Shahkaar journals dust jackets serve as autonomous texts in Durrani's ethnography of resistance to the status quo. They offer alternative, overdetermined perspectives, reframing the patterns of domination, subordination, and subalternization, Durrani navigates as a Muslim researcher located within the Australian Academy and as an anarchist activist academic advocating the decorporatization of knowledge production and resisting the proletarianization of intellectual labour in Pakistan’s higher education sector. The texts offer substantial content to supplement translations, artworks, online publications, and limited hardcover editions. The inaugural issue of  Shahkaar Art Journal, The First Step Towards Decolonization of Art Education in Pakistan’  Pride of Plagiarism, Decolonization of Art Education in Boozistan, How to Catch a Thief, Plagiarism as Hegemonic Practice, Why I am a Muslim and Khuda Ki Basti in Pedagogies of the Dispossessed and the Catalogue of Injuries, respectively present a concise and assertive stance in acknowledging the contentious issues addressed in these journals. The keynote in the second issue of the Shahkaar Art Journal is presented in both Urdu and English, delineating the depth and scope of SRH's projects.

​

Shahkaar journals dust jackets serve as autonomous texts in Durrani's ethnography of resistance to the status quo. They offer alternative, overdetermined perspectives, reframing the patterns of domination, subordination, and subalternization, Durrani navigates as a Muslim researcher located within the Australian Academy and as an anarchist activist academic advocating the decorporatization of knowledge production and resisting the proletarianization of intellectual labour in Pakistan’s higher education sector. The texts offer substantial content to supplement translations, artworks, online publications, and limited hardcover editions. The inaugural issue of  Shahkaar Art Journal, The First Step Towards Decolonization of Art Education in Pakistan’  Pride of Plagiarism, Decolonization of Art Education in Boozistan, How to Catch a Thief, Plagiarism as Hegemonic Practice, Why I am a Muslim and Khuda Ki Basti in Pedagogies of the Dispossessed and the Catalogue of Injuries, respectively present a concise and assertive stance in acknowledging the contentious issues addressed in these journals. The keynote in the second issue of the Shahkaar Art Journal is presented in both Urdu and English, delineating the depth and scope of SRH's projects.