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By:

Correspondent

23 August 2024 at 4:29:04 pm

Kaleidoscope

People celebrate the Holi festival in Chennai on Wednesday. An artiste dressed as 'Vishnumurthy' deity performs 'Ottekola', a dance ritual, at the Kukke Subrahmanya Temple, Kulkunda, in Dakshina Kannada district, Karnataka on Wednesday. People offer prayers and perform devotional songs during the Yaoshang festival, at the Govindajee Temple in Imphal, Manipur on Wednesday. A man performs with fire as people celebrate the Holi festival at the Anandeshwar Temple at Parmat Ganga Ghat in Kanpur,...

Kaleidoscope

People celebrate the Holi festival in Chennai on Wednesday. An artiste dressed as 'Vishnumurthy' deity performs 'Ottekola', a dance ritual, at the Kukke Subrahmanya Temple, Kulkunda, in Dakshina Kannada district, Karnataka on Wednesday. People offer prayers and perform devotional songs during the Yaoshang festival, at the Govindajee Temple in Imphal, Manipur on Wednesday. A man performs with fire as people celebrate the Holi festival at the Anandeshwar Temple at Parmat Ganga Ghat in Kanpur, Uttar Pradesh on Wednesday. Artistes from Russian National Ballet 'Kostroma' perform during a show in New Delhi on Tuesday.

New Face of Baloch Insurgency

A female suicide attacker signals how Pakistan’s longest insurgency is mutating and why the state still has no answer.

Hawa Baloch
Hawa Baloch

Shot on a mobile phone in the dark hours before a recent coordinated wave of attacks across Pakistan’s restive Balochistan province, a chilling video has become emblematic of the province’s struggle with the Pakistani state.


It showed a young woman calmly firing at security forces, smiling at the camera and delivering what the Balochistan Liberation Army (BLA) calls her “final message.” Her name, according to the group, was Hawa Baloch. Her role as a ‘fidayeen’ or suicide attacker marks a grim escalation in one of South Asia’s most enduring insurgencies.


By foregrounding Hawa Baloch’s youth and gender, the BLA has sought to recast its long-running insurgency as something broader and more modern than a peripheral tribal revolt. Her story fits neatly into that narrative. She was reportedly a Gen Z recruit, formally educated, and the daughter of a BLA fighter killed by Pakistani security forces in 2021. In her, the movement is claiming both inheritance and renewal by linking personal grievance to a collective political mythology.


The operation in which she died was among the deadliest crackdown carried out by the Pakistani Army in recent years. Attacks continued across multiple districts including Nushki, Hub, Chaman, Naseerabad, Gwadar and parts of the Makran region. The military claims to have killed more than 130 separatists in counter-operations; the BLA acknowledges losing 18 fighters, including 11 suicide bombers from its elite Majeed Brigade.


Such numbers are contested, as they often are in Balochistan. What is clearer is the symbolic shift embodied by Hawa Baloch. The BLA has used women in attacks before, but rarely with such deliberate visibility. Her video is tightly framed propaganda designed for circulation. It borrows from the playbooks of other militant movements, where women are deployed to shock, to confound security assumptions and to signal ideological commitment.


Hawa Baloch’s own words underline that intent. She speaks not of negotiation or reform, but of sacrifice and inevitability. She urges women to stand alongside male fighters and condemns those she accuses of spying for the state “for a few pennies.”


For Pakistan, her emergence is deeply unsettling. Balochistan is the country’s largest province by area and among its most strategically sensitive. It is rich in minerals and coastline but poor, sparsely populated and long alienated from the centre. Gwadar port, near where Hawa Baloch was killed, is a linchpin of the China–Pakistan Economic Corridor and a symbol of Islamabad’s economic ambitions. It is also a magnet for rebel attacks, precisely because of its strategic value.


Islamabad’s response to the insurgency may have weakened rebel groups tactically but have failed to extinguish the conflict politically. Civilian sympathy for separatists runs deeper than officials admit, sustained by allegations of enforced disappearances, heavy-handed policing and exclusion from resource wealth.


Hawa Baloch’s path into militancy reflects that environment. That an educated young woman would volunteer for a suicide mission suggests a radicalisation shaped by loss, grievance and a sense of closure.


The turn towards female suicide attackers also hints at strain within the movement. Such operations are costly and difficult to sustain and are often used when groups seek attention, escalation or revival. By placing a woman at the centre, the BLA amplifies the psychological impact of its violence, even as it risks narrowing its future options.


Beyond Balochistan, the geopolitical backdrop complicates any resolution. China wants stability for its investments but shows little appetite for engaging local grievances. Pakistan’s economy is fragile, its security establishment overstretched. India looms in Islamabad’s rhetoric as an external hand behind the unrest, while global attention remains limited. The province, and the lives shaped by its conflict, rarely command sustained scrutiny.


Hawa Baloch’s brief, violent prominence reveals instead a conflict hardening into new forms. Her video was intended to unsettle and spur recruitments. It most likely will. But what it ultimately underscores is not the strength of the rebellion, but the enduring failure of the state to offer a political alternative to the young people it continues to lose.


It suggests an insurgency that sees no political pathway forward and a state that still treats a political problem as a purely military one. Until that changes, the war in Balochistan will continue to mutate, finding ever more unsettling ways to remind Pakistan that it is far from over. 


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