The weight of history: a lament for lost truths | The Express Tribune

To the conscientious and the significant,

As I ponder the meaning of history today, I am reminded of the Persian adage, “History repeats itself and the debt of sorrow remains unpaid.” In Pakistan, our understanding of history has been reduced to a simplistic narrative of dates and events, stripped of nuance and complexity. We inherit a legacy of biased chronicles, penned by the victors and rulers, while the voices of the real people remain whispers in the wind. Our art history, in particular, has been a casualty of this myopic approach. The brutal truncation of our cultural heritage, the denial of our pluralistic roots and the propagation of a sanitised, Islamised narrative have left our students bewildered and bereft. We are left grappling with the fragments of a rich legacy, unable to fully comprehend the material evidence in terms of the art that surrounds us.

The burden of genuineness and authenticity demanded from non-Western art historians can be overwhelming. As noted, “scholars of and in the third world often need to refer to Europe, but historians of Europe often do not feel the need to reciprocate.” Our attempts to excavate pure methods of historical analysis are thwarted by the very structures of power that shape our understanding of art and history, as Western discourses often position the West as the sole owner of knowledge. Moreover, resistance and bias within our society are equally troubling. Contesting such conventions results in creating another master narrative, which is equally disturbing because it remains narrow and sketchy.

The revision of history began in the 1950s; however, revisions during Zia’s rule drove a stake through the heart of Pakistani history. The wounds inflicted by this time still fester, as our curriculum continues to peddle a distorted version of history, one that demonises the other and glorifies a mythical past. Our youth, fed on half-truths and propaganda, are ill-equipped to navigate the complexities of the modern world. KK Aziz’s critique of Pakistani textbooks remains relevant today — history is reduced to a simplistic narrative of ‘us vs. them’.

It was stressed that the student should be able to “understand the Hindu and Muslim differences and the resultant need for Pakistan” or must be able to “identify the events in relation to Hindu-Muslim differences, which laid the foundations for Pakistan”. In textbooks, history is immediately divided along communal lines. In several books, historical facts were also manipulated. The role of nationalists who opposed the idea of the partition of India is demeaned. The 1980s were also the time when education in Pakistan became an international political issue and involvement in schooling and curricula in Pakistan has formed part of the strategy of the government and not only the Pakistani government, but also others involved in the Soviet war in Afghanistan.

Such mishandling of history gave birth to a misguided, confused generation that was to face the wrath of 9/11 and the following political and social chaos as its aftermath. Once again, the Pakistani nation was confronted on political, religious and cultural fronts. As it was not firmly grounded in reality and truth, it had to hide behind fundamentalism in search of identity.

And yet, I remain hopeful, for I see glimmers of change in a new generation of scholars and artists who dare to question the status quo and seek to confront the dominant discourses. They are the torchbearers of a new era, one that values diversity, inclusivity and intellectual curiosity. Let us heed the words of Christopher Steiner: “It is not what is in or out of the canon [of history] that ought to be of concern but rather its social structure that must be reconsidered.”

Let us strive to create a new canon, one that reflects the complexity and richness of our shared human experience. The formation of an art history canon is premised on the mistaken belief that aesthetic judgments and distinctions of taste can be made under objective conditions free from moral, political, economic and social influences. It is time for us to question these assumptions and strive for a more nuanced understanding of our past and present.

Bano

Oct, 2025