The opposition was able to pass a resolution in the Senate on the price of a coronavirus vaccine on Monday, despite disagreements within the Pakistan Democratic Movement (PDM).
Senator Jamiat Ulema-e-Islam (JUI-F) Kamran Murtaza moved the resolution against the sale of the corona virus vaccine at high prices.
The Senate approved the resolution put forward by the Opposition, with 43 votes in favor and 31 votes against it.
In the resolution, candidates from the Opposition Party demanded that the government provide a free corona virus vaccine or at a lower rate for the public.
Angered by these developments, DPR Leader Shehzad Waseem said the resolution was a statement of demands against the government.
Senator Faisal Javed, on the other hand, called the resolution “odd”. “The whole world appreciates Imran Khan’s strategy against the coronavirus,” he said, defending the government’s move to vaccinate the masses.
Likewise, the Special Assistant to Poverty Alleviation and Social Security for Prime Minister Sania Nishtar warned politicians against mixing the coronavirus with politics, saying fighting infection was a “national security issue”.
The developments came after the PPP and the Awami National Party (ANP) received notifications indicating the reasons for the alleged violation of the Opposition alliance – the Pakistan Democratic Movement (PDM) – the decision and principle of consensus.
PDM Chairman Maulana Fazal ur Rehman has agreed to issue notification of reasons for both parties.
The day before, PPP Chairman Bilawal Bhutto Zardari said his party is ready to join hands with allied parties and if they refuse then he is ready to act as the Opposition itself, but said his party will not sit easily until they send a packing “puppet government”.
The PPP chairman, addressing a ceremony in connection with the 42nd anniversary of the death of former prime minister Zulfiqar Ali Bhutto, said that only “they [the PPP] know how to run a movement democratically “.
The PDM decided last month that the PPP would get a Senate seat while the vice chairman would go to JUI-F and PML-N would get the position of leader of the Opposition.
The PPP and JUI-F candidates for the two slots did not succeed in the election, because the general chairman withdrew seven votes from PPP Senator candidate Yusuf Raza Gilani.
Subsequently, the PPP withdrew from the consensus agreement and chose to secure the position of leader of the Opposition by binding several members of the BAP party, which are part of the government.
Asian Pac Isl Nurs J. 2021; 5 (4): 248-250. doi: 10.31372 / 20200504.1124.
The aim of this paper is to provide a brief summary of mental health issues among Asian and Pacific Islander (API) communities in the US API including individuals from Far East Asia (e.g., Korea, China), Central Asia (e.g., Afghanistan, Uzbekistan), South Asia (for example, India, Pakistan), Southeast Asia (for example, Thailand, the Philippines), West Asia (for example, Iran, Saudi Arabia), and the Pacific islands (for example, Hawaii, Samoa, Mariana Island, Fiji, Palau, French Polynesia, Marshall Islands, Micronesia, New Zealand, Tokelau Islands, Niue and Cook Islands). Collectively they speak more than a hundred languages and dialects. Such diversity across the API community presents unique challenges and opportunities for research, education and practice. The body of the existing literature on mental health issues in the API community is marred by a lack of high-quality data and an inadequate degree of disaggregation. Such knowledge gaps hinder our ability to develop culturally and linguistically tailored interventions, and in turn, the API community has experienced mental health gaps and mental health service disparities. To advance this field, future research efforts with APIs should focus on articulation variations across subgroups of APIs, identify what explains these variations, and examine the implications of those variations for research, practice, education, and policy.
If you asked 13 year old Maria Thattil if she was going to be Miss Universe Australia, she would probably think you were kidding.
She is shy, desperate to possess and is afraid to be herself.
“I’m in a realm where I never historically thought I could come up and take my place,” Thattil, now 27, told the ABC.
So representing Australia – at any level – is something he doesn’t believe is possible. Ms Thattil said for most of her life she was told she couldn’t be Australian.
“I wasn’t quite Australian, but I also felt like I didn’t fit into the Anglo-Celtic perception of beauty at the time. I don’t think I just did it.”
While growing up, the messages Thattil said he received at school began to materialize in a way he now regrets.
She vividly remembers not feeling comfortable embracing all aspects of her identity, and in her early high school years she began to harshly criticize her South Asian heritage.
“It’s heartbreaking to look back,” he said.
“I stopped talking to my extended family, I stopped watching Bollywood films, I stopped wanting to eat our food. I am ashamed of my family.”
She said she wanted so badly to be a part, to be part of the group – even if it meant sacrificing a part of herself.
Tokenism, not real diversity
Hanan Ibrahim, one of Australia’s most famous hijabi models, still feels a job is in progress despite representing some of the biggest brands in Australia.
“I want to be used for more than just diversity inclusion checks, I want tokenism to disappear,” said Ibrahim.
“I want color models to be used for granted, because they can do the job as well as anyone else. And not just choosing because it was the flavor of the month for them to do a diversity shoot.”
Ibu Ibrahim believes the Australian modeling industry usually uses color modeling in what she portrays in a tokenistic way. She said sometimes, walking on set, she realized she was only called upon to be a model because they needed black people.
“They’ve marked that diversity inclusion, you know, ticked the brand,” he said.
“It’s emotionally tiring. That’s the only way I can explain it.”
Ms Ibrahim has complicated feelings about her position. He is grateful to be able to represent his community, but is “tired” of what he calls performative diversity.
“There’s more than just presenting someone as the face of your company, like what anti-racism work do you do behind the scenes?” she says.
“Are you training the people who work at your company to recognize First Nations and black people as a major part of the image, rather than a popular segment for a period of time.”
It’s not just about checking boxes
Ibu Ibrahim is not interested in being someone’s trend for now – she wants a material change.
“Where is the black make-up artist, where there are black creators who are there, I mean, I see them online.”
Ms Ibrahim remembers taking a photo shoot a few days ago for beauty products brand Eleven Australia. This is the first time she has seen another headscarf in a photo shoot.
“There was a hairdresser wearing a veil, and as soon as I got there, we ran to each other,” she said.
The woman told Ibrahim about her problems in the industry working as a hijab hairdresser.
“The hairstylist told her she had to take off her head scarf, so people could see her hair to work as a hairdresser. And this company, Eleven Australia decided, ‘Fuck, you are good at what you do, we will hire you.’
“For both of us it was the first time on a set anywhere we were with another woman wearing a hijab.”
Ibrahim says being one of the first mainstream hijabi models comes with stress, lots of explanations, and, at times, uncomfortable conversations.
One of the most difficult conversations is to talk about her experiences in the “simple” Muslim fashion brand.
“You would think I would get more support from the Muslim community here, the majority of whom are Arab, but I am not the right color for them,” Ibrahim said.
“It seems, I am not the right Muslim to represent them.”
She remembers times when she reached out to simple Muslim labels to work with them, only to be rejected.
“I know that when you look at their page, it is white women who are converting or people who are white or have lighter skin,” he said.
“I don’t quite match their beauty standards to represent them.”
‘I don’t look like myself’
Ms Thattil’s breaking point came when she saw a photo of herself turning 20 years old.
It was an image he still remembered years later.
“I wear makeup that is four shades too light, I wear green contact lenses, and my hair is bleached,” she says.
“And when you look at it, you can see that I’m trying to occupy a skin that doesn’t belong to me.
Now she’s focused on sharing her story to make sure young women of color don’t feel alone.
Like Ibu Ibrahim, Ms Thattil believes she is part of a growing body of women of color that is redefining Australian beauty standards. They both hailed the Black Lives Matter movement as a major force in fostering conversation around race and racism.
“Now only microphones are provided for our voices that have been speaking for this kind of thing for a long time. But now people are more ready to listen,” Ms Thattil said.
And with more than 70,000 followers on social media, Ms Thattil said “we don’t need permission” to be heard.
Building community is a big part of why Thattil feels it is possible for him to compete in Miss Universe Australia. The previous two winners were also women of color, and she worked in the same government building as the 2019 winner Priya Serrao.
“When I saw [Priya] undergoing the program, i follow its journey. And when he did get elected, I thought, ‘Man, maybe I can do this too.’ “
Despite feeling alienated from part of the Muslim community, Ibrahim did not feel alone.
She says she’s very much supported by a growing number of youth models, and she wants everything to be celebrated beyond what she describes as “checkbox” diversity.
“It reflects Australia, which is a multicultural society. So do we see that in commercials, do we see it smudged all over the walls and in magazines?
“Not as many as there should be, not as many as we have.”
In a rare television interview, Te Ao Māori Television with Moana meets one of New Zealand’s funniest and most creative people, Jemaine Clement. They talk about their early memories of growing up in Wairarapa, the differences between Kiwis and overseas audiences and more in the exclusive video above.
Of all the viewers in the world, Jemaine Clement considers Kiwi to be the toughest.
“They don’t expect anything good. People in the early days would say, ‘oh I really wanted to laugh, but nobody else started, so I decided not to’.”
A lot has happened in Clement’s life since those early days – Grammy awards; several Emmy nominations; acting credits to major Hollywood productions, including Men In Black III and the upcoming sequel to Avatar.
He also recently wrapped up the second season of the American mockumentary series, What We Do in the Shadows, which was named one of the best shows of 2020 by the New York Times.
But Clement remains down to earth and less ego-like as ever, despite being named one of the 100 sexiest men by Australian Who magazine in 2008, and sometimes being mistaken for Benicio Del Toro.
Clement admits that he and his Flight of the Conchords bandmate, Bret McKenzie, were completely shocked when they became a hit with overseas audiences.
“When New Zealanders hear a New Zealand accent, they’re like, ‘Oh, I’m not going to hear this.’ But they don’t care [overseas]. So we were surprised… And when we played, our show got bigger and bigger. That was a big surprise. “
Clement spent his childhood growing up in Wairarapa, raised by Māori and kuia mothers.
She has fond memories of going on marae trips and meeting her Māori relatives at family reunions. But sadly, te reo wasn’t a big part of his upbringing.
“My grandmother doesn’t speak Māori. She’s from the generation who would be punished in school if she … that’s her first language, but, uh, you know, they’ll get hit if they talk,” he said, through tears.
Her kuia greatly influenced her in other ways, such as through her sense of humor.
“She’s a funny woman … sometimes on purpose, like she’s going to make a good joke, and sometimes downright unintentionally … I mean the basic idea of humor is to surprise, and she’s always surprising what to expect. he thought. “
Clement is still close to his mother – one year, he brought her to the Emmy as her guest, which he found very pleasant.
“He watches all these shows. I don’t watch them, I don’t know who the people are at the Emmy. But he knows all the shows.”
Over the past year, Covid has forced Clement to take stock and adopt a slower lifestyle, which is something he is grateful for.
“I think last year I realized I was pushing myself too much and doing too many things … So when everyone has to stop traveling, I appreciate it and take a step back and think, I don’t have to go too hard all the time,” he said. .
You can hear more about Clement’s thoughts on making fun of racism, when he meets the Prince in person, his writing process and more by watching the full interview with Moana Maniapoto in “Te Ao with Moana” at the top of this story.
Alison Carter, owner of Public Hanger, opens a storefront at 77 S. 18th street in Columbus on February 12. Credit: Courtesy of Alison Carter
Hashtags driving Black-owned business support and sales via social media enabled local shops to thrive during the pandemic.
Katya Philmore and Alison Carter are the owners of two small vintage clothing boutiques owned by Columbus. Over the past year, they say Black-owned businesses have seen increased interest and continued support from Columbus residents in online and in-person shopping despite the ongoing pandemic.
Philmore is the owner and curator of Splendor Revival, a lifestyle brand that specializes in vintage and hand-crafted clothing, loungewear, statement pieces, gifts and accessories.
“The thing that really drives my business is simply encouraging women to feel loved and beautiful with the things they bring home or wear on their bodies,” says Philmore. “It’s all about encouraging self-love, relaxation and rest, and a kind of everyday luxury.”
Splendor Revival first opened in a studio on West Rich Street five years ago, but its original halls have been closed since the pandemic began. Instead, Philmore says he operates from his website, Instagram account and space at Little Light Collective, an April Rhodes-owned vintage cooperative that opened in September 2020 in Clintonville, Ohio.
“I’m seeing a large influx of new followers and supporters from people who want to support Black-owned businesses,” said Philmore. “It’s almost a bit of a stretch in the summer because there’s a lot to process emotionally with everything that happens.”
Public Hanger, owned by stylist Alison Carter, is an 80s and 90s themed vintage clothing boutique that is part of a cooperative owned by Black. Carter said he recently opened a storefront at 77 S. 18th St. on February 12, but started an online business in 2012 after his love and abundance of vintage clothing spawned the idea of sharing and styling them for others.
“I really appreciate vintage. “I love items that have been used but still have a story to tell,” said Carter. “I have so much stuff and it’s going to be wasted, so it’s just diverting into selling.”
Philmore says the pandemic has seen him change gears in some interesting ways and explore things he didn’t previously have. She launched a subscription box and mailing service, and she’s become more active on social media.
“I’ve made a lot more sales on Instagram, and it has definitely seen an influx of people,” said Philmore. “As long as I make consistent updates, I definitely see a big increase in followers.”
Carter said he also saw increased interest in Black-owned businesses last summer. She could create a pop-up shop that was socially distanced when the “outdoor market” opened, but she ended up shifting much of her sales to social media like Philmore.
“People still want to shop and don’t mind shopping online, especially on Instagram,” says Carter. “Don’t even post on my web site I’ll do a story sale.”
Before the pandemic closed businesses and caused limited direct spending, Carter and Philmore say they were deeply involved in the community with their businesses. Philmore says he conducts workshops and events in the studio, and gets most of his business in pop-ups, street fairs and festivals.
The transition to social media sales is not easy for the owner; Carter says there’s a lot of planning and preparation going into each story sale, and Philmore says he’s seen increasing delivery delays for online orders.
“There are a lot of platforms to cover,” Carter said. “You can’t just post on one thing because you can lose the entire market.”
Despite the challenges, Philmore and Carter both say they feel the community has been fairly consistent in gathering around Black’s small business from the last year to the present and only hopes it continues.
“We didn’t see a lot of Black’s boutiques,” Carter said. “I thought it would be interesting to see diversity appreciated and accepted now. I hope this isn’t a trend; I hope it stays consistent. “