Finding Shaam: In Lahore, Pakistani Christian family hopes for Easter miracle

Parveen Massey holds a picture of her missing son, Shaam Arif Massey, who went missing in 2023, in Lahore, Pakistan, on March 31, 2024. (AN photo)
Short Url
Updated 01 April 2024
Follow

Finding Shaam: In Lahore, Pakistani Christian family hopes for Easter miracle

  • Christian community in Lahore’s Fazlia Colony says police unhelpful in finding missing Shaam Arif Massey
  • Shaam, 35-year-old with learning disability, disappeared in November, family says has exhausted all avenues of help

LAHORE: In a busy maze of little streets deep inside the Shah Jamal area of Lahore, one prayer dominated the Easter Day service at the United Church of Lahore on Sunday: for the return of 35-year-old Shaam Arif Massey, who wandered outside his home in November last year and never returned. 

The disappearance of Shaam, who grew up with a learning disability after traumatic brain injuries sustained as a child, has shaken the tight-knit Christian community of Fazlia Colony and its surrounding areas, home to roughly 300 Christian families and where Shaam’s family has lived for 40 years in a two-bedroom home built by his grandfather.

Though it was Easter Sunday, there were few signs of celebration in the neighborhood where Shaam’s case has become symbolic of the larger plight of Pakistan’s Christian community, which forms less than 2 percent of the Muslim-majority nation’s population of 241 million and lives mostly in poverty or in fear of attacks.

Parveen Massey, Shaam’s mother and a cleaner at Lahore’s Jinnah Hospital, told Arab News she returned home from work on Nov. 13 last year to find that Shaam was not sitting on his usual spot on the front steps of the family home.

“I asked my grandsons, ‘Where’s Shaam?’ They said he hadn’t come home since morning. I said, ‘Why didn’t you tell me? I would have rushed home from work’ ... Nobody told me and the entire day had passed,” Massey said.




The picture shared by Parveen Massey on March 31, 2024, shows an undated photograph of 35-year-old Shaam Arif Massey, who went missing in Lahore, Pakistan, in November 2023. (AN photo)

The police complaint was registered the same evening.

“But five months on, the police haven’t even come to see our house or where we live. In five months, they’ve never checked in on us. I just go by myself, alone and stand at their [police station] gate.”

The concerned police station is the Icchra Police Station located a few hundred meters from the Massey home. Shaam’s mother last visited two weeks ago, with policemen shooing her away saying they were trying to find Shaam.
 
“But I’m the only one looking,” she said as she showed a copy of the First Information Report (FIR), or police complaint.

“DEAD ENDS”

After a brain injury at age seven which led to a trail of unfortunate events from missing prescriptions to hospital malpractice and the family’s inability to afford his care bills, Shaam received unknown medications and tranquilizers over many years at various mental health institutes in Lahore, according to his family.

Once the medications were discontinued several years ago, Shaam stopped speaking for the most part and spent his days on the small rooftop of his home feeling the sun and air on his face with his dog Daisy by his side — until the day he disappeared without a trace.

At the Ichhra Police Station, the famed building where the murder case against Pakistani Prime Minister Zulfiqar Ali Bhutto was first filed back in 1974, the officer assigned to Shaam’s case, Assistant Sub Inspector (ASI) Akbar Ali, was not available for comment. 

His colleague sub-inspector Muhammad Ali agreed to speak with Arab News but had few answers on the case, including if police were reviewing CCTV footage.

“I can tell you that back when the government started the Safe City surveillance program, things were easy. It was easy to track crime and missing persons,” he said, referring to an AI-driven policing system launched in 2015.

“But now the cameras aren’t maintained, their line of vision is blurred by objects and trees that nobody bothers adjusting, and frankly, we just don’t have enough of them [cameras] … And so, we get to dead ends in such cases.”




Parveen Massey holds a picture of her missing son, Shaam Arif Massey, who went missing in 2023, in Lahore, Pakistan, on March 31, 2024. (AN photo)

Sardar Ramesh Singh Arora, Punjab Minister for Minorities Affairs, did not respond to phone calls seeking comment. 

With little help from police, Shaam’s family, including his older sister Fazeelat Fakhar who works as a babysitter at the homes of Lahore’s elite families, has turned to using connections through employers to push police to prioritize the case. 

But nothing has worked.

“Back when Shaam went missing, it was winter, it was so cold,” Fakhar said, her eyes filling with tears.

“From my heart, I’ve tried everything. I’ve looked for my brother non-stop but there’s just no sign of him.” 

Fakhar said she had visited dozens of police stations, bus stations and shrines around the area over the last five months and left her brother’s photograph wherever she could:

“My mind and my heart say that he’s safe with an NGO somewhere and that he’s still alive.”

And though there is no breakthrough in the case, religious holidays like Easter bring new hope for Shaam’s return.

“He wasn’t with us for Christmas and now Easter has also passed,” Fakhar said. “But Easter is the day for miracles and we pray we can celebrate again when Shaam comes home.”


In Peshawar, 76-year-old artist struggles to keep near-extinct Mughal wax art alive

Updated 4 sec ago
Follow

In Peshawar, 76-year-old artist struggles to keep near-extinct Mughal wax art alive

  • Craft involves intricate process using heated wax, oil, pigments, limestone to create textured, miniature artworks
  • Riaz Ahmad, who has trained his son in wax art, says he hopes to train more people to preserve traditional craft 

PESHAWAR: Riaz Ahmad, 76, stirs wax in a small plastic can with a long chopstick, takes it out on the palm of his left hand and adds natural color before drawing designs on a piece of cloth.

Surrounded by several such pieces of black cloth with unique art, Ahmad strives every passing day to keep the 500-year-old, Mughal-era wax art alive at his home near the Lahori Gate in the northwestern Pakistani city of Peshawar.

Ahmad comes from a well-known family of wax artists who were based in Shillong and Darjeeling in present-day India and had migrated to Peshawar during the 1947 partition of the sub-continent.

His work remains rooted in tradition, faithfully repeating patterns passed down through generations and winning Ahmad several awards both at home and abroad in recognition of his dedication.

“I have been making the same Mughal era designs that my forefathers used to make,” he told Arab News last week.

 

“I went to India in 2004, where I received the UNESCO Seal of Excellence [for Handicrafts] award... On 23 March, 2012, the Government of Pakistan awarded me the Tamgha-i-Imtiaz.”

The near-extinct traditional craft, which is believed to have originated in Central Asia and refined under the Mughal patronage, particularly in Peshawar, involves an intricate process using heated wax, linseed oil, powdered pigments, and limestone to create detailed, textured and often colorful miniature artworks by hand.

Ahmad learnt wax art from his father, Miran Bakhsh, nearly six decades ago.

“My parents used to do this work in Shillong and Darjeeling [in present-day India]. They had a shop there, and after the Partition, they migrated to Peshawar, Pakistan,” he said. “When they came here, they started doing the same work.”

A basic piece of his work costs around Rs3,000 ($10.7). A larger piece made on order can fetch between Rs5,000 and Rs15,000 ($17-$53), but such orders are rare.

“Wax and colors have become expensive. When I sell a piece for Rs3,000, around Rs1,000 goes into expenses, and Rs2,000 is my daily wage,” Ahmad said.

But the 76-year-old worries more about the future of the art form, which he insists cannot be learned quickly and requires “love and dedication.”

“Some people say they want to come, some from Karachi and some from Lahore, but it becomes difficult for me to go there or for them to come here,” he said.

Most wax artists in Peshawar have abandoned the art due to a lack of institutional support, according to Ahmad, who relies primarily on exhibitions to earn a living.

“The reason [for the decline of this art form] is that the government does not pay attention. They are caught in their own conflicts, and the culture is suffering,” Ahmad said.

“Other artists have left this art. Some are selling rice and some are driving rickshaws,” he added. “I have been doing this work inside my house. If there is any event, we go there and sell our art.”

Saad Bin Awais, a spokesperson for the Khyber Pakhtunkhwa Culture and Tourism Authority (KPCTA), said the government has engaged artisans in several projects. He said some of these projects have come to an end while others are ongoing.

“Riaz Ahmad is the only wax artist in Khyber Pakhtunkhwa and the authority is serious about facilitating him,” he said, adding that the KPCTA facilitates Ahmad’s participation in exhibitions across the country to showcase his art.

“We have also been collecting data of artists in Khyber Pakhtunkhwa for an upcoming project to facilitate them in any way possible.”

Ahmad has trained his son, Fayyaz, in wax art who now practices it in Islamabad. The septuagenarian says he wishes to train more people to preserve the dying art form.

“I cannot leave this work,” he said. “I will continue this art even though my hands shake.”