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PAKISTAN'S CULTURAL

DIVERSITY IN ARTS: A
MULTIFACETED TAPESTRY
Maida Riaz
21-NTU-DD-15
Abstract:
In this presentation, we delve into the vibrant cultural
diversity of Pakistan through the lens of its arts scene.
We explore the fusion of traditional and modern
expressions in visual arts and music, showcasing the
country's multifaceted identity.

Introduction

Art is considered a branch of philosophy called aesthetics that defines and analyzes the
psychology of the artists and of the people experiencing it!

Pakistani art has a long tradition and history. It consists of a variety of art forms,
including painting, sculpture , calligraphy , pottery, and tectile art such as woven silk. It
shares features with Indian Subcontinental Art.[1]
Literature Review
In the decades that followed the nation's independence, a few artists of Pakistan adopted
modernism as a representation for change and economic freedom, as they wanted to meet
Europeans standards. They adopted styles popular in all over the world, but many of them are
also experimenting with native traditions of art. They are painting the cultural and artistic
traditions of the region in realistic manners.
The artists of Lahore are linked its culture in one way or the other. Depicting Lahore in images
is an old practice and the old-city has generated many famous painters. Lahore was full of
artists and naggash when British captured Punjab (Srivastava, 1983, 49).
Muslim painters resided in Lahore included Amir Bakhsh, Mohd Bakhsh, Miran Bakhsh, Imam
Bakhsh, Karm Bakhsh, Karim Bakhsh and Pir Bakhsh etc.[4]
Pakistan showcases a kaleidoscope of multiple
cultures and civilizations that is apparent from its
diversity radiating across its borders. The cultural
and traditional values exhibited in today’s Pakistan
represent the preservation of the creative and
artistic process. It encompasses a wide range of art
and culture aspects that include visual media and
crafts, literature, plays and performance, design,
and interactive media and so on.[5].
Dastangoi
Dastaangoi was founded in 2020 by Waleeya Ahmad
and Amad Mian.
Dastaangoi is a creative platform that is on a mission to
promote the diversity and richness of art, design and
culture from the Global South to the world. We do this
by hosting artist residencies, exhibitions, working with
brands and through our products. Focuses on bringing
emerging voices from the Global South to the forefront
of artistic dialogue in our region.
Artwork produced by different
artist at Dastan Goi Residency
Chawk Matti (1990)
Sara Shakeel Ajaz Anwar Submerge
Water Colour. 76 x 157 cm Acrylic, Water Colour, Pastels
“ Towards the dimming lights” "Reminiscences of Old Lahore" & Colour Pencils on Saunders
Waterford Paper
22.5 x 30 inches(2021)
Material and
methods:
Pakistan is a land that consists of a mixture of various
cultures and the reflection of our cultural heritage can
be visualized in the form of art and craft, leading to the
creation of an exceptionally wide collection of
masterpieces.
Music Diversity in Modern
Pakistan
In parallel, Pakistan's music scene is experiencing a renaissance, characterized by a fusion of traditional
melodies with contemporary beats and genres. Icons like Coke Studio have played a pivotal role in reviving
interest in traditional Pakistani music forms such as qawwali and sufi rock while also exploring new sounds and
collaborations (Coke Studio, 2023). Independent musicians and online platforms are democratizing the industry,
enabling diverse voices and genres to flourish (Indie Music Pakistan, 2022)..[2]

Pakistan has a rich and diverse musical heritage that is deeply rooted in the country’s cultural and historical
traditions. From the soul-stirring melodies of ghazals to the pulsating beats of pop music, Pakistani music has
something for everyone.[7]
By scrutinizing the intersections of art, literature, religion, language, and
politics, the study sheds light on the complex dynamics between tradition
and modernity, regionalism and globalism, and unity and diversity within
Pakistan's cultural landscape. It offers invaluable insights into the
multifaceted nature of Pakistani identities, illustrating how they are
continually shaped, contested, and redefined amidst evolving social,
economic, and political realities.[8].[9].
Conclusio
n
Pakistan's cultural diversity in arts serves as a testament to the
resilience, creativity, and diversity of its people. Through
innovative expressions in visual arts and music, Pakistani artists
and musicians are shaping narratives, challenging perceptions,
and celebrating the country's rich cultural heritage in new and
exciting ways. By embracing diversity and pushing the
boundaries of artistic expression, Pakistan continues to carve its
unique place in the global cultural landscape.
Reference
Iqbal, N., & Malik, F. (2023). Exploring cultural heritage and identities: Pakistan's diverse global narratives and engagements.
Pakistan Research letter, 1(03), 135-141.

Durrani, N. (2007). Forging identities through schooling: Tensions and contradictions between religious and national identities in
Pakistan. International Journal of Diversity in Organizations, Communities, and Nations, 7(1), 249.

Azam, S., & Bilal, M. (2024). The Crisis of National Identity: Politics and Intersectionality of Identity Markers in Pakistan. Journal of
Asian and African Studies, 59(3), 964-977.

Khan, M. S. (2009). The Politics of Identity: Ethno-Political Identity in Local Political Structure with Emphasis on the Role of Ethnic
Groups. Pakistan Journal of History and Culture, 30(2).

Chaudhry, I. K., & Meitei, L. L. (2024). Modernity and politics: a study of cultural identity in Manipur. Indialogs, 11, 81-101

Syed, J. (2008). The representation of cultural diversity in Urdu-language newspapers in Pakistan: A study of Jang and Nawaiwaqt.
South Asia: Journal of South Asian Studies, 31(2), 317-347.

Khan, S. M., Shaheen, M., & Hashmi, M. J. (2021). Preserving Distinctive Identity through Cultural Revival: An Analysis.

Shahid, A. B., & Qurban, Z. (2023). DRIVING ETHNICITY THROUGH INSTRUMENTALISM: GENESIS OF SINDHUDESH MOVEMENT.
Pakistan Journal of International Affairs, 6(1).
Borah, P. (2012). Reconstructing identity and ethnic movements in north-east India: An analysis on the mising movement. Asian Journal of
Research in Social Sciences and Humanities, 2(11), 242-248.
Khan, T. A., Khan, A., & Mehsud, M. I. (2020). Ethnic Diversity and Federation of Pakistan: A Societal Perspective. Liberal Arts and Social
Sciences International Journal (LASSIJ), 4(2), 130-144.

Akcan, E., & Dadi, I. (Eds.). (2023). Art and Architecture of Migration and Discrimination: Turkey, Pakistan, and Their European Diasporas.
Taylor & Francis.

Kamran, S. P. GLOBALIZATION AND TRENDS IN VISUAL ARTS: THE CASE OF 21ST CENTURY PAKISTAN.

Hashmi, S., & Batool, F. (2019). Reframing the Contexts for Pakistani Contemporary Art. Intersections of Contemporary Art, Anthropology
and Art History in South Asia: Decoding Visual Worlds, 73-92.

Wille, S. (2017). Modern art in Pakistan: history, tradition, place. Routledge India.

Mbadimma, C. N. (2022). The Future of Visual Arts in the 21st Century: A Critical Prognosis. AWKA JOURNAL OF FINE AND APPLIED ARTS,
7(2).

Dadi, I. (2009). Art in Pakistan: the first decades. 2009) Hanging Fire: Contemporary Art from Pakistan, New York: Asia Society Museum, 39-
49.
THANK YOU
VERY MUCH!

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