Gohar Rasheed criticises Aurat March posters
Actor Gohar Rasheed, known for his versatility and outspoken nature, has sparked a fresh round of public debate after sharing his views on Aurat March during a recent podcast appearance, taking particular issue with what he described as vulgar posters that appear at the annual women’s rights march.
Rasheed drew a comparison between two things he sees as similarly problematic. He said that women should not be objectified, and in that spirit, item numbers in films should not exist because they reduce women to objects. He then extended that same logic to certain placards that appear at Aurat March, arguing that some posters cross a line into vulgarity and do not represent an appropriate way to communicate ideas or demands. He said the same points could be made in a more sophisticated manner without resorting to language or imagery that he found objectionable.
The remarks touched on one of the most consistently contested topics in Pakistani public life. Aurat March, held annually on March 8 in major cities across Pakistan to mark International Women’s Day, has been a flashpoint for debate since its earliest editions. Supporters argue it is a necessary and long-overdue platform for women to voice demands around safety, equality and rights. Critics, including Rasheed, have frequently taken issue with specific posters that appear at the marches, arguing that certain slogans or images do not reflect the broader values of Pakistani society.
The response online was immediate and divided, as it tends to be whenever the march becomes the subject of public commentary.
Some users agreed with Rasheed. One person wrote: “He is right. Now Aurat Marchers will go against him,” anticipating the backlash while expressing support for the sentiment.
Others pushed back sharply. One commenter wrote: “I wish he was this offended by violence against women and child rape,” arguing that the energy directed at posters would be better channelled toward the far graver issues women face daily. Another said: “Three men mansplaining what women should do or not do,” pointing to the irony of male voices deciding what is and is not an appropriate mode of feminist expression.
The division in the comments reflects the genuine complexity of the debate. For those who support Aurat March unconditionally, the criticism of posters is a distraction from the march’s core purpose and represents the kind of policing of women’s expression that the march itself is pushing back against. For those who share Rasheed’s view, the concern is that certain forms of communication within the march alienate potential allies and hand critics easy ammunition to dismiss the broader cause.
What is clear from the reaction is that this is a conversation Pakistan has not finished having, and that every public voice that enters it, whether from the entertainment industry or elsewhere, adds another layer to a debate that touches on deeply held values about gender, expression and what it means to advocate for change.
