Written by N Yousufzai
Bibi Shreeney 
, Shinwari lewangina and Zama khukhaly janana are one of those songs that truly reflect the beauty of Pashtun culture. In old songs the beloved’s honour and beauty were appreciated in an indirect manner.
Rabab and damama (Tabla) with delightful shpelai were the necessary instruments in a song. Romantic subtle poetry and soft composition would add magic to a song.
, Shinwari lewangina and Zama khukhaly janana are one of those songs that truly reflect the beauty of Pashtun culture. In old songs the beloved’s honour and beauty were appreciated in an indirect manner.Rabab and damama (Tabla) with delightful shpelai
were the necessary instruments in a song. Romantic subtle poetry and soft composition would add magic to a song.
Those were the days when music was not like any other profession, it was considered a serious business, and people who possessed qualities of a singer, practiced it. Music was a sanctified form of reciting the romantic and innocent poetry. That is the reason music lovers still listen to old classical music. It’s not that they don’t want to listen to modern music, but in modern Pashto music they barely find any meaning.
. Surprisingly, the number of singers, despite the brutal killing of few female singers including Aiman Udhas, Yasmeen Khan and Ghazala Javed, increased. The hostile environment created by the Taliban for music further curtailed the already insufficient opportunities present in the society to produce quality music. The intimidation faced by artists in the field of music, the death of music in traditional hujra and the daily attacks on music stores have forced musicians and singers to produce low quality Pashto music during the time the Taliban remained in control of the society.
The trend to produce low quality music continued even after the Taliban lost control on major towns in the region. As a result, most Pashtuns find the contemporary Pashto music a negative portrayal of their culture and society and avoid listening to it in the presence of their family members.
The music accompanied by dancing women dressed in unnecessarily revealing clothes in Pashto movies and music videos is, most of the times, not an easily accepted form of art in the Pashtun culture but is seen as an easy way to sell the low-quality music. In some cases the real meaning of high quality poetry is changed. Those, who know the real meaning of the poetry of poets, such as Ghani Khan’s, can certainly feel offended. Philosophical poet Ghani Khan`s famous poem, Chy masti wi aw zwani wi- (when you are young and yearning) originally sung by Sardar Ali Takar , is recently sung and filmed in a typical new style that completely changes the meaning of the poem.
dressed in unnecessarily revealing clothes in Pashto movies and music videos is, most of the times, not an easily accepted form of art in the Pashtun culture but is seen as an easy way to sell the low-quality music. In some cases the real meaning of high quality poetry is changed. Those, who know the real meaning of the poetry of poets, such as Ghani Khan’s, can certainly feel offended. Philosophical poet Ghani Khan`s famous poem, Chy masti wi aw zwani wi- (when you are young and yearning) originally sung by Sardar Ali Takar , is recently sung and filmed in a typical new style that completely changes the meaning of the poem.The following few factors could be attributed to the demise of quality of Pashto music:
Kabul became the bastion of quality Pashto music after the leftist Saur revolution in 1979. Musicians received state support that continued until the take-over of Kabul to the then Mujahiddin in 1992. Shunned by the civil war, which erupted in Kabul, and the conservative mujahidin factions, almost all Pashto singers of that time migrated to Peshawar and made the city their home for many years to come. Among them were famous singers, such as Nashanas, Naghma, Mangal, Shah Wali, Qamar Gwala, Dawood Hanif, Huma, Abdullah Maquri and many more. These singers, despite the lack of basic facilities, state support and financial hardships, have tried not to compromise the quality of their music. “When we went to Peshawar studio for music recording, there were only few music instruments, such as a sitar, a harmonium and a pitcher. By bringing and introducing music instruments, such as Tamboor, Dilruba etc. and different forms of Afghan music from Kabul to Peshawar, we made a great deal of difference in the music industry of Pakhtunkhwa,” Shah Wali, a harmonium master and Pashto music legend says. Among those of the new generation from Afghanistan and Pakhtunkhwa, musicians such as Haroon Bacha, Shafiq Mureed, Latif Nangarharai, Shama Ashna, Ismail and Junaid, Irfan Khan, and others have been accepted as the singers who have continued the legacy of quality Pashto music with the addition of a personalized touch.
Among the other areas of Pakhtunkhwa, Swat remains at the top in producing new singers mostly females. Like in Kabul, the credit of large number of Pashto singers coming from Swat also goes to state support in the valley. The Wali of Swat, who ruled the valley before it was force- merged by the state of Pakistan in 1969, was a passionate supporter of Pashto music. Famous classic singers Aqal Mina, Bakhtzamina and Shakila Naz were among the many singers from Swat.
When the valley was merged into Pakistan, most of the Swati signers started moving to Peshawar, the capital of the province of which Swat was a part. The new town provided them new career in music and show-business, though they had learnt music at home.
When the valley was merged into Pakistan, most of the Swati signers started moving to Peshawar, the capital of the province of which Swat was a part. The new town provided them new career in music and show-business, though they had learnt music at home.
In mid 80s and early 90s Panjabi film industry started attracting viewers. Panjabi film-star Anjuman and Sultan Rahi were the most popular couple of the big screen. Punjabi cinemas attracted viewers with bulbous women shaking bodies to get the attention of angry heroes . Those producing and directing Pashto movies started copying Punjabi style and in order to compete Punjabi film songs, Pashto music had to sacrifice its purity andinnocence . Pashto music adopted a different style to attract more non-Pashtun audience in the region.
. Those producing and directing Pashto movies started copying Punjabi style and in order to compete Punjabi film songs, Pashto music had to sacrifice its purity andinnocence . Pashto music adopted a different style to attract more non-Pashtun audience in the region.
Peshawar’s private Pashto TV channel AVT Khyber was launched in 2003. The new style of music was promoted largely compromising its standards. A well-known Pashtun artist Sardar Ali Takar told me “There is serious conspiracy going on against Pashto music. At the state level Pashto music is intentionally targeted and low quality music is promoted. To save music from the ongoing disaster, the government of Pakhtunkhwa must consider starting institutions for music learning”.
In the recent years, a few emerging Punjabi music producers and singers migrated to Peshawar to maximize their business profits in the music industry utilizing the fertile ground and talents in Peshawar. They have introduced a fusion of Punjabi and Pashto music. The music industry solely became a source of income for few production companies, recording ten to twenty songs in a single day.
Khyal Muhammad, known as the king of Pashto ghazal speaks about the impacts of violence and intolerance in Pashtun society on music- “ Song like “Khudkasha dhamaka yama ” (I am a suicide blast) truly reflects what exactly is going on in the Pashtun region, but fortunately we are still loved, that means people still value classic music”.
” (I am a suicide blast) truly reflects what exactly is going on in the Pashtun region, but fortunately we are still loved, that means people still value classic music”.
Musicians are as much affected by the ongoing violence and cultural changes as any other aspect of our society.
Blaming and scapegoating the singers and musicians for the loss of quality in Pashto music is not only no enough, but also is unjust and ineffectual. The society at large, the ongoing political turmoil, religious intolerance, lack of state support have all played a role in the downward trend in Pashto music standard. It’s time the Pashtun society, particularly the governments in Peshawar and Kabul face this reality, take practical steps in order to enhance the quality of Pashto music and support those musicians who produce Pashto music with its true standards and meanings.
SOURCE: http://www.pashtunwomenvp.com/index.php/2013-01-28-03-21-27/social/283-the-mortification-of-pashto-music
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