Carbon Roadside Arts (CRSA) Pakistan,

For nearly two decades, Carbon Roadside Arts (CRSA) has journeyed across Pakistan’s villages, carrying with it not only art materials but also the vision that creativity can reshape lives. What began in 2006 as a modest initiative by Visual artist/activist Zaheer Chaudhry has today become a unique art movement. Through years of struggle, personal sacrifice, and a deep commitment to rural people, CRSA has sustained itself as Pakistan’s first traveling art education project. Its story is one of perseverance: long roads traveled, countless schools visited, and thousands of children introduced to the transformative power of art.

In a country of 251.3 million (2024) people, where geography stretches from the Arabian Sea to the Karakoram glaciers, Pakistan’s cultural and ecological diversity is as vast as its challenges. While its history is enriched by the Indus Valley Civilization, Mehar Ghar, Ghandara and later Mughal opulence, and centuries of spiritual traditions, rural Pakistan today struggles with educational gaps, cultural isolation, and climate vulnerability. It is within this space that CRSA has carved its mission.

Launched under the banner of Orange Concept (ORCO) a private entity, as design house, Carbon Roadside Arts (CRSA) is rooted in a powerful metaphor: children, like carbon, hold the potential to become diamonds under the right conditions. Instead of classrooms, CRSA sets up open-air workshops in village schools and public spaces, carrying basic art supplies, digital projectors, and photography displays. Here, children engage in drawing sessions, storytelling, and exhibitions that not only celebrate their creativity but also connect them deeply with their environment.

Over 500 outdoor photography exhibitions and observation-based drawing workshops have been held across the country, from Sindh and Punjab to Balochistan, KP, Kashmir, and Gilgit-Baltistan. These exhibitions showcase portraits of children at play, study, and imagination affirming the vitality of rural life while challenging the notion that art belongs only to cities. CRSA has also introduced digital screenings and community cinemas in villages that lack galleries or theaters, turning streets and verandas into spaces of cultural dialogue.

One of CRSA’s most profound contributions lies in its environmental focus. Children are encouraged to draw their immediate surroundings, rivers, mountains, animals, especially a story of their own native trees, and changing skies. In glacier regions like Gilgit-Baltistan, where warming weather threatens biodiversity and water systems, and losing fertile lands by growing housing societies, these drawings reveal how children perceive environmental shifts and what they mean for their futures. By realizing the importance of their ecosystem through observational art, children learn that their environment is not only part of their daily life but also under threat. This process nurtures a sense of responsibility, making CRSA a unique platform where art education merges with climate consciousness.

The project has reached more than 600 schools, involved over 150,000 children and impacting 200,000 lives across Pakistan. It blends anthropology, journalism, and pedagogy collecting oral histories, documenting rural landscapes, and teaching visual literacy in an age when every child is also a documentarian with a mobile phone. By doing so, CRSA democratizes art and transforms it into a tool for resilience, identity, and sustainability.

With the help of local villagers and teachers, this impactful journey has left an indelible mark on the lives of over 125,000 children across Pakistan, touching the general public and benefiting 85,000 children from more than 600 schools. These schools include primary, middle, and high schools, catering to both girls and boys in the remote regions of Sindh, Punjab, Baluchistan, KP, Kashmir, and Gilgit-Baltistan. CRSA has made significant strides, reaching numerous villages across various districts, including Besham, Chagi, Chakwal/Kahoon Valley, Depalpur, Gawadar, Ghanche, Ghizer, Gilgit, Gojal, Hunza, Karachi, Khaplu, Khuzdar, Lahore, Layyah, LayalPur, Muzafarabad, Nagar, Naltar, Neelam Valley, Pakpattan, Peshawar, Quetta, Sargodha/Soon Valley, Sibi, Skardu, and District Astore.

 

Three Instruments of CRSA

01.  The Roadside Photography Exhibitions.

While roadside photography exhibitions had been a familiar concept globally, bringing them to the roads and public spaces of rural Pakistan presented a novel and pioneering challenge. Equipped with limited resources and dependent on local modes of transportation, I undertook a solo expedition to the valleys, navigating from village to village to curate and install exhibitions. The design strategy proved efficacious, employing methods like utilizing steel wire covered with plastic pipes between two trees in a garden, poles in a street, or two walls constructed of stones or mud at any available site. This approach aimed to make nature and the environment more captivating and inviting, encouraging the entire community to become a part of this artistic experience.

The installation method remained remarkably straightforward, facilitating both the setup and dismantling of the entire exhibition. Engaging a couple of students from higher grades in the process not only added an extra pair of hands but also provided them with a valuable learning experience in art installation. This participation allowed them to become an integral part of this significant art venture right within their own premises.

The exhibitions took shape by featuring photographs of the children themselves, capturing moments accumulated over years of visits. These exhibitions became more than just visual displays; they became platforms for storytelling, showcasing the lives of street and working children. This narrative initiated a dialogue about the critical importance of education among the youth in these communities.

The process of selecting photographs for each exhibition marked another captivating journey. Each display was adorned by more than 44 images, each carrying stories from diverse corners of Pakistan. Embracing the concept of "Diamond, the purest form of carbon," in various natural settings such as spring, autumn, or fall seasons, all photographs were presented in striking black and white. This approach aimed to reflect and evoke the sense of shining diamonds within the nuances of black and white monotones. The beautiful details between white and black transformed into captivating grays, creating a visual impact and profound moments for the visitors, especially the numerous rural children.

The exhibitions unfolded into captivating narratives, where the carefully chosen photography not only showcased artistic prowess but also served as a cultural bridge, intricately illustrating the interconnectedness of diverse communities. Each image, akin to a time machine, transcended geographical boundaries, allowing viewers to traverse vast distances. The deliberate juxtaposition of Balochi children alongside Balti children, and vice versa, emerged as a central theme, adding layers of cultural richness to the exhibitions. Regardless of the distinct locales, the stories drawn from various regions across Pakistan consistently found a cherished spot at each exhibition, weaving together a tapestry that celebrated both cultural diversity and a shared sense of unity.

The subjects of the photographs encompassed the lives unfolding on both sides of the spectrum. Images portraying working children in their daily lives and school-going students at their premises became poignant discourses, offering a nuanced perspective on the diverse realities within these communities.

Observation-based art workshops are meticulously designed, taking into consideration the exposure levels, age groups, and students' grades, ensuring that they seamlessly align with their specific objectives. Each workshop is structured with seven to nine distinct experimental assignments, carefully tailored to cater to the diverse needs of the participants.

 02.  Observation Based Art Workshops

The journey commences with drawing orientation, serving as the language of expression. Participants are encouraged to observe, interpret, and describe their environment through the lens of art a universal language that transcends social barriers. This foundational understanding establishes the premise that the learning and sharing of art are boundless and accessible to all.

As the art workshops unfold, participants gradually transition from basic drawing exercises, focusing on lines and shapes, to more intricate assignments. These foundational activities act as stepping stones, progressively connecting the participants to their environment. The profound realization that captivating lines are omnipresent, actively shaping the world around them, sparks a sense of wonder and magic in the creative minds of the children. This revelation becomes a powerful catalyst, propelling them forward into subsequent creative exercises with newfound enthusiasm and insight.

Within these carefully designed observation-based art workshops, we empower children with drawing pencils, colors, and blank sheets, offering them the opportunity to embrace the role of artists and create captivating pieces of art. The seemingly simple act of presenting a white blank A4 paper often leaves a lasting impression, particularly on children from remote areas who are more accustomed to lined paper for homework. Through these observation-based workshops, our aim is to unlock their minds, inspiring them to transcend the boundaries of their immediate surroundings, ultimately expanding the canvas of their imagination.

Tailored for specific grade levels, each workshop spans three hours per day, extending over two consecutive days. These engaging sessions encompass seven to nine drawing assignments, carefully synchronized to not only hone drawing skills but also to forge a profound connection between children and their environment. The "Tree Story" assignment has emerged as a particularly impactful component. Children from all corners of Pakistan participate in creating depictions of indigenous trees and their surrounding ecosystems. This visual documentation stands as compelling evidence not only of their deep interest and affection for nature but also instills a sense of responsibility. As they embrace these trees as their guardians of the environment, some children recognize that trees are more than just wood they serve as homes for numerous birds and insects, reinforcing the shared responsibility we have in preserving this beautiful planet Earth.

 In addition to individual assignments, several tasks require collaboration, encouraging children to work in pairs or groups. This collaborative approach serves as a valuable lesson, fostering teamwork, cooperation, and the development of interpersonal skills. Participants learn not only to be active contributors but also supportive partners, appreciating the diverse perspectives and efforts of their peers. This emphasis on collective effort instills a sense of camaraderie, teaching them to value and respect each other's hard work. It reinforces the notion that every participant plays an equal and significant role either it’s the creation of beautiful art pieces or the life to grow together as society, emphasizing the social values of mutual support and shared achievement. 

03.  Kachi Taki, Film Screening

Film Screenings involve a basic portable setup, featuring a large white screen, a projector, and speakers. For children without electricity or televisions in their villages, watching films on a big screen creates a profound impact. The films and documentaries presented expose the children to entirely different worlds, expanding their horizons in ways they could never imagine.

In 1942, when my father was just 15 years old, he, along with his five Chaudhry brothers, family friends the Tata family, arranged a "کچی ٹاکی" (film screening) in their village, Kot Kapura, in the Feroz Pur district of Riyast Fareed Kot in Indian Punjab. This event, a free public entertainment initiative, showcased the enthusiasm and passion for art and cinema within my family. My mother, at the age of 12, attended her first-ever big-screen exposure at this event, emphasizing the impact such initiatives had on shaping childhood experiences.

 I've always admired the dedication of my family in fostering a love for art and entertainment. This admiration has been a driving force behind my own commitment to providing similar experiences for the children of Pakistan in 2023. It became evident that the children of today have fewer opportunities for exposure and fascination with entertainment and education compared to the children of 1942. This realization fueled a determination to initiate efforts that echo the experiences my parents had during their childhood.

 Reflecting on my own childhood in the 1980s in Pakpattan, a small town, I remember two active cinemas named Nagina Cinema and Nadir Cinema. Back then, our family used to enjoy outings to the cinema. However, the landscape has changed over the years, and today, Pakpattan no longer has an active cinema. Even larger cities like Lahore and Karachi have seen the decline of cinemas, with many now abandoned, burying the memories and glory of beautiful stories that were once told on those screens.

 The cinema on village walls serves as the closing ceremony of Carbon Roadside Arts, always taking place after the sunset prayer, from Maghrib to the evening prayer Isha. Announcements are made in local schools, inviting all villagers to gather at a prominent village central site for their first-ever cinema screen exposure. The anticipation and excitement among the students in the classroom are palpable, creating a buzz of curiosity and anticipation.

 The magic unfolds when the film begins, featuring famous feature films, cartoons, and documentaries covering diverse subjects such as science, space, environment, and other current issues. Witnessing the reactions of the audience, I am reminded of the collective awe and wonder experienced during their first cinema night. It's a moment that leaves a lasting impact, broadening the canvases of their creative minds with the richness of imagination.

 Reflecting on our own memories of attending and watching our first cinema, we can all relate to the profound happiness and life-changing experiences that come with it. Those moments become cherished memories, shaping our perspectives and fostering a love for storytelling and creative exploration.

 I'd like to share that we arranged cinemas even in villages without electricity. This was made possible by using car or tractor batteries, converting and producing cinemas under the vibrant and sparkling stars of rural nights. This endeavor ensured that the magic of cinema reached even the most remote corners, bringing joy and entertainment to those who lacked access to electricity.

Art, we believe, is not a luxury but one of the basic needs of the human mind and soul. That's why Carbon is dedicated to making these roadside art activities accessible to children throughout Pakistan, from the Karakoram's majestic heights to the serene sea lines. With the capacity and ability to traverse the country year-round, navigating diverse landscapes, altitudes, and weather, we aspire to bring meaningful artistic experiences to every corner.

This unique and creative approach to mentoring children holds the potential to transform their social and cultural narratives. However, Carbon cannot achieve this alone. With your extended helping hands, we can collectively aspire to bring new and meaningful experiences to children all over Pakistan.

Despite its scale, CRSA is largely self-funded, sustained by Zaheer Chaudhry’s personal commitment as an visual artist artist/activist, art educationist, traveler, and philanthropist. With the support of local govt bodies, communities, school teachers and villagers, it continues to bring the gift of art education to remote communities planting seeds of creativity, awareness, and responsibility in the minds of young Pakistanis.

At its heart, CRSA is not only about teaching children to draw but also about helping them see. It is about drawing connections between culture and ecology, between the local and the global, and between imagination and survival. In doing so, it celebrates two decades of resilience and contribution, quietly reshaping Pakistan’s cultural narrative one village, one story, and one child at a time.

 Zaheer Chaudhry

Director Project CRSA-Carbon Roadside Arts