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Closer to the heart
Passion, rhythm and artistry can only sum up Abida Parveen, who represents the very epitome of musical genius. Versatile and deeply ingrained in the art when she was still a child, her urge remained so overwhelming that she earned fame and recognition when she was just a teenager. Today, her sensitivity and credence have won her laurels not only in this country but across the world.
When she sings mystic poetry, the Pakistani diva bequeaths the passion of great Sufis, and when she renders love songs, it seems as if passion and love leap out in unison from the heartbeat of the listeners.
Abida is among the most talented singers of Pakistan in almost all genres of music. Schooled in music by her father, Ghulam Haider, she developed a sonorous voice. When her first rendition went on air at Radio Pakistan Hyderabad, many thought her to be a mature artist. She became famous overnight.
The basic virtue of Abida Parveen’s singing is her deep, melodious voice coupled with the aesthetic pattern that our poetry narrates. She has sung the verses of almost all popular mystic poets
She later took lessons from Ustad Salamat Ali Khan of Sham Chaurasi gharana, whose tutorship polished her genius.
She married Ghulam Hussain Shaikh, a music lover and producer in Radio Pakistan, and grew to become the exponent of nearly all Pakistani genres — kafi, ghazal, khayal, thumri and dadra. The basic virtue of her singing is her deep, melodious voice coupled with the profound persuasion of aesthetic pattern that our poetry narrates. Supplemented to this is talent and perceptive craftsmanship.
Though Abida is known for all the genres she sings, her rendering of mystical poetry is outstanding. Mystic poetry in Sindhi and Seraiki is a marvel of oriental literature. Here Sufis use music as a means to get closer to God. In reality, mysticism gives solace to the people hurt by man-made miseries and inequities. It offers a sanctuary to the oppressed populace ravaged by the whimsical acts of the ruling class. Since it uses similes and metaphors drawn from the average vocabulary, it becomes a forceful medium in venting the anguish of the aggrieved people.
Abida Parveen has sung the verses of almost all popular mystic poets. But the most appreciable contribution is her singing of Shah Latif’s poetry, because the style in which it is presented by the Faqirs at his shrine is a peculiar one and needs extra effort to understand.
Similarly, with the renditions of other poets such as Bulleh Shah, Khwaja Farid and Mehar Ali, she immerses herself in the poetry to communicate with the audience. She becomes so absorbed in its sensitivity and spirituality that it is passed on to the discerning audience. Meda Ishq Wee Toon, Ranjha Shah Hazare Da, Ishq Da Dadha Rog and Tere Ishq Nachaya are a few kafis that reflect her excellence.
Ghazal, another popular genre in Sindh and other parts of Pakistan, is Abida’s next choice. Ghazal singing has seen a number of evolutionary phases in the subcontinent and many prominent exponents have left their indelible mark on its style.
Jab Se Too Ne Mujhe Deewana Bana Rakha Hai, Tere Aane Ka Dhoka Sa and Aap Ki Yad Aati Rahe are some of her very popular ghazals. Abida Parveen, in recognition of her services through the years, has won many awards including the prestigious Pride of Performance.
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