the case of a black bear being killed in a village, joined the cause. She started as a volunteer and then began undertaking diverse projects in Jammu and Kashmir.
She heads WSOS' conservation programme in the Union Territory, which is home to diverse, including the Hangul stag. Aaliya, an expert at handling human-reptile conflicts, is specially fascinated by snakes, calling them victims of ignorance.
Apart from her work rescuing wild animals, Aaliya also works as an educationist, spreading awareness through workshops.
Aaliya's husband, a wildlife veterinarian, fully supports her in her cause.

Fascinated by snakes, inspired by bear's murder: meet Aaliya Mir, Kashmiri wildlife conservationist

With 3 educational degrees, Aaliya Mir was already an overachiever, but she wanted something more from life. So, she obtained a diploma, and became a wildlife conservationist.

With 3 educational degrees, Aaliya Mir was already an overachiever, but she wanted something more from life. So, she obtained a diploma, and became a wildlife conservationist - saving animals, and breaking glass ceilings at the same time.
Aaliya is from Srinagar, and is a graduate in Science and Education, and post-graduate in Mathematics. But her calling lay elsewhere. She also has a diploma in Disaster Management with specific emphasis on animal health, and has been working with Wildlife SOS since 2002.
She met Wildlife SOS' founders in Delhi, and inspired by the case of a black bear being killed in a village, joined the cause. She started as a volunteer and then began undertaking diverse projects in Jammu and Kashmir.
ALSO WATCH | <a href="https://www.editorji.com/india-news/local/do-you-know-this-animal-another-live-pangolin-rescued-from-smugglers-in-odisha-1650996234599" target="_blank">Do you know this animal? Another live pangolin rescued from smugglers in Odisha</a>
She heads WSOS' conservation programme in the Union Territory, which is home to diverse, including the Hangul stag. Aaliya, an expert at handling human-reptile conflicts, is specially fascinated by snakes, calling them victims of ignorance.
Apart from her work rescuing wild animals, Aaliya also works as an educationist, spreading awareness through workshops.
Aaliya's husband, a wildlife veterinarian, fully supports her in her cause.

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