According to reports, Sheema Kirmani was among seven Aurat March activists who were temporarily detained by Sindh Police near the Karachi Press Club on May 5. The group had assembled at the location to hold a press conference in connection with the upcoming Aurat March in Karachi, during which they demanded the issuance of a no-objection certificate for the event.
Following the incident, Sindh Home Minister Ziaul Hasan Lanjar reportedly ordered the release of the detained activists. Organisers of Aurat March later confirmed that Sheema Kirmani, along with transgender rights activist Shahzadi Rai, was released shortly after the detention.
Videos showing Kirmani being escorted by policewomen rapidly gained traction online, prompting widespread public discussion. Many social media users expressed concern, stating that the visuals were unsettling given her long-standing contribution to cultural expression and feminist activism in Pakistan.
Sheema Kirmani, born on January 16, 1951, in Rawalpindi, is one of Pakistan’s most recognised classical dancers, theatre artists, and women’s rights activists. Over several decades, she has been associated with the promotion of Bharatanatyam in Pakistan, often facing criticism from conservative groups for her artistic work.
She gained renewed recognition among younger audiences after appearing in the music video of the song “Pasoori,” performed by Ali Sethi and Shae Gill. Her Bharatanatyam performance in the production received international appreciation and introduced her artistic work to a broader global audience.
Kirmani is also reported to be the founder of Tehrik-e-Niswan, a cultural and women’s rights organisation established in the late 1970s, which has been engaged in theatre, education, and gender-related advocacy initiatives.
Her activism and artistic journey became particularly significant during the era of General Zia-ul-Haq, when strict cultural restrictions were imposed in Pakistan and performing arts, especially dance, faced heightened opposition. Despite these challenges, she continued to perform and teach classical dance, maintaining her commitment to artistic expression.
Kirmani comes from a notable family background. Her father served in the Pakistan Army and later held the position of chairman of the Karachi Electric Supply Corporation. Her family roots are connected to Lucknow in India and Hyderabad Deccan, while her ancestry is also traced to Kerman in Iran.
She is married to Pakistani theatre actor and writer Khalid Ahmed, and both have remained actively involved in Pakistan’s theatre and performing arts landscape.
The recent incident has once again brought Sheema Kirmani into the centre of national discourse, with supporters and observers highlighting her decades-long contribution to women’s rights, cultural preservation, and artistic freedom in Pakistan.
The episode underscores the continuing tensions surrounding activism, public assembly, and freedom of expression in the country, particularly in relation to movements advocating for gender equality and social reform.
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