Once in a remote village of Punjab, some children were playing a strange game. Dressed in torn clothes, these kids were discussing vans, which passed frequently on the main road, connecting the city centre to a nearby picnic spot. Talking to each other they were saying: "I don't know when my van will come?"; "Has your van arrived yet?"; and "How many trips his van has made so far?"

What they were doing was a farce; in which each passing van that belonged to someone else (probably a thug, a politician or a policeman from the town), had a role to play. And none of the travellers, drivers and owners, were aware that their vans had been 'taken' by the kids on the street.

On one level the game appeared to be a pleasant pastime. In reality those village boys were not playing with the actual vehicles, but with the identities of the vans. In their imaginative way, they were switching one identity (that of the ownership of the vehicle) with another: An act that is analogous to the process of creating a work of art. Art also performs something that is close to children's game. Since, contrary to prevailing assumption, art is not about asserting or affirming one's real identity, but a means to acquire other -- sometimes false -- identities.

One can understand this contradiction if one takes the example of literature. Usually a writer of great literary merit conceives a story, which revolves round a character, completely different from the creator. For instance a man of 70 may write about the feelings of a woman of 20, who is married but seeks other men to get some respite from her bored life. Similarly an author can describe the instinct, state and situation of an animal, or a writer of repute and knowledge may assume the persona of a prostitute and portray her thoughts, or an author, who has never been out of his neighbourhood, may fabricate stories based upon the experiences of a stranger living in a far away land.

In fact the works of literature demonstrate that a creator of ideas and images (through words) can leave the issue of his own identity aside and assume other identities for the sake of art. This phenomenon is expanded when a writer selects another language for his creative or intellectual outputs. One can quote the names of Amin Maalouf, Salman Rushdie, Joseph Conrad, Vladimir Nabokov and Edward Said, among a long list of authors, who opted to write in their chosen languages, and several of them are considered as some of the major writers of a language that wasn't their own.

But since visual art is supposed to have a universal language, so the matter of individual identity is especially important in the visual arts. Here, the notion of individual identity is sometimes related to the urge of developing a personal style. This personal style, acquired after years of hard work and efforts, becomes the mark of an artist's identity. But in most cases, that mark or style is just a trademark of the artists, and the question of individual identity is no more than the scheme of evolving a 'label' for their aesthetic productions -- in the glamorous world of art market.

However if one moves away, beyond or above the attraction and demands of the market, the issue of identity has a patriotic side also. Usually it is presumed that artists must develop some national characteristics in their art, and create works, which reflect their identity as citizens of their respective states. They are expected to enhance the sense of nationhood through their works. That's why we keep on hearing about the need to portray indigenous colours, regional themes and local imagery. Persuasions of these kinds are a means of limiting the creative self of an artist. Often the stress on individual identity is a camouflaged suggestion for accepting the role of an artist as the man who has to represent his nation. (Mainly because the matter of identity is a problem for a nation like ours, which is merely 60 years old and has already changed its geography in 1971). In a way the question of individual identity is loaded with the concept, or burden of national identity, and since we have not resolved that bigger issue, we are trying to solve it on personal and private levels.

Probably for that reason the idea of individual identity -- when it is connected to national identity -- does not hold much importance for the artists. One may have his/her identity as an artist, without being confined to a type of identity/identities required by the others (especially the ones that are defined by the colour of flag and the seal on the passport). That kind of 'permanent' and 'singular' identity is a way of limiting oneself. There are the examples of individuals, who have modified their singular (national) identity. For instance Pablo Picasso, Vincent van Gogh and Arshile Gorky, painters of 20th century, are now admired everywhere due to their works, and no one remembers them as a Spaniard, a Dutch or an Armenian. They altered their national identities, assumed others, but their art transcended the issues of national or individual identities.

Perhaps the allure of individual identity is a dangerous proposition for artists, especially in today's circumstances. If one has the courage to alter one's identity and have the capacity and courage to assume other identities, one may realise that other points of view are as valid and other forms of art, expression and entertainment are also permissible, may it be digital art derived from the West, the game of cricket learnt from Englishmen or the festival of Basant.

As a matter of fact, one is aware that singular identity is not only dangerous in art but it is impossible to have one. In his book 'Identity and Violence', Amartya Sen argues that no one has one identity. So following Professor Sen, one may discover multiple (and simultaneous) identities of an artist from our surroundings: of being a man, a Punjabi, a Pakistani, a Muslim, a Sunni, the non-believer, a liberal, pet lover, a teacher, a father, a son, a husband, a cricket fan, and the supporter of a certain political party. Identities, which may clash with each other, but nevertheless comfortably exist in one human being. And if that person is a visual artist, it would be difficult, rather impossible to find a way to bring out only one individual identity -- or all identities, in a work of art!

Samreen is preparing to hang herself. The knot seems to be a little loose, so someone comes up to her and tightens it. Her hair is in a mess and tears are running down her face. The room is littered with books lying on the floor and what look like hand-written love letters pasted on the walls.

Samreen looks at the chair. There is complete silence. She stands on the chair, the rope around her neck dangles from the fan. Samreen in her final moments looks around the room, at her photographs, at the teddy bear he gave her and the love letters he wrote her.

And then Samreen asks, "Is my makeup ok?"

The camera stops rolling. The lights are turned off. This is not real life. This is a film shoot.

Samreen is a film student and is shooting a short film for a class with her other classmates.

Four years ago, a teenager out of intermediate -- A-Levels or F.A -- had a choice of either going into medical, engineering or a business course. But with the coming of cable and the growing number of private channels a whole new area of education has started to emerge.

Till date, about 13 institutes all over Pakistan offer either undergraduate degrees or short courses in filmmaking and theatre studies.

At these film schools, students learn how to write screenplays, direct, film and act on stage and television. They learn how to operate a camera and light a set. They learn set design and construction, the fundamentals of editing and film theory. They also get a chance to direct their own films and documentaries.

The question is, with the cost of consumer digital video equipment going down and articles on the internet concerning every aspect of filmmaking to learn from, why should one go to a film school?

Samreen, 19, has just started her four-year programme at a private institute. "My reason for coming here was that I would totally immerse myself for an extended period of time." She says. "The best thing is that I always wanted to act and was always interested in filmmaking. Here I can do both and after four years will really know what I want to do in the professional field," she adds.

Kazim Azim, who works in an advertising firm and is doing a short course (usually a duration of three months), says his reason for choosing to go to a film school is, "Dedicated time for your projects. If you opt out of film school and do the 9-5 thing, pursuing your own projects on the side can be prohibitively difficult. Working a day job and saving up your money to work on your own blood-sweat-and-tears project has a certain romantic appeal to it, but you'll need funds, equipment, free time, and last but not least, collaborators."

Film isn't like writing, he says, where you can sit down and do it yourself; for the most part, you need someone in front of the camera, too. "And even if you're shooting a documentary all by yourself, you're most likely going to need large chunks of time set aside to shoot, which you might not be able to with an employer who expects you to show up to work every day. Film school gives you the collaborators, framework, and the time and space to work on your film pursuits."

Ayesha Tanveer is a second year student studying a four year course at a private institute in Lahore. She thinks that a degree or a diploma in filmmaking is also becoming a sign of credibility. "In the past, people with no degrees or professional training were working in the film and television field. But now, I think, things are changing. Television channels are now giving preference to young people with some kind of training."

Ali Azeem who has been making movies since he was sixteen and is Ayesha's classmate says: "One of my friend's had a camcorder and we were free, so we decided to make a short movie. It just hit me then that I really enjoyed it and wanted to take it up as a profession. When I came to study here I met so many other people who were as much into filmmaking as I was and that really helped me grow."

Mehreen Jameel 23, is preparing to go to a photo shoot. She has appeared in a music video and is also acting in a television serial that will be going on air in a month. "I think the best thing I got out of film school was making contacts. I got my first assignment when I was in first year and have never looked back. The best thing about such an environment is that its much more easier to get access to people who are already working in the field and vice versa."

Farhan Alvi has a Masters degree in film and teaches video production at a local college. "I think the most important point of studying at a film school is giving intelligent feedback. Your professors and peers, being educated and theoretically intelligent when it comes to film, can give you sophisticated feedback on your own projects and ideas, and help mould you into a better filmmaker. Outside the haven of film school, it's not easy to get together a group of film-aware individuals, and have them critique your project. Considering that film school typically takes place during your formative years, the collective wisdom and advice you receive during your attendance could help form your whole career."

Farzana Akther teaches a course in film theory at a university in Karachi. "I think the most important thing that students coming into this field should learn is about film's history and theory. Not knowing theory and history is the equivalent of saying ignorance is bliss. Many young aspiring filmmakers cultivate a belief that 'truly' creative films are created in a vacuum, but that isn't true. A filmmaker has a responsibility to his/her audience. They should be aware of what is happening around them and for this they need intensive training."

Nisar Bazmi, one of the leading composers of Pakistan, who is not well these days, has been shifted to the Aga Khan Hospital on the orders of a government official. He was earlier admitted to a small hospital in Karachi. His contribution to music especially film music is immense and it is imperative for all concerned to look after his medical needs.

Nisar Bazmi was born Nisar Ahmed in Nasirabad in the now state of Maharashtra probably in the 1920s. He was interested in music and to satiate his thirst he became the shagird of Aman Ali Khan in the late 1930s who disciplined his enthusiasm, passion and talent through the formalistic methodology of classical music. In 1939, he formally got employment with All India Radio and composed music for many radio programmes but when his compositions and score for Nadir Shah Durrani were broadcast, the producers in the film industry took note. He was offered to compose music for a film 'Jamna Paar'. He started his career as a film composer with the new name of Nisar Bazmi.

He composed music for many films like 'Jamna Paar', 'Jaib Katra', 'Daghabaaz Dost', 'Extra Girl', 'Khofnak Aainkhen' before partition. Until his migration to Pakistan, he had already composed music for 40 odd films, 28 of which were released while he was there, the others after he left the country. But none of the films or the songs became popular enough to place him in the category of the first rank composers or in the rank of the most popular ones.

Seeking a better opportunity, he migrated to Pakistan in 1962 and was offered films for music compositions immediately. Pakistan film industry had picked up dramatically and that period was the most productive and proficient in terms of film making. In the late 1940s most of the technical staff had migrated and the studios were either ransacked or abandoned. However, with the influx of many Muslim film makers, directors, actors, actresses, music composers, the industry from its base in the only filmmaking centre of Lahore had staged a remarkable recovery. It was dynamic enough to attract people like Nisar Bazmi from Bombay, who had struggled in the Indian film industry that was very competitive and brimming with trained talent.

His migration to Pakistan proved to be miraculous both for him and the film music of Pakistan. He composed music for 'Head Constable' but when the score of 'Aisa Bhi Hota Hai' was released, he was catapulted to the front rank of music composers. His song in the voice of Noor Jehan 'Ho Tamanna Aur Kiya, Jane Tammanna Aap Hain' was very well-received by connoisseurs and audiences alike.

He reached the peak of his creative and popular endeavour when 'Lakhoon Main Aik' was released. Nearly all its songs were well-composed, well-sung and well-received by the audiences: Chalo acha huwa tum bhool gai, Halaat badal nahin sakte, Sun sajna dukhi mun ki pukaar, Mun mandar ke diyota, Piyaar na ho jis dil main jeena hai adhura. His music in other films too was very popular like in 'Aag' -- Yun zindigi ki rah main takra giya koi, Mausam haseen hai laikin, Beetay dinoon ki yadoon ko, and in 'Ajuman' -- Aap dil ki anjuman main, Izhaar bhi mushkil hai, Bhabhi meri bhabhi, Dil dharke main tum sey ye kaise kahoon, Lug rahi hai mujhe aaj saari fiza ajnabi ajnabi, and in 'Andaleeb' -- Mere dil ki mehfil saja dene wale, Kuch log rooth kar bhi lagte hain kitne piyare, piyar kar ke hum buhat phachtaye, Gisoyoon ke anchal main, Tere jhote wadoon pe, in 'Anmol' -- Piyar insaan ko insaan bana deta hai, Mujhe nachane do ke shayad ye ghungharoo, Mila kisa anari sajna, in 'Talaash' -- Dekha jo mera jalwa, Piyaar ki aag nigahoon main chupai rakhna, in 'Aas' -- Bol rahi gurya, Mairi marzi main gaoon gi, Laakh nakhre dikhao, Aab muaaf kar do, Hum ne dekhe is dunya main, in 'Pehchaan' -- Allah hi allah kiya karo dukh na kisi ko diya karo, Mera piyaar mere jiwan ke sung rahe, in 'Tehzeeb' -- Laga hai husn ka bazaar dekho, aaj hum kiyoon rahain akele, in 'Waqt ki Pukaar' -- Jane mun aaj jo to paas nahin hai, Millat ke najawaan ko ye paigham suna do, Tum ho haseen iqrar karo, in 'Naag Muni' -- Tun tau pe waroon mun tau pe waroon, Aaj bhi soraj doob giya aaj bhi tum nahi aai, Sajane re naina barseen jiya tarse, Mun main uthi nai tarang, Mera imaan hai muhabat muhabat ki kasam, Ik albeli si naar, in 'Jaise Jaante Nahin' -- Main teri yaad ko kaise dil sey bhuladoon, Aise bhi hain meharbaan, in 'Noore' -- Hai mera izhar muhabbat, Aur kitni baar pile hain, in 'Muhabbat' -- Ranjish hi sahi, Yeh mehfil jo aaj saji hai, Agar koi poche baharon ka sabab, in 'Saiqa' -- Aik sitam aur meri jaan abi jaan baqi hai, Ai baharon gawa rehna, Teri tasveer main jo baat hai yo tujh main kahaan, Jo hum guzarte hain yo zindagi to nahin, in 'Meri Zindagi Hai Naghma' -- Aik husn ki devi se mujhe piyaar huwa tha and in 'Hum Aik Hain' -- Chor mery yaar koi aur baat karo.

Nisar Bazmi belongs to the school of classical composers who have placed the melodic intensity in their compositions as of greatest and primary importance. After the first generation of composers in Pakistani films like Master Ghulam Haider, Khurshid Anwar, Rashid Attre, Firoz Nizami, Master Inayat Hussain and G.A Chishti, the next generation had been led very ably by composers like him. He creatively engaged the talent of already established singers like Noor Jehan and Mehdi Hasan and helped in ushering in younger vocalists like Roona Laila and Naheed Akhter.

With changing taste in music and the decline in the film industry, immensely talented people like Nisar Bazmi started to be sidelined or found themselves not receiving enough offers. He shifted to Karachi and was forced to work in minor fields , composing music for a living but his most creative phase seemed to be over and he realised he was a little out of place with other trends taking over popular music in Pakistan. For many years he practically had no work and like so many others languished in Karachi. His talent which is in plenty can still be re-engaged to create music like no one else in Pakistan. He is surely one of the greats of Pakistan film music.