Nida Dar becomes top wicket-taker in women’s T20Is despite Pakistan’s loss to England
Nida Dar becomes top wicket-taker in women’s T20Is despite Pakistan’s loss to England/node/2512691/pakistan
Nida Dar becomes top wicket-taker in women’s T20Is despite Pakistan’s loss to England
Pakistan's Nida Dar (L) runs between wickets during the 2022 Asian Games women’s third-place playoff cricket match between Bangladesh and Pakistan in Hangzhou in China's eastern Zhejiang province on September 25, 2023. (AFP/File)
ISLAMABAD: Nida Dar, captain of the Pakistan women’s cricket team, made history by becoming the top wicket-taker in Women’s T20 International cricket with her 137th wicket during the second match against England in Northampton on Friday.
Despite her milestone, Pakistan fell to England by 65 runs, allowing the hosts to secure a 2-0 series lead.
England, batting first, were restricted to 144-6, thanks in part to Dar’s two wickets. However, Pakistan struggled in reply, collapsing to 79 all out within 15.5 overs as English spinners Sophie Ecclestone, Alice Capsey and Sarah Glenn collectively snagged seven wickets.
The International Cricket Council recognized Dar’s historic performance on its website after the match.
“Dar overtook Australia’s Megan Schutt (136 wickets) to lay her claim at the top of the leading wicket-takers chart in women’s T20I on Friday, 17 May,” the ICC proclaimed. “She is the only Pakistan woman in the top 10 list.”
Nida Dar became the highest wicket-taker in Women's T20I history during the second #ENGvPAK match
The Pakistan skipper, who started the game with 135 career wickets, was on the verge of setting the new record during Pakistan’s recent home series against the West Indies.
In the match against England, she edged closer to the milestone by getting Capsey stumped in almost the middle of the game and later, in the final over, clinched her landmark 137th wicket by dismissing Amy Jones.
Pakistan are now gearing up for the third and final T20I against England, set to take place on May 19 in Leeds.
ISLAMABAD: At the Islamabad Museum, history no longer sits quietly behind glass.
In September 2025, the museum introduced Pakistan’s first Digital Immersive Gallery, an experiment in how ancient civilizations can be narrated in the age of artificial intelligence, 3D projection and virtual environments. Developed in collaboration with the Korea Heritage Agency, Pakistan’s Department of Archaeology and the National Heritage and Culture Division, the gallery marks a shift from object-centered displays to experience-based storytelling.
Rather than beginning with labels and timelines, the gallery opens with movement, sound and light. Visitors are invited to step into a reconstructed visual world shaped around Gandhara, one of South Asia’s most influential yet often under-explained civilizations that developed across what is now northwestern Pakistan and parts of eastern Afghanistan and later played a foundational role in the spread of Buddhism beyond the subcontinent.
“We have shown here in our Immersive Gallery how Buddhism flourished here, how it was introduced, how it declined and how it shifted to China, Korea and Japan from here,” Dr. Abdul Ghafoor, Deputy Director at the Department of Archaeology and Museums, told Arab News.
“In order to make it, the content developed by Korea has fully used AI and IT,” he continued. “AI and IT are common in Korea and other developed countries, but we have done it for the first time in Pakistan.”
A picture taken on December 30, 2025, shows women watching Gandhara history at the Digital Immersive Gallery in Islamabad, Pakistan. (AN photo)
Gandhara flourished between the first century BCE and the fifth century CE in this region, which served as a cultural crossroads, shaped by Greek, Central Asian, Persian and South Asian influences.
It was here that artists first began depicting the Buddha in human form, a visual language that later traveled along trade routes to Central Asia, China, Korea and Japan. This transmission of ideas, beliefs and artistic styles forms the core narrative of the immersive gallery.
“Inside the gallery, visitors are drawn into a world of interactive experiences, heritage documentaries they can zoom in and out of, Gandhara artifacts explored up close and photo zones where they can capture themselves against Pakistan’s most iconic sites,” Muhammad Azeem, Project Director at the Department of Archaeology and Museums, said.
A picture taken on December 30, 2025, shows map of Gandhara civilization at the Digital Immersive Gallery in Islamabad, Pakistan. (AN photo)
While Gandhara anchors the gallery, the experience expands outward to place it within a longer and wider historical arc. One section is dedicated to Pakistan’s six UNESCO World Heritage Sites, offering visitors a compressed journey across centuries and regions.
“The main hall takes it further with a fully immersive 3D journey,” Azeem added. “Each seven-minute segment transports audiences to treasures like Mohenjo-Daro, Makli Necropolis, Lahore’s Shalimar Gardens and Sheesh Mahal, and the historic landscapes of Taxila and Takht-i-Bahi, making the past feel vivid, unforgettable and alive.”
For many visitors, the gallery’s appeal lies in how it lowers the barrier to understanding. Instead of long explanatory panels, history is introduced through visuals, motion and guided narrative.
“I saw different historical sites on big screens which was very exciting for me,” Fatima Nawaz, a government employee, said. “After that, I watched a complete documentary in the gallery, which was about 20 minutes long, and in which different historical sites related to Gandhara were highlighted.”
“Overall, it was a very good experience,” she added.
A picture taken on December 30, 2025, shows visitors watching Gandhara history at the Digital Immersive Gallery in Islamabad, Pakistan. (AN photo)
Researchers see the initiative as part of a broader global shift in how museums function.
“My topic is Cultural Heritage Museum, and with this research, I am studying and visiting museums,” Abdul Khaliq, an M.Phil. student at Quaid-e-Azam University, said. “One thing I have not seen in Pakistan before is the shift toward virtual reality.”
He added that it was a good step while calling the immersive gallery “very educational and gives us a lot to learn.”
For the officials involved in the project, the gallery is a starting point rather than a finished model.
“The response we have received from the public in Islamabad makes me feel that this should be done in all the museums, in all four provinces of Pakistan,” Dr. Ghafoor, the senior archaeology department official, said. “This is because it can make it easier to follow history.”
“I think such immersive galleries should be there in all the museums,” he added.
