A fragile, old building that belongs to art and artists. A microcosm where everything offers spectacles too irresistible and utterly relevant. A few people with some seriousness of purpose had gathered at a quarterly lecture by Dr Lowell Lybarger Lahori, well .... more than a lecture, a conversation on the Nazrana ritual (vestiges of Mughal court culture). The evening, many thanks to Lahore Chitrkar Gallery, seemed be an indispensable treat one could avail in the times of high intolerance fever, and specially if it is the first Saturday evening of June, the day I felt most restless unusually. Could I miss such an offer?
Charmed, single sounds of a classical artist struck the cord of aesthetics in one room of the building while the whole atmosphere felt too meaningful and promised enrichment to the full. The lecture highlighted the tradition of Nazrana, a legacy of Mughal culture as persevered in classical music today in Pakistan. Perhaps, the biggest appreciation an artist can get is recognition. The success of an artist lies in hypnotizing his audience, and their recognition of an artist’s effort is latter’s reward.
Nazrana generally means a gift, offering or a tribute. The practice is totally absent in India, says Dr Lowell and rejoices that Pakistani artists preserved it. Akbar’s image projected on the front wall seemed to enforce the classical air. Another slide showed the Maharaja of Jaipur, Man Singh-II, embossed on one side of the Nazrana Coin (a coin made for the purpose of paying tribute to the classical musicians and artists), the other side showing George IV. Each slide of images truly cast a nostalgic eye backwards.
Emphasizing the need to differentiate between Veyl and Nazrana, Dr Lowell explained how the former belongs not to the classical but to the non-classical tradition. A few examples include street performances, wedding performances and even entertainment qawwali. A dedicated audience of about 20 men and three women relished various movie clips from Nusrat Fateh Ali Khan’s performance. The room was cozy, white sheets spread on the carpet, cushions all around. The harmony seemed to dissolve everything into an aesthetic experience of some sort. Such was the magic of the classical music legacy.
Nazrana can be offered at someone’s baithak. The clip projected Sufi Karm Din at Sarmad Sehbai’s residence in 1994. Another type of Nazrana, Inam, showed Bakshish Khan’s Ustad offering him money to keep naghma on harmonium, as he played the tabla. The performance was held at Alhamra Cultural Complex, Gaddafi Stadium, Lahore in 1999. Shagirdi Nazrana is understandably that which the disciples offer to their mentor. It includes anything from money to garlands. Barsi Nazrana is offered on the sad demise of an artist by another artist. One can truly see the principles and rules that have to be observed in observing this ritual, which seems as important as the performance itself. The existence of hierarchy in gharanas of classical music silsilas justifies full well the obligations and conventions to abide by the constitution of classical music, reminiscent of the Mughal era.
A wall on the right side was covered with more than 30 sketches. The left wall was made striking by a pastel board. A movie camera recorded all that was going on, the audience kept pouring suggestions, asked, inquired and thoroughly enjoyed the one-hour session. While some of the artists said modernization could do no harm to the concept of Nazrana, Dr Lowell had his reservations. The important thing is an honest respect for traditions. On being asked whether Dr Lahori would like to take or to offer Nazrana, his piercing personal statement that he was a philanthropist completely enthralled his audience. For my part, I kept thinking of the lesson of tolerance and cultural identity that I had learnt in the silver stir of the sitar and deep bass of the tabla.
How the collective imagination has been circumscribed by cultural horrors can be reflected in the sad state of our theatre and films. Decadence to the point of obscenity only makes art impotent. It is indeed tragic both visual and performing art have remained a domain of low-priority in Pakistan. What is frightening is the fact that there has been a continual decline in genuine admirers, too. With such unmatched deluge of information in the present era, traditional art has almost been choked. Kudos to Chitrkars for guarding the cultural heritage so altruistically! The artistic movements of life shape our identity in ways to difficult to comprehend. The art lies in preserving the hallowed and indispensable tradition. The experience did not merely reinforce the hegemony of classical taste, it had a pulse.
A fragile, old building that belongs to art and artists. A microcosm where everything offers spectacles too irresistible and utterly relevant. A few people with some seriousness of purpose had gathered at a quarterly lecture by Dr Lowell Lybarger Lahori, well .... more than a lecture, a conversation on the Nazrana ritual (vestiges of Mughal court culture). The evening, many thanks to Lahore Chitrkar Gallery, seemed be an indispensable treat one could avail in the times of high intolerance fever, and specially if it is the first Saturday evening of June, the day I felt most restless unusually. Could I miss such an offer?
