15/09/2024
ڏهرڪي ضلعي گهوٽڪي واسي آرٽسٽ سيفي سومرو 2017 ۾ پنهنجون پينٽنگس (آڱرين جو پورهيو) نمائش لاءِ فريئر هال ڪراچي ۾ جمع ڪرايون هيون، بعد ۾ کيس واپس ڪرڻ بدران چيو ويو ته پينٽنگس گم ٿي ويون آهن، جيڪي شايد وڪرو ڪيون ويون هيون ۽ تازو ARY جي ,.kabhi main kabhi Tum هڪ ڊرامي ۾ نظر آيون آهن. آرٽسٽ آرٽ گيلريز ۽ ٻين مافيائي ٽولن پاران استحصال جو شڪار ٿين ٿا. جيڪڏھن آرٽسٽن جي تخليق کي ايئن ھر روز چوري ڪيو ويو تہ آرٽسٽ مايوسي جو شڪار ٿيندا. آخر ڪيستائين نوجوان آرٽسٽن جو استحصال ھلندو رھندو؟
Artist Seffy Soomro from Daharki, District Ghotki, displayed his artwork at an exhibition held at Frere Hall, Karachi In 2017, . However, when he later requested the return of his paintings, the management claimed they had been lost and could not be found. Fast forward to 2024, these very same paintings resurfaced in Episode 17 of Kabhi Main Kabhi Tum at the 42:45 mark, a show currently airing on ARY Digital.
This incident highlights the exploitation that young artists, particularly in Pakistan, continue to face. Their hard work is often misappropriated by established artists and monopolistic galleries. Emerging artists, especially those from Sindh and Balochistan, have endured similar experiences. Major production houses, university faculties, art galleries, and businesses routinely take advantage of these artists, offering excuses and false promises while using their work for personal and financial gain.
In some instances, artwork created by students and young artists is given away as gifts by influential authorities to bolster their personal and professional relationships. The creators themselves receive neither recognition nor financial compensation. Meanwhile, certain artists without real merit align themselves with corrupt systems and lobby groups, relying on sponsorships from international organizations, governments, and private businesses to promote their careers. As a result, truly deserving artists are often left out, disheartened and marginalized. Awards, funding, and opportunities are distributed within exclusive networks based on personal connections rather than merit, leaving many talented artists struggling financially and forcing them to abandon their creative passions for more technical fields out of sheer disappointment.
Seffy Soomro’s story exemplifies the plight of many first-generation young artists in Pakistan, who suffer under a system that fails to protect their creative and intellectual property. Who will hold these institutions, galleries, and channels accountable for exploiting young talent and using them for unpaid labor? This is a critical issue in a country where nearly 67% of the population consists of young people. If the systemic exploitation of youth isn't addressed and support isn't provided, progress will remain elusive. No country has ever thrived by undermining its young talent and stifling new ideas.
CP