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instep
analysis
Unstoppable momentum
With events like All Pakistan Music Conference, classical
music has found a place to showcase itself but it will only survive
in the post-modern world if a fusion happens between classical
and the new music order!
By Maheen
Sabeeh
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The
nights finally ends...
After three rigorous days of truly great music, 14 purely classical
and extraordinary performances from some of this country's finest
names in ghazal, qawwali and Eastern classical music, with guest performers
border hopping from India, the 4th annual All Pakistan Music Conference
wrapped on a high note.
Held against the backdrop of the beautiful Hindu Gymkhana, the APMC
closing shone as television personalities, music video directors,
rare few pop musicians alongside music enthusiasts as well as the
'cultural' elite came to support the musical occasion. Of course,
this enthusiasm can also be attributed to the fact that the third
night of the APMC featured Shubha Mudgal ('Dholna', 'Ali Morey Angna'
fame) who was the biggest crowd puller of the event. |
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A
single word goes a long way
There is something mystical about classical music. A single poignant
phrase can be used as a backbone of a performance and can be sung
in different notes, while tugging one's heart. Classical music, like
wine, doesn't get older, it only gets better. It is easy to highlight
one pop singer in a huge concert but at events like the APMC, it is
almost impossible.
From the melancholic flute of Ustad Salamat Hussain to the soulful
style of Ustaad Naseeruddin Saami, to the verses of Faiz Ahmed Faiz
sung by Farida Khanum, it is this music that can truly make one sit
for hours on end without feeling the need to leave. |
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Sitting
at such events is also a learning experience. When Farid Ayaz, his
brother Abu Mohammad and their companions came onto perform, they
don't just launch into one qawwali after another. They stop in the
middle, telling one about Amir Khusro, the meaning of their qawwalis,
the language that varies from Persian to Turkish and ends up at Urdu.
Captivating, hypnotic and almost surreal, Farid Ayaz Qawwal are a
must for all music lovers. And here it must be said that Abu Mohammed
has improved tremendously from the last APMC. He really came into
his own this year!
One can also not forget Ustad Mubarak Ali Khan, who kept everyone
riveted through sheer intensity with which he performs.
Then of course, there was the finale by Shubha Mudgal. Many know her
as the woman from 'Dholna' but that night it was raags that she performed.
While it was a bit bizarre to see her close the night considering
Ustad Fateh Ali Khan (Patiala) is far more senior, she was absolutely
brilliant nonetheless. It wasn't just her top-notch vocals but soul
with which she presented each raag, explaining along the way what
each raag meant, giving space to her instrumentalists and at the end,
receiving a standing ovation. It was Shubha Mudgal who yielded the
most response, and she really was worth it. |
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The irony of the APMC
When Shubha Mudgal came to perform, an announcement was made that
cameramen should not record more than 10-15 minutes due to copyrights.
No such announcement was made during any other performance that took
place in the three nights? What about the rights of the rest of them?
Do they have no rights? As music producer, Faisal Rafi said, "It
is insulting because what about everyone else's rights? And what copyrights
are being spoken about here? Shahi (Hasan) and I recorded everything
but just because we are compiling a cd for APMC, we can record? It
is hypocritical because we pirate everything. Software, music, films
- and here we're talking about copyrights about a single performance!"
As far as classical music goes, perhaps the only thing left to do
is give credit to the original composers. How can one copyright a
sufic verse or a kaafi that is being sung at Mazaars, concerts, classical
nights by various folk singers, classical greats and rock artists?
Imagine if Junoon actually had gone to find the descendants of Baba
Bulley Shah when they made the song, 'Bulleya'?
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The
paradox
Aristotle once said, "If you want to destroy a nation, alter
its music." He was absolutely right. In Pakistan, there are few
public platforms for classical greats.
Pop music, be it in the West or right here, isn't just about music.
It is about building up a musician as a brand. Marketing via endorsements,
interviews and appearances on television are all a part of the game.
But when it comes to Eastern music, it is quite the opposite. The
classical masters find it absurd to popularize their art. Add that
to the fact that there is no one to protect their rights. Other than
the APMC and the Rafi Peer World Performing Arts Festival, where do
these people go and showcase their genuine, magic in Jinnah's land?
Therein lies our paradox.
One will never find Ustad Naseeruddin Sami appearing on various talk
shows boasting about his own vocal dexterity, but one will find this
man sit through every performance at the APMC every night. This is
his way of respecting the tradition that he, too, is a keeper of.
These are the singers who breathe life into the raags, thumris and
kaafis written centuries ago. At APMC maestros like Sami sahab give
the attendees a chance to trace and explore their musical roots.
Ultimately, it is this music that we as a nation can truly call out
own. Pop music didn't find its first footsteps in the subcontinent,
neither did the first guitar or the first set of drums.
Ironically, it is this music that seems to be in danger of losing
itself in our fast changing world. Last year, as Mekaal Hasan Band
was performing at the APMC, one could find many pop musicians walking
their way around the venue. Shallum Xavier, Gumby, among others had
been present. But where were these musicians this year? No one prominent
from the local music industry was present except for the band Josh
who made an appearance on the second night.
On the other hand, Begum Farida Khanum, who is no longer a youngster
came all three nights and sat through every performance, munching
on sauf, signing autographs for 40-year-olds who have grown up with
her music. Given musicians are celebrities and at times can be self-involved
but if these musicians endorse classical music, it will find a wider
audience. At the very least, these events and by proxy, these artistes
need to be respected by the young lot of today's music. |
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Times
have changed
The general perception is classical music is dying in Pakistan. To
a certain extent, this is true. But it is the amalgamation of the
two sides of music, classical and pop, that will give this music a
chance to survive.
The APMC opened this year with a performance from Allah Lok Khan,
who plays pakhawaj, a North Indian drum. He was mesmerizing to say
the least. The beat of his drum moves slowly reaching a gradual crescendo,
only to move to a slow note again. He is unknown to many. However,
he is now going to be featured in the next Overload album. That is
the way his pakhawaj will find an audience in the popular genre of
music in Pakistan. |
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Would
it be too harsh to say that classical music, all over the world is
elitist? Perhaps, but it's also true. How many can say that they know
every symphony of Mozart? But had Mozart done a duet with Madonna,
it would've been a different answer altogether. The biggest local
example is that of Ustad Nusrat Fateh Ali Khan. It was his team-up
with Michael Brooks and Peter Gabriel that made him a legend in the
West.
Take a chance
While the majority of the pop/rock music industry is perhaps indifferent
to the classical tradition of music, there are a few who have taken
substantial steps to restore our cultural heritage, classical music.
Mekaal Hasan, through his band is bringing forward the traditional
kaafis via his lyrics, fusing it with his jazz-like sound. On the
other hand, there are those who have devoted themselves completely
to documenting this tradition. Music producers Rohail Hyatt, Shahi
Hasan and Faisal Rafi are now working with various Ustaads, signing
them up for collaborations, compilations among other things.
At the All Pakistan Music Conference, this year, Shahi Hasan and Faisal
Rafi sat through three days, bringing bulk of equipment with them
to create a compilation cd, recording the live performances as they
happened. Speaking to Instep, Faisal Rafi commented, "A proper
collection of this sort of music hasn't been done since the mid '70s
so it is important. Many of these classical greats like Ustad Naseeruddin
Sami are doing their last few performances. In a year or two, they
won't be doing it anymore. It needs to be documented. I have been
coming to APMC for the last four years and I know that APMC is not
profiting through this event. That said, many just don't care about
this music. They come and sit and do the "waah waahs" and
go away and are not doing anything for these masters."
What needs to be done
The All Pakistan Music Conference is doing the same for Eastern music
as Karafilm Festival has done for films and the cinema culture that
Pakistan lost many years ago.
Every year, the APMC provides a platform to masters of classical music
by holding this three-day event. In the last four years, the past
two years have been free of cost. APMC gets better every year.
This year, as one entered the venue, one could find stalls where cds
of Noor Jehan, compilation cds of various Ustads amongst many others
were being sold. Further inside, refreshments stands had been set
up. It's a smart idea. APMC goes on till late hours of the morning
and many often end up being hungry. Haleem, chips, chaat, tea, and
soft drinks - all were made available. Chairs had been set, keeping
in mind the elderly who often find sitting on the white chandinis
uncomfortable. The sound was impeccable at all three nights without
the slightest glitch. The musical performances also start on time
unlike the many pop/rock concerts where one often ends up waiting
for hours.
That said, APMC has to market itself better. Awareness will only come
through if people know of the event. Those who attend events such
as the APMC are not the elite of Pakistan but the cultural elite.
These are the people who know art, poetry, music and culture. It is
good to see that their ranks grow every year. It's not surprising.
When you are at the APMC, you realise that this is the music that
runs in your blood. |
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Thinking
classical
Shubha Mudgal really is a class act. After her performance at the
All Pakistan Music Conference, a press conference was arranged at
the Hindu Gymkhana, where Shubha managed to appear bang on time
along with tabla maestro, Dr. Aneesh Pradhan and Sarangi player
Murad Ali. Dressed in a simple sari, Shubha was candid, amicable
and proved that when it comes to the future of classical music,
she is a visionary. Shubha warmly answered question from members
of the press as well as students of National Academy of Performing
Arts (NAPA). Instep gives you the lowdown... |
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Instep: How
did you feel about the audience at the APMC?
Shubha Mudgal: It was overwhelming. The kind of requests that I got
about various raags was a proof that the people who were sitting that
night were not all amateurs. Sometimes, it is often the small gatherings
that shows more respect and knowledge to this kind of music than a
concert with 20, 000 people.
In Calcutta and Bombay, they are great music enthusiasts. Events are
often much larger in terms of the crowd than let's a smaller city.
But often many appear at such corporate events because the CEO wants
them to be there. To be fair to them, I'd say that not all of them
are there because of this particular reason but fact remains that
often it is the small gatherings that understands this music more
than a huge crowd. |
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Instep:
What do you think of Pakistani music being plagiarized in India?
SM: It is absolutely wrong. There is a link between ethical and commercial
aspect of music. The original artiste must be credited for his accomplishment.
It is this reason why one mentions a guru or an ustad, explaining
the musical heritage being passed on. I'll give you an example. Many
know the song 'Nimbuda' from Hum Dil De Chuke Sanam. Originally it
was created by a small community but they never registered it. Now
the song is registered with the movie producers. Who then should the
royalty go to? A similar example is with the film Baabul where someone
else originally composed a certain track in the film. I read an article
on it and many have no idea where the number originally hailed from.
But now, its registered with the music label, T-Series. So, yes, people
need to be acknowledged and furthermore, those who are the creators
deserve royalties.
Instep: What is your view on the Pakistani music industry?
SM: To be honest, I don't know much about the industry itself and
that I feel is the biggest problem. We don't have access to the classical
music of Pakistan and neither do you have access to ours.
I had the opportunity to listen to Begum Farida Khanum on the first
night of the APMC and it was very nice but we have no access to her
in India. Her music is not available. There are cultural centers that
need to be setup in both the countries so we can share and exchange
our music together.
Dr. Aneesh and I along with a few others are behind Underscore Records,
which keeps a catalogue of classical Indian music. We also have two
kinds of contract, free for download. It can work for an artist as
well as an organizer. In many countries, contracts are in English
so this will provide some form of support to artistes.
Instep: You also forayed into Bollywood.
SM:I have not done playback singing but I have sung for the background
score of a few films. I like movies but I do not want to listen to
Bollywood songs on Eid, Diwali, Holi, on the radio, television all
the time. 'Where's the Party Tonight' is a good number but I don't
feel the need to listen to it all the time.
There is this perception amongst people that youngsters don't like
classical music. It is false. I have seen youngsters at classical
music gatherings. I'm from the first generation of classical music.
I don't teach the elderly but all of us are teachers and our students
are youngsters. There have been occasions when we have had to refuse
some because of time constraints but these youngsters are keen on
learning.
It has to be understood that engaging with the arts is an enriching
experience. Schools in many cities in India charge a lot of fees.
They may teach music but it will be one song for the some annual day,
like National day. If the youngsters are taught in such a way that
they understand its importance, it will create awareness. Not everyone
will take music as a career but if they understand its importance,
it will give this music a chance to survive.
--Maheen Sabeeha |
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