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FRONT SEAT: New Sindhi music
After the introduction of modern technology in acoustics, almost all aspects of music have undergone radical changes. Sindhi music is no exception. Despite the fact that its basic form has remained intact, new trends have crept into the body and content during the past three decades. This is evident in the Sindhi music we hear in live and electronic media performances.
The basic characteristics of Sindhi music is a traditional one. Ranging from work songs to ritual music it has softer notes, soothing rhythm beats and essentially an impressionist character. However, with the advancement of communication modes, it now tends to be moving towards fusion music.
The change began in the 1970s when Syed Suleman Shah, Jalal Chandio and Rubeena Hyderi came to the fore. Although they confined themselves to the traditional Sindhi instruments such as yaktaro (single-stringed lute), chaproon (castanets) and pakwaz (ordinary drum) and to Sindhi tunes and raagas of classical music, the style varied. For instance, they sung these thematic tunes with a variety of rhythmic beats. Instead of slow tempo, they opted for faster tempos and shorter glides, which ornamented the compositions.
The present status of Sindhi music is a unique one. While singers like Sohrab Faqir and Zarina Baloch continue to follow the traditional schools, the new generation is adding newer themes and styles. Technological advancement has given them an unprecedented boost in all directions
This was the period when Sindhi scholars were trying to trace out the roots of Sindhi music. Masters such as Faqir Abdul Ghafoor, Misri Faqir, Ustad Manzoor Ali Khan, Dhol Faqir, Sohrab Faqir, Bhagat Naroo, Mohammad Juman, Sono Khan Baloch and Master Ibrahim retained the tradition of vocal Sindhi music, and an equal number of instrumentalists joined them in the effort of keeping our musical tradition intact.
The changing in music found its way when the music of the subcontinent came under the influence of the West, specially through the films and stage performances. The introduction of Western instruments such as the accordion, drums, trumpets, clarinet and oboes had taken over the film music much earlier, but it was television that heralded new instruments and styles in our music. The electric guitar, cymbals and electric organ changed the scenario altogether. New metres and rhythms were introduced. Non-oriental became part of our musical scores.
Though the music sounded attractive to the ears, it also brought with it a latent danger to our cultural heritage. Except wind and bow instruments, the use of alien instruments with fixed frequencies of notes, are much different from tonal properties and their use changed the sound of our music. This can be noted from the songs sung by many modern singers who use Western instruments. Until these instruments are not re-adjusted as was the harmonium in the early 20th century, Western instruments are bound to affect our music.
Radio took music beyond its physical boundaries. New tunes were introduced. Fusion music came into being. Interval music was embellished with newer glides and ornamentation. Composer-vocalists like Mohammad Ibrahim, Mohammad Juman, Master Ghulam Ali, Firoz Gul, Niaz Hussain and Ghulam Nabi Abdul Latif used this skill very elegantly. Their experience with newer themes brought about a bright change. This was initiated with Sindhi ghazals, but later composers also used it in and vayees. However, vocalists like Chakar Chandio, Budho Faqir, Allan Faqir, Mai Bhagi and Faqir Amir Bakhsh retained the form of their respective schools.
This was followed by new experiments made by new masters. With the entry of Syed Suleman Shah, who danced along with vocal rendition, added a new flair to Sindhi music. He did not live beyond 50 years but his contribution will be remembered for long. Jalal Chandio, with his melodious voice, fast shrills and glides, and selection of love themes in his songs, quickly became a wizard of popular Sindhi music. Rubeena Hydri, the first woman to use yaktaro and chaproon, joined street music during the 1970s. She still sings and has not used Western instruments attaining popularity through her style akin to Jalal Chandio’s. Allan Faqir, with his mellifluous quality, joined the breed with a new style too. He simplified vayee singing into a very bright form, but he also sang other songs on modern instruments which made him an instant celebrity.
Among the contemporary singers many have followed in the footsteps of Jalal Chandio which has made them popular and rich in the process. Others have taken their own path and carved out their place in the traditional school. Among them Fauzia Soomro, Shaman Ali Mirali, Samina Kanwal, Master Shaman, Taj Mastani, Mohammad Urs Chandio, Manjhi Faqir and Laila Latifi are a few new voices who are being heard along with many more. Among the contemporaries, the style of Shazia Khushk has earned her a special position among the vocalists. Her dedication towards music and mode of presentation are two characteristics that have made her popular. Besides Sindhi, she sings in Seraiki, Punjabi, Balochi and Urdu with ease.
The present status of Sindhi music is a unique one. While the traditional singers like Suhrab Faqir and Zarina Baloch continue to follow the traditional schools, the new generation is adding newer themes and styles. Technological advancement has given them unprecedented boost in all directions. Some composers are also engaged in experimenting with Western chords but the general spirit remains the traditional one. One would be amazed to know that the Indian song Chal chhayaan chhayaan is a plagiarized form of Sachal’s vayee sung by Faqir Abdul Ghafoor many years back, which proves the traditional form of Sindhi music holds a bright promise for the future, whatever modern trends come through.
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