Netflix recently launched Pakistani dramas and here’s a quick review of the three available on the site. Pakistani dramas have gained a popular following around the world due to their strong story lines, beautiful cast, and amazing sound tracks. These dramas can be seen on TV channels like HUM TV, URDU1, Geo Entertainment, ARY, Zindagi TV etc or YouTube. And now the first three Pakistani dramas available on Netflix are “Humsafar,” “Zindagi Gulzar Hai,” and “Sadqay Tumharay.”
South Asians who live in the diaspora watch the dramas for many personal reasons such as enjoying the language/culture, bonding with family as they watch together, or getting addicted to the engaging plots. I have been following Pakistani dramas for a long time. Growing up in Pakistan the 8 p.m. drama was a family ritual. The whole family would gather and watch the drama together and discuss it between the commercial breaks. Now that I live in Canada, I watch the dramas because they remind me of home.
Getting the Pakistani dramas on Netflix is super exciting as this magnifies their reach and is a validation of their global appeal. All dramas are subtitled in English to help those that don’t understand Urdu/Hindi. So, if the ones available on Netflix have intrigued you, here’s a quick introduction to each of them:
While there have been many classic Pakistani TV dramas, “Humsafar” is the one that brought the dramas to the international forefront. The story is simple but many factors contributed to make this one a hit—the haunting soundtrack “Woh humsafar tha,” the charm of Fawad Khan & Mahira Khan, the brilliance of the director Sarmad Khosat, the chemistry between all cast members, and the way Momina Duraid packaged it all together.
I was visiting Pakistan in the winters of 2011 when “Humsafar” was screening for the first time and was amazed at the widespread popularity of this show. Plans would be made around the airing of the episodes: “Sorry, can’t meet you Saturday night, “Humsafar” is airing”. There were “Humsafar” parties where friends would get together to drool over Fawad Khan, er, I mean watch the episode together. Pakistan was taken over by the “Humsafar” fever and this soon spread around the world, as the episodes became available on YouTube and then later Zindagi TV for the Indian audience.
This drama has the classic elements that have made Pakistani dramas popular: A story that can be watched with family, impeccable Urdu, beautiful cast, and a tight-knit plot. The main characters of Ashar (Fawad Khan) and Khirad (Mahira Khan) remind one of Mr. Darcy and Elizabeth Bennett with their obvious differences in class and disdain for each other. However, their story soon turns into one of a beautiful romance that develops slowly after becoming husband and wife. This is before the story takes a turn and the two lovers are separated by the scheming mother-in-law. Typical much? Maybe yes, but the way the plot is carried with some obvious loopholes and keeps the audience engaged is the brilliance of “Humsafar.”
Total episodes: 23.
“Zindagi Gulzar Hai”
This drama is based on one of the early stories by one of my favorite authors Umera Ahmed and directed by Sultana Siddique. “Zindagi Gulzar Hai” follows Zaroon (Fawad Khan, again) and Kashaf (Sanam Saeed) from their college days to working lives and then married ones as they discover differences and then similarities in each other. Both of them come from backgrounds as different as can be and while Zaroon’s life is apparently smooth-sailing, Kashaf’s life is full of struggles and challenges. Umera Ahmed has admitted later that the characters are more black and white than she would have liked them to be since this was one of her earlier works.
The story covers many social topics such as the disregard for the girl-child, poverty, class differences, respect within a marriage, and the challenges of a working woman. You might not agree with the views but it will definitely make an interesting conversation if you watch this drama with your mom, husband, or a friend.
Total episodes: 26.
This love story is not for the light-hearted with the dramatic romance, dark plot, hauntings from the past, and the tragic undertones. The fact that the storyline is based on the real-life love story of the writer Khalil ur Rehman Qamar, is a testament to the statement “reality is stranger than fiction.”
Once again, Mahira Khan shines in the lead role of Shano and Adnan Malik does justice to the tall, dark, and handsome hero expectations of Khalil. We are taken to rural Punjab of the 70s with the long winding dusty roads, tonga rides, and the simpler days. The soundtrack in the melodious voice of Rahat Fateh Ali flows through the turbulent turns in the story.
This drama should come with a PG13 disclaimer and is not your usual family-friendly Pakistani drama. Be prepared for many awkward moments if you decide to watch this one with your grandmother!
These are exciting times for Pakistani dramas and being part of Netflix is the beginning of more things to come. I hope the folks at Netflix pay attention and add more dramas to their collection, which have the right mix of entertainment and social messages. I would highly recommend “Diyar-e-dil,” “Kankar,” “Udaari,” “Durre Shahwar,” “Jhoot,” “Doraha,” “Daam,” “Malal,” ” Eik The Maryam,” “Uraan,” “Mohabbat Ab Nahi Hoge,” “Mirat-ul-aroos,” “Ankahi,” “Tanhaeyan,” “Sitara aur Meher un nisa,” “Sheher-e-zaat,” “Alvida,” and “Bari Apa”— and these are all on a long list that I can keep adding to!
Wedding season is in full swing as the world resets from the coronavirus pandemic that halted mass events for years. Indo Caribbean weddings have rich diversity due to their varying religious and regional intricacies, but are generally large celebrations that require planning, coordination and preparation. Growing up, I was both excited and stunned at the busyness associated with streamlining a multi-day wedding celebration.
The vibrant diaspora of first-generation young adults and their families may look to vendors who can understand the nuances of Indo Caribbean weddings. Below are five Indo Caribbean vendors you need to know about this wedding season!
A self-taught mehndi artist for more than 16 years, Anil Deonarine was fascinated by the delicate, deeply stained details that adorned the hands of Indian actresses and classical dancers. His passion for art inspired him to watch YouTube tutorials and meticulously freestyle designs on his sister’s hands.
Soon after, he began practicing mehndi on himself and perfected his signature designs that drew inspiration from traditional Rajasthani textiles and Arabic floral patterns. Deonarine is also known for his speed, and can craft a flowing, freestyle design in 3-5 minutes without much pre-planning that is symbolic and personalized to the individual.
As a member of the Indo Caribbean, Latino and LGBTQ communities, mehndi was a therapeutic means of growth for Deonarine at the intersection of his identities. With his mother’s aid, he began introducing mehndi to those that celebrate Quinceneras, Noche Buena (Christmas Eve Dinners) and Three Kings’ Day. Within the greater South Asian community, Deonarine frequently applied mehndi on family and friends for weddings/events and participated in cultural events such as holidays.
He initially faced some negative reactions from members of the South Asian community as a male artist, such as being chastised that mehndi is only for women, called slurs and told to stick to traditionally manly activities. However, Deonarine instead focused on bettering his skills, advocating and supporting other male artists, and soon built a loyal and excited clientele that fully supported and accepted him. It is his dream to design mehndi at a queer wedding to further defy stereotypes and champion mehndi’s inclusivity for all, irrespective of race, sexual orientation, religion or gender.
Offering soy candles and natural soaps, Diana Sookram’s products have been used as bridal shower and wedding favors and gifts in bridesmaid, bachelorette and groomsmen boxes.
Sookram began creating natural products in 2016 after her daughter developed respiratory issues from store-bought candles. She fell in love with the creation process and soon began taking small-batch orders from family, friends and co-workers. Now, she is expanding her business through summer networking socials and prepping for mass orders during wedding season by stocking up on top-selling supplies such as small candle jars, lids and soap packaging.
Sookram’s products can be color and scent customized to match the theme of any occasion. Popular scents during wedding season include beach linen, honeysuckle jasmine, lavender and chamomile and honeysuckle rose. Whether a couple envisions a beachy, garden or opulent wedding, Sookram is able to create complementary colors and scents.
She admits the hard work that goes into promoting a small business and jumps at the opportunity, particularly within the Indo Caribbean community, to network and collaborate.
Fresh flowers are a staple in weddings and plentiful throughout the Caribbean. In some Indo Caribbean weddings, couples exchange garlands of fresh flowers, called malas, to signify their consent and joy in choosing one another as partners. This fundamental ritual dates back to ancient times and is deeply symbolic, as malas also adorn the statues of gods and goddesses in Indo Caribbean temples.
Since the age of seven, Mallika Balgobin sat alongside aunties and uncles in temple and watched them handcraft malas. She was inspired to learn the techniques and in 2018, established her business, Vibrant Garlands, to make and sell malas for special occasions.
Balgobin finds the preservation and teaching of traditional craft vital to her Indo Caribbean heritage, as she is able to make malas for some of the community’s biggest events such as weddings, religious ceremonies, holidays and funerals.
Her recent 2023 trip to South India aided her in learning new techniques and she was encouraged by how the tiniest, simplest flower is arranged to symbolize auspiciousness and beauty. For weddings, Balgobin loves stringing white carnations, red roses, baby’s breath and pink lilies to evoke feelings of unity and love. Balgobin works with couples to customize fresh flowers. She provides fresh flowers or suggests couples buy the flowers of choice prior to customization.
The pulsating and electrifying rhythms of live tassa are a grand component of Indo Caribbean weddings. Since 2017, G Star Tassa Group has brought unique beats and energetic vibes to Indo Caribbean special occasions. While derived from Indian traditional drumming, tassa is a distinct musical experience particular to the Caribbean. It is generally associated with the splendor of wedding festivities due to the excited ambiance it produces. When arriving at a wedding where tassa is performing, the music is loud and center, indicating that a celebration is taking place.
Watching, listening and dancing to tassa is a multisensory experience that heightens the audience.
For the members of G Star, playing tassa is a means of, “expressing culture, rather than representing it. When we play, we like to believe we are invoking emotions from every person who can hear it. Our culture embodies happiness, togetherness and love, all of which can be found in the sweet sound of Tassa.”
Photography and videography offer couples some of the strongest mementos to relive their special day. Nicholas Mangal at DvS Photography brings high energy and professionalism to capture the right angles, looks and moments of a wedding. Located in both New York and Florida, Mangal prides himself as one of the only individuals in the Indo Caribbean community who shoots and edits both photography and videography in specially curated, all-inclusive packages for couples. With an emphasis on portraits, he personally caters to each couple and involves them after the shoot in the editing and final stages of his products.
Mangal understands the complexity that can accompany an Indo Caribbean wedding, but believes that this, “forces me to think outside of the box and create new perspectives, ensuring that I try different styles.”
He loves to document the aesthetics of Indo Caribbean weddings, from the rich embroideries of the outfits to colorful decor.
Ultimately, he aims to highlight the timeline of wedding rituals by capturing people in motion and interacting with the crowd to create lifelong memories that the couple can cherish forever. For Mangal, photography/cinematography is a deeply subjective form of art that can be used to capture the unique beauty and experience of Indo Caribbean weddings.
These vendors bring an important cultural and niche aspect to the Indo Caribbean wedding industry. Their products and brands are tailored to the community. As a 2023 bride, I am excited to see the diversity of vendors available to help guide and support those getting ready to begin their new journey of married life.
To inquire about services, please visit the vendors’ social media pages.
Ten to 28% of the world’s population of women experience painful sex. Keep in mind, that this is just what is reported. As embarrassing and as vulnerable as you may feel, you are absolutely not alone. The good news is that in addition to your traditional medical care to treat painful sex (also known as dyspareunia) such as medication, injections and surgery — a conservative approach is effective and long-lasting. Conservative care ranges from pelvic floor physical therapy, chiropractic care and acupuncture which are beneficial in treating the root cause of painful sex, as well as symptoms, for long-term healing.
Some of the signs to look out for if you experience pain are:
Treatment options for painful sex such as pelvic floor physical therapy, chiropractic care and acupuncture provide a long-lasting and profound effect on the pelvic floor and address your entire physical well-being.
The pelvic floor is a layer of muscles that range from the pubic bone to the tailbone. The purpose of these muscles is to assist in bowel and bladder control, support a baby during pregnancy and contribute to sexual sensations. Just like any other muscle in your body, these pelvic floor muscles can become tight or weak which can be a contributing factor to pain.
Pelvic Floor Physical Therapy
Pelvic floor therapy can assist by strengthening and relaxing the muscles which is necessary to relieve pain during sex.
Chiropractors can be extremely beneficial with assisting in helping relieve pain. Associated pain and discomfort can originate from the lower back and buttock muscles. Chiropractors are trained in taking a history and performing a neurological, orthopedic and soft tissue examination to identify treatment options. Deep tissue massage, skin rolling, Active Release Technique, muscle energy technique, ice, heat and electrical stimulation are just to name a few.
Acupuncture can activate the human dopamine system which helps regulate hormone levels and can assist in psychological factors. Acupuncture can improve mood, decrease pain and can be vastly beneficial in managing pain and mental health symptoms.
Ask for help
“Everyone is having pelvic pain and no one is talking about it”
Start with seeing your gynecologist who you trust for a history and examination of current symptoms to rule out any other medical conditions that could be a contributing factor to symptoms.
How to talk to your partner about this in a safe/healthy way
Being open with your partner about your symptoms and painful sex may seem like a difficult conversation. Intercourse should never be painful and learning when to stay ‘stop’ is important in communication. Talking about pain before, during and after sex is important also in your own health diagnosis to see if pain symptoms are improving or becoming worse. Having open communication does not only benefit your relationship but most importantly, your own health.
To experience these symptoms may seem taboo or unheard of but quite frankly, they are common in many women. Women deserve to be directed to proper healthcare.
Disclaimer: These are based on recommendations from a board-certified chiropractic physician and licensed acupuncturist. If symptoms become new or worse, consult with a primary care physician and or OBGYN to co-manage symptoms.
I first started writing it for submission to a competition with the Borough Press. I wasn’t sure what story I wanted to write because I felt obligated to write certain stories or write in a certain style. I pretty much got fed up and started questioning myself. When I put pen to paper and got serious, the story that came out was a story of grief not necessarily specific to my life. I knew I wanted it to be about a family going through grief for decades, and how grief can arrest and impact the family structure.
When you first started writing, which part of the story came out?
It was the very first chapter. The first three chapters of the book came naturally. What you read in the book is untouched from the first draft that I submitted. I knew it was about a family that was going through grief. I knew I wanted it to take place between Trinidad and Toronto because I was born and raised in Trinidad and lived in Toronto. I wanted that sort of cross-generational mixture of family in the book as well – to see how each generation dealt with grief.
Did you always want to be a writer?
I don’t think I knew. It’s just one of those things that you think is impossible, so there’s no point dreaming about it. But when I was a young girl in Trinidad, I imagined myself carrying a leather briefcase and I don’t know why, but I knew I was going somewhere important, and I had something important to do. I always loved writing, but the truth is people get in the way and they dissuade you. It’s all around you – that the arts is not a viable career and if you pursue it, you have a 95% chance of failure. But after working 10 office jobs in three years, I’m like, ‘I’m not happy,’ so this is actually the failure. I knew I needed change.
How do you navigate the space of being told that art is not a viable career, especially in the Indo Caribbean community?
Those challenges were around me all the time. It wasn’t even my family, but it even comes from friends and acquaintances. When you’re young, being an artist is hard, and you’re told there’s no point in doing it. I listened to people who said that, and got office jobs and did what everyone else was doing because apparently, that was the way to be happy. Five years passed by and I realized I wasn’t happy and I should have never listened to those people. I started writing. I started doing something that made me happy and treated it as a serious craft. I did not treat it as a hobby, but as something that was going to pave my path. I really worked in a tunneled vision. So I never told anybody what I was doing – I didn’t want to be dissuaded. I had to be my own champion. I know that doesn’t sound healthy, but back in 2012, I didn’t know about community.
Cassandra, the main character is a writer, like yourself. How much of Cassandra’s story is your story?
My family is very supportive of my writing and it took some time for them to get there. Like many families, they kind of saw it as a hobby. Once they saw that I got published, they took it more seriously. Now, they are supportive of my writing and I think in the book, Cassandra’s family is not that supportive. They just weren’t interested in her writing, which is why she didn’t talk about it. It is a little bit reflective of my own experience.
It wasn’t based on a true story. That is something I get asked often – a lot of people say ‘she’s Trinidad and you’re Trinidadian.’ The places I wrote about are from my memory, but the plot itself is fiction. I wanted to challenge myself to write something truly fictional. I grew up in a household of strong Trinidadian women. I wanted to write about strong Trinidadian women, the roles they play, their histories and their backgrounds. The characters aren’t necessarily based on anyone particular in my life. Overall, it was a joy to imagine and write it because each one of these characters are very different from the other.
The novel has nine major female characters and at most three major male characters. Why did you want to tell a female-driven story?
I grew up in a family of predominantly women, and most of my Caribbean friends also grew up in families of predominantly women. They really are, in my experience, our caretakers. For me, my family and my friends, our mothers are our worlds – we love and admire them. Family is their priority; raising their children is their priority. I wanted to write about Trinidadian women because I wanted to tell each of their stories. I want more Indo Caribbean and Caribbean women in fiction. I think anything that I write will always be about Caribbean women. I want to contribute to that field of literature. I have such enormous respect for them; all the sacrifices that they’ve gone through to bring their kids to new countries – some of them single moms. There’s nothing else I really want to write about, to be honest.
One of the other things I noticed was keen attention to the setting. How many of these precise details came from your own life, if any of them?
For Trinidad, a lot of it is based on my memory of the island and my home there. But I did have to turn to my family for specific details that I thought I may have imagined. Because I grew up mostly in Toronto. I was insecure about writing about Trinidad, so I went back to my mom and my family, who lived there for over 40 years. In terms of the house in Toronto, some of that is from my experience and some from imagination. I’ve written and talked about this book before, “The Poetics of Space” by Gaston Bachelard, which examines the psychology of houses. I tried to construct a house that would accommodate the psychology of the characters. If the house seems very detailed, it’s because I made it so, to accommodate certain secrets and people’s personalities.
Why explore the psychology of a house?
It’s not an original thought, but I think the way space is organized around us, or the way we organize ourselves in a space dictates physical behavior. If you’re in a wide open space and you don’t know anyone, that can seem intimidating. If you’re in a closed space, that can also seem intimidating. I tried to organize the space to give each character privacy from the other, but then once they were in a common room, it really changed the dynamics of their interactions.
What makes a family?
I think people who have been through challenges with you for years make a family. That’s not even a blood thing – I have friends that are like family because we’ve been through things together over decades. It’s people you’ve experienced highs and lows with, but managed to stick with throughout the years. But ‘family’ can also be people who you haven’t talked to for years, who you’ve had a fragmented relationship with. For those sorts of relationships, it can be an unhealthy loyalty or a wondering of what could have been.
The book doesn’t have a happily-ever-after ending. Why?
Not ending the story in a neat little package was very important to me. I think there’s a certain expectation in storytelling by readers that a story needs a conclusion. And, to me, this is not what actually happens in the real world. The reasons people read a book are different – some people are reading for escapism, others are to better understand cultures and other people – so it depends on the reader and what they’re looking for. In literary fiction, readers are more open to an inconclusive ending because literary fiction can take things to a darker, more serious place than other genres. If I wrapped up the story with a nice little bow, it would be untrue to what this family has gone through. I wanted to show how unsolved issues can pan out. I didn’t want to take the story from a sad beginning to a happy ending. Not all stories end happily.
What do you want readers to take away from “Wild Fires?”
I set out to write a story that had a universal theme. I wanted to feature a somewhat normal story with Caribbean characters. It wasn’t centered around race or indentureship because a lot of the Indo Caribbean literature that I’ve read has been – and rightly so. That’s where I learned about our history and our stories. But that was not a story that I wanted to tell first because it was not the story that was closest to my heart. When I started writing, I realized the story was really about grief. I wanted to show Caribbean women and Indo Trinidadian women, in a universal light. We are a result of these histories yet go through normal things like grief, secrets and family dysfunction.
Following the publication of “Wild Fires,” Jai is pursuing her Master’s at Oxford University as a Kellogg’s Scholar. While attending school, she’s looking to write a short story about Caribbean joy to contrast the dark themes of her debut novel and portray Caribbean women in unrepresented ways.
“Wild Fires” is available in Canada and the UK and will be available in the U.S. in Spring 2023.