1.

Based on the theoretical frameworks discussed in class, what are your views about

Diego Buñuel's show "Don't Tell my Mother"? You can use references from works of scholars like
Elizabeth Edward, James Clifford, John Berger etc. You can write it on 1-2 pages of Times New
Roman Font, single space , 12 pt text with citations (and photos etc)

A Kaleidoscope of Pakistan: Insights from Observations on the episode “Don’t tell

my Mother; I am in Pakistan.”

Being a Pakistani visual artist, I can see the show “Don’t tell my mother; I am in

Pakistan” with both perspectives. One is the eye of the inside, the other one is the eye

of the outside like Diego Buñuel was portraying. Elizabeth Edward introduces a term

Forensic by stating that “Visualisation has always been entangled with the anthropological.

But in many ways what appears to us as new questions and concerns about that

relationship in the twenty-first century can be found in the emergence of modern

anthropology from the late nineteenth century onwards.” [page 2, line 10 - 14, (Edward,

2015,)] Which means that we have to dissect the narrative in both manners equally to

understand the Question itself and analyse the concerns which are majorly attributed to

certain cultural values.

Being an Insider, watching and analysing an outsider's perspective, it is a truly

appreciable act to draw the intricate layers of the culture, society, and identity in the

case of Pakistan. Standing in the space of Diego's observations from an outsider's lens

have revealed a different but many layers of experiences and impressions, each offering

a unique glimpse into the diverse tapestry of Pakistani life. One of the most enlightening

aspects of my [as Diego’s lens] exploration was the visit to a Madrissa, a traditional

Islamic school, which serves religious education in Pakistan. Contrary to popular

stereotypes, the Madrissa he visited was not merely a repository of Quranic verses but
also embraced modernity with computer studies and computerised publishing accounts.

This fusion of tradition and technology underscored the adaptability and resilience

inherent in Pakistani society, where ancient wisdom harmonises with contemporary

advancements.

Inside the Madrissa, the atmosphere was one of polite discourse and intellectual

engagement. Despite preconceived notions, the pupils he encountered were not solely

fixated on the archetype of the Mujahid (holy warrior) but displayed a nuanced

understanding of their faith and its relevance in a modern context. Their dreams and

aspirations transcended narrow stereotypes, reflecting a generation eager to navigate

the complexities of faith and society with wisdom and discernment. Though this idea is

also culturally developed, maybe those pupil’s dreams are just the bubble filled with

faith and many illusions for a certain time.

Transitioning from the hallowed halls of the Madrisa, the next frame of his journey

and [as a viewer my journey] led him to a factory visit—a microcosm of Pakistan's

burgeoning industrial landscape. Here, he witnessed firsthand the empowerment of

women, who occupied roles as tailoresses stitching inner-wears and crafting pleasure

devices [perhaps] as mass production items. This juxtaposition of tradition and

modernity, gender roles and economic empowerment, weaved the dynamic nature of

Pakistan's socio-economic fabric, where women are asserting their agency in

traditionally male-dominated domains.

Amongst these varied encounters, the undercurrent of patriotism pervaded every

facet of Pakistani life in the very beginning. The sight of flames representing the flags of

India and Pakistan respectfully falling and folding spoke volumes about the deep-rooted
respect and reverence for national identity along with the overwhelmed emotions. The

resounding echoes of national anthems reverberated through the air, a heart-rending

reminder of the shared history, struggles, and aspirations that bind the people of

Pakistan together. What shocked me the most was calling this event a “different game

from football/ soccer” or “fight of cock”. As a viewer, I couldn’t find the difference

between a football game and the event that happened everyday at the Wahga border.

Similarity index is 50% as there are two major differences, A- A football game played by

two teams with rules and Football on the ground, B- It is a game with the factor of win or

lose. Accept these two factors which are indeed major factors, the crowd is similar, in

both grounds the crowd cheers up the players at the same time the players standing on

the gate doing their duty.

The documentary's narrative unfolds, shifting focus to the realities of Pakistani

society. In the party scenes, we glimpse moments of joy and celebration amidst the

backdrop of smoke and dance. Talking to the famous Character Begum Nawazish Ali

about his role in his famous Political Show is indeed a careful and clever act of placing

the B type or pigeonhole narrative [apologies for using my own terms such as C or B

type or A type]. It is a B - type narrative as the director and scriptwriter knows the fact

What Ali could speak about. Ali is a host of a TV show and has a political stance

regarding the geographical and cultural framework. So, he spoke about his struggle

along with acceptance in Pakistani Society through viewership and guests on talk.

Moving to the next chapter in Hyderabad, where Diego visited a village displaying feudal

system and slavery was another truth. Diego met some of the strong women and a

house portraying/ staging the cultural display. Moving further, venturing into Lahore's
walled city, conversations with the transgender community shed light on their struggles

for basic needs and the pervasive sense of fear that haunts their daily existence.

Framing or fabricating the Khwaja Siras in chapter of Lahore started with “‫جنے‬

‫ ”الہور نے ویکھیا او جمیا ہی نئیں‬visiting walled city especially the kali mandi, moti masjid and

the area specified for Khwaja siras and asking about their daily life is the example of

portraying the fudge [AW] and hypocrisy within the lifestyle of Pakistan. During this

occasion, Khwaja siras are extended invitations to a modest household to partake in the

celebration of the birth of a newborn male child. Their presence is sought to engage in

dancing, offer blessings, and contribute to the overall prosperity. Additionally, the

cultural practice of valuing the birth of sons is not limited to the walled city but extends

throughout Pakistan.

The narrative takes a poignant turn as Mussarat Misbah's Parler Duplex emerges

as a beacon of hope and empowerment for burn survivors. Through her advocacy,

Misbah confronts the pervasive issue of honour killings, highlighting the complicity of

close relationships in perpetuating violence against women. Her story embodies

resilience and determination in the face of adversity. Projection of birth of a male figure

in Pakistani society and what's happening with a female figure is one side of a coin and

I assume it is still a majority.

The journey concludes with breathtaking vistas of Northern Pakistan, where the

sublime beauty of Gilgit Baltistan, Swat, Hunza, Skardu, and Shangla captivates the

soul. However, amidst the tranquillity lies the shadow of conflict, as tourism grapples

with the ongoing war between extremists and the Pakistani Army. The delicate balance
between preservation and progress underscores the complexities of Pakistan's

socio-political landscape. In the frame of Shangla resort, the owner of the resort states

that the space is empty because of the ongoing situation. No one dares to visit the

resort and embrace the serene beauty of the north. This statement is solemnly true to

the subject as it’s one side of the coin. The other side was that no normal human being

ever would try to visit such a place where It’s been word of mouth that this place is

dangerous or under fire. Since, this ongoing situation was conspired by US intelligence

according to some scholars like Wajahat Masood [from his book ‫]روزنامچہ کا محاصرہ‬,

Wusatullah Khan, Mohammad Hanif’s assumption. The notion is widely circulated that

the United States facilitated the rise of the Taliban to combat Russia and destabilise the

Soviet Union. Following the collapse of the Soviet Union, the Taliban lost strategic

relevance for the US, prompting actions to either eliminate Taliban members under the

pretext of extremism and terrorism or initiate new conflicts to eradicate their influence

and ideology. I consider it irrational to label a location as dangerous, then feign sorrow

over its condition and attribute it solely to the effects of terrorism. Indeed, From the

outsider's gaze to intimate encounters with marginalised communities, each frame of

observation sheds light on different facets of Pakistani society.

In my conclusion, Elizabeth Edward used a term Forensic approach to do

autopsy of a narrative built by an outsider to create an imperial approach by using the

preconceived idea to weave a new narrative. She states that “Interpreting photographic

images is an extremely subjective process” which means Photographic image is the

freezed still but it does not freeze the narrative which is built by the photograph itself.

Same applies in Film especially on documentary Film that has fragments of the whole
event, or socio cultural hierarchy and so forth but not the whole truth of that event, or

socio cultural dynamics. For example, depicting women's empowerment, where

tailoresses engage in the production of intimate apparel and pleasure devices. While

this portrayal may rectify economic agency, it also underscores the commodification of

women's labour and the perpetuation of gender stereotypes. The juxtaposition of

empowerment with societal expectations reflects deeper tensions surrounding gender

dynamics and agency in Pakistani society.

The portrayal of patriotism as a unifying force obscures underlying emotional

strains and complexities within Pakistani society, where competing narratives of identity

often intersect and clash. Conversations with the transgender community in Lahore's

walled city reveal the harsh realities of discrimination, poverty, and fear that permeate

their daily lives. Similarly, the story of Mussarat Misbah's Parler Duplex highlights the

pervasive issue of honour killings and the complicity of familial relationships in

perpetuating violence against women. At the same time, it may have another

perspective that Musrat is using these women in order to help them alongside the cheap

labour concept. The documentary concludes with breathtaking imagery of Northern

Pakistan's scenic landscapes, juxtaposed against the backdrop of ongoing conflict

between extremists and the Pakistan Army. While tourism promises economic

opportunities for the region, it also intensifies existing tensions and vulnerabilities. The

spectre of conflict looms large, threatening the livelihoods of communities dependent on

tourism and highlighting the fragile balance between development and security.

Although staged, this documentary captures the many intense cultural events that occur

in Pakistan on a daily basis. It exemplifies what Elizabeth and other anthropological

scholars discuss regarding fragmentation of culture depicted through film media, as we

previously explored in class.

References

Edward, E. (2015). Anthropology and Photography: A long history of knowledge and

affect. Published Online. 10.1080/17540763.2015.1103088

https://www.wilsoncenter.org/article/four-pakistani-conspiracy-theories-are-less-fi

ctitious-youd-think