Maryam Nawaz takes over as first-ever woman chief minister in Pakistan
Maryam says she has no desire for “revengeâ€� against her political rivals who jailed her along with members of her family
By Shajil KumarFeb 27, 2024
Maryam Nawaz, the daughter of three-time former prime minister Nawaz Sharif, made history by becoming the first-ever woman chief minister of Pakistan's most populous Punjab province, a development described by her party as a "giant leap" for the country.
The 50-year-old senior vice president of the Pakistan Muslim League-Nawaz (PML-N) party, took oath as the Punjab chief minister at a ceremony at the Governor House in the presence of her father Nawaz Sharif and uncle Shehbaz Sharif on Monday (26).
She earlier won the chief ministerial elections amidst a walkout by lawmakers of former prime minister Imran Khan's party-backed Sunni Ittehad Council (SIC).
In her inaugural speech, Maryam said she has no desire for "revenge” against her political rivals who jailed her along with members of her family, including her father.
"I neither have a feeling of revenge or vengeance and my journey includes my arrest, my father's arrest, my mother's passing away," she said, indirectly referring to former Army chief Gen Qamar Javed Bajwa and former Supreme Court chief justice of Pakistan Saqib Nisar.
She thanked the opposition for making her go through all the ordeal which helped her reach the province's top office, referring to the jailed former prime minister Imran Khan, whose government incarcerated the Sharif family in corruption cases.
"On this occasion, I thank my late mother (Kulsoom Nawaz Sharif) too as she knowingly and unknowingly trained me for this day," said Maryam.
She said that the senior PML-N leaders including Nawaz and Shehbaz Sharif were her mentors.
"Today, every woman of the province is proud to see a woman chief minister," she said and hoped that the tradition of female leadership would continue in the future as well.
Maryam received 220 votes and won the chief ministerial elections for the politically crucial Punjab province, home to 120 million people. She defeated Rana Aftab of the PTI-backed SIC, who received no votes as his party boycotted the election.
A successor
Analysts suggest that Maryam is being groomed to succeed the Sharif brothers, who are in their 70s and have suffered ailing health.
Both served as Punjab chief minister before leading the country. Maryam's cousin Hamza Shahbaz also recently held the post.
Maryam is known for her fiery speeches and pulling large crowds but has not held a prominent public office before.
The 2024 general election was the first time she contested the polls, and she represented her father's Pakistan Muslim League-Nawaz.
She entered mainstream politics after 2017 when she and her father were found guilty of concealing assets, and they both served jail time before their convictions were overturned.
After her father left for London in late 2019 for medical treatment, she led a countrywide campaign to take on Khan's government, the country's powerful military and the judiciary, who she blamed for targeting her party and family.
She has faced deep criticism from opponents, including Khan, of dynastic politics in Pakistan. But has also been targeted for being a woman leader in the socially conservative Muslim nation.
"A woman with a mind of her own who does not conform to your ideas, who is good-looking, stylish and knows it; is that the problem?" said political commentator Marvi Sirmad, referring to the critical comments against her.
Born on Oct. 28, 1973 in the eastern city of Lahore into a wealthy industrialist family, she married Safdar Awan, an army officer who was serving as a personal secretary to his father in his second term as prime minister in 1992.
They have a son, two daughters, and a granddaughter.
She studied medicine but did not complete her degree, and later got a Masters in English Literature from Punjab University.
She played a key role in establishing her party's social media wing to combat Khan's digital presence and headed a youth affairs programme for her father when he was premier in 2013. (Agencies)
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.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.