The Socio-political Dimensions of Contemporary Pakistani Art

Abstract

This study explores the socio-political dimensions embedded within the works of contemporary Pakistani artists, focusing on Rahat Naveed Masud, Jamil Baloch, Jamal Shah, and Akram Dost Baloch. It situates their artistic practices within the wider discourse of resistance, identity, and cultural survival in the face of political authoritarianism, sectarian conflict, and systemic injustices. Each artist demonstrates how art functions as both a personal expression and a socio-political commentary, reflecting lived realities and confronting power structures.

Rahat Naveed Masud’s paintings emphasize women’s oppression during Zia-ul-Haq’s regime, using the veil and prison-like motifs as metaphors for restriction and resistance. Her works, while rooted in personal experiences, become visual testimonies of broader social struggles, particularly concerning gender and freedom of expression. Jamil Baloch employs installation and video art to link local realities in Balochistan with global issues of conflict, stereotyping, and propaganda. Through symbols such as flowers and traditional attire, he foregrounds resilience and challenges hegemonic narratives about his homeland.

Jamal Shah’s paintings are deeply political, rooted in socialist traditions, and often depict the suffering of the working class, intellectual persecution, and the collapse of rational social discourse. His works employ symbolism, grotesque imagery, and unsettling compositions to explore the degradation of social values, yet they also highlight resilience and humanity’s search for meaning under oppression. Meanwhile, Akram Dost Baloch’s oeuvre reflects the socio-cultural realities of Balochistan, combining traditional motifs with modern expressionist forms. His paintings and sculptures embody resistance against sectarianism, inequality, and identity-based marginalization, representing both despair and hope.

By weaving together the diverse yet interconnected practices of these artists, this study underscores how contemporary Pakistani art transcends aesthetics to become a site of socio-political engagement. Their works collectively document oppression, challenge authoritarian ideologies, and amplify marginalized voices. The findings affirm that contemporary art in Pakistan functions not only as cultural expression but also as a vital platform for social critique, memory-making, and the pursuit of justice.