IIt was reassuringly informed that Faiz Mela is to be held at Al-Hamra, a relief as public activities had been suspended for two years. At first, people thought that the short-lived phase of the epidemic would be over, but over time, the virus’s transformation has rendered each step ineffective, and this proved to be an exercise in optimism. These hopes were followed by a series of lockdowns and sanctions.
But, with the number of infections worldwide declining, life is returning to normal and it looks like the nightmare may be over. Therefore, the Faiz Festival was a relief as there was very little online activity. As the world struggled to gain momentum, digital and face-to-face hybrid mode of communication became more or less the norm. Despite the opportunity created by the digital alternative, the desire to return to the venue, to sit in the auditorium, to walk on the lawn, to walk around the stalls, to look at books, to have breakfast and, above all, to assure the presence of like-minded people. ۔ Not only did it make the festival worthwhile, but it also had a kind of restorative touch to it.
The festival had its hallmarks – lectures, talk shows, book launches, debates, commemoration of those who left us, and many cultural events that followed were part of the evening’s programs, which included more formal reading, Music and theater were included.
Faiz, in a way, was very lucky to be sung by some of the most famous singers of our time. There has been a tradition of singing the words of leading poets in both the subcontinent and Iran. It allows people to be more actively involved in poetry so that they can be a part of it as a performance rather than a listener. Of poetry In our tradition, there was a kind of middle ground between reading poetry and actual performance. Readers ready for a spot-on response charged the atmosphere and added more life to the action. It was a kind of two-way exchange with hand-me-down recipes where words were uttered far more than they would have appeared.
Faiz was in a way very lucky that he was sung by famous singers of our time. There has been a tradition of singing the words of leading poets in the subcontinent and Iran..
Music also made the recitation of poetry a two-way street. sur More than words could ever do. Tahira Syed sang the same song that was sung by famous singers from both India and Pakistan. Noor Jahan’s numbers, Mehdi Hassan’s very sarcastic rendering, Iqbal Bano’s high performance, Niara Noor’s very passionate songs and Begum Akhtar’s few that are imprinted on sensitivity and any repetition from the singers – whoever Be quality. Returns the echo and fullness of the original numbers. It has always been a pity that Niara Noor was never given a chance to take advantage of her potential. Some of Faiz’s poems and ghazals, composed by Arshad Mahmood in the 1970s, have been sung in most of the programs. Such a gap And تال متول.
Tahira Syed has been singing for more than fifty years after making a sensational start in the 1970 election transmission with some of her mother’s numbers and some of her playful items. Since then she has been on the scene not as fruitful or successful as the professional singer because she has not been professional in the strict sense of the word. He has admitted several times on air that he was taught to sing by his mother as a slave where he was given the opportunity to learn to sing. Student Of Teacher Like Akhtar Hussain and Nazar Hussain. However, he has resumed his intermittent career after a long absence. The Faiz Festival, in the past, has been an opportunity for them to come out in public.
Some participants happily managed to cross the East. The most prominent of these was Muzaffar Ali. He has a large following in Pakistan. Umrao Jan Ada It was well-received by ordinary movie-goers as well as those who shrugged their shoulders. Attention to detail, the creation of the original setting and the story of a tragedy were well told, all integrated into the film through Khayyam’s musical score. Many have identified the man with the virtues of the cultural practices that gave Lucknow much of its fame and notoriety. Informative conversations and feedback have been a much awaited feature at the Faiz Festival as well.
Zia Mohi-ud-Din has been a manifestation. Despite his many other skills and accomplishments (acting, directing, managing, leading), he has been writing for over 30 years in various languages, especially in Urdu and English for audiences who are mostly from India. And in Pakistan or Diaspora. The text is well-chosen and the delivery is flawless, setting an example for reviving the art of public reading. He admits that he was impressed by John Gilgoid’s rendering of Shakespeare and thought of imitating him in the subcontinent, mostly with local writings. He has been very successful and he has always found an audience that is ready to get it all – style and substance. He is breaking ground and was one of the first actors in the subcontinent to make a name for himself on the West End as Dr. Aziz. Passing through India. In India, too, there are probably very few resemblance to them, and one wonders whether the next generation has the determination and ability to follow his example and restore art to the level where it has been institutionalized. ۔
The author is a Lahore-based cultural critic.