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Drive against musicians
Singers and instrumentalists in the NWFP have either wrapped up their business or have gone to other provinces because of the ban imposed by the government on their activities.
The NWFP Chief Minister, Akram Khan Durrani in his first speech after taking oath, had placed a ban on cinema and music. This was done on the plea that these activities were un-Islamic. The police have asked the musicians not to display their instruments in public. Banning music was like asking a person not to eat because the people have become used to it so much. With the ban on music, most of the musicians are destined to go through hard times as they were eking a living in the first place.
Pashto folk music is as rich as that of any other province. Contrary to what people believe, over a period of time, music has become an integral part of the Pakhtoons’ lives. It has seeped into their traditions and customs including marriage ceremonies and other festivities. If that practice is the norm all over, then the people of Kalash are definitely a cultural shock to the system with the special tune they sing when their near and dear ones pass away. If the Frontier province has one lesson to give, it is that everything is not what it seems.
Before the establishment of a radio station in Peshawar, Pakhtoon musicians would sing privately using old traditional instruments that were largely home-made. By the beginning of the twentieth century, many of them had proved their mettle by virtue of their spellbinding performances. They performed in hujras (male guest-houses) at marriage ceremonies, which not only promoted music but also provided an opportunity for people to be entertained. Everybody likes to have a good time and the Pathans are no exception to this rule.
The first ever Pashto song was recorded by late Mir Ahmad Shah of Mardan in 1918. Pioneers of Pashto music who played a vital role in the promotion of music before partition included Mir Ahmad Khan, Zar Khan, Sobat Khan, Enzar Khan and Muzaffar Khan. They incorporated new genres embodying highly melodious contents. Thus Tappa, Charbeta, Loba, Neemakai, Badala and Rubai were introduced, which are still regarded as inseparable part of folk music.
With the inauguration of the radio in 1935, a bright period began for Pashto music. Even before radio in Peshawar, Pashto music was broadcast from All India Radio before the inception of Pakistan.
Singers like Sabz Ali Khan, Qamro Jan, Bacha Zareen Jan, Abdullah Jan, Dilbar Khan, Mehrunisa, Chishti Chaman Jan, Rafiq Shinwari and Balaai laid the foundation for Pashto music. The second phase in Pashto music spanned over 20 years (1970-90), that was marked by singers like Ahmad Khan, Mir Ahmad Shah, Fazle Rabi, Sher Afghan, Gul Faraz Niazi, Gulnar Begum, Kishwar Sultan, Khayal Mohammad, Hidayatullah and others. Then came Mashooq Sultan, Mah Jabeen Qazilbash, Zar Sanga, Gulzar Alam, Sardar Ali Takkar, Gulrez Tabbasum and Abdul Malik Akif. These names are household names in the Frontier province.
Lately, the arrival of educated people like Haroon Bacha and Rahim Shah has truly promoted Pashto music. These singers have popularised the music and have incorporated in it new techniques, which have made it popular with all the generations.
A week ago, the police arrested noted singer Gulzar Alam on the charges of being drunk. He faced humiliation and disgrace in front of his fans because he was arrested while performing at a concert in the city. Some friends were able to secure his release from the police, but his other colleagues feel insecure in the face of threats emanating from the government’s quarters.
“More than 10.5 million minutes had been consumed by Pashto music on radio, which means that some 80,000 songs were aired, of which, 5,000 have been preserved,” said former Radio Pakistan, Peshawar Centre Director, Nisar Mohammad Khan. According to him, culture is monolithic and many singers with new ideas have emerged. The young generation feel increasingly comfortable with the new singers who have revolutionized the music.
Said one musician, “I have been in the business for 40 years. Now, I am in no position to begin some other job, and who will provide me with a job at such an age?” According to him he has not performed for the last two months and had been borrowing money to run his kitchen. The drive, he said, would deprive more than 10,000 people of their income who are attached to music in one way or the other. All in all, Pashto music has undergone a sea-change since the nineties and there is an urgent need to protect it from the extremists who seem committed to do away with everything which reflects local culture.
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