Imran's party leads in women representation for Pakistan elections
Even though women make up around 49 per cent of Pakistan’s population, as per the 2017 census, only 839 women out of 17,000 candidates are contesting the February 8 election
The Pakistan Tehreek-e-Insaf party, which is under the leadership of former Prime Minister Imran Khan has allocated 53 seats to women, the highest number of tickets given to female candidates by any major political party in Pakistan for the elections set to take place on February 8, the media reported on Friday (2).
The beleaguered party, which was stripped of its electoral symbol, a cricket bat, by the Supreme Court of Pakistan in January, has allotted tickets to 53 women candidates, of whom 28 are contesting the elections for the National Assembly constituencies, while 25 are for provincial seats.
As a result of the Supreme Court ruling, the party's candidates will be contesting the election as independents with different election symbols.
Istehkam-e-Pakistan Party, which will be contesting its debut elections, has awarded tickets to seven women, which is 7.2 per cent of its total candidates, Geo News reported.
Meanwhile, Muttahida Qaumi Movement Pakistan has allotted tickets to 13 women, which is 6.7 per cent of its total candidates.
However, other major political parties have fallen short of giving even five per cent of tickets to women.
For the February 8 election, the Pakistan Peoples Party (PPP) has given tickets to 35 women, 11 on National Assembly seats and 24 on provincial seats, which is just 4.5 per cent of its total 779 candidates.
Former prime minister Nawaz Sharif's party, the Pakistan Muslim League-Nawaz, has issued tickets to only 28 women, 12 for National Assembly and 15 for provincial seats, which is just 4.2 per cent of the 668 candidates fielded by the party.
Tehreek-e-Labbaik Pakistan, a far-right Islamic extremist political party, has allocated only 11 tickets to women, which is the least, making up only 1.5 per cent of its total candidates.
However, of the 11,165 independents in the fray, as many as 513 are women, with the majority of them, 203 women, contesting from Punjab Assembly seats.
Even though women make up around 49 per cent of Pakistan's population, as per the 2017 census, only 839 women out of 17,000 candidates are contesting the February 8 election, which is an abysmal 4.7 per cent.
The electoral laws in Pakistan make it mandatory for political parties to allot five per cent of their tickets to women.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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