Written on 9th Nov, 2010, Iqbal Day Special

by

Sadaf Fayyaz

Yesterday was Iqbal day and it was official holiday too. I logged in to some social networking networks like face book and twitter. I saw great tributes and salutation lines and status of Iqbal’s poems. That was something great and I posted a video of “Zamane ke Andaz” by Junoon on face book. I thought of doing some research on gathering data on Iqbal. Though I have read his poems many times, but this time it comprised a different kind of data collection. 

I desired to know how many singers and musicians have used poems of Iqbal, and I was surprised to see that the list of Pakistani singers and musicians exceeds fifty. This amplified my interest, as I have seen musicians singing Hassan Akbar Kamal, Sabir Zafar, Parvin Shakir and Faiz poems. I initially had a plan to write a review on Hadiqa Kiyani’s “Aasman”, but dropped the idea. It was fascinating to see that almost in every era; musicians have been singing Iqbal’s Kilam in a new and diverse way, with novel instrumentation and exotic compositions. 

From Indian movie “Daastan” (1972), I saw celebrated Dilip Kumar performance and legendary Muhammad Rafi singing “Na tu Zameen ke Liye” very luminously. The only first part is taken from Iqbal’s poem. (Misra-e-Tarha) The golden song made me cry from its exceptionally touching vocals by Rafi and enchanting music by Laxmikant Pyarelal. “Kabhi Ae Haqiqat-e-Muntazar” was sung by Lata Mangeshkar in Film “Dulhan Ek Raat Ki”, with music by great Madan Mohan. It was one of the most recited works by Iqbal. Even Iqbal recited this poem the most, as told by his servant Ali Bakhsh. From “Baang-e-Dara”, the same poem is sung by Sheelo and Masood Khan in an unusual style, giving it a minor romantic touch with a soft harmonium in the background. It is sung sensitively, but completely changes the mood and diction of the poem. With romantic lights and candles in the background, the composition sounds more romantic and less prayer kind. The Nazm was written in a different context, Iqbal wrote this poem, which is in fact a prayer. It is referring to his dream of an ideal state, a government where wealth, food, and natural resources are distributed equally amongst all citizens, based on laws of Islam. This would bring peace to its citizens and then to the world. Pakistan was the “Haqeeqat e Muntazir” (awaited reality) whose existence he dreamt but which became a reality, only a decade after his demise. The ideal state, Islam, which practices equality and justice, is yet to be realized because Pakistan got abstracted into Wahabiism, a faction of rites and prayers, instead of establishing a government based on the laws of the Allah. The poem deeply reflects these emotions. So the one sung by Masood Khan and Sheelo do meager justice with the poem. Abrar ul Haq’s vocals on the same poem give it a prayer kind look, superbly composed. The starting of the composition is very malleable with a sudden transition to swift music make it mesmerizing. Though, I found slight touch of Habib Wali in his singing of the poem. Ghulam Ali even sang it with a different style, composition and vocals, but a more ghazal like singing style is associated with his way. 

Noor Jehan sang “Millat ke Jawanon” and “Har lehza hey Momin”. She had her own chic of singing and did justice to the Iqbal’s poem very truly with her splendid vocals and was able to sustain the original temper of the poem. Junaid Jamshed’s vocals from his new Nasheed album Badi uz Zaman is even astonishing. The exquisiteness comes with almost negligible music in the background.

A Nayyar has provided vocals on “Tulo-e- Islam”, one of the last poems in “Baang-e-Dara”, where Iqbal expresses aggravation over the contemporary state of Muslims. It was difficult to sing the poem and preserve its disposition, but A Nayyar did it adequately. Iqbal wrote it after World War 1 relating with repercussion of the war regarding Muslims. 

Notorious Malika Pukhraj sang “Tere ishq ki Inteha” from Iqbal’s ghazals in “Baang-e-Dara”. The same was sung by daughter Tahira Syed in 1980’s. There is a great difference e in vocals as well in music. The one by Tahira Syed has spongier vocals and harmonious tune. Though, even superbly sung by Tahira Syed, the one by Malika Pukhraj retains the original despondency of the ghazal and does more justice to it. “Silsila –e- Roaz -o-Shab” is also sung gloriously by Malika Pukhraj. The one by Tina Sani is even good, but cannot be called magnificent. Junaid Jamshed provided vocals but unfortunately, like his other magnificent Nasheed, this one wasn’t much impressive. Though, his other cappella “Jalwa -e- Jana” is exotic.

Masjid Qartaba, an old PTV recording is worth downloading. The super vocals by Ghulam Ali and pliable music in the background make it fascinating. Ghulam Abbas sings “Tu Aye Aseer Makan” in a very traditional and non-novel style, and doesn’t protract the original mood of Iqbal’s poetry. The same I found with “Haqeeqat mein Rooh-e-Abad”, performed by him. Though, his “Aye Pak Watan” is outstandingly sung. The poem“Tu Aye Aseer Makan” is even performed by Tarannum Naz very conventionally. After listening to “Nigah-e-Faqr” by Shaukat Ali, I felt mesmerized. “Ya Rab Dil” is even brilliantly sung and composed, with a soft chorus in the background. I think it’s very difficult to sing Iqbal, as I have listened to musicians singing poetical works of Faiz, Ghalib and Faraz. I remember Nighat Akbar gave admirable vocals on “Barson Ke Baad Dekha” by Ahmed Faraz, and Nayyara Noor sings Faiz magnificently. But when it comes to Iqbal, something unusual is sensed. Very few singers and musicians have done justice to his poetry, though each of them is inimitable in his/her own fashion. 

The two ghazal legends, Farida Khanum and Mehdi Hassan have provided vocals on “Yeh gumbad-e-Meenai”. No one can compare both, but Mehdi Hasan has given excellent vocals and Taal to it and revitalizes the mood of the poem. I found quite a lot of depth in his rendition. With an exotic harmonium in the background, and a short chorus, he has done great justice to it. Another one skillfully performed by him is “Parishaan ho ke meri”. 

Suraya Khanum’s vocals on “Khird ke Paas” are a bit rigorous, but composition is unique. Mumtaz Begum vocals are a bit heavy and off- the-way, and don’t restore the original mood of the poem. The same happens with “Tujhe Yaad Kiya Nahi” from “Baal-e-Jibreel”, instead of singing it in a soft and melancholic way; the style creates an atmosphere of eulogia, with extremely dawdling and monotone vocals. Though, Gul Bahar Bano has performed it with bit vociferous vocals, by retaining the archetypal temper of the poem.

“Ya Rab” has also been performed by Shehzad Roy. The later version has bass and some rock kind style associated with it. It’s a prayer by the great philosopher and thinker. Though, Shehzad has his own style of singing and a comparison can’t be done. A versatile Naheed Akhtar sings “Naghma-e-Sarban” along with Ghulam abbas, from “Payam-e-Mashriq” very eloquently.

In 80’s Mahjabeen Qizilbash and Mohammad Ali Shehki sang together “Nawa-e-Waqt” from “Payam-e-Mashriq”. I have no knowledge of Persian, but can feel the squashy and rhythmic vocals of both the singers. Later naheed Akhtar performed the translated version in Urdu. I found both justly inspirational and harmonious. Asif Javed delivered vocals on “Akal Go Aastan se” from “Baal-e-Jibreel”, with a Mehdi Hassan’s singing style. I felt trace of it in this composition.

I grew up while reciting Iqbal’s Bache ki dua (Lab Pe Aaati he) during my school days. It is in fact a beautiful prayer by a child in which he prays to Allah of blessing him with an enlightened life, prosperous country, high knowledge, love and compassion for poor and needy. Nayyara Noor provides excellent vocals to it and sustains the mood. It’s one of the first poems in “Baang-e-Dara”. The same has been composed by Geo Creative, with Humera’s vocals with a chorus of school kids. The later version has rock touch to it. Nayyara has also sung a small ghazal “Phir baad-e-Bahar”, which addresses primarily Muslim youth and “Maan Ka Khwab” from “Baang-e-Dara”. Her pliable vocals and harmonious music create a sensation as if a dream is really being narrated. This one is my favorite one too.

A part of “Masjid-e-Qartaba” has been performed mutually by late Akhlaq Ahmed, Ghulam Ali, Mehnaz, Naeem Tahir and Iqbal Bano. After listening to Jawad Ahmed performance “Tu Abhi Rehguzar” from “Baal-e-Jibreel”, it didn’t sound a very lasting impression on mind, even with soft music and heavy vocals. It’s included in an album “Apna Maqam Paida Kar”, in which various artistes like Abrar, Humera, Ali Raza, Fariha Pervez, Masooma Anwar, Shabnam Majeed and Rahat Fateh Ali Khan have sung different poems of Iqbal. “Le Phir Ek Baar Wohi” is beautifully performed by Shabnam; I have always loved her soft and canary voice. Rahat Fateh sang “Apna Muqam” very genially; I have also listened to “Shikwa” by Nusrat Fateh Ali Khan. Rahat sings it with his marvelous Qawali style and restores the imaginative projection of the poem. No doubt Rahat has managed well to strike the enthusiasm and jolty equilibrium needed for a typical Qawali. Revisiting “Tujhe Yaad Kiya Nahi”, by Masooma Anwar, I think she is the one who has managed to do justice with it. Initially performed by Mumtaz Begum and Gulbahar Bano, Masooma presents it with a more captivating and husky voice and enthralls her audience. I found her voice very natural, besides being a bit heavy.

Late Asad Amanat Ali has provided marvelous and glitzy vocals to “Hai Soaz”, with highly glorious vocals, very soft and melodious music. I have listened to it more than ten times and beautiful soft flute in the middle of the poem makes it ravishing. Pervez Mehdi sang “Sitaron Se Aage” from “Baal-e-Jibreel”, one sees a different style with harmonium, the same performed by Sajjad Ali has pop tinge to it. Both are exotically composed. Late Akhlaq Ahmed performed “Wohi Meri kamnaseebi” very beautifully, with very supple and measured vocals, and a harmonious music. Late Shahida Parveen brilliantly sang Kilam-e-Iqbal on PTV.

When it comes to musical bands, Junoon composed “Zamane ke Andaaz” from “Saqi Nama” in their rock style. Ali Azmat‘s ritzy vocals and vigorous bass riffs make it more even stunning. The album “Andaz” ranked no. 5 on Asian charts, very admirably captures Sufi and psychedelic rock way.

Recently released album “Aasman” of Hadiqa Kiyani comprises a beautiful Persian Poem “Aye Chashm-e-Saqi” is beautifully composed, with exceptional music and shrill vocals. Hadiqa is a multilingual singer who has sung in many languages, has this time experimented with her vocals in Persian too. The album also contains a Pashtu song as well. The haunting vocals along with English translation make it more striking and hazy.

I have been researching for one week and tried to find all singers and musicians of Pakistan who have performed Iqbal’s Kilam. I got more than sixty links and more than thirty singers using Iqbal’s poetical works. The list varies from classical singers like Malika Pukhraj, Farida Khanum, Mehdi Hassan to a band like Junoon and a pop star like Hadiqa Kiyani. Hadiqa herself speaks that she and her sister grew up with this “Aye Chashm-e-Saqi” poem. It’s her teacher’s composition to which she has added more melody and glamour. She explains that she picks up accents very quickly and is working on a Baluchi song too. This number becomes her childhood nostalgia too, which she has revitalized very glossily.

After seeing so many musicians with Iqbal’s poetry, it’s not difficult to know why they have used his poetical works. I found after listening to each and every song, though I might have missed out the ones by some musicians, that it’s not very easy to sing Iqbal. Even some of his Nazms and Ghazals have been re-composed by different singers. I found it extremely hard to make a comparative analysis, since every singer had his/her own way of singing and added very unique touch to his poetry. “Sitaron Se Aage” by Parvez Mehdi has a pro-classical touch to it whereas the one by Sajjad Ali has pop style. Junaid Jamshed gives a Nasheed look to Iqbal’s works with cappella.

Almost in every musical era, many singers and musicians have used his Sufi and legendary Kilam. His poetical works not only depict deep philosophy, but prayers and deep sorrow over condition of Muslims. His poetry deeply reflects his core vision to create an ideological revolution in the Muslim intelligentsia, and reflect more of revolution. Instead of defining a revolution in the context and genre of political and transitory economic issues, he emphasizes more on philosophical and intellectual sphere. His prolific poetical works aim towards freedom of humanity and Muslims from slavery. Here is a translation of his poem “Bache ki Dua” and some excerpts from it,

“My longing comes to my lips as supplication of mine

O God! May like the candle be the life of mine!

May the world's darkness disappear through the life of mine!

May every place light up with the sparkling light of mine...?”