For years, “The Urgent Call of Palestine,” a rallying cry from the 1970s by Zeinab Shaath, was a lost cultural artifact until it was recovered in 2017. In 2024, British-Palestinian label Majazz Project and LA-based Discostan released an EP with the titular song, sitting with startling ease alongside contemporary Palestinian music. BOOKS & ARTS The Tortured Roof Vrinda Jagota For years, “The Urgent Call of Palestine,” a rallying cry from the 1970s by Zeinab Shaath, was a lost cultural artifact until it was recovered in 2017. In 2024, British-Palestinian label Majazz Project and LA-based Discostan released an EP with the titular song, sitting with startling ease alongside contemporary Palestinian music. Fifty-four years ago, a sixteen-year-old girl named Zeinab Shaath sat in her bedroom in Alexandria, Egypt, with a guitar and a poem. Her older sister had handed her “The Urgent Call of Palestine,” written by Indian poet Lalita Punjabi, and told her that she couldn’t come out of her room until she had composed music to accompany the words. Shaath came from a politically active family. Her father left Palestine in 1947, just months before the Nakba led to the displacement of 750,000 Palestinians , but he always maintained that they would all return one day. Her Lebanese mother was constantly hosting Gazan students at their home and organizing many fundraisers for Palestine. The musician had been singing for a few years but was hesitant about starting the project. She had never composed music before and was still determining how to become more involved in political organizing. Nonetheless, she got to work. Two days later, she had composed a track that elevated the defiant tone of the poem. Across a fervently strummed acoustic guitar, Shaath sings in an unwavering, golden vibrato that builds intensity and verve as the song progresses. “Liberation banner, raise it high,” she declares in the song's last few seconds. “For Palestine, let us do or die.” Image from the personal collection of Zeinab Shaath. Shaath’s powerful voice and unequivocal message resonated widely. In the early 1970s, “The Urgent Call of Palestine” became a rallying cry heard (and subsequently censored) around the world. Shaath’s sister played it on her radio station where it immediately gained popularity. Shaath went on to perform it—and a collection of other musical adaptations of Palestinian protest poetry—everywhere from Beirut to Berlin to Baghdad. The song especially moved Palestinian artist Ismael Shammout , who ran the Palestine Liberation Organization's (PLO) Culture and Arts division in Beirut. He filmed Shaath singing the song in what some historians consider the first Palestinian music video. The master copy of the footage, along with countless other cultural artifacts by Palestinian artists, were stolen from Beirut in 1982 during a mass looting by the Israeli Occupation Forces. “Urgent Call” seemed lost for years until Israeli scholar Rona Sela fought to have it declassified in 2017, by which time momentum around Shaath’s work had lessened. But in March 2024, Shaath started a new chapter in her career: an EP of songs, first released via the PLO in 1972, including “Urgent Call,” was reissued as a collaboration between the Palestinian-British label Majazz Project and the Los Angeles-based label Discostan. Arshia Haq and Jeremy Loudenbak, who run Discostan, discovered the EP via the UK collector James Shambles and then reached out to Mo’min Swaitat, the archivist and label runner behind Majazz Project , to see if he wanted to co-release the album. Swaitat had encountered the record already and felt it was “the greatest Palestinian record we’ve ever had.” Haq and Loudenbak were piqued by the record’s contemporary resonance. “When we play the music in record stores, people stop and listen,” says Loudenbak. “[The state] attempted to erase these songs from the cultural imagination, but they have had an incredibly long life.” “I’m struck by the very hopeful voice of a 16-year-old calling us together.” In March 2024, Arshia Haq, Jeremy Loudenbak, Zeinab Shaath, and Mo’min Swaitat met with me via Zoom to discuss the project . Haq and Loudenbak were in Los Angeles, Shaath in Cincinnati, and Swaitat in London. Shaath and Swaitat reminisced about their homeland. Shaath recalled the beaches her cousins visited until the early hours of the night in 1993 after the first Oslo Accord , which gave them slightly more freedom of movement, as well as the green almonds and olives they brought to her family when they visited Egypt. Swaitat traced his love of music to the memory of the weekly wedding songs he had heard played from car speakers, which created a “psychedelic orchestra” of sound and would continue playing in the streets until 3 am. Of course, their grief emerged in lockstep. By the time we spoke, Shaath had lost 27 members of her extended family in Palestine since Israel’s attack on Gaza began in October of 2023 . Swaitat, meanwhile, had been on the phone all night: Israeli forces had just invaded Jenin. Album cover. Image from the personal collection of Zeinab Shaath. Teenage Shaath originally composed “The Urgent Call of Palestine” at a historic moment for Palestinians. Six years before she wrote the song, the Palestinian Liberation Organization (PLO) came into being, intending to restore an independent Palestinian state from the Jordan River to the Mediterranean Sea. And just three years before, Israel occupied Gaza, the West Bank, The Sinai Peninsula, and East Jerusalem after the Six-Day War of 1967 . The amount of Palestinian land that Israel controlled doubled during this conflict, despite later attempts from Egypt to regain control of some of the land. Over half a century later, Shaath’s protest music is just as relevant. Israel has been imposing a land, sea, and air blockade on Gaza since 2008. As of October, 2024, airstrikes in North Gaza continue, even as the ambit of Israel’s attacks has expanded to Lebanon. Incomplete estimates claim that Israel’s systematic campaign of genocide since October has killed over 50,000 Palestinians , according to official numbers. In a piece about Palestinian rap, Vivian Medithi writes that it can feel frivolous to over-emphasize art’s radical potential in such times. And yet, Medithi argues, Israel’s censorship of Palestinian art, music, and culture—especially at protests—is proof of its power. After all, cultural expression is a means of record-keeping, a counter to Israel’s attempts to control narratives about their genocide and occupation in international news and social media. Swaitat explicitly calls Shaath’s project a “failure of the Zionist plan” because it so clearly documents Palestinian resistance, connecting Palestinians across the world. “One of the main targets of Zionism is Palestinian identity and knowledge systems, which is where we save our memory,” he says. “They don’t think of us as a group of people who should exist, and they don't want us to have any control over our cultural heritage or communication.” Image from the personal collection of Zeinab Shaath. In addition to the poem written by Lalita Punjabi, the three other tracks on Urgent Call are adapted from poems by three Palestinian poets. As she sings their words, Shaath takes on various identities. A proud parent of eight demanding that history remember him and his family. A political prisoner dreaming of returning to their homeland, and a Palestinian citizen finding the strength to survive in the stones of their walls, in “every drop of rain dribbling over the ceiling of the tortured roof.” Shaath’s plainspoken cadence unites these disparate perspectives She sings alone on each song, her vibrato piercing across simple chord progressions strummed on an acoustic guitar. And yet, the songs feel communal, not only because the various perspectives she adopts offer multiple entry points into the music but also because the sparse folk arrangements use candid, repetitive language that encourages the listener to sing along. “Because these songs are composed in direct language, they can be held and carried by people of different ages, from children to people of an older generation,” says Haq. “The musical compositions lend themselves to being repeated, almost like mnemonics.” On “Resist,” Shaath’s call to action is clearly stated and deeply felt: “They slapped down a paper/And a pen before my nose…The paper they wanted me to blemish/Said ‘Resist’/ The pen they wanted to disgrace/ Said ‘Resist, oh, resist.’” On “I Am an Arab,” Shaath repeats the titular phrase with such force that it lingers long after the song finishes. Shaath also directly involves her audience. With her arrangements so minimal and vocals so rich, it feels as if Shaath’s looking you in the eye, candidly asking rhetorical questions: “Can’t you hear the urgent call of Palestine?” “Are you angry?” It is often argued that Israel’s occupation of Palestinian land is too complex for the average person to comprehend. Shaath’s phrasing cuts through this fallacy with defiance, her vocals evoking longing, fury, and grief to make the reality of Palestinian suffering entirely clear. Beyond Shaath’s efforts to involve the listener in these specific songs, a broader sense of community informed her activism, too. Not only do the lyrics come from translated works of numerous poets, but they were also written at a time of tremendous creative innovation and organization by other Palestinian artists. Many Palestinian artists were spurred into action following the Six-Day War of 1967. The Third Cinema Movement in the 1960s and 1970s established a transnational anticolonial framework for artistic expression. In 1973, the League of Palestinian Artists was created to unify the output of artists across Palestine and “bring a sense of political urgency” to their work: the sound of an entire movement of artists refusing to be silenced . In addition to the organizing and art happening around her, Shaath also looked to Americans protesting racism and segregation in their country, as well as their government’s involvement in Vietnam, for political inspiration. “I would sing ‘ We Shall Overcome ,’ which is used in the U.S. in Black activist spaces, but it was also a Joan Baez song,” Shaath says. “It was very much relevant to us as Palestinians. We sang that, and everyone would sing with me.” You can hear the influence of activists like Bob Dylan and Joan Baez in the plucky, acoustic folk melodies she deploys on the project, as well as her use of guitar and English lyricism. “I used English lyrics because Arabs and Palestinians all know our own history,” she tells me. “We needed the world to know. Even though it’s not a Palestinian or Arab instrument, I thought the guitar would be attractive to the outside world. I felt that people would listen to a song much more than they would read a whole book.” The title track of Urgent Call was—and continues to be—uniquely global in its construction, production, and impact. An Indian woman wrote a poem in solidarity with the Palestinian struggle. A few months later, a Palestinian woman living in Egypt transposed the poem into a song that moved hundreds of thousands around the world. Over decades, it became part of an artistic anti-imperial movement that thought beyond borders and saw all struggles as intertwined. This year, American and British archivists are bringing it to entirely new audiences in their countries and beyond. Zeinab in Lebanon. Image from the personal collection of Zeinab Shaath. For Shaath, it’s surprising—and saddening—that her music still resonates so widely. “It blows my mind after all these years,” she says. “Our suffering is still continuing, that’s what it means.” Which also lends credence to Palestinian music as a valuable form of resistance: it must continue. Indeed, Shaath is part of a cohort of Palestinian musicians who recall the past, commune with fellow activists, and create by thinking with street protests. Palestinian rapper Muqata’a samples records his grandparents listened to and had to leave behind when they fled their homes. Oud players in Egypt today revive music that initially served as a protest against Israeli occupation in 1967. Alternative musician Shadi Zaqtan pioneered the Palestinian blues genre to express his sorrow at the ongoing genocide. The daring of this work lies in the strategies of truth-telling in composition: most of these musicians use the most direct, unflinching language possible to document their stories. Often, their work sits alongside darker, more personal reckonings about the reach of their work.“For most of my life, I stupidly believed that art exists to change the world,” Tamer Nafar, often credited as the grandfather of Arab hip hop, has said . “Now, I think about art more like the black box flight recorder on an airplane: it won’t navigate the landing; it’s here to document the crash.”∎ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 From the personal collection of Zeinab Shaath (1972). SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Profile Palestine Zeinab Shaath Music Culture Art Art Activism Resistance Peaceful Resistance Methods of Resistance Majaaz Project Discostan Artifact History Egypt Lebanon Poetry Lalita Punjabi Politics of Ethnic Identity political activism Displacement Nakba Gaza Political Organizing Guitar Acoustic Composer Composition Liberation The Urgent Call of Palestine Rally Protest Poetry Ismael Shammout Palestine Liberation Organization Culture and Arts Division Music Video Occupation Militarism Discovery EP Collaboration Freedom Freedom of Movement Memory Conflict Censorship Genocide Anti-Zionism Communication Community Folk Music Global Protest Muqata Shadi Zaqtan Tamer Nafar Palestinian Music Hip Hop VRINDA JAGOTA is a writer, union organizer, and social media manager based in Brooklyn. She currently contributes to Third Bridge Creative , organizes with Newsguild , and works with Naya Beat, previously at Pitchfork . Profile Palestine 2nd May 2025 ZEINAB SHAATH is a Palestinian-Egyptian singer-songwriter. She is known for the song "The Urgent Call of Palestine", released in 1972. On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

JOURNALIST Ryan Biller RYAN BILLER is a journalist who covers politics, conflict and climate. JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

FILMMAKER Suneil Sanzgiri SUNEIL SANZGIRI is an artist, researcher, and filmmaker. Spanning experimental video and film, animations, essays, and installations, his work contends with questions of identity, heritage, culture, and diaspora in relation to structural violence and anticolonial struggles across the Global South. His first institutional solo exhibition Here the Earth Grows Gold opened at the Brooklyn Museum in October 2023. His films have circulated at film festivals and institutions globally, including at the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, Criterion Collection, among others. FILMMAKER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ACTOR Sadieh Rifai SADIEH RIFAI is a Chicago-based actor and ensemble member at A Red Orchid Theatre. She has performed at American Theatre Company, Goodman Theatre, Steppenwolf, and Chicago Shakespeare Theater. On screen, her credits include Chicago Med , Easy (Netflix), Patriot (Amazon), and Shining Girls (Apple TV). A graduate of the School at Steppenwolf, she received the Princess Grace Award in 2011. ACTOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ASSOCIATE EDITOR Zoya Rehman ZOYA REHMAN is a feminist organiser, lawyer, and independent researcher-writer based in Islamabad. ASSOCIATE EDITOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“The most central aspect of what we call literary modernity is that it's centered around humans: Western humans. It's not just that it excludes other kinds of beings, it also excludes most of the species we now call humanity. This doesn't change with post-1945 Western avant-gardism. If anything, that experimentalism resulted into the absolute withdrawal of the human into abstractions.” COMMUNITY Returning to the Sundarbans Amitav Ghosh “The most central aspect of what we call literary modernity is that it's centered around humans: Western humans. It's not just that it excludes other kinds of beings, it also excludes most of the species we now call humanity. This doesn't change with post-1945 Western avant-gardism. If anything, that experimentalism resulted into the absolute withdrawal of the human into abstractions.” Amitav Ghosh speaks to Kartika Budhwar about the Sundarbans & climate change and its relationship with literature, literary modernity, and the Western avant-garde. During COVID lockdowns, nobody seems to have considered the fate of migrant workers who were stranded in cities. Many were so desperate they started walking home. And right then, Cyclone Amphan started in the Bay of Bengal. All these catastrophes intersect disastrously. RECOMMENDED: The Nutmeg's Curse: Parables for a Planet in Crisis (Penguin Allen Lane, 2021) by Amitav Ghosh. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Sundarbans Commonwealth Literature Climate Change and Literature Cyclone Amphan Evictions Migrant Workers Energy Crisis Geography Mythology Working-Class Stories Humanitarian Crisis Language Epistemology Gopinath Mohanty Failure of the Avant-Garde Debjani Bhattacharyya Modernism Bay of Bengal Climate Change Climate Anxiety Histories of Migrations Avant-Garde Origins AMITAV GHOSH is the author of The Circle of Reason, The Shadow Lines, In An Antique Land, Dancing in Cambodia, The Calcutta Chromosome, The Glass Palace, The Hungry Tide , Gun Island and The Ibis Trilogy , consisting of Sea of Poppies, River of Smoke and Flood of Fire . The Great Derangement; Climate Change and the Unthinkable , a work of non-fiction, appeared in 2016. The Circle of Reason was awarded France’s Prix Médicis in 1990, and The Shadow Lines won two prestigious Indian prizes the same year, the Sahitya Akademi Award and the Ananda Puraskar. The Calcutta Chromosome won the Arthur C. Clarke Award and The Glass Palace won the International e-Book Award at the Frankfurt Book Fair. The Hungry Tide was awarded the Crossword Book Prize. His novel, Sea of Poppies was shortlisted for the Man Booker Prize. His work has been translated into more than thirty languages. He holds two Lifetime Achievement awards and four honorary doctorates. In 2018 he was awarded the Jnanpith Award, India’s highest literary honor. He was the first English-language writer to receive the award. In 2019 Foreign Policy magazine named him one of the most important global thinkers of the preceding decade. His latest book is The Nutmeg's Curse: Parables for a Planet in Crisis. Interview Sundarbans 28th Oct 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

Novelist Shehan Karunatilaka in conversation with Fiction Editor Kartika Budhwar. COMMUNITY A State of Perpetual War: Fiction & the Sri Lankan Civil War Shehan Karunatilaka Novelist Shehan Karunatilaka in conversation with Fiction Editor Kartika Budhwar. The stereotypes of the commercial sphere, the smiley, happy go lucky, Sri Lankans—there is something to that stereotype. It's not a grim place, even though a lot of grim things take place here. A tragedy will happen, the jokes will start almost immediately. Maybe it's gallows humor or a coping mechanism. Whatever it is, that seems to always be there. RECOMMENDED: This interview took place prior to the publication of Shehan Karunatilaka's Booker-Prize winning novel The Seven Moons of Maali Almeida (Penguin), which he discusses in the interview as a work-in-progress. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Sri Lanka Sri Lankan Civil War Satire Chinaman Tamil Tigers Liberation Tigers of Tamil Eelam Enforced Disappearances Cricket Extrajudicial Killings Kumar Sangakkara Shakthika Sathkumara Sri Lankan Literary Tradition Chats with the Dead Booker Prize Buddhism Ghost Stories Theater South Asian Theater Carl Muller Anarchist Writing Writing about Recent History Discourses of War Janatha Vimukthi Peramuna Marxist-Leninist Uprising JVP Worrying Humor Gallows Humor Absurdity Queerness Gananath Obeyesekere SHEHAN KARUNATILAKA was born in Galle, Sri Lanka. He grew up in Colombo, studied in New Zealand and has lived and worked in London, Amsterdam and Singapore. He emerged on the world literary stage in 2011 when he won the Commonwealth Prize, the DSL and Gratiaen Prize for his debut novel, Chinaman . Karunatilaka is considered one of Sri Lanka's foremost authors; his most recent novel, The Seven Moons of Maali Almeida, is the winner of the Booker Prize 2022. In addition to novels, he has written rock songs, screenplays and travel stories, publishing in Rolling Stone, Gentleman's Quarterly and National Geographic . He lives mostly in Colombo and partly in Singapore with a wife, two kids, four guitars, and 27 unfinished stories. Interview Sri Lanka 10th Jan 2021 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” INTERACTIVE Chats Ep. 4 · On Qurratulain Hyder's sci-fi story “Roshni ki Raftaar” Zuneera Shah · Nur Nasreen Ibrahim Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” A reading and discussion of the late Urdu writer Qurratulain Hyder and her short story “Roshni ki Raftaar” by editors Nur Nasreen Ibrahim and Zuneera Shah. Feat.: time travel, women in science, sci-fi traditions in Urdu compared to those in English, and much more. Must-watch: Nur and Zuneera's thoughts on the ending, speculations on whether Hyder intended for a sequel, what she might think of criticisms, how the tonal shift affects the story, and how humor functions in the story. More importantly: why do we expect or want character growth? Is there a fundamental difference with regard to character growth between the Anglophone literary tradition and the non-Anglophone one? Qurratulain Hyder is amongst the most acclaimed and influential Urdu writers of the 20th century, perhaps even the most popular alongside contemporaries like Ismat Chughtai (with whom she had a testy relationship). Best known for her magnum opus “Aag ka Durya” or “River of Fire,” Hyder was also a deeply expansive writer. Here, Nur and Zuneera discuss her use of fantasy and sci-fi framings, the manner of her world-building, and comparisons to contemporary films and TV shows in the most fun and audience-engaging SAAG Chats episode to date. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Live Urdu Fiction Posthumous Qurratulain Hyder Science Fiction Time Travel Urdu Criticism Language SAAG Chats Genre Genre Tropes Speculative Fiction Fantasy Philosophical Fiction Syncretism River of Fire Roshni ki Raftaar Sahitya Akademi Genre Fluidity Difficult Reading Esoterica Time & Space Suez Canal Crisis Narrators Petty Bureaucracy Everyday Life Indian Bureaucracy Aligarh Science Characterization Ethical Standards for Fictional Characters Sci-Fi Rockets Romance Bitterness Scientist Characters Surprise Endings Gender Tonal Shifts Humor Short Story Naiyer Masud Zuneera Shah is a gender & development professional and writer based in Lahore. NUR NASREEN IBRAHIM is a journalist and writer currently a Margins Fellow at the Asian American Writers Workshop, and a television producer formerly at Al-Jazeera and Patriot Act . She is based in Brooklyn. Live Urdu Fiction 30th Nov 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

MUSICIAN Meyna Hassaan MEYNA HASSAAN (or Hassaan Mohamed) is a Maldivian vocalist/composer. He released his first hit album, “Maldives Fantasy,” in 1992, followed a short time later by his second album, “Maldives Ecstasy.” His third studio album “Euphoria” was never officially released but is now available to stream. Hassaan's latest album is titled “Oevaru.” MUSICIAN WEBSITE INSTAGRAM TWITTER A Dhivehi Artists Showcase Jun 5, 2021 Kareen Adam · Nazish Chunara LOAD MORE

Join us in Colombo, Lahore, New York, Bombay, London, Houston, Los Angeles, Lucknow, and many more cities across the globe. Events Join our team for events across the globe, and subscribe to our newsletter to stay informed about events. UPCOMING London Lucknow MAY Burlington New York Los Angeles New York Colombo NOVEMBER Islamabad SEPTEMBER Lahore Washington DC Manhattan Brooklyn AUGUST Los Angeles APRIL OCTOBER MARCH Brooklyn

انداز الگ / 
تاریخ الگ
 / بھاؤ الگ
 / باریک الگ انداز الگ / 
تاریخ الگ
 / بھاؤ الگ
 / باریک الگ Jayeeta Chatterjee and Chemould CoLab Dreaming With Open Eyes (2023) Woodcut Print and Nakshi Kantha Stitch on Saris Artist Lucknow Sabika Abbas 18 Oct 2024 th · FICTION & POETRY REPORTAGE · LOCATION مادری زبانیں SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 SABIKA ABBAS is an award-winning translator, most recently of Rohzin by Rahman Abbas, as well as a poet, feminist activist, campaign strategist, and alternative educator. She is based in Lucknow and New Delhi. JAYEETA CHATTERJEE completed her BFA in Printmaking from Kala Bhavana, Visva Bharati University, West Bengal. Through her practice, she highlights the issues within the domestic and monotonous lives of middle-class women, particularly from lower-income groups living in small towns. Poetry Lucknow Motherhood Femininity Labor Urdu Urdu Literature Mother Tongue Language Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

ACADEMIC Fawzia Afzal-Khan FAWZIA AFZAL-KHAN is Professor of English and former Director of the Women and Gender Studies Program at Montclair State University. Dr. Afzal-Khan received her BA from Kinnaird College for Women, Lahore, Pakistan, and her MA and PhD in English Literature from Tufts University. Holding the title of University Distinguished Professor, she has received numerous accolades for her work, which include three monographs, two edited volumes, and extensive public intellectual writing, contributing to numerous conversations in postcolonal studies, feminism, and political Islam. Trained as a literary critic but also a performer, a trained vocalist in the north Indian classical tradition, actress, playwright, and critic. She is engaged in Pakistani theater and performance, in musical worlds, and performance studies in the Western academy. ACADEMIC WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE