A Classical Revival?

The damage done by the infrequent updates of interacts on Chowk has been done. Most of the usual suspects like tAhmed321 are being sorely missed. Has anybody else noticed the disappearance of Busharraf(alias urstruly)?

The usual pattern of discussion on Chowk is something like this. Sameer posts a few interacts. Field Marshal ROmair comes flying in and sprays the usual I know everything, you bloody civilians and banias need to learn how to salute properly, Imran Khan is great, NS and BB are ruffians, Army good-politicians bad blah,blah,blah and Voila you have a 1000 word post. The banias unable to restrain their glee at the bounty of illogic provided by the Field Marshal litter the message boards with opposing posts. The Field Marshal looks for reinforcements but finds none and retreats to fight on another board...using the exact same arguments...eh armaments. And so it continues.......Mighty boring if you ask me.

Can`t wait for the book from the Field Marshal? I promise to buy at least the first fifty volumes......

later
-sac

Kathak, bharatynatyam and other forms of monkey dancing are alien to Pakistan. While a common Pakistani can identify with Bhangra, Luddi and other local dance-art forms and can admire some alien influences like disco dancing ;-) he/she doesn`t have a clue on the monkey dances of India. A small group of Mohajir elite is in love with Kathak..... good for them!

dost-mitter, you are anything but. A more appropriate nick for you would be posionous-snake.... the amount of honey-coated venom that you can spew against Pakistan is amazing. Listen, one of the advantages that we got by carving Pakistan out of Bharat Mata was to rid ourselves of all the vile influences of your evil religion. Keep your kok shastras, devdasis and their dances, we are happy without them.

I think people are missing out on the main reason for lack of interest in local cultural productions in Pakistan.

The effect of Zia`s days is obvious. It does not need to be debated. As far as I am concerned, he is in the same list as Nawaz and Benazir (and her father). The only thing that differentiates them, is that each destroyed a different aspect of the society. Zia destroyed the social fabric, while the other three destroyed the economy. Anyone who opposes one of the above, and not the other, either likes the Army and religious parties more than he/she should, or dislikes the Army and religious parties, more than he/she should.

However, Pakistan was not big time on the cultural map of the world even during the more open days of Ayub and Z. Bhutto. At the same time, even during Zia`s days, certain forms of culture did booming business - assuming that one considers Indian movies (and music) to be culture. Zia himself gave, for some strange reason, Dilip Kumar the highest Pakistani civilian award, the Nisha-e-Imtiaz. Not that I have anything against D.K, but what did he do to deserve it? Zia`s favorite actor was Shatru Sinha, who used to apparently visit him, now and then. Interestingly Shatru is now an avid supporter of BJP, along with Vinod Khanna.

Culture and entertainment is heavily tied into the Pakistani society and even into its interpretation of its religion. If you don’t believe me, then go to the mizars of the people who spread Islam in what is now Pakistan, and see all the singing dancing. Or discuss Shahrukh Khan with the relatives of the village maulvi.

So people should take the criticism of Pakistani religion-haters, on this site and outside, with a grain of salt. Since they will blame religion (and Army) for everything. They need to stop complaining and start taking practical stands. After all, Junoon`s concerts were broken up by religious zealots. BB and NS banned them. None of this stopped them, since they are doers and not cynics. Look where they are now. They are the darlings of the current govt., and playing to full houses. They are a good example that talented people who want to do something in Pakistan, can do so. Our cynics should learn a lesson from them.

Ever since Indian movies and music was introduced, via the VCR, into Pakistan, it has taken over Pakistan. It almost put the Pakistan movie industry out of business. In the most remotest parts of Pakistan, I have always seen two things: a mosque and an Indian video shop. VCRs are the prominent item in a bride’s jaheez.

The above would indicate that Pakistanis are broad-minded when it comes to entertainment. They know how to differentiate the good and bad from other countries/ideas in culture, and harmonize it with their society and religion (otherwise you wouldn’t see a mosque and an Indian video shop in rural Punjab). Only the cynics would disagree.

Then, what is the biggest reason that our, ``culture`` and ``entertainment has not taken the world (or even Pakistan) by storm? The secondary reason is that the society has, since Zia`s days and NS and BB days, been closed more than it should have been. But the primary reason is that we just aren’t very good in this arena. Indians are far more talented, and have thus taken over the entertainment arena in Pakistani. If religion and social narrowness were the main reason, then Indian movies and music wouldn’t have done booming business in Pakistan. Nor would Junoon and Nusrat done booming business.

The current govt. has opened up Pakistan culturally. Even Madeeha Gohar has stated this openly on BBC. She was recently given a pride of performance, even though she spent her career doing anti-govt. stage plays. So we can take her word, over the word of various other interactors. However, I don’t think this new openness will be dominated by, ``local`` Pakistani culture. It will be dominated by Indian, and to a lesser degree American culture. Since their writers, dancers and singers and producers are better and more entertaining.

So, as in all other areas, we need to stop complaining and blaming, and start doing. Instead of complaining about Zia and religion all the time, we should use this new openness to learn and participate in dance, music, literature, act in a movie, sing a song, write a book, etc.. I am doing my part by co-authoring a book on Chowk :-)

#18 Zafar
Kathak used to be the province of courtesans, whereas bharatanatyam was once confined to devadasis. Not that different in a way.

Reply Rsridhar, LadyAna

A major difference between Kathak and Bharath Natyam`s history is that Bharath Natyam has an ancient and unbroken tradition which has never had to make any attempt to ``expurgate`` particular aspects. What I mean is that most BN performances are almost all structured around religious stories of some sort (variations of Krishna and the Gopis are favourites) - Kathak, developing as it did under the patronage of mostly Muslim rulers, doesn`t have that sort of ``plot`` to hang the dance on - which makes it harder for it to engage an audience. Traditional Islam`s ambivalence about dance did have an effect.

Right now I think the reason that Indian classical dance styles have a fairly safe future is that most middle class Indians see it as not only respectable but desirable for young ladies to go off and take a class in these forms. (Perhaps not all as seriously as RSridhar`s sister - six years! - but even an introduction is enough to foster an appreciation of the art, which translates in support - read sold tickets - in later life.) The better known dancers from the generations after Rukmini Arundale are all from families which are extremely ``respectable`` (Mrinalini Sarabhai) and that has had an effect on how classical dance is viewed.

Ditto for classical vocal and instrumental for both boys and girls. What`s unfortunate here is that some of the less ``glam`` instruments and styles haven`t benefitted from this, and there doesn`t seem to be anything done to keep them alive apart from some Lalit Kala Akademi type grants, which are not all that munificent. (For eg, lots of people learn the sitar, but who is learning the Esraj and who will be able to play it in a couple of generations?)

Vaisai perhaps Pakistan`s discomfort with classical art forms associated with Hinduism and the relative absence of a Bollywood equivalent (Lollywood? Ai tau koi bhoose di mithai da naam...) makes space for other ``folk`` forms to take on a greater public presence and new development - for eg the kind of traditional music Abida Parveen sings is not only every bit as good as classical forms from India, it is something that is new and different while remaining solidly within that tradition - in fact it`s tremendously popular in North India too. (She gets invited to Svar Utsav every year, just like the late great Nusrat used to be. Perhaps Pakistan is paying us back for the Big B with the...?)

Regards

warpster, dost-mittar: The name of Zia can not be avoided when mentioning change of direction. It is not to say that nation one day got up and found everything turned around but it is the crossing of threshold when nation/ government decidely turned against non-Islamic art, music and culture. Muslims as well as Pakistanis always had pockets of conservatives and orthodox who objected to anything that is not allowed in black and white. similarly the rhetoric of Islam was a force to reckon with from day one of independent Pakistan. But it never achieved a status where everything not clearly allowed have to run for life until the Arb-Israeli war of 1967 that started the trend to look inward into Islam for answers to all the failures as well as future. The crowning movement in Pakistan for this mindset came with three events happening within short period of time namely Zia assuming power, Khomeini Revolution and Russian invitation to Afghanistan. Before the crossing of threshold, most people did not like dancing and pop music but such small institutions do not need the backing of majority. A 2-5 percent population in support is more than enough provided their lives are not at risk for exercising freedom to enjoy and participate in such activities. That core still exists in Pakistan but the suffocation and risks are not worth practicing that freedom. This is what I meant by trends.
The performing art is the very liberal side of the culture. It was the first casualty of barrier lowering of intolerance. I bet hundreds or perhaps thousands of people would be willing to be entertained through this art but nobody will stand up to defend it if only one of the local mullahs gives fatwa against it. The reason is that people do not like to be associated with anything that has even a speck of doubt of anti-Islamic. People will resist if they deem it clearly outside the label of unislamic such as going to watch a cricket match between India and Pakistan or fatwa against rice eating.
On top of that if anti-Islamic is of Hindu or Indian origin also, the fervor against it is increased manifold, for well-known reasons. However, it is a generalized statement with plenty of exceptions such as Basant. At this level another factor plays very important role and that is profanity and women participation. Basant does none of that whereas dancing can be considered profane, nudity, vulgar and anti-purdah system for women. In this way it plays right in the hands of their worst enemies.
so freedom to perform this art form, without risking life and peace, is more important than to expect acceptance by the majority. That will not happen anytime soon. Increasing tolerance or decreasing intolerance is the main issue here not the popularity.

re:#4 by warpster on September 16, 2002
While what you say is true, official patronage is needed at the initial stages. Bharatanatyam was resurrected from a Devdasi tradition (where alone it had survived for centuries) by Rukmini Arundale. If you know how much stigma is attached to being a Devdasi (prostitutes, literally), you will realise why few people took to learning bharatanatyam as it was associated with something bad. The reality of course is different (it was conceived as a dance form by Sage Bharata many centuries ago) but that did not matter.

Once the dance form came out of the clutches of devadasis, patronage by GOI ensured its survival. Ms Arundale and other early comers (like Balasaraswati who actually was from the tribe of devadasis and became a famous dancer) had to fight it out and made things easy for later dancers. Today, it is no more a stigma. Though official patronage continues, many schools stand on their own merit and do not depend on such patronage for survival.

GOI has given a lot of patronage to not just dancers, but classic singers, players etc. Eventually, as a wider viwership develops, public can take the place of govt of the day.
In Pakistan, unfortunately, no patronage is available to dancers and people like Sheema Kirmani have been waging an epic battle against bigotry and unjustice.

Sridhar

re:#3 by LadyAna on September 16, 2002
Bharatnathyam has more body movements and ``abhinaya`` and ``bhava`` (facial expression and acting), the As and Bs of this dance form. I should know a little about this as i grew up with my sister learning it for 6 years in Delhi from a renouned guru (and was a forced and at times an unwilling audience to her practice sessions!). A lot of newer schools now seem to teach only faster body movements without emphasis on the As and Bs. Purists have been bemoaning this fact.
Kathak (and another dance form Kuchipudi) lack the variety of body movements (here i am only saying from what little i know about these 2 dance forms) that you see in bharatnatyam. If not being performed by an expert, it may become boring to watch. I find Kathakali terribly boring.
Sridhar

[... His own salary, previously a paltry Rs 4000, was recently
raised to Rs 5000 a month. ``But this is far less than what it
should be,`` he adds. He isn`t asking for an outrageous
amount: Rs 8000 a month, he says, would be sufficient to
support his wife and four children. ...]

Why? So he could have four more and ask for a salary of Rs. 12,000?

I vaguely remember a show that was to be a weekly program featuring Mohyeddin`s wife, performing katthak as well as other classical dances, but the plug was pulled practically after the first show...and this was before the Generalissimo marhoom`s time, I think.

Beena,

Nice little article. I didn`t know that zia mohiyyuddin was married to Naheed Siddiqui. I saw her perform a most wonderful katthak along with her troupe of young dancers at a show in birmingham about 3 years ago. I cannot remember the name of the show now but i took my german friend along too and he was also very impressed. The control in her movements was exquisite as was the accompanying music. The whole thing (costumes, stage, dance routines) reminded me of Muslim splendour during Mughal times...

***
dost-mittar: there is difference of opinion amongst scholars about the permissibility or not of dance and music but the majority opinion within Orthodox Islam is that it depends on the content of the song. Most scholars hold musical instruments to be expressly forbidden--except for the daff . Most are agreed that singing on its own is allowed--with strict conditions! Certainly the kind of pop music and dancing which goes as Art today is not allowed by Islam--and I haven`t seen any difference of opinion on that. As to qawwalies--there is difference of opinion! The Chishtis seem to allow it; the Naqshbandis generally frown upon it as do the Qadiris and others. But there have been exceptions!
There is a comprehensive article at www.hizmetbooks.org. Do a search for ``music``

Bina,

A country where flying of kites is banned as a hindu ritual, a harvest festival is banned because it is kaferian, what chance native folk art have in pakistan. It has to be something arabic, belly dancing in faisalabad with ahmed bin kasm al jihad as the patron has a good chance to flourish.

How about re-enacting of kargill invasion by lasker e toiba at their next meeting at madreke with an audience of a million. Bina, think inside the crescent.

By the way, entertainement for chained passengers on PIA flight is probably the best reason to close and forget about the art school.

Good to read a current analysis of a state of dance and why. Any grassroots patronage?

sameer: ok so the issue is regarding attitudes towards performing arts, be it song, dance, drama etc. Are you saying that the entertainment scene in Pak cities is bereft of these elements? If true, I`d wager the south asian cultural scene is far more alive in the ``Islamic`` Malaysia and Indonesian capitals. These countries also have their own traditions and, so far, dont see any conflict with the majority religion (Islam). And in non-islamic Singapore (where I happen to be presently) there is a wide variety in terms of cultural options (western, eastern, south asian ,east asian). Why have these people (Zia?) chosen to impose such a narrow exclusive identity? Perhaps due to the mistaken notion that because Pakistan emerged out of religious partition, its identity is inextricably tied with religion.

Pakistan`s policy continuing to rely on religion as a core identity seems flawed. If (virtually) everyone in Pakistan is a muslim, then religion as a variable ceases to be as important (it is no longer a variable but a constant). The only non-muslims you can contrast with are those across the border (and elsewhere) and who dont really partake of your culture/nation and are therefore make-believe. If you had a substantial (say 20%) non-muslim minority as in Indonesia, things could have been quite different. For the same reasons more fine distinctions (is X sect really islamic etc.) takes on increasing importance as they allow the ``use`` of religious categories in discourse and propaganda. The banning/discouraging of performance art as being unislamic also is a way to keep religion in the centre of discourse (defining good vs bad muslims). So all these efforts (issuing fatwas rendering some sect nonmuslim, banning this and that) can be seen as a way of making ``islam`` more variable within pakistan and hence of use as a conceptual category.

At the same time, ethnic and linguistic differences come to the fore as there is real variability here (so one can argue about favoritism shown towards Punjabis etc. as opposed to Sindhis or whether Pathans make better fast bowlers than Mohajirs and such).

I would argue that Pakistan`s islamic or muslim identity, however entrenched it might seem at the moment is actually very fragile. The only reasonable modern substitute is to take ownership of and pride in the quality of your institutions and the diverse strengths of your peoples. This could serve as a starting point of a robust national identity.

warpster: Demand for culture comes from publicity, patronage and trend. Publicity without government backing is not possible in Pakistan. Upper middle class and upper class patronage is bad for those people`s status in society and politics - as too liberal. Trend was set by Zia to be against performing art as non-Islamic and has not changed since. In this squeeze on performing art, where your life can be at stake, demand or patronage in not worth risking life. Unlike pulling the plug on Taliban and fundamentalists with one speech, a change in attitude towards performing art will take time, if ever.

One thing I dont quite understand. Why must the existence of art solely depend on government patronage? Officialdom can be enormously helpful but surely the laws of supply and demand are even more important? Is the implicit assumption here that there is no such demand in Pakistan?

If there is no demand from audiences and students (particularly the latter) these arts cannot survive (they absolutely need patronage). My observations tell me that in India and, particularly, the diaspora, spending on arts tutelage has gone up considerably (with affluence) ensuring the survival and growth of the classical dances and music (bollywood and pop forms notwithstanding). Patronage is helpful and encouraging but not absolutely essential.

SameerJB#1 has a point: Pakistanis who are so inclined will probably find better opportunities to watch and learn in the diaspora than in their home country.