Peace Ambassadors

Peace Poem by Bob Stewart

2009-09-29T23:31:00.001-07:00

"It is better to light a candle than curse the darkness.

Lights of peace become circles of peace.

Circles of peace become communities of peace.

Communities of peace become a peaceful world community."

GLOBAL MINUTE FOR PEACE DAY - CELEBRATE! - DEC. 22, 2006

2009-09-16T01:05:00.000-07:00

It's amazing how many different views are expressed about the issues which separate us. Too often we reject those who differ with us. Everyone can agree that we need peace on Earth, and uniting in support of a Minute for Peace Day will stimulate minutes for peace every day on radio and TV worldwide. This is the way to change the global state of mind from fear to faith, from despair to hope.

Let each individual who believes in the power of prayer, of goodwill, join with others on Minute For Peace Day -- December 22, conscious of being linked with others throughout the world on that day, as they pray for peace, talk about the way to peace, and purpose peace in their hearts and minds.

To people of every religion it will be a means to realize the potentials of their faith, that if they agree at the same time, for the same purpose, they can ask what they will and it will be done. On Minute for Peace Day they will ask, in love, for peaceful progress in their lives and throughout the world. To humanists, this will be a time to ponder peace, to celebrate peace with a new awareness of our common humanity.

Minute for Peace History

The first Minute for Peace was observed globally by people of every creed and culture. We urge world leaders to speak out for this event. This will result in new hope and a new beginning for the whole human family.

Minute for Peace Day occurs at the time of the Winter Solstice (in the northern hemisphere). In ancient history the Winter Solstice was a time for rejoicing. The days before that kept getting shorter. There was fear this would continue and leave the world in darkness. But on the December Solstice the days started getting longer. Now people knew the dead leaves on the trees would yield their place to new leaves in the spring.

On this great day of opportunity a new faith, hope and love can replace the dead leaves of the past and inspire cooperation for our common good. Together we can provide a new beginning for the human family -- a time to forgive, forget and start a new.

A Minute for Peace exhibit at the 1965 Worlds Fair increased interest and resulted in daily Minute for Peace broadcasts on many radio stations. These featured the ringing of the UN Peace Bell, a statement by a world leader about ways to foster peace and understanding. This was followed by a request that listeners add their prayer and commitment to help foster peaceful progress on our planet.

To obtain maximum unity in participation, the time designated was 0300, 1100, and 1900 GMT. Stations could program any one as their Minute For Peace and know they were aiding a global turn toward peace..

The idea of Minute for Peace became popular and played a role in ending the war between Pakistan and India in 1966. United Nations Delegates from both sides publicly joined in silent prayer as they were asked to meditate on peace and good will with determination to overcome hatred and injury with the power and benefit of reconciliation and cooperation. That night, in a UN Security Council special meeting, they declared peace.

Minute for Peace became the centerpiece of Earth Day, when we invite people World-Wide to join in two minutes of silent prayer or reflection as the Peace Bell at the United Nations is rung to celebrate the beginning of spring.

Peace begins in the mind. The repeated participation by friends and adversaries, in heartfelt thoughts and silent prayers for peace when the Peace Bell was rung each year on Earth Day, helped end the Cold War.

Spread the word to every church, synagogue, mosque and school and let people everywhere know of this opportunity to tap the best of their religious values; to join hearts and minds in loving faith that wherever there is hate, fear or conflict, peace will prevail. Together we can make the new millennium a new and better future for the human adventure.

A call by world leaders and heads of government could persuade TV networks and others to promote Minute for Peace Day -- followed by a daily Minute for Peace all over the world.

MINUTE FOR PEACE POEM

It was three days before Christmas - And on valley and hill

A Minute for Peace - Joined hearts in good will.

We are one human family - Was the message brought

By the pictures on TV - Where before people fought.

This day then began - A Campaign for Earth

To eliminate poverty - Pollution and dearth.

For when people and groups - Seek a goal all can share

They will treat neighbor and nature - with heartfelt care.

Our planet is suffering - From shortsighted greed

But as Trustees of Earth - We'll meet our Earth's need.

MY MESSAGE FOR PEACE AND HARMONY by S. A. Rehman

2009-09-16T01:04:00.000-07:00

Dear brothers & sisters,

We all need to pray for one another, and to love one another. We should always pray for the safety, peace, love and brotherhood for people all over the world. Too bad we can't have an independence day for the entire world, a day of freedom from ignorance, hatred, war, illusions, power and control. A day where we can all love each other as human beings and toss away the weapons of war, and cast out our fears and hatreds from our hearts into the graves. We must mourn the graves of the innocents all over the world, and give the children of the world the hope of a peaceful, loving and beautiful world.

A world is full of love and without hatred or fear we can join hands together and accept one another regardless of our skin color, ethnic divisions, religion or nationality. If we don't unite as a human race, then we have condemned the future generation of children a dark and very grim future.

Think of love, compassion and peace always...

MY PRAYER FOR PEACE AND HARMONY

Merciful God, You made all of the people of the world in Your own image and placed before us the pathway of salvation through different Preachers who claimed to have been Your Saints and Prophets. But, the contradictions (made by us) in the interpretation of Your teachings have resulted in creating divisions, faith based hatreds and bloodshed in the world community. Millions of innocent men, women and children have so far been brutally killed by the militants of several religions who have been committing horrifying crimes against humanity and millions more would not be butchered by them in the future, if You guide and help us find ways to reunite peacefully.

IN THE NAME OF GOD, THE COMPASSIONATE, THE MERCIFUL,

look with compassion on the whole human family; take away the controversial teachings of arrogance, divisions and hatreds which have badly infected our hearts; break down the walls that separate us; reunite us in bonds of love; and work through our struggle and confusion to accomplish Your purposes on earth; that, in Your good time, all nations and races could jointly serve You in justice, peace and harmony. (Amen)

Injustice and Talibanisation By Dr Tariq Rehmen (DAWN Thursday, 30 Apr, 2009)

2009-09-10T20:36:00.000-07:00

There is no doubt that there is gross injustice in Pakistan. Individuals and groups who are weak and in a minority are discriminated against and denied justice whether they are women, poor people, religious minorities or ethnicities.
But the argument that the Taliban are welcomed by the people because they promise speedy justice or distribution of the elite’s land and industrial resources among the poor is flawed. Yet, this argument is made again and again by sympathisers of the Taliban. And because it would have been a forceful argument had it been true, it should be refuted.First, the question of speedy justice. The Taliban ruled in Afghanistan and they have been exercising their influence in parts of Pakistan. All accounts from these areas - whether in the form of memoirs from Afghanistan or stories from Pakistan - suggest that certain minor disputes revolving around property are settled quickly. However, whether they are settled justly is not clear at all. Moreover, if a powerful Talib is involved in a dispute he gets away with murder - quite literally. There is simply no appeal against the Taliban, even against a completely arbitrary or whimsical judgment.
Secondly, they introduce new rules forbidding music, painting, sculpting, singing, dancing, theatre etc. Therefore, the possibility of getting on the wrong side of the powerful increases for all inhabitants. Indeed, it is not peace and security that beckon but the fear of punishment that looms large. There is no concept of a peaceful life as a free citizen in areas dominated by the Taliban.If one happens to be a woman then there are extra rules to contend with. There are rules against showing one’s face, arms, ankles, hair, wearing jeans etc. Even if one is male there are problems: one can’t wear shorts (as this will excite men) and can’t play most games (dubbed a waste of time). In fact, one can’t do many other things which boys do all over the globe. But being a woman means forgetting about living. Indeed, women may well be wishing for the good old ‘justice delayed’ of Pakistani courts than the Taliban’s ‘quick justice’.
Now let us deal with the distribution of wealth attributed to the Taliban. The fact is that the wealth was never divided equitably among the Afghan citizens during the Taliban’s rule although Taliban soldiers originally from poor families did get a large share of the spoils. More to the point, the Taliban did not draw foreign investment nor did they exploit domestic resources in a rational, sustainable manner. As such the total wealth of the country declined and poverty increased.In Pakistan, especially in Swat, the Taliban started expropriating the property of landlords. Even if this is class hatred, and it might well be, the distribution of this land is said to have benefited Taliban supporters, hangers-on and sympathisers in addition to the fighters themselves. There is no evidence of a principled policy of the equitable distribution of wealth. The money from logging, mining and toll tax on vehicles goes to increase the income of the Taliban commanders and not of the ordinary citizens who remain displaced or live in fear in their homes.In Buner, for instance, the Taliban took over a marble factory and displaced the owner who narrated his traumatic story to the media later. This, by all accounts, is part of the pattern and not an isolated incident. Moreover, among the booty are also women whose families cannot refuse the marriage proposal of a Talib. This kind of redistribution of wealth is not exactly what Marx and Engels ordered, so any leftist, romantic idea that the Taliban’s is a revolution of the dispossessed is simply wrong. More to the point is the fact that one cannot survive for long cutting down trees and selling precious stones. Development is not possible under draconian and medieval regimes so the total number of people under the poverty line will increase in any Talibanised state.Yet there is a connection between speedy justice and the equitable distribution of goods and services and all violent movements. I pointed out years ago that if there is a revolution in Pakistan it will use the idiom of Islam. Talibanisation may not be that revolution but the gap between the poor and rich has kept increasing, and frustrated young men are available to join private militias.These militias use the idiom of Islam and legitimise their raiding operations through an appeal to the sacred. In this sense, our denial of economic rights has increased the possibility of violence in this country. And this violence is not only in the name of religion, it is also in the name of ethnicity and sub-nationalism. The Baloch, having been denied their rights, are also fighting the state. Thus, it is good policy to redistribute wealth rather than wait for armed vigilante groups to do so.As for speedy justice, the vigilante groups can never give it to us. Only the state can. But the state will have to get more courts, especially speedy ones. Rules will have to be made to settle disputes within a certain number of hearings. This is not a peripheral matter; it is a matter of life and death for this country. And the sooner we dispense justice fairly and in a speedy manner, the better it will be for all of us.Meanwhile, we must be thankful for small mercies. This time, because the Taliban did not show patience but started advancing into Buner and Dir almost immediately after their victory in Swat, the press turned indignant. Judging by letters, columns, the statements of political leaders and opinion-makers the public is ready to oppose the Taliban.But the electronic media, unfortunately, starts opposing military action almost as soon as it starts. This time, if people have realised that they will never get justice of any kind under Taliban rule, then it is something we can build upon and win our war against the Taliban. Are we ready for that?

SOURCE:
http://www.dawn.com/wps/wcm/connect/dawn-content-library/dawn/news/pakistan/16-injustice-and-talibanisation-03

My take on ‘Love’ by Zareen Zubair

2009-07-17T00:11:00.000-07:00

Mehek. Love is ‘Mehek’. A sweet, never-ending hint of fragrance that lingers forever around me. I can’t touch it but I feel its strength in its softness. That is what I call love. Love is the strength that binds two entities together to one soulful purpose - Life. It is independent of any materialistic approach which makes it even more beautiful as it stands alone, strong and rigid through the storms of time.
The feeling it radiates positively in the most merciless manner is so overwhelming and so unbelievably true.
Love is nature. Words and voices, those flow in the sphere of nature. Why do we exist and what are we striving for? All of us are in search of satisfaction. All of us want to get satisfied for the shorter or longer run. Love is what everyone is searching for. People who greatly cherish love tend to be happier and more hopeful than others. All of us need to cherish the true essence of this affection. We try to reach out to what we love or more simply, attracted to. But at the end of the day we get what we strive for and you only strive for what you love.

In love distances don’t matter. If it’s true and pure, then angels carry messages from one to another. Distances increases elements of respect and admiration. But to make them work, trust must be present. True love brings blindfolded trust and there is no more satisfaction than trust that is so pure.
With trust and satisfaction, pure love is also the submission to the lover regardless of any circumstances. To submit one’s body, soul and purpose of life to an entity worthy of your love. Isn’t it beautiful to just blindly give up all you have for your love? People might call you stupid but that’s love. Decisions are made in a sane state to enjoy the pleasure of insanity, in total protection and safety.
Love is truly experienced in the rawness of nature. It transforms into the force that pumps your blood, your soul. It is present in different states. How mountains get enveloped by the lust of clouds. Or how softly the sea tempts the shore again and again with the warmth of the oceanic breeze. The gaze of your lover and you understand the need. Get closer and enter into a whole new world.
Hope. Love is hope. A hope for something you restlessly want. Something deep and soothing and obscure. Love is full of meaning, defined yet so abstract. It’s the enjoyment of pleasure consciously and unconsciously with the passage of time. Love is the basic fundamental of life and is the secret in your breath. Realize it.
Love blooms when you become one. Together as one. We all are on our quest for true love. It is the reason we live and that’s my reason too. My reason to live - Mehek.
The author is a student of MSc. in Media and Mass Communication at the International Islamic University. Zareen loves to write and with her ever-growing love to write and express herself, she made it to becoming the Editor of her department's Newsletter. Zareen also got her first poetry book (‘Beyond Ecstasy’) published in July 2007.

Music of the times By Sarwat Ali

2009-07-11T05:02:00.000-07:00

(The contribution of Shah Latif Bhitai to music can be seen in the context of the relationship between a high classical tradition and its regional sources)

The recently concluded urs of Shah Abdul Latif Bhitai at Bhit Shah was a reminder of the central role that music plays at such congregations. In the case of Shah Latif it should come as no surprise because he codified the system of music that must have been sung or played during his lifetime.
One of the greatest patrons of music in South Asia has been the sufis. Certain sufi orders were more indulgent towards music than the others, while some were antithetical to it. But by and large the Chishtis, Qadris and the Qalandaris were more favourably disposed towards it. Actually it is a little hazardous to subsume under broad categorisation the question of acceptance and patronage of music, for within the sufi orders many variations and dimensions existed. The shrines of many sufis have become the centre point of musical activity, labelled generically as 'sama', with the weekly and yearly moots attracting musicians from far and wide, who also owe a great allegiance to their sufi saints. Two types of musical activity takes place on the shrine of Shah Latif during the days of the urs. Dressed in black the 'waee' is sung on the shrine by traditional 'waee' singers in the style said to have continued since the days of the Shah but concerts in the outer premises of the shrine are organised where the singers and dancers from all parts of Sindh perform mostly in various forms of folk music.
Shah Latif lived in the era when Muhammed Shah was the ruler in Delhi. The central empire in Delhi had started to disintegrate and many experiments were being made in music. Kheyal was gradually becoming a more acceptable form of music than dhrupad. Some of the great musicians sensing the decline had started to move away from Delhi seeking patronage in smaller states. The overstated dhrupad was probably no longer the most representative form of music in an age that saw destruction and undoing of the very social and philosophical fabric on which rested the pillars of the medieval state. The form that resonated in the imperial palaces only echoing the glory and heroism of the times were being replaced by a more flexible style of singing. An epical sensibility was gradually giving way to a romantic vision of life.
At the same time Shah Latif played a major role in the cross fertilization that was taking place in his region. He went along with it, codified the raags and classified the musical system in an attempt to bring the two to some meeting point.
In all he selected thirty six raginis. Thirty were earmarked for the exclusive singing of Shah's own poetry while six were used for singing other compositions. The raags of classical music which are mentioned in his works are Kalyan, Khambhat, Siri, Suhni, Sarang, Kedara, Desi, Baruva Hindi, Sorath, Baruva Sindhi, Ramkali, Bilawal, Asa, Dhanasari, Purbi, Kamod, Yaman, Husaini and Basant.
Shah's raags indicate that he retained Kalyan, Khambhat and Bilawal in their shudh (original) state because these constituted the three basic thaats to which also belong some other melodies of the group. The fourteen other melodies of the classical tradition were retained in the form in which they were being sung by the people. The functional compositions of each of these melodies do not necessarily conform exactly to their classical prototypes. The following seventeen were selected from Sindhi folk music Samundi, Abri, Madhoor, Kohiyaree, Rana, Khahoree, Rip, Lilan, Dahar, Kapaitee, Pirbhati, Ghatu, Seenh Kadaro, Marui, Dhol Maru, Hir and Karayal.
One wonders what kind of music was being sung and played in Punjab at the same time. It is said that the dominant form of music in the Punjab till the middle of the 19th century was the dhrupad. And in the later part of the century perhaps a gradual change in taste started to accommodate kheyal. It was only in the 20th century that kheyal was finally accepted as the dominant form of singing in the high classical tradition.
It should not be forgotten that the weakening of the Central Empire in Delhi very badly affected the Punjab. All the armies from the North and North West passed through Punjab to raid and conquer Delhi. Punjabi poetry of Bullah Shah and Waris Shah give strong evidence of the state of destruction, pillage, insecurity, breakdown of the order in society that the raids of Nadir Shah and Ahmed Shah Abdali had caused.
There seems to be less evidence of change in music of the times, and if there was any change it has not been recorded. Or perhaps the rule of Ranjit Singh in the first half of the 19th century recreated some semblance of stability and order.
Or that the Punjab was too close to Delhi physically to forge its own identity, rather its identity flowed into the mainstream that made up the identity of the central court.
This may not have been the case with places that were farther away from the centre of power. The new music tradition founded by Shah Latif had tremendous influence on the development of musical taste in Sindh. Many classical melodies became popular throughout the province and many folk melodies which originally had local status and significance gained wide popularity and came to be sung in areas outside the province.
The contribution of Shah Latif Bhitai to music can be seen in the context of the relationship between a high classical tradition and its regional sources. His was an attempt at codifying a system of music that was more specific to the region.
The high classical tradition being the most standardised version of our musical system is seen in some quarters to have stifled the growth of other influences more rooted in the various regions of South Asia. To many the Sindhi sensibility is best represented in the folk tradition when rendered in its most raw form. This derives its strength from the argument that the classical tradition associated with the elite is so over wrought and stylised that it smothers the genuine and most authentic expression of the common man.

SOURCE:
http://jang.com.pk/thenews/mar2008-weekly/nos-02-03-2008/enc.htm

Clothed in art By Atteqa Ali

2009-07-11T04:57:00.000-07:00

(Contemporary Pakistani artists provide voices that examine the politics and society through dress)

In the work of Pakistani artists, clothing plays an important role. Items of dress become characters in narratives about the nation and its citizens; however, the plots are twisted. The garbs that are typically associated with this South Asian country do not connote what we might initially believe them to mean. A veil, for example, is perhaps not a sign of a woman's oppression, as many in the West may think. Like the invisible fabric of the Emperor's new clothes, there is a dimension here that is often overlooked or ignored. It is one that tells about the stereotypes of Pakistanis and their country.
The general view of Pakistan in the international mass media is one of a troubled, unstable society where terrorists roam freely and women have no power. The South Asian people might wear a range of outfits; however, on the nightly news abroad Pakistanis are either seen sporting a military dress (males) or veiled from head to toe (females). With the same kinds of images repeated over and over again in the media, the dangerous and oppressive view of Pakistan gets affixed in the imagination; therefore, a simple piece of cloth can mean a lot more than something that dresses the body.
Contemporary Pakistani artists, both in their home country and abroad, provide voices that examine and explore the politics and society of Pakistan through dress. But they do so in a complicated manner. They appropriate the stereotypes of the nation and people and -- like clothes that come off the body -- they turn them inside out. Pakistani artists depict a society in turmoil and an identity that is in flux. Yet, they question why this kind of environment is present in the country.
For Hasnat Mehmood a turbaned man serves as a generic ruler. With this head-dress, he appears to be a Mughal Emperor; however, in the artist's mind it can be any leader who uses pictures to manipulate the public. Hasnat comments on the abuse of power and its manifestation in imagery through his reference to the postage stamp. The stamp has always been a powerful tool for rulers. It is an effective way to spread propaganda. In the prolonged British Empire, for example, the image of the queen informed subjects afar to whom they should be loyal.
Misrepresentations continue to abound in South Asia. Leaders build public monuments to project themselves and historical events as great and brave; however, this is usually a skewed perspective. Ayesha Jatoi pointed this out by doing the laundry under a fighter jet that sits at 'China Chowk' in Lahore. It served the Pakistani air force during the 1971 civil war that resulted in the creation of Bangladesh. The artist has used the jet to make her statement about war and destruction. For her, these are the results of male aggression. The stereotypically female, private act contrasts with the public symbol of male power that served as her site.
Instead of trying to soften a harsh structure, Naiza Khan hardens feminine clothing. In her work, lingerie is turned into armour; it stands stiffly as if embodied. The soft bits of clothing are no longer delicate and sensual. Rather, Naiza creates a sturdy, feminine army. An installation of these sculptures calls into question the perceptions of women, both within and outside of Pakistan. They are neither aggressive nor fragile.
Using the veil as a symbol in her paintings, Aisha Khalid reveals the prowess of women as well. Her images do so in oblique ways. This is perhaps necessary in an Islamic society where the social conventions expect women to be invisible and silent. Aisha challenges this assumption and other long-held beliefs about Muslim women. Using the miniature painting technique to create luminous images in which there is little to indicate a woman directly, the artist makes her women 'visible'. Her strength is revealed not by showing her directly, but by giving her a presence.
For men articles of clothing can be similarly oppressive. An example is Rashid Rana's mixed media work, Who' s Afraid of Red where he has cut a wedding jacket in half. More recently, his digital image, Identical Views, looks at similar concerns. In it, he shows himself getting dressed in a variety of outfits. The title suggests that the mirror images are the same from one side to the next; however, there is discrepancy amongst the views. This simple work that seems to be about the artist only extends to aesthetic obsessions like vision along with socio-political matters about identity and how slippery it can be. Identity shifts with each costume change.
Even though this ability to shape and shift is what all of these artists offer in their works, it feels impossible at times for Pakistanis to shed the clothes that weigh them down.
SOURCE:
http://jang.com.pk/thenews/mar2008-weekly/nos-02-03-2008/enc.htm

First person: Shades of glory By O.A

2009-07-06T21:58:00.001-07:00

Sohail Rana may be a nostalgic name for many but the music composer still commands respect, a fact that can be judged by his amazing number of fans both in and outside Pakistan.
The living legend migrated to Canada in the early ’90s after a glorious innings, “for the higher education of my children”, and returned recently after a span of 14 years to Pakistan. In this exclusive interview to Images on Sunday, the maestro discusses the declining standard of music, the frequent use of electronic musical instruments replacing the beautiful sounding sitar, sarod, shehnai, sarangi, etc, and many others issues… but most importantly his decision to settle abroad.
“I never left Pakistan. It is my first home, my beloved, and no one can ever leave his/her loved ones. Since Pakistanis can have dual nationality in Canada, I didn’t give up my citizenship. It was just like moving from one room to another for me and my family. I moved because I wanted a good education for my children and stayed back a little longer because my family needed me. Music is in my blood and I have set up a music academy there where people of all ages and from all over the world — Pakistanis, Indians, Afghanis, Bengalis and even Canadians — come to learn eastern music. At first I kept coming back to Pakistan every year until the mid-90s when it became impossible for me to make frequent trips. Now that both my sons (Adnan Rana and Sajeel Rana) have finished their education, here I am,” he said.
Sohail Rana’s life in music started off with failures and challenges, perseverance and struggles. With the blessings of his elders, Rana continued his musical journey, accomplishing his mission with dignity, grace, endurance and faith. Son of the renowned Urdu poet Rana Akbarabadi, the young Sohail arrived in Pakistan soon after Partition, “I studied at the Sindh Madressatul Islam and felt honoured to attend the institution that also nurtured Quaid-i-Azam Mohammad Ali Jinnah. After matriculation I went to D.J. Science College, did my graduation from National College, and finally attended Karachi University.”
Sohail Rana was brought up in a literary environment, and besides displaying a flair for writing poetry at a young age he also had a passion for sketching and painting. He owes his entry into films to his best friend, Waheed Murad with whom he had a great time playing cricket, attending musical evenings or parties during their college and university days. It was during this time that Waheed offered Sohail Rana his very first composing assignment for the film Jab Se Dekha Hai Tumhain (1962). “At the time I was only 19 years old but Waheed Murad saw the composer in me. He was a complete film personality —producer, actor, director and writer. He sat with me while I composed music, something only Raj Kapoor sahib used to do in the subcontinent. That’s why each and every film Waheed made had the feeling of a team, which kept us together for so long. Then I introduced Masroor Anwar to Film Arts (Waheed Murad’s production house) from where the trio of Waheed, Masroor (Anwar) and I began our collaboration,” he said.
The team was further strengthened by the inclusion of Pervez Malik, and went it on to produce Heera Aur Pathar (1964), Armaan (1966), Doraha (1967) and Ehsaan (1968), bringing about a revolution in the Pakistan film industry. “Besides scoring music for Waheed Murad, I also worked for Shabab Kiranvi’s Dil Deewana, Syed Kamal’s Shehnai, Nigar Pictures’ Mere Humsafar, P.M. Productions’ Saughaat, Eastern Films’ Bees Din, Iqbal Shehzad’s Baazi, Asad Jafri’s Dil De Ke Dekho, Mohsin Sherazi’s Badal Aur Bijli, Javed Jabbar’s Musafir/Beyond the Last Mountain and A.J. Kardar’s Qasam Uss Waqt Ki. It was in Waheed Murad’s directorial debut, Ishara, that I made him and Deeba sing Jaise taise beet gaya din. There were a few more while two films — Hulchul and Guriya — were never released.”
Sohail Rana produced the film Doraha and also composed for Pakistan’s only English film, Beyond the Last Mountain (Musafir). He also scored for Sohail Hasan’s Hisaab (1986) but considers Badal Aur Bijli (1974) his last bow after 24 films. “During the making of Doraha, I felt quite uncomfortable with the environment and the attitude of the people, so I decided to leave the industry. Waheed Murad was very upset at my decision as they were all moving to Lahore despite my warning. A few years later, Waheed said that I had made the right move.”
So why did he leave films altogether, he could have kept a low profile and then returned? “My ustad-i-mohtaram, Indian composer Naushad sahib had, in reply to one of my many letters during a correspondence that lasted 25 years, warned me that the film industry forgets even the best of the lot and that I should strengthen my base and branch out. His words woke me up and I left films when I sensed that the concept of teamwork was dying out. The environment of our film industry began to change gradually in the ’70s, and since I was busy in television, I pledged only to return when a conducive atmosphere would re-emerge. I am hopeful and believe that if more dedicated, educated and talented people such as Javed Sheikh, Javed Jabbar and Syed Noor venture into the industry, our films will be able to make a triumphant return.”
Be it Ahmed Rushdi singing Ko Ko Korina, Mehdi Hasan rendering his voice for Mujhe Tum Nazar Se or Mujeeb Alam crooning Hai Beqarar Tamanna, Sohail Rana always used the best and most suitable singers for his compositions. However, he preferred Mala for his biggest hits in female vocals, including Akele Na Jana, Bhooli Hui Hoon Dastaan and Thehr Bhi Jao Sanam during the era when Madam Noor Jehan ruled the roost as a playback singer.
Was it because he was following his contemporary O.P. Nayyar in India who never recorded with Lata Mangeshkar and felt more at ease with Asha Bhonsle? “It is not entirely true for I had composed Akele Na Jana with Madam Noor Jehan in mind. Both Waheed and I wanted Madam to sing the song but eventually had to record it with Mala who also did an excellent job. I was even asked by a scribe at a party about this to which I said that it was my misfortune as a composer that Madam couldn’t sing for me. Overhearing our conversation, Madam gently interrupted and modestly said: ‘Perhaps Sohail Rana didn’t think my voice was good enough for his composition’. I reminded Madam about Akele Na Jana and she said that had she known the phone call was from me and Weedu (Waheed Murad), she would have taken us all in her car to her villa for homemade food and rehearsals. However, after that in Phir Chand Nikle Ga, Guriya and Badal Aur Bijli, I had the privilege of having Madam sing not one but four of my composed tunes.”
To this day Rana says he earnestly owes all his achievements to his parents, mentors, teachers, artistes, critics, assistants, friends, his supportive and understanding wife, Afshan Rana (an accomplished sitar player herself) and above all, Allah. He feels obligated to his four gurus (teachers) and still considers himself a student of the medium. “The whole world has been my teacher, including the kids who used to feature in my music programmes on PTV. But I will always be indebted to Ustad Feroze Nizami who also taught Madam Noor Jehan and Mohammad Rafi, Ustad Mobin Khan, Ustad Manzoor Hussain Abedi and Mauseeqar-i-Azam Naushad sahib whose work I have been following from Sharda, Rattan to Taj Mahal, his final bow.”
While working for films and EMI simultaneously, in 1968 Sohail Rana entered a new dimension by starting a music programme for children on television called Kaliyon Ki Mala. While playing the harmonium and conducting music from the black-and-white era of television, he carried on with the programme under different titles (Saat Suron Ki Duniya, Sang Sang Chaltay Rehna, Hum Hi Hum, Rang Barangi Dunya, Saray Dost Hamare, Sang Sang Chalein, etc) for 20 years, playing the accordion in the coloured TV era with loads of students who went on to make a name for themselves in music, namely Nazia Hasan, Zoheb Hasan, Afshaan Ahmed, Fatima Jaffery, Zeba, Zuby, Rakhshanda, Mona, Amjad Hussain, Anwar Ibrahim, Hadiqa Kiyani and Adnan Sami Khan, etc. “I composed over 2,000 songs for children and tried to be their role model through music, teaching them many things which hopefully inspired at least three generations. Later, those who tried to emulate me lacked the very sense of commitment towards Pakistan, our culture and the future generations.”
What prompted him to venture into children’s music in the first place? “There is an old saying: ‘With the same stones, you can make a Gothic cathedral or a Roman castle… it’s nothing but the arrangement of stones’. I applied this to music…with the same seven notes you can create a symphony, lullaby, national song or a nursery rhyme. It’s nothing but the arrangement of the seven notes. I wanted to groom the children into better people and found that nursery rhymes such as Ba Ba Black Sheep and Humpty Dumpty helped them in no way whatsoever. I didn’t want to entertain kids through a half-hour TV programme but to educate them, and I am glad that now when I meet young people everywhere, they tell me how much they liked my programme and that is reward enough for me. I could have done what some of my contemporaries were doing then with songs like Gadhay ki dum kidhar gaye, but that was never my idea. I tried to teach children our history, traditions, love and respect for elders and patriotism through my television programme. I used music as a tool to reach out to young minds and hearts. I believe I was chosen for this work and fulfilled it to the best of my ability and with complete honesty.”
And then there is Bara Mahinay Islami Hijri Kay Yaad Rakhen. “I used to have trouble memorising the names of the Islamic months myself and in order to remember them I composed this song which became popular when children sang it on TV. I am glad that many of my songs including Hamaray Quaid-i-Azam, Iqbal Hamara, Shawa Bhai Shawa, Dosti Aisa Naata, Morni O Morni and Sang Sang Chaltay Rehna are still popular among kids of even this generation.”
Sohail Rana composed many patriotic songs during the ’60s and the ’80s that gained enormous popularity. Renowned singers such as Mehdi Zaheer, Mohammad Ifrahim, Shehnaz Begum, Mehdi Hasan, Alamgir, Nayyara Noor, Amjad Hussain, Mohammed Ali Shyhaki, Waseem Baig, Habib Wali Mohammad, Akhlaq Ahmed, Iqbal Qasim and many more sang numbers such as Allah O Akbar, Zameen Ki Godh, Sohni Dharti, Jeevay Pakistan, Yeh Des Hamara Hai, Tera Pakistan Hai, Jaanan Likhoon, Main Bhi Pakistan Hoon, Rang Barange Phoolon Ka Guldasta, Aae Nigar-i-Watan, Suraj Kare Salam and made them evergreen. “A friend once advised me to move into fields other than films because film music is not a long-lasting field like folk and classical music. Therefore, while I was scoring music for films, I was also branching out. I worked for the preservation of folk music, classical music and also put my heart and soul into composing national songs.”
Sohail Rana’s canvas has always been much larger. He is both innovative and traditional, and is still remembered for his creative and popular work be it ghazal, geet, an instrumental such as Khyber Mail or a Mass Gymnastic Display, a devotional hit song such as Shehbaz Qalandar or an anthem for the South Asian Federation Games, Asia Kay Saat Mulk Saath Saath. He also undertook commercial tours abroad, touring the whole world and had the distinction of working with orchestras such as the London Symphony Orchestra in 1973 and conducting folk dances orchestras, especially the ballet Heer Ranjha, performed at the Sydney Opera House, Australia to Madison Square Garden in New York. He was also the resident composer for Pakistan International Airlines from 1972 to 1974, composed the inflight music for PIA and also served as an advisor to the President of Pakistan on brass bands.
During the early days Sohail Rana had pledged to his parents to take music as a mission and to conduct an orchestra at the UN someday. His dream came true in 1987 when, for his untiring efforts as a cultural ambassador for world peace through children’s music, Rana went with his wife to New York to receive the Peace Messenger Award by the then United Nation’s Secretary-General at the UN head office. He also received several awards and honours at home and abroad, gold discs from EMI and Pride of Performance Award by the President of Pakistan in 1981.
His last show before settling abroad was way back in Islamabad when SAF (South Asian Federation) Games were hosted in Pakistan in 1989. He participated with a group of 95 singers, a 35-piece orchestra and 115-piece brass band. When asked why the field hasn’t progressed in the last 20 years, he said, “It is very sad that our composers didn’t give enough importance to composing national songs. It is obligatory on us to compose patriotic numbers, educational songs alongside entertaining music because we owe this to our country. I am aware of the decline in music everywhere and hope the tribute I recently conducted for a local TV channel might inspire our youth. I will visit Pakistan again and compose new national songs, children’s music and maybe something for other music genres.”
Sohail Rana urges his contemporaries and younger generation to look into the copyright laws and avoid its infringement. “Something should be done locally for the copyright act because its violation is very rampant in both Pakistan and India. In the ’80s, I had personally and promptly dealt with one of the copyright violators but since I have been out of the country, those elements and other ones have again started making CDs and DVDs of my songs without my written permission. I would like the judiciary to take strict action against this ‘crime’ because if exemplary punishment is given, others will not think of doing the same. We should also have a censor board for music albums where at least two top music composers, two renowned poets and a judge be inducted as a committee to check the new releases for quality, which should only be released after their approval.”
What changes has Sohail Rana observed on his recent visit? “Pakistan has changed immensely for the better. I will take back a lot of good memories with me and who knows, the love of the people I received on this visit might even make me return for good to Pakistan that has given me everything from recognition, identity, appreciation and love. I want to remain available to my people, to my passion (music) and to Pakistan. I hope to return soon to my homeland which has once again become a democratic nation, where people know exactly how to stand up for themselves. With such an attitude, I am sure no country in the world will be able to suppress this nation. I am also pleased to learn that Mehdi Hasan sahib is being looked after by the government and also hope they would make such endeavors particularly for the welfare of music composers, poets and singers. They are our intellectual property and like any other property, they must be given protection. When I went away Pakistan was asleep. I am very happy to know now that it is awake.”
SOURCE:

http://www.dawn.com/wps/wcm/connect/dawn-content-library/dawn/in-paper-magazine/images/firstperson-shades-of-glory

This article is published in daily newspaper THE DAWN dated 19 Apr, 2009.

First person: Shades of glory By O.A

2009-07-06T21:58:00.000-07:00

This article is published in daily newspaper THE DAWN dated 19 Apr, 2009.

In the name of peace By Amra Ali

2009-07-06T21:57:00.000-07:00

The flags form part of our collective consciousness as a people that want peace on both sides of the border. In effect, they reach out to even those who are not seen as belonging to the art communityArt has continued to transcend and influence beyond the superficial layers of existence, becoming the voice of consciousness in society. Artists like Sadeqain painted the anguish of the human soul. He took references from his own surroundings to suit his expression of that angst. The cactus that he saw in the plains of Balochistan was to him a parallel of his own suffering and the collective voice of a society. Nagori, later explored a more political consciousness, his paintings confronting the socio-political climate of the 1970s and 1980s, in a more proactive assault on the establishment.Contemporary artists like Imran Qureshi deal with similar concerns, but through subtlety. The role of the artist, which has largely been marginalized by this establishment, continues to suppress and marginalize the artist, in a way that keeps art contained within gallery space. It is also important to remind ourselves that art in this space provides interaction with a relatively small, and perhaps, insignificant number of people.In this context, work that travels beyond and into a public space changes the context of art, and provides a more direct link to the public it seeks to inspire. The Flags of Peace has been such an exhibition. It was launched in December 2003, as part of the India Pakistan Peace Forum. Hundreds of students, journalists, artists, writers and performers from India were invited to Karachi where they met with their Pakistani counterparts, in an atmosphere of friendship and understanding. Peace between the two neighbours, and peace in the region, through cultural dialogue became a stepping stone for further links between the two countries that share much more than we choose to acknowledge. This provided the impetus for the Flags of Peace exhibition.The curator, Niilofur Farrukh, and myself as the co-curator, envisioned a travelling show of flags of cloth that would start their journey from the lawns of the Beach Luxury hotel in Karachi, and travel from south to the north of Pakistan, and eventually to cities in India as a symbol of peace and understanding in the region. A hundred artists, painters, printmakers, sculptors and photographers, from India and Pakistan were invited to create works on a piece of cloth, one metre by one metre. The aim was twofold: one, to prompt the artist to move out of the “box” and not to replicate the paintings on cloth; but rather to explore the medium of cloth that has many traditional implications. The second was to make the artist question and reinterpret the implications of what the flag entailed. This was seen as an opportunity to make the artist aware of the significance of his or her role as a vehicle of social commentary, and subsequently, of social change.There was a conscious decision to blur hierarchy in art, and present a united voice of solidarity that included the flags of well-known artists like Wahab Jaffer, Riffat Alvi, Qudsia Nisar, Imran Mir, and many others, along with the works of recent graduates and collaborative flags from schools. In an attempt to bring art out of the gallery and in direct interaction with the general non-gallery going public, we made ourselves, as an art community, accessible to a public that could appreciate and understand the many types of expressions, or disregard these. The original exhibition was set up as a boundary wall along the peace convention area. The flags hung from a clothesline. The images of peace stood as a reminder that peace is a privilege, and must be demanded by the people, who share much more than the political game made out of it.Some 24 flags are being shown currently as part of the Sheraton’s Artfest from August to September 19. The attempt of the curators has been to initiate a deeper and more meaningful dialogue between art and the audience. The show merges illustrative works with more conceptual pieces that promote an inquiry into the constant shift in definitions of art itself. A flag, such as Leena Ahmed’s use of a real object like a deflated tyre with gauze to fix its punctured areas, is an example of an artist stretching her imagination to make a statement on the fragility of peace. Similarly, Indian artist Mithu Sen uses a piece of off-white silk, and pins patches of small silk squares as her statement of peace. The use of a red banner that hangs down with bells at the bottom, and an embroidered motif of the Ghauri missile, by the sculptor Munawar Ali represents the tradition of hand embroidery shared by both countries, and is also a commentary on the threat of war.As emblems of peace that can transform the meaning of the flag, the exhibition travels to Lahore, coinciding with the peace convention taking place there, to continue to give the artist an opportunity to explore issues of nationalism, boundaries and belonging. Planned to go along with future shows are workshops that bring artists into discussion about these issues, and a catalogue that documents the works as new artists join in the journey. Moreover, it seeks to address the establishment and policymakers to look to art as a powerful tool that can help transformation and communication on a deeper level than current political actions.
SOURCE:

http://www.dawn.com/weekly/gallery/archive/040911/gallery2.htm

This article is published in daily newspaper THE DAWN dated September 11, 2004.

The enduring mystery of Mona Lisa By Hiba Tohid

2009-07-06T21:54:00.000-07:00

Looking at the world’s most famous smile in different ways will launch a thousand interpretations...When you see the Mona Lisa, leave whatever it is that you are doing for a moment and direct all your attention towards it for a while. It is not that you will be looking at the portrait for the first time. The Mona Lisa has gone past our eyes several times, sometimes as an animation from a cartoon or sometimes in advertisements selling products ranging from soaps to air conditioners. And it is mostly due to this fact that we have started taking it as “yet another painting”.However, if you look at it closely, you might see why this painting has captured the imagination of both artists and non-artists for over 500 years. A woman, dressed in the Florentine fashion of her day, sits against a hazy, mountainous landscape. What instantly captures the eye is her mysterious smile. Much has been written and lots more is being written on the secret of this mystic smile.Painted by Leonardo da Vinci somewhere between 1503 and 1507 on a 77 x 53cm large piece of poplar wood, and the victim of art theft in 1911, this masterpiece now lies in the Louvre in Paris behind a bullet proof glass. Mona Lisa’s captivating smile shines through even this transparent screen of protection. Its magical effect can be attributed to the ingenious technique invented by Leonardo himself. The technique of Sfumato.What troubled artists before Leonardo da Vinci was their incapability to produce more lifelike portrayals of their models. Despite possessing extraordinary talents, their compositions appear as statues. Artists like Sandro Botticelli tried to overcome this problem by showing waving hair and fluttering garments. But the real solution came when Leonardo da Vinci introduced to the artistic world an inventive skill called Sfumato.The word Sfumato literally means “turned to mist” or “going up in smoke”. By making several thin coats with brush, arduously, Leonardo brought the same smoky feel into his paintings.Ambiguity never bothered Leonardo. It was his ease with paradox that allowed him to work with Sfumato. The shadowy impressions in his paintings not only make them soulful but also leave an enigma for the viewer to fathom.The paradox of Mona Lisa’s hypnotic smile is indeed a classic example of the magic of Sfumato. Similarly, the disproportion that runs throughout this painting is yet another contributor to its lifelike appearance. The horizon at the left is much lower than at the right side and Mona Lisa’s stature towards the right seems more erect and tall.E.H Gombrich in his book, the The Story Of Art, explains: “The blurred outline or mellowed colors allow one form to merge with another always leaving something to our imagination. Everyone who has ever tried to draw or scribble a face knows that what we call its expression lies mainly in two features: the corners of the mouth and the corners of the eyes. Now it is precisely these parts which Leonardo has left deliberately indistinct, by letting them merge into a soft shadow. That is why we are never quite certain, in what mood is Mona Lisa actually looking at us.”Almost every modern thinker and philosopher has interpreted Mona Lisa’s smile. “A womanly equivalent of Christ,” said Bramly, while Sigmund Freud thought of it as the “most perfect representation of the contrasts dominating the love life of a woman.” And 19th century art critic Walter Pater said, “A beauty wrought out from within upon the flesh, the deposit, little cell by little cell, of strange thoughts and fantastic reveries and exquisite passions.”The identity of Mona Lisa comes into play, when trying to solve the mystery of this smile. Was this paradoxical smile given out of some psychological misfortune that the model actually went through while the portrait was in progress?The story that Louvre puts forward, from Giorgio Vasari’s (Leonardo’s biographer) notes goes something like this: Mona Lisa was the wife of Francesco del Giocondo, the noblest citizen of Florence who ordered Leonardo to paint a portrait of his wife. He began the painting in 1503 and finished the work in 1507. However, he never handed over the picture to Francesco, and instead, took it to France.Maike Vogt-Luerrsen in Who is Mona Lisa? disagrees with Vasari’s version of the story and says that Mona Lisa was the lovesick duchess of Milan who had passion for Leonardo. It was a love story that could not flourish as it was not allowed to. The reason that she looks sad in the portrait is because of her inability to attain her true love.Meanwhile, scientists have discovered an astonishing facet to the portrait that redefines Leonardo’s genius. Scientists at the Smith-Kettlewell Eye Research Institute at San Francisco say it lies in the design of the human visual system. They experimented with a digital version of the portrait by subjecting it to random visual noise, like TV snow effect. To put it simply, they threw light signals at the digitized portrait. They noticed that variations could alter people’s perception of the “famous smile”. Depending on how they were affected by light, people saw her as happy or sad. Some noise signals lifted her lips, making her look happier, while others flattened the smile making her look sad.One of the researchers at the institute explains that the human sight contains many sources of visual noise; changes in the number of light particles hitting eye cells changes the visual noise and this is what makes the people think Mona Lisa’s smile is changing. Was Leonardo da Vinci aware of this? Did he knew then, what we know now as visual noise? Leonardo da Vinci’s genius is not limited to his talent as an artist. He was an engineer, a scientist, an anatomist. The curiosity surrounding Mona Lisa’s smile has allowed researchers to discover new ways to approach this age-old riddle.However, the most interesting theory was forwarded by Dr Lillian Schwartz of Bell Laboratories. She compared the Mona Lisa with Leonardo da Vinci’s only self-portrait that he chalked in 1518. She explains: “Juxtaposing the images was all that was needed to fuse them: the relative location of the nose, mouth, chin, eyes and forehead in one precisely matched the other. Merely flipping up the corner of the mouth would produce the mysterious smile.”Dr Schwartz, through this remarkable research has shown that the woman who has symbolized western beauty for more than five centuries is indeed Leonardo’s soul image. The maestro’s relationship with paradox was so intense that it remained with him all his life.The Mona Lisa communicates with the viewer immediately, telling him different stories. In order to have your story, look at the painting not as you might have always, but differently. By the end of the four or five minutes, you will come up with an interpretation. Your own solution to the timeless riddle of Mona Lisa.
SOURCE:

http://www.dawn.com/weekly/gallery/archive/040911/gallery6.htm

This article is published in daily newspaper THE DAWN dated September 11, 2004.

Promoting peace through paintings By Ranjit Devraj

2009-07-06T21:46:00.000-07:00

NEW DELHI: “War begins in the minds of men,” says India’s leading art connoisseur and promoter of Indian contemporary art, Sushil Kumar Modi, citing from the charter of the United Nations Educational Scientific and Cultural Organisation (Unesco).Deciding to do something about it Modi, heir to one of India’s major business empires, set about commissioning depictions of peace on canvas by internationally-acclaimed Indian painters for an international road show with the theme ‘Power of Peace’.In an interview with the news agency, Modi said he spent close to four million dollars painstakingly and lovingly putting together this unique collection of 52 canvases by such brush wielders as M.F. Husain who has been living in Dubai for last two years, S.H. Raza who lives and works in Paris and the British-born Uday Dhar.“It was well worth it. We live in a time of conflict and confrontation, of wars, and terrorist attacks that arise from religious intolerance and hunger for power. We need to communicate and what better medium than art, that universal language? Unlike words which are spoken, heard and sometimes forgotten, art on canvas stays forever and so does the message it conveys,” said Modi.For Modi, talking with some of the most creative minds in the world and getting them to contribute to the endeavour was half the fun. “Each artist had his own world-view and saw peace in his or her own light.”To Raza, whose paintings are known for their spiritual quality, peace appears as a series of concentric circles, painted in earthen tones around a dazzling creamy core that has the effect of spinning out light. Titled ‘Shanti’ (peace) the depiction is of the “brightness of life, slowly drained away by the white light of eternity.”And for M.F. Husain peace is inseparable from love — the unconditional, constant and selfless love that Radha the milkmaid had for the flautist, cowherd god Krishna. “This is the love that each of us must feel for all of humanity and peace will be achieved forever.”As a collection of contemporary Indian work it is not surprising that three of the painters, Akbar Padamsee, Suhas Bahulkar and Shuvaprasanna turned up canvases with images of Mahatma Gandhi, India’s apostle of peace and non-violence.Explaining his portrait of Gandhi standing in the midst of broken religious icons, Bahulkar said: “While no single religion contains all the truth, the heart of religion lies in seeking truth in companionship with others, not claiming to have all the truth. Gandhi’s path teaches that people from different religions can cultivate a culture of peace by learning from the various world religions, even as they remain rooted in their own.”The Power of Peace exhibition series premiered in Paris in October 2006 and was then shown in Bali, Indonesia where Unesco’s Global Peace Forum was held from Jan 21-23. Its next stop will be Tokyo.“On Jul 18-23 we will be holding the exhibition at the Ueno Royal Museum. The collection is also being exhibited at several locations in Britain, this year, including the House of Lords in October,” Modi said.Testimony to the sheer brilliance of the collection is the fact that at several of the exhibitions, art collectors offering to buy up pieces had to be constantly turned away. “These exhibitions are non-commercial and that is why they are invariably held at prestigious museums and venues. The idea is for people to view these works of art and carry away the theme of peace,” said Modi.He added that the work of mounting exhibitions has been greatly facilitated by the prestigious International Institute of Fine Arts (IIFA), located outside New Delhi, and of which he is the chairman. IIFA has collaboration agreements with prestigious institutions such as the University of the Arts in London and the La Salle- SIA college of arts in Singapore.The touring exhibition, besides the intended objective of promoting peace, has had the effect of introducing to the world contemporary Indian art, often drowned out by the wealth of creations from a culturally rich historical past.Where a whole genre was missing, Indian contemporary paintings by Husain, Raza and others figure regularly in the catalogues of auctioneers like Sotheby and Christies. A point has now been reached where personal preferences are making way for pure business propositions in Indian art.“Indian contemporary art is one of the very best in the world and the Indian form is vital today for the overall growth of art,” commented Raza. —Dawn/The IPS News Service

SOURCE:

http://www.dawn.com/2007/05/31/int21.htm
This article was published in the daily Newspaper THE DAWN dated May 31, 2007.