By Nadeem Tanoli
The chaos of national politics continues to fuel heated debates across various platforms. Meanwhile, the government regularly provides new controversies to keep the media occupied. Even if no controversy exists, live programs have established a culture of instant punishment and reward, a trend no one is unfamiliar with. It seems we are heading toward a collective crisis where, alongside intellectual decline, we are also becoming increasingly disconnected from ourselves. In such disarray, what is even worth salvaging? Perhaps, to escape this mess, enjoying music alongside the confused content of news channels isn’t much of a societal offense.
Recently, during a casual conversation, the Minister of Culture emphasized the importance of family participation in theater revival. This statement, made in the presence of seasoned artists like Qaiser Piya, not only highlighted the government’s intentions but also hinted at the challenges obstructing progress. Soon after, news emerged about the restoration of the historic Open-Air Theater in Punjab, which had long fallen victim to urban expansion. The site, once home to legendary artists like Sadequain and Amanullah, had been overrun by stray dogs—an issue authorities now claim to have resolved.
The developments didn’t stop there. Reports suggest that renowned actress Iffat Omar has been appointed as a cultural consultant in recognition of her contributions—an encouraging step to some extent. However, on the other hand, the increasing influence of the Parks and Horticulture Authority (PHA) over the Open-Air Theater remains an open secret. The theater’s management now resembles a group of beggars who first destroy their own house and then seek alms to guard its ruins. In today’s world, every administrative group has its own hidden treasury. Let’s just hope that the Open-Air Theater doesn’t become another asset handed over to the PHA.
A similar situation plagues private theaters across Punjab. Outside Lahore, district administrations are openly violating theater regulations, with show timings flouted through collusion. In many places, the district’s top officials treat theaters as financial assets, attempting to hand them over to cultural bureaucrats. Some scenarios are even worse, where minor government employees—computer operators, clerks, and assistants—have taken over theater rehearsals and monitoring duties. In contrast, Lahore’s theaters reportedly operate under the patronage of parliamentary officials.
In Sheikhupura, for instance, sources informed that staff member from the Parliamentary Office is allegedly collecting daily payments from theaters in addition to the script scrutiny fees imposed by the Punjab Arts Council. When the district officer finally took action, ordering the expulsion of this individual, a parliamentarian immediately rushed to Sheikhupura to negotiate with theater owners. Information availed from the sources suggests that the expelled official still holds his position due to political backing. This same parliamentarian and her close relative have been meddling so much in the affairs of the Department of Information and Culture—especially the Punjab Arts Council—that even the most corrupt elements within the department have grown frustrated.
Newspaper reports have been loudly highlighting these issues, yet the Minister of Culture appears to be deliberately ignoring her associate’s actions. Recent clippings from Punjabi theater scandals further confirm the extent of the problem. Officially, only the Department of Information and Culture has the authority to issue notices and shut down theaters violating regulations. Yet, a theater was recently sealed through allegedly illegal means.
It’s important to note that most theaters in Punjab are currently operating without renewed licenses due to their transfer from the Home Department to the Department of Information and Culture. The existing authority, however, has granted them permission under Pakistan’s constitutional framework. While no theater has the right to disregard standard operating procedures, it is equally problematic that violations are sometimes facilitated by the Punjab Arts Council and, at other times, by the district administration.
The controversy doesn’t stop here. The illegal screening of seven stage plays at Rawalpindi’s Moti Mahal Theater made headlines, yet no action was taken against the responsible officials. The real question is: will legal action be reserved only for the public while bureaucratic spouses enjoy immunity? Minister of Culture, should we consider your promises as commitments or just routine political rhetoric? Your real challenge lies not with external threats but with the “thieves within the house” and their influential spouses.
It is undeniable that certain figures associated with the theater industry have transformed into a mafia, indifferent to the art’s history and significance. Theaters are treated as mere businesses, meant to be shut down before dawn breaks. If authorities wish to target someone, fake reports conveniently surface; but if leniency is required, even a Canadian citizen seeking justice may find themselves stranded without hope.
Madam Minister, this culture belongs to all of us. However, those entrusted with its protection must at least uphold some of its values. We hope that the dark chapter of bureaucratic high-handedness and theater turmoil comes to an end soon. Madam! will you appoint the officers of good fair repute or continue with the same team regarding whom you have pointed out ?Till date, it seems that the department Secretary is reluctant to post upright officers. Otherwise, it is presumed that Punjab Council of the Arts is the bench of fraud & corrupt officers always backed by facilitators within elite bureaucracy as a matter of reward.
