Carrying on the bhangra tradition

Mazhar Rahi

By Faizan Hussain

The song aakh ve laraoni aay ta gudi ve uddani aay takes you back in the late 90s when Basant festivals were being organised. It was the time when Mazhar Rahi was in the starting phase of his career. The song gained immense popularity and so the singer. Afterward the talented bhangra singer gave many hit songs like Aj sada nal ta kal kita hor ne/ Sanu pata tera dil wich chor nee and came to be known at every nook and corner of the country. Go to any dhaba or tune any FM radio and you will hear his songs played there. He has released ten albums which are all available in the market. He is a multidimensional singer who writes his own songs, composes them and sings them. He has a huge fan followings in India and is invited regularly there for performance. In an exclusive interview with Sunday Plus he talks about his past, how he came into this field and his upcoming albums. He also mentions the reasons which have hit badly the music industry and the musicians of Pakistan. Followings are some excerpts of his interview:

Q: What were the motivations behind becoming a singer?

A: Becoming singer is an interesting story. What I say about it is that nature paved my way for this profession. I never thought to be a singer even during my student life. Like any common man I was found of listening music. Atta Ullah Khan Esa Khelvi and Nusrat Fateh Ali Khan were common in those days and I was a big fan of them. It is natural when you listen music then you hum it consciously and sometimes unconsciously. The same happened and I often hummed their songs while sitting among friends. They started to appreciate me and asked me to take singing as profession. Initially I did not pay heed to their advice but with the passage of time I got convinced and started singing.

Q: How did you take your start?

A: Taking start was a difficult task. I did not get any good opportunity for a long time. I struggled in Lahore but to no avail. Then S.M. Sadiq called me to Karachi. He wanted to record my vocals to release the cassettes of Akram Rahi, who was a singer of sad song and was in jail at that time. I recorded songs and which were portrayed that Akram Rahi is giving albums from jail. Only in the one corner of the title of those cassettes it was mentioned “Akram Rahi ke Kahani Mazhar Rahi ke Zubani”.

At that time I had no other opportunity except to give my vocals. I recorded four cassettes. After that I was asked to sing in my own style which was obviously bhangra style. At that time I started to record bhangra songs for them which got voluminous reQonse and the albums were sold on high price. In this agreement I recorded five albums.

Q: What was your family’s initial reQonse?

A: My family was not happy rather they were annoyed. They were of the view that I will bring disgrace to the family. But I did not take that to my heart and kept my struggle on against all the odds because it had become my craze.

Q: What element do you think brought you the limelight?

A: Fakhar-e-Alam helped in this regard. He advised me to quit singing sad songs and to make my own style. He also helped me in getting different opportunities and I signed many agreements with private TV channels. My song Aj sad nal kal kita hor nee/ Sanu pata tere dil wich chor nee became popular and and made my identity as bhangra singer. I also started doing Eid shows, Basant shows on different channels. For all these I am thankful to Fakhar-e-Alam who assisted me everywhere.

And meeting with Fakhar-e-Alam is another interesting story of my life. In Karachi, where I used to record my songs, Fakhar-e-Alam also used to come there for the same. One day he heard my vocals while they were being edited and mixed. His impression was that the song was of some Indian singer. But when he came to know that it is a Pakistani singer he insisted for a meeting. I was called there at once and after ensuring he embraced me with happiness. He appreciated me very much. There we met never to disconnect again.

Q: Do you remember that particular song?

A: It was Tu nai boldi tu nai boldi ranu tera which teraa yar bolda. The same tone which Humera Arshad sang afterwards with some different lyrics – main nai boldi main nai boldi mera wich mara yar bolda.

Q: When did you do your first public performance?

A: First time I did a Basant Show at Jalo Park where big names like Abrar ul Haq, Jawad Ahmad and Sajjad Ali were present.

Q: Why do you sing only your own songs?

A: Usually I write songs my own songs because they are easy to compose. But I also sing someone other’s songs if they are good and according to my style. For example, Dr Nadir Aziz is a good poet and I have sung his many songs.

Q: Are you working on any new album?

A: There are three albums on which I am working simultaneously. One of them is duet with Amber Iqbal. Its name is Nikha Nama. My solo album on which is on final stage is Toon Party and the third is a Saraiki album. All the three are near completion and will be released in near future.

Q: In how many countries have you performed?

A: Recently I came back from Chandigarh, India after performing and again going Bathinda in December. Performance in Canada and America are also in the pipeline. In America I had performed eight times already. Besides, I have performed in Japan, Hong Kong, Africa, Uganda, London, and Dubai.

Q: Is anyone of your kids interested to carry on your legacy?

A: I have two sons and they are very young right now. The elder one is eight years old and the younger one is six years old. So presently I can not say anything Qecific about them because their main concentration is upon studies. But in future if either of them is interested then I shall be glad to teach and guide him.

Q: Comment about the present scenario for the artistes.

A: It is difficult time going on for the artistes eQecially for the singers. Only renowned artistes are surviving because they still get programmes but on nominal returns. Fees of our shows and programmes have decreased three times which we used to charge in heydays. There is no encouragement for the young talent and they are facing more difficulties. The present situation is diQroportional for the artistes because the fees are decreasing and the expenses for preparing an album are increasing.

Q: What do you think are the main reasons for this deterioration?

A: There was a time when people used to buy albums of the singers they liked. Now because of latest technology the sale of albums has decreased. People share songs through their gadgets and mobile phones. Secondly, everything becomes available on the internet and people download the albums free of cost. Ultimately the sale of original albums has decreased to almost zero. Secondly there is no proper piracy law in our country which has also made the situation worse.

Now what we are doing is to sell the tunes of our songs to different mobile companies for which we are paid nominally.

Q: Local shows have decreased. Will you comment on this?

A: There was a time when different cigarette companies used to hire singers to organise their events. Singers performed live in open. Now law and order situation has affected this and the concept of open air shows has finished. There used to be big campaigns in which we had to perform city to city. But the bad law and order situation has changed the whole scenario. Now the concept of open air concerts and shows has almost ended.

The other main reason in the downfall of this business is the shortfall of electricity. The time of ending marriage events at night is fixed (10pm). So because of shortage of time people have stopped to do musical events on such happy occasions. Ultimately, it has also affected the artistes.

Q: What expectation do you have from the government?

A: I appreciate Shahbaz Sharif for fixing some amount as monthly stipend for the senior artistes. But besides, the government should create opportunities for the young artistes also instead to wait for becoming old to be entitled for the stipend.

(The interview was conducted in September 2012)

A step towards reformation

Stage performance of Rustam and Zuhrab

By Faizan Hussain

Azad Theatre is a new emerging theatre with a mission to provide entertainment free of prejudice and discrimination. Its aim is to bring a positive social change in society whose outlook has become extremely tense because of terrorism and socio-economic problems. There used to be festivals and other entertainment activities which have almost lost their existence. Realising the changing mood of the society, a group of professional people decided to do something for the common man. For the purpose, they laid the foundation of Azad Theatre with aim to provide entertainment opportunities. They took start from cultural and classical pieces of writings to perform on stage to create awareness about the importance of literature about which mostly youths are unaware.

However, the group has made itself multi dimensional by adding different productive aspects for the youth and new comers. It is open the young writing talent who have craze for writing and production to come and join the group. According to the director Sarfaraz Ansari, “The Theatre Writer Competition provides the opportunity to develop creative, intellectual and practical skills and explore all aspects of theatre performance and production. Anyone who can write good script would be more than welcome in the group.”

On the other side it also focuses to hone the acting skills of the newcomers and those who want to join the theatre industry. The group aims to provide classical and contemporary theatre education by Acting and Theatre Skills Workshop programmes. The group has started its mission and is reaching out to people in Punjab. This enables everyone and anyone, of any age or background, to discover more about the Azad Theatre’s work and the staff and artists who create it.

The group consists of very experienced and dynamic team. Most of its members have many years of experience of theatre industry. Everyone in the team has attended several workshops globally and has learnt national and international techniques of theatre.

According to the management, “Azad Theatre will produce over 2 theatre productions, staged at least 20 times a year. These productions have already started in February and will continue till February 2017. These theatre productions will be staged in auditoriums around all over Pakistan. The process started from Punjab targeting Lahore, Islamabad, Faisalabad and Multan this year will extend to Sindh in 2013, Khyber Pukhtunkhwa in 2014 and in 2015 they will move to Baluchistan.

“The purpose of these tours is hone the acting abilities of those who are working in far of areas and do not get proper opportunities. Azad Theatre will visit these regions and work with small groups of performing art. It will promote them and bring forward the new talent.”

In Lahore, the theatre presented its performance of Rustam O Sohrab at Alhamara. The plot play was taken from a famous Iranian historical story of Rustam and Sohrab by Agha Hashar Kashmiri which was written in 1930. The play began with Rustam’s search of his horse which was stolen by some knights of Samangan. Finding traces of his horse, he reached there and became the guest of the king. During his stay, he fell in love with princess Tehmina and got married secretly. After spending few days as guest of kingdom he left Samangan never to come back. Tehmina gave birth to Rustam’s son Sohrab who became a known fighter. Both father and son never met each other until they faced each other in a battle between Iran and Toraan. Sohrab knew that he was the son of Rustam so he declared many times in fight that he was will not fight with Rustam. But Rustam kept his name secrete and did not disclose it Sohrab during fight with him. After a long battle Rustam felt week and stabed Sohrab. Tehmina who came to rescue became late and reached when her son was lying dead in the lap of his father.

It was a two hours performance which kept the audience glued to their seats. Every performance presented their best but huge applause came in the share of Usman Zia (Rustam) and Shoaib Haider (Sohrab). The costumes were designed by Aliya Abbasi and Nadeem and choreography was done by Alia Abbasi.

When inquired from Sarfaraz Ansari about the purpose of the play and why the group selected the particular play at this time, he said, “Apparently the play was based on the war between Iran and Toraan. But the real motive behind this play was to show that one should not sell his integrity and self esteem and would not allow any kind of interference from foreign powers. Keeping this in mind the British Government placed a ban on this play with the help of local capitalists.

“Our present situation is very much relevant to this play. We are losing our dignity. Foreign powers are assaulting Pakistan in form of drone attacks and other violation. Our rulers are doing nothing and the people feel helpless.”

The marriage of Rustam and Princess Tehmina represented another beautiful aspect of the play that if conflicts have created borders then natural, cultural and traditional values can bridge these gaps.

The little attempt in which Azad Theatre has done has affects on large scale. The aim for which they have started struggle is not less than a worship. Although there are a few other theatre groups but Azad Theatre has proved itself in a short time of one year since its inauguration in 2011. People are happy that new groups are emerging which believes in quality performance.

 (The play review was written in September 2012)

Laughter non-stop

By Faizan Hussain

Theatre activities are taking place occasionally in Lahore. Many theatre groups are testing their mettle and Lahorities are getting entertainment opportunities. Recently, B Theatre produced a renowned English play ‘Lend Me A Tenor’ which won standing ovations and received great applause. The entire play showed experience and maturity which this production company has definitely earned. The play also exposed great directing abilities of Awais Azhar.

The entire play shows experience and maturity which this production company has definitely earned. It was started by Omair Farooq Nazir, Waleed Zaidi and Syed Nabeel Haider in 2007 with ’45 Seconds to Broadway’ , who at the time were a bunch of theatre loving 17 year olds. They went on to do ‘Catch a Chain’ in 2010, and ‘The Odd Couple’ in 2011. ‘Lend Me A Tenor’ produced by Umar Farooq, under the same banner brings together the entire experience this company has had.

A wonderfully orchestrated farce, the story revolves around The Grand Cleveland Opera company, run by Saunders with his assistant Max and chaired by the very stylish, but otherwise useless Julian Leverett. The curtains open to a grand a hotel suite, where Maggie, Saunders’ only and somewhat spoiled daughter awaits the internationally acclaimed tenor Tito Merelli, followed by the entry of Max who is struggling to strike a balance between keeping Saunders happy and his attempts to get Maggie’s romantic attention. The very first scene of the play demands the audience’s attention not only due to the extremely adorable chemistry created on stage by Sanwal Tariq and Amel Ghani but mostly because you can’t help but be awed by the amazing set presented by the production, and designed by the director Awais Azhar. The hotel suite is impeccably done, with perfect attention to detail, giving it a real feel. The entrance of Saunders, played by Waleed Zaidi, sets things in motion, as he dramatically theorizes about why the star of the show might be late, then as soon as he receives news of Tito’s arrival he takes charge and sends everyone to their tasks. The arrival of Tito Merelli and his wife Maria played by Omair Farooq Nazir and Fatima Gain picks up the entire play, as the element of farce kicks in. From Maggie conspicuously hiding in the closet, found by the Bellhop, played by Shah Fahad, to the very spirited fight between Tito and Maria.

As Saunders perfectly planned opening night falls into chaos since the star of the show has committed suicide enters Diana, the soprano and female start of the opera played by Uswa Amjad. She is looking for a chance to win over the famous Tito Merelli to get ahead in her career. This is followed by the arrival of Julian Leverett, the very flamboyant chairman of the opera company played by Hashim Ali. While everyone else eagerly waits for a moment with Tito Merelli, Saunders and Max focus all their efforts into hiding his absence.

The play had all the elements a farce requires, perfect comedic timing, a tinge of chaos and the right amount of energy exuded by the actors. The entire production is a breath of fresh air for the audience of English plays, since it is executed very nicely, with each person performing their part beautifully. Moreover, it leaves the audience in peals of laughter. It is not an easy task to keep the audience glued onto their seats for an hour despite the air conditioning being off due to power failure but it is something this play managed to do. Such performances not only require talented actors and a director as amazing and perceptive as Awais Azhar but a production team that knows how to do their job, and the performance shows that Umar Farooq has managed to put together such a team. B Theatre Productions is a force to be reckoned with!

(The Play review was written in September 2012)

The essence of drama production

Shehzad Riaz

By Faizan Hussain

The mushroom growth of entertainment channels has given rise to drama industry in Pakistan. This boom attracted the young generation and Shehzad Riaz is one of those who are taking interest in this genre. Although he is a newcomer in the field of production but he is not alien to this. He is continuing the business of his forefathers. His grandfather established a production company in 1947 with the name of “Oriental Film”. In 1972, his father, Riaz Chaudhry, took the charge and produced many hit films like Sultana Daku, Zalzala, Milan etc. In this way, Shehzad has been seeing the work of production since his school days. Realising the decline of film industry in Pakistan, Shehzad decided to test his mettle in the field of drama production. He joined this business in 1998 and produced his first play Raakh in 2000. It was produced in London and was telecasted on a private TV channel ARY Digital. Then he produced more plays which are Andhi, Zard Pattay, My little Wife. Main Muhabbat aur Tum is being telecasted these days on ATV. In an exclusive interview with Sunday Plus, Shehzad Riaz talked about the drama industry in Pakistan. Followings are the excerpts of his interview:

Q: Did you get any qualification in the field of production?

A: No I did not get education in the field of production. I learnt it all from my elders. Secondly, all old and well experienced people who have been working with my father taught and trained me in this field.

Q: Do you make dramas on demand of TV channels or make your own productions?

A: It depends; sometimes we select a writer and a director, make a play and submit it to entertainment channels. And sometimes channels give some pre approved script for the play.

Q: What do you say about the Pakistani plays and its standard?

A: There was a time when Pakistani plays were very good and was no compromise over its quality. But the situation has changed now and the standard of plays is deteriorating day by day.

Q: What are the reasons behind this downfall?

A: Its reasons are numerous and almost at every level. First, there are a few people who get a monopoly over drama industry. Their projects are approved easily in good price but in return they invest little and compromise the quality.

Secondly there is no rehearsal in making plays these days, which used to be compulsory in old days. These days we have to do 20 to 30 scenes in a day; whereas, in past the maximum number of scenes in a day was three because rehearsal of every scene was a necessary part of production and it exists no more now. Making twenty scenes in a day means you are producing a play of 15 episodes, which consists of 300 scenes, in maximum twenty days. It saves the expense of drama houses. The plays these days have big jumps and lack continuity in their scenes. It also mars quality.

Another main factor is that because of many entertainment channels the demand has increased and the number of directors and the editors is the same. Even though there are a lot of new educated and talented people coming in the field but TV channels prefer the time tested people. Also, when directors focus upon quantity they lose concentration on quality.

Q: Many people are of the view that plays of PTV were better than the plays telecasted on the private TV channels now a days. What do you say about it?

A: I share their view. PTV maintains standard because all the people working there are well-educated and well-experienced. It does not mean that the private sector lacks in experience or education but it often compromise on quality. What gives edge to PTV is that it has no worries of finance and it does not need to sell its play somewhere else. It has its own production house where every department is working in its domain. For example, for the approval of script there is a panel of experts to judge the story and its theme. Similarly, there are proper departments of cameramen, light men, directors etc. There is no one man show.

Q: Tune any entertainment channel and one sees almost the same faces in every play? Is there any scarcity of talent in new people?

A: It is an interesting question to answer because many ask the same question. There is no dearth of talent in our country but the channels are afraid of testing the new artistes and same is the case with the directors and producers. Channels want the famous faces in the plays because it gives them surety that the play will be popular because people like those faces. Whereas, directors prefer the experienced people because with them artistes they have to take less pain but with the new artistes they have to put extra efforts.

Q: How can we overcome this phenomenon?

A: It can be overcome only when we have some institution who can give training to the new artistes. PTV can do this easily. It is the only organisation which has the resources in form of finance and Qace. Then there are experienced and educated people in every department who can be the best teachers also. Once PTV announces such project the young artistes will rush to get training because it a trusted organisation. No one in private sector will ever take the pain to train the young talent.

Q: Comment about script writers?

A: We have many good writers but their story is not different that of directors and artistes. Channels prefer famous writers and the writers have committed work beyond their capacity. Some of them even do not have time for next one year. Some of them outsource the work.

Q: Do you have any intentions in film production?

A: Yes film production is the pipeline but it may take some time. I want to make a good film representing the true face of our culture instead of gunda culture. For that purpose I need enough finance which I lack at the moment.

Q: What is the secret behind a successful movie or a play?

A: True reflection of society and people is the secret behind a successful movie or a play and the quality is of course an essential element. For films I want to add one more thing that people in Pakistan love watching love stories and comedy films.

Q: Do you think the Indian movies should be allowed in Pakistani cinemas?

A: Plays and the movies are the source of entertainment. Pakistan is producing good plays so there is no vacuum in this regard. But the case of films is different in our country. There are no good films being produced in our country. There is a great vacuum in this regard. So one should not ban the Indian movies and deprive people of the cinema entertainment. These movies should be banned when we start producing good films. However, our Sensor Board should be vigilant in censoring all those scenes which are not harmonious to our social and cultural values.

Q: What is the role of the government in this scenario?

A: Even though the government’s role is not supportive but we cannot blame them. It is because there is no proper film organisation. If the government allot some funds then it will not reach reQonsible hands. The government can play a supportive role by making a new federation consisting of educated and experienced people. Its designators should be elected after prescribed period. This federation will be supported by the government and will decide how many films should be released in a year and what shall be the standard of those films. Once the standard is set then the funds will be allotted accordingly.

Q: Are you alone in your family who is carrying on this business?

A: My younger brother is an editing expert and managing the editing department. His work is not limited to Pakistan only rather he also edits outsourced work from foreign countries.

Q: What is your future project?

A: My next project is a soap of 100 episodes named Veeraniyan. It will be telecasted in near future. Juggan Kazim, Tipu Sharif, Farah Tufail, Tahseen Chisti, Aurangzaib Laghari are prominent in its cast.

(The interview was conducted in September 2012)

Understanding Radicalization

By Faizan Hussain

Pakistan is passing the most difficult period since its existence. It is facing challenges like religious extremism, radicalization and terrorism. Even though a lot has been written on these topics yet people still lack awareness about the real threats. Educated people believe that radicalization is a political phenomenon, clerics and religious scholars trace its roots in Talibanization and the failure to enforce Shariah in the country. In reality, radicalization in the country is driven by multiple factors and occurs on different levels.

Muhammad Amir Rana and Safdar Sial’s book ‘Radicalization in Pakistan’ explains in details all the factors which are contributing in the escalation of radicalization. Over the decades there is continuous rise in the pro-radical tendencies in our society. This change in society is mix of different conflicts: between culture and ideology; between subcultures and national cultural; between economic development and cultural preservation; and between Islamization and moderation. There are religious and ideological factors which contribute in radicalization. People take pride in being Muslims but do not understand the characteristic of a real Muslim. They recite the Holy Quran but do not understand its meanings. Then there are different sects of Muslims and most of them preach particular aspect of the religion which suits their purpose. To make the matter worse, religion is also used for political interests, which is a major reason of radicalization. In political factors, when people face disillusionment from political leadership, non state factors become active to operate a parallel system against the state. Radicals take advantage in this situation and exploit people’s unfulfilled desires to hire them for their network. Then there are economic factors which cannot be ignored. In a society where people are categorised in term of their financial conditions, poor and lower-middle class suffer from a sense of deprivation. This deprivation intensifies further for those who are unemployed and underemployed. Similarly, in external factors the communicative world has made the Muslims think that they are the victims everywhere in the world. The unresolved issues of Kashmir, Chechnya, Bosnia-Herzegovina, Kosovo etc work as catalyst in this context. The role of media, trends and level of radicalization among women and the educated youth are also discussed.

The book is based upon the core findings and outcomes of Pak Institute for Peace Studies’ (PIPS) four-year long largely empirical research work on radicalization in Pakistan. The authors have also suggested some strategies for de-radicalization and the effective measures of counter-radicalization in Pakistan. All these elements make this book an important and comprehensive contribution in the literature written about radicalization in Pakistan.

Title: Radicalization in Pakistan | Authors: Muhammad Amir Rana, Safdar Sial | Pages: 173 | Price: 1000 | Publisher: Narratives

(The book was reviewed in September 2012)

Introduction to sub-continental music

By Faizan Hussain

Expert writers about music are very scant like any other form of art. Those who write are not necessarily expert. In recent years, there is no satisfactory work done in the field of music and its reasons may vary. Either we have limited number of experts who could write something authentic or the circumstances of our country are not conducive for that. However, Dr. Muhammad Athar Masood took an initiative to publish a book in which he has compiled his well researched articles. Some of these articles have already been published in different journals in the past. Dr. Masood has not only good knowledge about music and its history but he also knows well about the art of music because he had spent a lot time with music maestros.

Maqalat-e-Masood comprises of twelve researched articles on different aspects of sub continental music. Some of these articles are translated from Persian or English language. But every article imparts a good knowledge to the reader. What makes this book unique is that the readers get to know about those music books which are either in Persian language or not accessible to everyone. The author completed this task most efficiently because he had good command over Persian and English languages. Persian language helped him to consult the ancient books about music and at the same time English language assisted him to read and understand all the modern researches about Indian music done in the West or in other European countries.

The first article ‘Hind – The Books about Classical Music Written in Persian Literature’ is translated from English. This article presents a complete overview about the books printed in the sub-continent. There is also a comparison between the Indian music and Iranian music and some technical aspects of music are also discussed. The second article ‘Classical Books about Music in the Subcontinent’ gives details about the books which are written and printed in the sub-continent from 1947 to onward. The third article ‘Jahangir’s Aesthetics for Music in the light of Jahangiri Gatherings’ is short but has special importance. This article is derived from a book ‘Majalis-i Jahangiri’ written by Abdul Sattar bin Qasim in Persian. Abdul Sattar was a courtier of King Jahangir and in his book he wrote about Jahangir’s love for art and music. The fourth article is about the introduction of ‘Risala Ragmala Hindi az Thakar Dass’ which is a book written in 1188 Hijri. This magazine has probably only one handwritten manuscript which is saved in Office Library, London. The fifth article is ‘Mafar-ul-Qaloob’ which is the name of a book and this article is a compact introduction of this book. It was written by Hassan Ali Izaat in 1199 Hijri for Tipu Sultan. The next four articles are also about books and magazine which have special importance in Indian music. The tenth article is about ‘Naghma Quddusi’ which is a book about the famous poet Amir Meenai and the eleventh article is the translation of an interview of an Indian artiste Sattar Nawaz Wilayat Hussain Khan. This interview is important because it reflects all the aspects of his life.

The book is the reflection of Dr. Athar Masood’s love and interest for music. In recent times when essence of music is almost losing its way, the book serves as an honest effort. The prominent aspect of this book is that it removes many ambiguities about the Indian music. It propels reader to explore more about the rich music history of India. The book is really an asset and can be used as a reference book because it covers a long history of music in the Indian sub-continent.

Title: Maqalat-e-Masood: Introductory and Researched articles about sub-continental music |

Author: Dr. Muhammad Athar Masood | Genre: Music | Pages: 283 | Price: Rs. 600 | Publisher: Oriental Publications

http://nation.com.pk/sunday-plus/10-May-2015/introduction-to-sub-continental-music

Swoon at Soon

By Faizan Hussain

Soon Sakesar Valley

Pakistan is abundant in natural beauty. Mother Nature has been very kind to Pakistan when it comes to scenic beauty of Pakistan. Soon Valley is one of those blessed places which is known for its scenic beauty. Recently, I and my family planned to have a one-day trip of this valley which is mostly called Soon Sakesar. It is a part of Salt Range located in the north-west of Khushab. The area of Soon Valley is 300-square-mile. It is almost 56 km long and 14 km wide. The valley consists of lush green and fertile fields, amazing landscapes, high mountains, natural springs, dense forests and beautiful lakes and waterfalls. The mountains of this valley receives snow fall in winters. There are many references in literature about this valley. Bano Qudsia mentioned this valley in her famous novel Raja Gidh. Late literary giant Ahmed Nadeem Qasmi also belonged to this valley.
Pakistan is blessed with sights that are beautiful beyond words. Mother Nature has been very kind to Pakistan when it comes to natural beauty. Of course there are many incredible man-made structures built throughout the course of history but here we are just taking a look at the natural wonders of Pakistan.
One fine morning of July we all set up from Lahore to discover the beauty of this valley. As we moved out of motorway from Kalar Kohar and drove towards Padhrar and Pail, villages which are the eastern most villages of Soon Sakeasar, the scenic beauty of this valley started to mesmerise. The road leading towards valley is smooth and newly built which swirls in dense forest and high mountains. The area is scarcely populated and many a times it fells as if you have lost somewhere in mountains and forest but the clear road and scenic beauty do not let you to think anything wrong. The high cliffs with beautiful trees seem talking to everyone. Before going there we knew about its famous lakes but when we reached there locals told us about its beautiful Kanhatti Garden. So we decided to visit it first.
Kanhatti Garden is tucked on the side of Khabbeki village. There is almost 10 kilometres distance from the village. The road leading to this garden is another marvellous journey full of adventure and beautiful scenes. The location of this garden is amidst high mountains. First one has to drive up the high mountains and then drives down the mountains to reach the garden. The road is also good track for hiking lovers. It is surrounded with cliffs and bushes full of scenic beauty.
The garden covers 70 acres of land and has almost thirty different fruits in it including peach, mangoes, cherry, grapes, strawberry, raspberry, black berry, pomegranate etc. there are thirty six kinds of birds and many animals in this garden. There is a proper camp site for picnic lovers and tourist. The garden watered by a natural spring coming from high mountains.
There is a hill near the picnic point and if you go on its top then you can have a bird eye view of the whole garden surrounded by high mountains. After relishing fresh fruits and becoming fresh with the cold water of the spring we moved back to Khabbeki village where the Khabbeki Lake is situated. It is a salt water lake formed due to the absence of drainage in the Salt Range. It is one kilometre wide and two kilometres long. The lake is surrounded with lush green grass and on its two sides are the high mountains. Children belong to the village play at its brink. There is no boating facility in this lake but a rest house is built beside the lake. The area is abounding in scenic beauty. After spending sufficient time here we moved towards Ucchali Lake which is almost 20 kilometres away from this lake.
Sakesar is the highest peak of Salt Range and Ucchali Lake is located at the base of Sakesar Airbase. It took almost 1 hour to reach there. This lake is 45 feet deep and bigger in size than Khabbeki Lake. A village situated on its one side is an addition to its scenic beauty. There is hustle and bustle of life in the village. The first sight of this lake which made us like ‘wow’ was the road going into this lake. Driving on this very thin road seems as if you are sitting in a boat instead of a car and it is moving on without making waves in water. Locals tell that long ago the area of the lake was small when this road was built; but in the last few years the size of this lake has increased. They believe that in some years to come the reaming tract of road will also come under water. Tourists coming to lake bring their meals with them to have a picnic at the end point of this road.
There is also motor boat in this lake which takes the tourist on trip against nominal charges. The lake is lifeless because of its brackish water. However, locals tell that its water is cure for gout and skin diseases and people form far off regions comes to take its water as panacea of these diseases. Another thing which locals believe is that there is volcano beneath the lake due to which its water colour often changes.
We could not visit the third famous lake – Jhallar Lake – because of shortage of time. All these lakes are believed to be 400 years old or more and are fed by spring and seepage. Thousands of migratory birds also come to these lakes each year.
We started our journey back to Lahore as the darkness was taking this valley into its lap. We took a different road on return which was coming straight to Kalar Kohar from Khabbeki village. High mountains in prevailing darkness were presenting views which could hardly be described in words. It was like giants wooing us to stay here with them.
Passing the whole day in the company of nature was really superb. The valley was very peaceful where there were no traffic hazards, free of pollution and noise that we face everyday in our big cities. It has many small villages and people are simple who seem less bothered with the present technological era. They are cooperative to the tourist. The weather was not as cold as the valleys up in the north but it was pleasant. The valley is full of scenic beauty and has great potential for tourism if it is promoted properly. It also invites the professional and armature hikers. To be honest, one day trip was not enough to explore the entire beauty of this valley but once you visit this piece of land then you will come back with the memories that will remain asset with you.

(The story was written in August 2012)

Lessons of My Life

By Faizan Hussain

Lessons of My Life is collection of articles in a series which tell the readers about the hidden facts of our past. These articles have divided the book into four parts which are interlinked to each other and carry the reader towards a single conclusion to revolt against oppression and tyranny. The writer has wonderfully described the great freedom fighter of the past who stood against injustice and oppression, sometimes winning and sometimes sacrificing their lives to arouse the people from their long slumber.

Lessons are drawn from the wide spectrum of life including our history, politics, art, religion and the lives of great revolutionaries of the world to inspire the readers against tyranny, aggression and oppression. The message of the writer is struggle for better future without oppression and exploitation. Each of us must struggle to change the oppressive system that condemns the working people of our country to life-long oppression.”

The sayings and speeches of the Quaid and Allama Iqbal tell readers about the real purpose of Pakistan. They envisioned a welfare state where the rights of the poor and minorities are protected. The Quaid wes against any sort exploitation. “There are millions and millions of our people who had hardly get one meal a day. Is this civilization? Is this the aim of Pakistan? If that is the idea of Pakistan, I would not have it.”

It is a worth reading book which tells us that how we can get back the prosperous Pakistan of our great Quaid and how the change can come from bottom up. The book also reveals the multi-dimensional personality of Khawaja Masud and his vast knowledge about history, philosophy and deep insight in the political affairs of the country. He has wonderfully saved a treasure of our glorious past with a lesson in it for the coming generations.

Written By: Khwaja Masud | Published By: Ilqa Publications | Pages: 134 | Price: 245

(The book was reviewed in August 2012)

About the legend’s theatre debut

By Faizan Hussain & Midhat Zaidi

Anwar Maqsood

Anwar Maqsood needs no introduction. A great intellectual, playwright, poet, satirist, humorist, TV host, actor and painter he is a champion of civil society, who has spent his whole life writing for positive change in society. He always wrote the truth and never was afraid of any dictator. He has no equal in his stylish tongue in cheek satire. He knows the art of making people laugh. He is a living legend, who despite old age is still very active in the field of performing arts. Recently, he was in Lahore to see the performance of his Urdu stage play ‘Pawnaey 14 August’. This is his first play that he has written for theatre. In an exclusive intervew with Sunday Plus the legend spoke about his life and what convinced him to write a play for stage performance. Here are excerpts of his interview:

Sunday Plus: You have never written a play for theatre. What was the urge behind writing ‘Pawnaey 14 August’?

Anwar Maqsood: He (pointing towards Dawer the director of the play) forced me to write. One day he came to me and asked me to write a play for them. I did not know him and was also busy in some other work. So I said okay I would write some day. But he started to visit me regularly and insisted on writing the script. I agreed and told him to give me two three days. And I wrote the play.

S+: You wrote such a good play. Did you have that idea before in your mind?

AM: Yes I had this idea before in my mind. I wanted to write something for young generation to make them realise that what we were and what we are and what we will be. There is humour, irony and a message for the audience. Although my whole team was ready for the play but I asked them to let these young people perform because they are the future of Pakistan.

S+: What is the meaning of ‘Pawany 14 August’?

AM: There is nothing complete in Pakistan. ‘Studio Dhai’, ‘Studio Ponay Teen’ and ‘Pawnaey 14 August’ all mean this. We lost East Pakistan in 1971. After that debacle the real spirit and pleasure of 14 August is no more. It has lost it real taste and the title means this. There is something lacking in it; 14 August is not complete.

S+: Did the cast come up to your expectations?

AM: Yes, I am happy that the whole team has done a remarkable job. They have successfully conveyed the whole message of this play.

S+: The grief of East Pakistan was obvious in the play. What do you feel about 1971 debacle?

AM: (Takes a sigh) People of East Pakistan were our brothers and Pakistan came into existence with their vote. But unfortunately we always treated them as second rate citizens. We never considered them equal to us. I realised this grim situation that East Pakistan would no longer be part of Pakistan when Prime Minister Kh Nazamudin, who was from East Pakistan, was dismissed. In reality they were more educated, talented and intelligent than we were.

Let me tell you my own story. We were a big family who came to Pakistan in 1948. Quaid had passed away 38 days earlier. We all went to his mausoleum. There was a grave under a tent covered with flowers and people from every part of country were present there. I asked my mother ‘here are so many people, how big is Pakistan?’ She opened her both hands wide and said it is too big. I embraced my mother. Now my grandson asks me the same question and I open my one hand. He says that how can I swing in one hand and I reply, dear son we have lost our one arm (East Pakistan). We have lost half country and still we do not realise the importance of this fact. It is a blessing of Allah Almighty that we still exist even though we have fought three wars with India. Our country is blessed with everything. The irrigation system that we have in Pakistan is not anywhere in the world. We have four seasons. Our young generation is talented, honest and hard working. We are unfortunate that we did not get a single good leader. Had we got one good leader we would have progressed by leaps and bounds. Our parents promised us a good future in Pakistan. But sadly, I cannot make any promise with young generation. The promise which was made to us has ended. We do not know the future of Pakistan and the coming generations.

S+: What do you think would be is running in the minds of our great leaders? Are they disappointed?

AM: What Iqbal and Quaid had thought about Pakistan was different. They thought a welfare state where one can live peacefully. We do not need such a big army for this country. There could be small army like many other countries. British divided sub-continent but they deliberately left Kashmir issue undecided. They knew that if these two countries would become friends then they could be a superpower of Asia. That was why they wanted these two nations to keep fighting and there should be rift between them so they remained Kashmir issue unresolved. One thing which I want to make clear is that some people say about Pakistan that it will further divide into pieces. I assure you it will not divide any more. We only need a good leader and for which I always pray to Allah.

S+: Do you think the boy (a character who arrives at the end of play) will save the luggage or will lose it?

AM: Yes, he will save ‘if anyone does not shoot him’. Now the hope is with this young generation of this country. This was the message of my play. Quaid and Iqbal giving their bags to the young boy meant they handed over the half left Pakistan to the young generation.

S+: How can we strengthen young generation?

AM: We have to do something about our education system. Every year I travel From Gilgit to Gawader with school children. You will be surprised to know that 80 out of 100 school children could not write their names. They are all eager to get education. They become happy with their school bags. They never think it is a burden rather they know that it will give something to them. Even though new schools are being built but most have them have very high fee structure and poor children cannot even think of studying there.

Imagine (his eyes became wet) we have only 2 per cent of budget for education and three per cent for health. The maximum budget is spent on defence which we do not need. We are unable to understand the system in Pakistan. You cannot do anything with a system or a country where dishonesty and corruption become legal and in our country both the things are legal. Now it is also the duty of media to spread awareness about the importance of education.

S+: The play was politically motivated. Can you please comment on it?

AM: The current situation is pathetic. Imagine a country where more than 100 parliamentarians have fake degrees. Even India has some system. There is more poverty there but such incidents do not happen. We have made Atom bomb but cannot make simple tennis ball or the needle of sewing machine. We import that from China. We live in an agricultural country but the cost of food is high. We have nuclear power but there is no electricity, water or gas. Go and see the roads of Karachi where hundreds of people stand in line to eat from trust like Alamgir Welfare Trust, ARY Trust. Similarly in Lahore, hundreds of people eat daily from Data Darbar.

S+: Do you have any hope from any political party?

AM: People say that Imran Khan is the last hope. He has a very good track record. He made cancer hospital, which is no doubt a great work. In the whole world there are clinics for cancer treatment. It is only Pakistan which has a complete cancer hospital which is nowhere in the world.

S+: What do say about the present situation?

AM: There was a time whenever any sad incident like killing of three persons would cause to shutter down strike in the markets. People would cancel their parties. But now the situation is very different; even the death of 40 to 50 people is considered normal and people forget soon after listening to the news. No shopping mall shuts down, no function is postponed and everything continues in routine.

Overheads bridges are dividing the cities. Signals are vanishing with that the flower sellers and newspapers sellers at signals are disappearing. Those common people were my real friends. They used to give me feed back. They say ‘AM take the flowers. The play was marvellous’. I write for these people. I have not written any play in which foreign trip of Spain or London is mentioned. My plays are about old Lahore and Karachi.

S+: What sort of response did you get after the performances in Lahore and Islamabad?

AM: You will be surprised to know that I have seen the serving generals, judges and government officers weeping after the performances. They were of the view that it made them laugh but they were sad and gloomy when it ended. I replied to them that I could not think of any other end except that.

S+: As a writer and citizen what do you feel will make the difference?

AM: I have been writing for 45 years but it changed nothing. People are not bothered. There is no one who wants to change. People do not listen to the sayings of Quaid and Iqbal which are told every day on TV then why they would bother about me.

S+: The level of your satire is high? Do you think common people understand that?

AM: Every common man, a seller of vegetables or a fruit seller understand my programmes. In fact I write for these people and they are my target audience. They all are my friends. When I was writing Fifty Fifty I used to travel by bus and met people who would give me the feedback. I enjoyed my travel. But now the time has changed. Technology has made the life very comfortable. The young generation is lucky to get everything without much effort but at the same time they lack the passion for struggle.

S+: You also acted for some time. Why did you not carry that on?

AM: Making some people laugh by appearing on TV screens is not a great work. I think I should have done something for the children of Pakistan. I should be in the field of education.

S+: You are a good painter, a good writer and a good host. How did you manage all that?

AM: Being a writer or a host I never let lose the dignity. I am an ordinary writer and maintain respect. I never made fun of anyone by taking his name or pinpointing any one. And the same is the case with the programmes which I host. I never show disrespect to any guest. If I do not agree with their point of view I simply tell them about that but let them say what they want to.

This is totally different to what happens on our TV channels. Now if any anchor is decent and does not shout or show disrespect to their guest is fired from the office. It is programmes’ rating which matters now. The same is the case with the guest of talk shows. They are humiliated in one channel and the very next day they are sitting in another. I was offered many talk show programmes but I refused just because I cannot show disrespect to my guests. By selling paintings I meet my domestic expenditures.

S+: Any plan to write your memoir?

AM: I have not published any book. Friends suggest that all the plays like ‘Sitara Aur Mehr-un-Nisa’, ‘Aangan Tehra’ should be published in form of book. But I intend to write a travelogue of those countries which I have not visited yet like China, Australia, and Vietnam. Writing travelogue has become as easy as it had never been. You simply play a video of the country and write a travelogue. No one can judge or prove that the writer has never been to that country (said with a smile on his face as if he was criticising).

S+: Your favourite work that you have written till now?

AM: I like ‘Aangan Tehra’. I have also written its script for stage and these people with the same team will perform it in February.

S+: Your favourite book…

AM: Bal-i-Jibreel of Allama Iqbal.

S+: Your favourite personality.

AM: There are many people but I feel pleasure in meeting Abdul Sattar Edhi and Adeeb Rizvi. The latter is head at SIUT (Sindh Institute of Urology and Transplantation). He is less a doctor and more an angel.

S+: Your favourite form of art…

AM: I like cooking. In my house I cook for all my grandchildren. My daughter-in- law and all my grandchildren are very frank and we are best friends. They all call me Anwar. None of my grand children call me Nana or Dada.

S+: What sort of music do you like?

AM: I love music and have my own music library. I have all the songs of Roshan Ara Begum, Wilayat Hussain, Ustad Salamat Hussain; Madam Noor Jahan and Lata Mangeshkar.

S+: Anything you still want to do?

AM: I am tired now. I want take a pillow and lie somewhere under the tree and if someone asks what are you doing, in return I wish to scold him. I have done whatever I had to. We have done nothing in the last 65 years.

(The interview was conducted in July 2012)

From Harlem to Alhamara

By Faizan Hussain

Classical guitarist Sajjad Taffu

Famous classical guitarist Sajjad Taffu does not need any introduction. He is a solo instrument player who continues to perform on all TV channels. He was the first Pakistani musician to come up with music instrumental album. His live performances in which he plays all genres of music including rock, classical, blues, country music, folk and Mexican are a rare treat for music lovers. Sajjad belongs to Mozang Gharana which included music legends such as Master Inayat Hussain, Akhtar Hussain Akhiyan and Master Abdullah. His father Ustad Tafu Khan, a famous tabla player and composer, has to his credit hundreds of hit film songs. Sajjad’s craze for music knew no bounds. He started playing guitar in the film industry 1974 when he was only 10 years old. He played guitar for many hit songs. A graduate of Government College Lahore, he went to USA and started playing with black bands in the restaurants and streets of Harlem. After some years he came back to Pakistan and these days has taken the role of a teacher at the Lahore Arts Council. At Alhamra he can be seen surrounded by young boys and girls keenly following his fingers as he plays the guitar to teach them the tricks of the trade.

Sajjad has been playing guitar for 37 years. In all these years he has matured as an artiste and now composes music for TV drama serials besides teaching at Alhamra. He has hundreds of students and is also credited for popularising guitar among the young generation. He is adept in the classical tunes and is also well versed in the contemporary forms of music. He made a musical band named ‘Avengers’ in his college days, which was a rage in Lahore in 80s. He also released his album ‘Sufi Saga’, which had 10 different music items related to Sufism.

In an exclusive interview with Sunday Plus Sajjad talked about his career in the music industry and how music has become ingrained in his blood. “As a musician I have worked in the film industry with the top music directors. I have given background music of more than 100 films. ‘Pehla Pehla Pyaar’ and ‘The Godfather’ are the last movies for which I made music compositions. There are many plays of PTV that have my background music. ‘Kabhi mein sochta hoon kuch na kuch kaho’, ‘Sona na chandi na koi mahal’ and ‘Mujhay dil se na bhoolana’ are my favourite compositions,” Sajjad said.

Sajjad Tafu is a regular performer at Alhama Art Council and Punjab Art Council programmes. He has performed in USA, UK, Canada, Europe and Dubai where he has a large fan following. “These days I am working with poet and director Mazhar Anjum and preparing the music of a serial play and its title song.

“At the same time I am also teaching at Alhamara Art Council where I am teaching the young students how to play guitar and other musical instruments. With this I also spare some time to perform in musical functions,” Sajjad said.

When asked about the interest of young generation in classical music, he said that still there are many young students who are keen to learn it. “I teach guitar. I am proud to say that many boys and girls trained by me now give live solo guitar performances and are appreciated by audiences.

“I have more than 2,500 students in Lahore. I have taught classical raga to a large number of students in USA and UK,” he said.

When inquired about the importance of tabla in music, he said that it was the basic instrument of music and without learning the beats of tabla no one could become a good musician. “In the classical music world tabla is the real teacher. Every musician has to learn tabla beats. I can play tabla because I have learnt it from Mian Miran Buksh whose name is the book of Guinness World Records as the best tabla player,” Sajjad said while explaining its importance.

Telling about his work briefly, he said that he had composed the poetry of Shah Hussain, Mian Muhammad Bukhsh, Khawja Ghulam Farid, Heer Waris Shah and Baba Bulleh Shah. “I have tried my best to fuse these with guitar strumming and dholak beats. Now I am revising tabla that will be an innovation. I will play guitar while fusing it tones with tabla,” the guitarist said.

Talking about the contemporary music versus classical music, he said had a very clear picture in his mind. “Contemporary singers are not musicians. They cannot create new music and new tunes. They simply copy tunes and mix them with some western musical tunes. They do not have any proper music training; whereas the classical musicians and singers have dedicated their lives for music. There can be no comparison.

“Presently, the plight of classical musicians is bad. They mostly live hand to mouth. This is in contrast to the contemporary singers who are affluent and have media support. But I can perceive that the tough phase will pass. Winds of change have started blowing and the world will soon revert back to real music.

“Now the supportive role of the government has also started and real artistes are getting reasonable amount in form of stipend every month. One thing more which should be initiated is the revival of music through channels and radio. There should be a specific channel to telecast the new and old programmes,” Sajjad said as if he was giving vent to his unexpressed thought after a long time.

On a query about his children carrying on the profession of their ancestors, he said that he was training his eleven-year-old son. “I am working diligently to convey this art, which we are carrying on from the last seven generations, to my son Imtiaz Taffu. He is a quick learner. He can play sitar, guitar, mandolin and tabla. He has performed live with me at a number of musical functions,” he said with an expression of satisfaction on his face.

Sajjad Taffu is a living star among us. Artistes like Sajjad Tafu are an asset of our country and his services should be acknowledged. He can be helpful in the revival of classical music and tunes which are losing their attraction in the young generation. It is high time for the government to take interest in promoting classical music which is part of our cultural heritage.

(The interview was conducted in July 2012)