Showing posts with label The rural Punjab. Show all posts
Showing posts with label The rural Punjab. Show all posts

Thursday, November 13, 2008

Baba Guru Nanak Dev Ji and his message for humanity




Love God. Love God in man. Sing love of God



by Nayyar Hashmey



Next week the 539th birthday celebrations of the founder of the Sikh religion, Baba Guru Nanak will start with a deep devotion and fervor in different parts of Punjab, Pakistan.Members of the Sikh community from around the globe will attend the five days religious ritual with great enthusiasm and pay homage to the great Sufi poet of Punjab, who changed the lives of millions of people through his message of love, peace, and devotion to God, tranquility and equality for the mankind.


Every year in November, the authorities in Pakistan make special arrangements for the occasion to provide transport and lodgings for thousands of guests from abroad. Pakistan Railways induct special train schedules for Indian Sikhs to attend the celebrations on Pakistani side of the Punjab and then return home safely. PIA, the national airline carrier also flies special flights from various destinations to Lahore for devotees from all over the world.

Tuesday, November 11, 2008

LIFE IN A PAKISTANI VILLAGE


      A Way of Life...But More Natural  

by Hira N. Hashmey

Pakistan is the cradle of Indus Valley Civilization, civilisation that is spread over more than 4000 years of history. Archaeological excavations here have revealed evidence of the meticulously planned cities of Harappa and Mohenjodaro that lived and died along the banks of the mighty Indus and its tributaries. The ancient Hindu epics narrate life between the 7th and 5th century BC which carry rich descriptions of the land and people of Indus at that time. These relics throw light on the culture and changing architectural styles of Punjab since the Harappan age. At Taxila near Islamabad, sites associated with great Gandhara Civilization yielded remarkable relics that showcase the magnificient age of Buddhism in the region.
But along with its magnificent past, the rural life in present day Pakistan is as rich even today as it used to be before. The lush green crops which ripen in summer to yield golden harvests, fruit laden orchards which bear delicious fruits similar to those of the paradise and above all a mouth watering food that makes many a chefs to envy. The luscious fruits are so dominant in Punjab’s rural culture that a special variety of mangoes is called Samr-e-Bahisht, literally meaning the fruit of the paradise.
The Punjabi folk in Pakistani rural scene are extrovert; sociable guys who like to eat well and dress well. Even in a tight spot, a Punjabi youth would like to twirl his moustache and say "Khair ae" (am quite well") to those who ask how he’s getting on. He learns quickly and assimilates new cultures without difficulty; family honour is sacrosanct to Punjabi’s, but in other matters they tend to be liberal. It is a matter of pride to be "up to date". Their enterprise and capacity to work hard are legendary and it’s a deep ambition of Punjabi guys to “be one’s own boss": many an émigré Punjabi have started life in a strange land driving a cab or working in a café and gone on to buy out the owner within a couple of years.
A few generations ago, turban was the "crowning glory" of all Punjabis, but it has now gradually disappeared from the scene. It was once a symbol of Punjab’s honour and status. At the same time it offered a protection against the simmering heat in the Punjab plains. The kurta, a long straight-cut, loose shirt teamed with pyjamas, the loose baggy shalwar, or a kind of sarong called a dhoti or tehmad makes up the traditional dress for men. Winter sees the rustic Punjabi in colorful sweaters that wives and mothers are so skilled in making. A shawl in winter and a chador in summer finish this ensemble. When the urban, educated Punjabi steps out to work he will be in shirt and pant or a suit—sartorially indistinguishable from his counterparts in Tokyo or Toronto. Back home in the evening, he is likely to be found in more traditional dress.

The traditional Punjabi shoes, called juttis or khussas retain their popularity with rural folk; they are both elegant and comfortable. Bahawalpur, Sargodha and Hazro in Attock district are famous for khussas. The women in Punjabi villages dress in shalwar topped by a kameez (a garment that can be fitted like a dress loose like the kurta) and accented by a rectangular scarf about 2.5 metres long called the duppatta . She’s fond of her sweaters, but passionately proud of her collection of woolen shawls. Gold is the weakness of Punjabi women – brides are loaded with it. The jewelers of Punjab, stock an enormous range of designs in bangles, necklaces, rings and earrings, nose-pins, ornaments to pin in the hair, anklets and toe-rings.

Culturally, Pakistan’s rural folk enjoy a seemingly happy and contented life. Not that they tend to be passive and lack initiative. On the other hand our rural folk are more energetic and struggle minded than their city dwelling counterparts.
Life in a typical Punjabi village in Pakistan, starts early in the morning. The senior village dwellers along with not so insignificant number of village youth turn to the village mosque for offering their early morning Fajr prayers. After prayer, a delicious rich breakfast awaits the village men. The breakfast itself comprises of either fresh milk (cow or buffalo’s) or a hot brew of tea with a good amount of milk and sugar.

After breakfast, the men folk move to the fields where they start performing different chores of cultivation like plowing, sowing, and harvesting depending upon the season.

Most villages in Pakistan are situated away from the noise of the city life. They are peaceful and silent places. A typical Pakistani village consists of unpaved paths and streets. Its houses are made of mud. However, with lot of young members from rural families which moved to the gulf as part of the “Dubai Chalo” syndrome, have benefitted from the petro dollars. So the villagers now build their houses from bricks and concrete though most of the village people have simple habits and limited needs.

There are green trees, vast meadows, and flowery bushes in every village. The blossoming flowers, fragrant air, the rising and setting sun all leave a healthy influence on the health of villagers. In the summer they rest under shady trees, and take bath in cool water. Women also help their men in their work along with their household. They also take care of their domestic animals such as cows, goats, hens etc. As many small villages are still void of the facilities like safe drinking water and electricity; even hospitals and schools are at long distances, life in the village requires more struggle than the relatively modern lifestyles in the cities.
Village life in Pakistan depicts a true picture of our culture. Villagers are very traditional people who are hard workers. They wake up early in the morning with the Fajar prayers and start working in the fields. They work all day long in the field under the sun without caring about the harsh weather. This is the only way for them to earn their livelihood.

They live in a serene and clean environment surrounded by green orchids and lush crop fields. There are beautiful flowing streams and ponds. People live in a very well knit community; they help and solve each other's problems. The elders have great respect and in the evening they gather together in village “chopal” (a community meeting held every day) and discuss their village problems, which mainly surround the water distribution from a mohga (water outlet from a main stream), good or bad crop during the season and some petty matters of biradris. The discussions in a chopal though full of opposite views and dissensions too, yet at the end there is a more amicable end as in every matter the izzat of the village is and should remain supreme in every village dweller’s eyes. Then there will be discussion about lack of basic amenities, they don’t have proper drinking water, no schools and colleges and somewhere even no sewerage system at all. Some villages really need attention so that they can move on the road to progress.

*Writer is a Management Associate at the Aik Hunar Aik Nagar Project of the Govt. of the Punjab, Lahore

Photographs: Abdul Razaq Vance

Monday, November 3, 2008

KANJWANI MELA

The Spirit Lives On...

by Nayyar Hashmey

Festivals are a part of human psyche; men in Punjab are no exception to this spirit in the people of all regions, all countries. A change in weather, some saint’s birthday, a harvest or just a show of composure, the folk’s will to rejoice, the people in Punjab find a way to celebrate.

Such festivals popularly called mela’s in Punjab are a common sight especially in our rural areas. As the summer ends, the hot and sultry months of June and July are over, a wave of celebrations hits almost every rural district which demonstrates expression of peoples’ enjoyment in an ambience of festivities all over Punjab.

A mela is an enchantingly picturesque event. A bustling market springs up where articles of food and products of local handicrafts, toys, glass bangles, and an assortment of all kinds of items for domestic use are on display. There are circuses, beating of drums; people in catatonic trances, bagpiping, dancing, fun and frolic, all add further color to such celebrations.

I had heard a lot about one such mela from my photographer friend Nadeem Khawar who said this mela at Kanjwani encapsulated complete exuberance to capture the soul of Punjab at a single event.

To attend the event, I left Lahore on 27th August this year. After a 2 hours drive, I was in Faisalabad, the city of textiles. While driving on my way to cousin’s house, I glanced at the colonial style of the city landscape. Even after 61 years of independence, Faisalabad still has the same British pattern of colonial architecture.

Faisalabad: The Clock Tower, City's Historic Landmark
It was quite a warm day, yet the arrival in Faisalabad where I had spent some beautiful years of my life, was quite a happy home coming – after so many years. The time I reached Peoples Colony, a fresh breeze started blowing and a cool sensation could be felt all over. After an hour’s stay at my cousin’s, we together drove in a jeep to Chak # 479 GB, my cousin’s native village from where Kanjwani is about 6 minutes drive.
Next morning we were there – at the mela – where at the edge of the town in Chak # 456 the celebrations were in full swing.

From what I saw at the mela, people here love to rear horses. I met a young tent pegger Pir Imran Shah who loves to be called by his nick Shala. When asked what purpose of these horses he had other than putting them into tent pegging, he said, all the horses (he owns 5 in total), two are the dancing horses and three run solely in tent pegging races. All the five horses he has are meant only for equestrian sports and that he has no other use for them. I asked Shala wasn’t this rather extravagant to rear and feed these horses all the year and then test their strength only at few occasions. “Shounq da mull koi naeen Sir Ji” said Shala, meaning thereby you can’t attach price tags to one’s passion and so is the case with his leisurely pursuits (horsely pursuits I thought).

I was talking to Shala when a call for competitors of tent pegging started coming out of a loud speaker. A galloper started running at a speed of 25-30 KM an hour to hit the striking line; each one had to aim and pierce his lance into the peg (made of date wood). The standard measurement of the peg is still set on the thumb rule or to say it more aptly on finger rule. i.e. the first tier of competition involves piercing and pulling the peg of a breadth of four manly fingers (approx. 3.75”) After the winners in the first round have been decided, the peg size is reduced to about 2” width. For those who qualify the second round, the peg is finally reduced to about 1” size.

While tent peggers in the race were aiming at the pegs at a very fast pace, there were others who were just trotting on their horses, each team had its own color. Some had yellow turbans, yellow cushions under the saddle. There were others with blue turbans and blue cushioned horses. This show of pageantry at the ground was marvelous. A striking feature of the tent peggers were their dress. Each team member was attired in fully starched shalwar qameez. Some had a bosky shirt, and white latha shalwar. I asked a young tent pegger in his twens, Qaiser Pervaiz on this typical gear of the tent peggers of Kanjwani and he said the area is mostly inhabited by the Baloch farmers and landowners and these colors for shalwar qameez of white starched latha or a bosky shirt, were a dress in which Baloch feel more pride, more composure and honor.
Here amidst the vast expanse of cane fields and fruit orchards, while I was busy talking to Qaiser, under a gentle August sun the spirit of Punjab is soaring. It finds an exemplary illustration in the will of the rustic village dwellers of Punjab as they indulge in all sorts of sporting activities at Kanjwani, a small mandi town; about 13 km form Samundari in Faisalabad District. Starting with different bouts for testing of individual strength, skill and will to win against one another, often only for a kilogram of desi ghee, they also partake in different team events as well.

Right here in Kanjwani, games are at their peak turning up some likely and some unlikely heroes. Out here David Beckham does not count. He is welcome of course, but can he race a bullock cart, or pierce the peg with his lance? That’s what makes this mela, which is held each year, unforgettable. The festival comprising 20 – 25 events is a wonderful mix of accepted sporting disciplines and other uncommon pursuits. Quite simply, it is a carnival. Alongside a kabaddi match, a snake and mongoose play a more serious sort of catch. In one corner are the grunting heavies testing their strength and stamina in a wrestling bout; adjacent to them is a horse dance and if you don't like that, there are the folk dancers, the monkey man, the cock fights and all of it, of course, to the accompaniment of some typically rip-roaring commentary in Punjabi.

Whereas generally rural sports add galore to mela’s in Punjab, here in Chak # 456 urban games are as much a part of this village festival as are the traditional bouts like wrestling, kabaddi, horse dancing, tent pegging and a very special feature is “Kanjwani at night”. Here at this night show, the young eunuchs dressed in dandy girlish attire dance in different rhythms.

A very spcial feaature of Kanjwani are its unique bull races, and the people in Samundari – Tandlian wala Tehsils of Faisalabad Distt., have chalked out a variety in this rustic sporting event. One is the simple and straight racing where all bulls run to hit the finishing line. The other is the bullock cart race where the jockey’s job is to race the bullock and a small chariot shaped cart across 300 metres in the field. Then a special race called “Kirla Patti” where all participating bulls with their jockeys compete running in a circle.

Yet another feature is the trading market for horses and bulls. Not surprisingly, sometimes this becomes a serious matter. Honor aside, a bullock with an impressive track record can fetch as much as Rs. 1 lakh. Anyhow, the Sahiwal breed of bullocks is singled out as having the best racing stock. Reared on a diet of grams, desi ghee and mustard oil seeds, they are treated, explains one farmer “as our sons”. Yet these games are not restricted in outlook and are not merely a mela of traditional pursuits. They are, as they always have been, a breeding ground for Pakistan’s sporting sons of tomorrow. An endeavor goes on to find contestants where specific skill is mandatory, but where an ordinary farmer from any village can contest on equal terms.

Through the years, mela has always struck a responsive chord, there have been, however, some moments of despair as well for in last three years, the shadow of petty politics was inescapable, as the organizer Pir Abdul Rahman Shah of Kanjwani happens to be a sympathizer of the party that is currently in power, but before elections, under the previous quasi military set up, the party in power did not allow the organizer to hold these events as they thought it would boost the image of their political opponents in the public. A very sad aspect of our politics as holding of a rural mela also becomes a political tool to pattern the local politics in favor of one party or the other. But the spirit of these games is hard to kill. The Baloch, Syed and Jat clans inhabiting these villages still ensure that event is held according to a regular schedule as it has always been. And somewhere along some dusty village road in Punjab, a young man is trying to run his horse or the bull to be a winner. The urban tournament or competition is not his dream. He is thinking of Kanjwani 2009, of people screaming encouragement to him, of the time when he will become a local hero, a “Kanjwani Champion”..

Photo Credits: Photo # 1 on forehead of this page: by Umair Ghani, Photo # 2 Courtesy: Google Images and Photo # 3 to 7 have been shot on location by Nadeem Khawar

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Tuesday, October 28, 2008

A SOULFUL EVENING AT ALHAMRA


Heer Recitals In Different Ragas

by Nayyar Hashmey

Every year in the last week of July the Urs of Baba Waris Shah is celebrated at Jandiala Sher Khan near Sheikhupura in Pakistan. WOP Contributing Editor Umair Ghani is a frequent visitor to this event. In two previous posts Umair portrayed the life and times of this doyen of Punjabi Sufi poets Syed Waris Shah titled as Waris Shah, Ishq da Waris, and the Legend of Heer and Ranjha.

Although I vey much wished to attend this event but during the days of Urs, I had to be in Islamabad, so was keen to learn the proceedings of the Urs specially the details of homage paid by the people of Pakistan and all those sons of Punjab who love this saintly poet irrespective of their national, religious or regional affiliations.

I thought of meeting Prof. Ghulam Rasool Azad who happens to live near Gurdawara Janam Asthan in Nankana Sahib in a house over which the shadows of the holy Gurdawara are cast as a shade. Prof Azad is a great lover of Punjabi and Syed Waris Shah and, as I was told he regularly attends the Urs of Baba Ji in Jandiala. But then Umair told me that there is an evening at Alhamra Cultural Complex where winners of Heer Recitals in JSK are giving a live rendition of Heer. So on we go and find there some very gifted singers who recited Heer in their unique and lovely style. But the peak performance was of course given by Mme Samina Najam Hassan and Risham Syed, respectively the wife and daughter of great living Sufi, Najam Hassan Syed, (A poet, writer and critic of Punjabi literature).

The beauty lies in unique rendition of Heer in different ragas by Syed’s family. Hitherto Heer has been sung only in bhairween style, a style which almost is an icon for the recital of Heer by different singers. It goes, to the credit of Najam Hassan Syed’s family that they have innovatively cast Heer into different ragas. Mme Samina Hassan has a voice which does not sound like the voice of a typical Heer singer, yet the mastery she has, the perfection she exhibits in her art, a style of singing that you wish she may go on singing and we go on listening. Her daughter Risham Syed, and Shafqat Hussain gave her a perfect ‘sangat’ and that makes rendition of Heer almost immortal. The mesmeric singing by the trio kept the audience spellbound.

Waris Shah is My Murshid and being a man of God, he has blessed me with every thing, says Baba Muhammad Sadiq

The evening is celebrated with great gusto by Lahore Art Forum. There at the Forum I met Baba Sadiq who is a staunch devotee of Syed Waris Shah and the principal organizer of the event. An ex banker, Baba Sadiq left his promising career in banking because of his love for the Guru, his mentor, his Pir and his Murshad Hz Syed Waris Shah. He is now full time devoted to propagate the thought of Waris Shah. Baba Sadiq relates the history of the event in following words.

I was serving as a manager of the Habib Bank Ltd. Railway Station Brach when somebody told me there was a Heer recital at Free Mason’s Hall on the Mall. I went there and it was my first listening to a Heer recital. I was so enthralled by the melody that I fell in love with the world of Heer poetry and its creator Baba Syed Waris Shah.

Baba Sadiq on doorsteps of Hujra where his Murshid comiled the classical love legend of Punjab

To find my Murshid I visited Jandiala Sher Khan (JSK) for the first time in 1975. I saw the mazar of Baba Ji in a pathetic condition. There were hardly 200 or so persons attending the Urs, the mazar had just a dilapidated boundary wall and the unmarked graves of Baba Ji, his brother and father. At that moment I wished and prayed that mausoleum befitting the persona of this great bard of the Punjabi poetry be built, so I contacted the then Chief Secretary Punjab late B.A. Qureshi. Mr. Qureshi himself was a man of great literary taste; he assured me his full support. A committee was formed of which I too was a member. The Chief Minister Punjab Mr. Hanif Ramay a superb writer of Urdu himself and a lover of Punjabi poetry too rendered his full support to us but the main conduit to get funds for our project was Mr. B.A. Qureshi.

Mr. Hanif Ramay then allocated funds for the mausoleum. Thus construction of the final abode of Baba Ji was started and it was completed in 1978. It was at this time that the idea struck my mind that a true image of Baba Ji be traced and this should be available to lovers of Punjabi poetry. There was a painted image of Baba Ji which was in a highly worn out condition. I took this image to photographer S.M. Khalid who is an expert in preparing true replication of old images.

I asked Baba Sadiq what was the source of this sketch and how much authentic it could be.

Bab Sadiq replied:

In 1970 one Malik Afzal, a publisher of Lahore issued special edition of a local magazine. This mag had three sketches of Baba Syed Waris Shah, namely:-
  1. Syed Waris Shah in the eyes of Western Punjab
  2. Waris Shah as seen in the Eastern Punjab
  3. Waris Shah as seen by the common man
I shared the 3 pics of Syed Waris Shah with S.M. Khalid and one that we thought could truly represent the person of Waris Shah was taken as a standard after a further probing had been made on its veracity and its similarity or exactness to how the great Punjabi poet looked like in his actual life.

To proceed further with my endeavor to find a verified description of Baba Waris Shah’s real life like image, I visited Malka Hans (It was here in Malka Hans where in a hujra of a mosque Waris had compiled his Heer Waris Shah), where one Baba Chiragh Din who was then 114 years old and was one time Imam of the mosque where Waris Shah had completed his epic poem. Baba Chiragh told me that his grand grand father was a contemporary of Syed Waris Shah and whatever he had learnt from his father (as was trnsferred from generation to generation) was most authentic and therefore reliable. The description of the life like image of Syed Waris Shah was then compared with one of the three images we got from Malik Afzal’s publication and the one which we found most similar to Baba Chiragh’s description was selected by me and the photographer Khalid, as final and authentic photo of Hz Syed Waris Shah. This very image is now taken as an officially recognized and undisputed image of Hz Syed Waris Shah.

Later, said Baba Sadiq: I set up a cultural centre “Jehan-e-Waris". This Centre was initially started to organize Heer reciting competitions. The first one of its type was held in 1978 which was won by one Nazeer Maseeh (a Christian by faith but a superb singer of Bhairween style of Heer recital). Now his son Suhail Maseeh, too is a good singer of Heer. Another member of Christian community who also has won the competition of Heer singing, is Liaquat Maseeh who recites Heer simultaneously on harmonium. (Liaquat Maseeh also sang Heer on Waris Shah Evening at Alhamra Cultural Complex).

In 1999, continued Baba Sadiq, I started the Centre of Spiritual Science, at the same place (Babu Sabu Estate near Sabza-zar, Lahore). Adjacent to the Centre, is a small beautiful Library, a free dispensary and a mosque. Every year, a competition is held in the last week of July and winners are awarded prizes by Baba Sadiq. And all these activities are but an humble tribute to my mentor, my Murshid, with whose blessings am rendering these services to humanity as much as I can. Baba Sadiq ended his coverage with a piece of his mentor:-

Chalo waastay Rabb de nal meray
Qadam ghatyan Faqar de houn khaireen
Waris Shah Mian tera Ilm hoya
Mash-hoor wich Jinn te Inss Taireen

In the Name of thy Lord,
Step along with me
For these steps of noble Thought
will lead all Good to thee,
Waris's knowkedge going get famous
Among Men, Bird and Genie

* Though I very much wished to put up recordings of Heer recitals at Alhamra Cultural Complex but I regret none was done at all. Instead I have  uploaded a Youtube video from a gathering in Faisalabad. If you like Heer in Bhairween, it's a good recital. Listen and you will like it.

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Thursday, October 9, 2008

Heer of Waris Shah: The Musical Renderings




HEER OF WARIS SHAH: THE MUSICAL RENDERINGS



by Nayyar Hashmey




The influence of the Heer Ranjha, the love story in pre-modern Punjabi secular literature is unrivalled. Even in contemporary Punjab the story continues to enjoy enormous popularity.

Waris Shah’s Heer is most brilliant rendering of Punjab’s love legend. It’s a classical poem which puts Punjab’s poetry at par with that of world’s most read literature. Heer has been transliterated into many languages and the legend has thus reached almost every corner of the world.

A strong ethos of love has made this legend as much famous as Laila Majnoon, Shirin Farhad and Romeo Juliet, however, one aspect which distinguishes Heer Ranjha from other love stories is that it goes much deeper into the soul of Punjab. Its not only a love story, its poetical rendition by Waris Shah has made the book a sort of bible for the bulk of Punjabi folk. No Englishman will sing Romeo Juliet in their cultural forums; neither would they quote words of wisdom from the legend. From Heer Waris Shah, on the other hand one can find so many quotations in form of verses and these are not just piece of verses, these are pieces of wisdom, wisdom which has got universal validity because these are based on the very psyche of human being.

To the population in Punjab the special appeal of Heer’s rendition, its folkish style is the mellowness, the pitch in the melody, so that people listen to the lilting melody of Heer for hours and still their urge to continue listening remains unabated.


This influence of this particular rendition of Heer’s story by Waris has been so tremendous that even after so many centuries, the particular style of singing Heer persists today. I have been listening to Waris Shah’s Heer since my childhood. Many singers excelled in singing Heer, but some Pakistani singers like Ghulam Ali and some other who are quite unknown have given such a colour to Heer’s traditional rendition that they appeal to me like none else.

While talking of masterpieces in literature like Homer’s Odyssey, Shakespeare’s Romeo and Juliet or say the Ruba’iyat of Omer Khayyam, every piece in itself carries the resonance, the typical charm of writer’s country, his language and the very specific cultural milieu in which the writer finds the theme around which he then weaves his work. When such masterpieces are transliterated in other languages, it turns the previous local stint of the writer and his work to acquire international dimensions; it becomes a piece of world literature, a recognition which brings fame to country, the language and above all to writer himself.

Seen in this context, Heer Waris Shah in Punjab can easily be counted as masterpiece in world literature. In 1977 a subsidiary company of New York Times chain of newspapers published anew some stories and legends from world literature. The collection did not reproduce the complete legend but made a reference to ‘The Legend of the Punjab’ by Sir Richard Temple. The reference and the commentary over this love legend aroused so much interest in world literary circles, that it was put at par with world’s great love stories.

Simultaneously much interest arose about the writer too. Who was this writer? In a previous post, Umair Ghani of WOP sent us his piece Ishq da Waris, Waris Shah and as a sequel to that post, this piece is being inserted here as a tribute to genius of Punjab’s soul, the great and most loved, most sung poet of Punjab.

While rediscovering the life and times of Waris Shah, Umair Ghani went to the birth place of that bard of Punjabi Poetry and filed:

About 34 KM from Lahore while driving on Lahore Faisalabad (formerly Lyallpur) Road comes the district headquarter Sheikhupura, known for its fort and Hiran Minar, both described to have been constructed on orders of the Mughal Emperor Jehangir. From Sheikhupura, we take a turn to Hafizabad. Hardly at a distance of 14 KM is the town of Jandiala Sher Khan. This small town was destined to be blessed by Allah Almighty to become the birthplace of Waris Shah. Its here at Jandiala Sher Khan that the great Bard of Punjabi poetry was born in 1706 (the date is approximate as no definite record on his birth record exists). From 23rd to 25th of July three days’ celebrations are held at Jandiala. This year too the 210th anniversary of the great poet of Punjab was observed with full solemnity and devotion. Waris’s fans, devotees and Heer singers not only from Jandiala, but from whole of Punjab, Punjab that starts from Obaro town in Sindh to Attock bridge on the NWFP border, from Rakhni in Balochistan to Kohala in Kashmir and then beyond the border at Wahga, from Amritsar to Delhi, from all over the world, thronged the mausoleum - a testimony that wherever does a Punjabi live, lives Waris Shah in his heart and soul.

Waris a bulwark of Punjabi poetry, expressed his lif, his past and present, whatever ups and downs did he face, did he experience, his own personal analysis of human mind, its weaknesses, its strengths, its good and bad deeds, jealousy, treachery, pride and prejudice all what he experienced on his persona, he beautifully transferred all this into his masterpiece. The force of Waris Shah’s rendition is such that he starts his poem with love and ends also with love.

The poetry of Heer is full of ethos, more than any other poet. If one reads Waris by going deep into his poetry, one gets choked with emotions as the reader finds himself in the same mood, same feeling and same remorse which Waris Shah felt during his own life time, a legacy that abounds and persists in mind of every Punjabi even today.

(In 1974 Govt. of Punjab constituted Waris Memorial Committee and in 1983 a complex was raised to pay homage to this great Doyen of Punjabi poet. The complex is spread over an area of 8 acres & is being run by Information and Cultural Deptt. The annual Urs is celebrated under the aegis of the Punjab Art Council, the City Distt. Govt. Sheikhupura and the Town administration of Jandiala Sher Khan)


Nota bene:


I have added three videos on rendition of Heer by different artists.The first one is by Ghulam Ali, the maestro sings Heer in this video in his peculiar mellifluous voice and appears to have done full justice to the art of Heer recital.


- The second is rendition of Heer Waris Shah by a Saien (wandering mystic, dervish or devotee of a saint). The masterly singing by this unknown saien is so perfect one would hardly believe it has been sung by a non professional.


- The third one is an old documentary (encore) on brief recording of Heer recital by different Pakistani artists.


(In case of weak net signals, videos may take a good time to load. Please don’t blame me for that. In such a case first run the video as a load up test and then replay. In second effort the video will continue running without a jerk or break).
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Sunday, October 5, 2008

Folk Tales of Pakistan - Heer Ranjha


Hz Syed Waris Shah


STRINGING THE PEARLS IN A TWINE OF “MUNJ”




by Mast Qalandar



Dear readers, here is another post on that great folk tale of Punjab. It already appeared in Adil Najam’s blog. Even then I reproduce this for you, as I think Mast Qalandar is a guy who has done full justice to this leading Sufi poet of Punjab, when he details this ever living legend in a very lucid, very absorbing style, especially as a writer who is not a native of Punjab. I myself would never have cast an iota of a doubt over his being not a native of Punjab until he divulged it himself in this very write up.

Saturday, September 20, 2008

Loey Loey Bhar Lae Kurhiyay

          



LOEY LOEY BHAR LAE KURHIYAY...



by Nayyar Hashmey

            
The magic, the charm of Punjab’s folk songs lies in their heart rendering composition, the poetry, which involves a completely synchronized rhythm, emotional import and the melody; the reason this music is untranslatable; can’t be imprisoned in print.

The real spirit of Punjab’s music emanates from this simple and a down to earth poetry blended into text and the tune, a blend which turns into a highly popular genre, a genre of songs that throb the hearts of simple unsophisticated village folk in Punjab.

A folk song is essentially a subjective expression of emotions walling up from the depths. It borrows its metamorphous and imagery from very simple things in life. Punjabi folk is varied and colorful. Laughter, happiness, pain, sorrow, all form ingredients of our folk. It’s simple, charming, and full of the sincerity of emotion, and a purity of the feeling. The entire Punjab culture, so to speak, is reflected in them.


The folk / mystic music of Punjab is part of its people’s body and mind. There is hardly an event or occasion in the countryside which does not find resonance in the soul of Punjabi people. Just as the villagers grow their own food and produce their own raiment’s, they frame folk songs to articulate the wordless passions seething in their hearts. These songs are chastened and polished from generation to generation, and like everything of slow growth, they develop an individuality, which does not lend itself to imitation.
        
Historically in Punjab, it is the saints and Sufi poets who not only mastered in religious faculty but had a deep and perfect understanding of the poetry, a poetry which springs from the soil of Punjab. This poetry is as much a literary classic as it is an embodiment of peoples’ feelings, their culture and their whole concept of life. No wonder the music in Punjab is not only a solace to the soul but also a part of the devotion, of love and of a duty to the mystic and divine realm of one’s Guru or Master.
        
Seen in this context, there is a long list of mystics, the Sufis, the Gurus and the saints who themselves were a practical embodiment of the teachings of Islam and who did not preach like an orthodox Mullah. We find 
here the saintly stalwarts like Baba Farid Ganj Shakar, Bulley Shah, Shah Hussain, Syed Waris Shah. In this long list of “Men of God” there are many others including Hindu and Sikh mystics as well, most of whom believed in unity of God and preached something which was a blend of Islam, and local beliefs. One of these pious men was also Mian Muhammad Bakhsh of Khari Sharif.
Mian Mohammad was the last Sufi poet of the Arabic-Persian tradition in Punjab. Born in 1824 at Khari Sharif in Mirpur district of Azad Kashmir, he got his education at the famous
religious institution of Samar Sharif. After completing his education he travelled all over the   
    province to quench his thirst for knowledge. Later he returned to his native land and became a    
   disciple of Sain Ghulam Mohammad.

    His period was a period of turmoil for the sub-continent for the British colonialists had coloured the land red with the native blood.

   Mian Mohammad’s thoughts were a blend of Semetic and Arayan tradition with a significant texture of Islam. He believed in the unity of being. The rich tradition of Punjabi poetry mixed with the under currents of Maulana Roomi and Ibn-e-Arabi made his poetry eternal. His famous epic poem Safar-e-Ishaq popularly known as Saif-ul-Muluk is written in the same atmosphere. The poem Saif-ul-Muluk holds a unique place. In this poem Mian Mohammad explains the spiritual secrets of the Real love through a worldly love story. Mian Mohammad had an ample grasp over music which makes his diction highly mellifluous. Mian Muhammad died in 1907.

Under these circumstances Mian Mohammad weaved his thoughts into his poetry by blending the Semetic and Arayan traditions with a significant texture of Islam. He believed in the unity of being. The rich tradition of Punjabi poetry mixed with the under currents of Maulana Roomi and Ibn-e-Arabi made his poetry eternal. His famous epic poem Safar-e-Ishaq popularly known as Saif-ul-Muluk is written in the same atmosphere. The poem Saif-ul-Muluk holds a unique place. In this poem Mian Mohammad explains the spiritual secrets of the Real love through a worldly love story. Mian Mohammad had an ample grasp over music which makes his diction highly mellifluous. Mian Muhammad died in 1907

Far away from the city of oneness,
Logic is wandering aimlessly,
Whosoever knows the secret,
He cares for nothing
Devoid of logic and reason,
He dances fanatically, Inquiring
“Who am I ?” “from where am I?”

As with other masters he chose poetry as a medium to convey his teachings on the spiritual path and the higher realities in his native tongue thereby allowing access to the illiterate who could hear the verses and memorize them directly. This has been the way of the Sufis throughout history and especially in the non-Arab areas.

 Literature for them is just a means of conveying the message and it has to reach out to the greatest number possible in a way that appeals to them. It is in this context that the Saif ul-Malook should be placed. To remove any doubt about the intention one has only to look at the title page of the original book: It is described there as “an epistle on tasawwuf and sulook called Safar ul-Ishq (The Journey of Love) i.e. the tale of Saif ul-Malook and Badi’ ul-Jamal”. Today most people only remember it by the name of its main character: Saif ul-Malook.

 The Saif ul-Malook is outwardly a tale of the love of a prince named Saif ul-Malook for the fairy Badi’ ul-Jamal. All the trials and tribulations that had to be undergone before the two lovers would achieve union are described in detail. In reality though, it is an in depth description of the spiritual path, its way stations and its pitfalls and obstacles. Along the way Mian sahib offers jewels of gnosis for those that can recognize them as such. It is a truly amazing tale!

Mer mer ik banawan shisha
maar wata ik bhanday
Dunya utay thoray rehnday qadar shanas sukhan day
Awwal tay kujh shauq na kassay
kaun sukhan ajj sunn da
Jay sun si tan qissa utla koi na ramzam pun da
Na gayay oh yar piyaray sukhan shanas o’saaray
Sukhan saraf Muhammag Bakhsha lalan day wanjaray

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