Who Decides Who Decides?

This question  is easily answered when it refers to politics or business whereby  the authority to be a decision maker in  politics comes from the ballot, the civil service , or  some may say, the deep state;  and in business from  savants of the business world .

It becomes far more complex when it comes to Culture – who decides what culture is?  the  academic?  the government? the Community? The word has been defined and redefined over the ages, invoked for nationalism and tourism, restrained by religious beliefs, deconstructed by sociologists and reconstructed by artists. 

 Geert Hofstede says “Management can never change a national culture, it can only understand and use it” .He proposes that Culture as a collective identity is manifested through symbols, heroes,  rituals and values. The most enduring are values - which are determined within the first 10 years of our lives.

Historically, the culture of a civilization was defined by its city – Babylon, Athens or Moen jo Daro. As 19C Western   cities became overcrowded, dirty and crime ridden in the wake of industrialization, the ‘City Beautiful’ movement emerged in the early twentieth century. This emphasized the physical appearance of cities rather than its people and their activities, which became mere engines for a capitalist economy. Focus on architecture, planning and green spaces have continued to be the concern of modern city planners as beautiful cities generate income through tourism, museums and cultural programming. Since the 90s there has been a scramble to adopt the World Class Cities model. However, Elizabeth Wilson, in her book ,“The Sphinx in the City”, writes, exporting this concept to non-western cities, encouraged by agencies such as World Bank, creates  “inauthentic  cities”, and is motivated by  extending  colonial influence.

African, South American, and Asian cities evolved very differently from Western  cities, retaining strong ties to rural communities, and traditional methods of production.   Both South Asian and Middle Eastern regions already had sophisticated cities prior to colonialism. The colonial city was an administrative centre. Industry was discouraged to ensure markets for British products.

By contrast, Mughal cities had flourishing urban arts and handicrafts, jewelry making and textile workshops, that were essential to what Deepak Bhaga calls, the economic equilibrium. In villages, artisans made essential products in return for a share of agricultural produce. The markets of Karachi intuitively follow the Mughal pattern in that bazaars and workshops or karkhanas are  grouped by trade – jewelry shops, cloth, wood and metal markets, hardware and grain, much like the mandi is structured. Royal Patronage expected artisans to innovate and constantly up grade. Today tailors and embroidery artisans continue that tradition with custom made products. As in the past, some family trades still continue down generations such as the Banarasi silk weavers of Karachi.

Modern bazaars that have evolved in Karachi maintain the trade community structure  - the Godra Sunday car bazaar where owners can sell or swap cars, Uniplaza IT shops, the mobile market.  The systems clearly work since Karachi generates  60% taxes and 20% of the Gross Domestic Product.

The car races of DHA Phase 8, the cycle and donkey races of Lyari, the boat builders at the harbour, the vibrant markets of Golimar, Pan Mandi, Dhan Mandi, Sarafa Bazaar, Bohri Bazaar are as much  the  ‘real’ culture of Karachi as its many beautiful buildings. Karachi is home to communities from all over Pakistan and the region including Bengalis, Rohingyas, Central Asians and Chinese. It has Muslims, Parsis, Hindus and Christians, each with their own communities, localities and customs. The heritage and livelihood of this cultural diversity needs to be protected as much as the built heritage.

Durriya Kazi

July 8, 2019

durriyakazi1918@gmail.com