Pakistani Musical Eons Engross Iqbal’s Poetry

By

Sadaf Fayyaz

Yesterday was Iqbal day and it was official holiday too. I logged in to some social networking
websites like face book and twitter. I saw great tributes, salutation lines and stati from 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 and 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 Pakistani 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,
Faraz, Ghalib and Faiz many times. 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’s 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 quixotic 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 poem deeply reflects these emotions. So
the one sung by Masood Khan and Sheelo does paltry 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, and an abrupt transition to swift music makes it riveting. 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”, with the later one from
“Zarb-e-Kaleem”. 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 on “Har Lehza Hey Momin”, from his new Nasheed album Badi uz Zaman are
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 I 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 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 on “Tere Ishq Ki Inteha” but unfortunately, like his other magnificent Nasheed,
this one wasn’t much impressive. Though, his other cappella “Jalwa -e- Jana” is exotic.

Some sung lines from “Masjid Qartaba” from “Baal-e-Jibreel”, an old PTV recording are worth
downloading. The super vocals by Ghulam Ali and pliable music in the background make it
fascinating. Ghulam Abbas sings “Tu Aye Aseer Makan” (“Baal-e-Jibreel”) in a very traditional
and non-novel style, and doesn’t protract the original atmosphere 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”, a poem from “Baal-e-Jibreel”, sung by
Shaukat Ali, I felt mesmerized. Even “Ya Rab Dil-Muslim Ko” is 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’s
admirable vocals on “Barson Ke Baad Dekha” by Ahmed Faraz, and Nayyara Noor singing 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” from “Baal-e-Jibreel”. No one can compare both, but Mehdi Hassan has
given excellent vocals and Taal to it, which revitalizes the elocution 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’s vocals are a bit heavy, off- the-way, and don’t restore the original atmosphere
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.

Poem “Ya Rab Dil-e-Muslim Ko” 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. Another
one done by Shehzad is “Khudi Ka” from “Zarb-e-Kaleem”. 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, the trace of which I felt in his
piece.

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 modern 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 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 Maqam” 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 style and enthralls her audience. I found her
vocals a bit husky but very natural at the same time.

Late Asad Amanat Ali has provided marvelous and glitzy vocals to “Hai Soaz”, with a highly
glorious, 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”, in which 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” from “Baal-e-Jibreel” very brilliantly, his supple and measured
vocals, with a melodious music are ravishing. Late Shahida Parveen radiantly sang Kilam-e-
Iqbal on PTV.

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

Recently released album “Aasman” of Hadiqa Kiyani comprises a beautiful Persian Poem “Aye
Chashm-e-Saqi”, which is strikingly composed, with exceptional music and shrill vocals.
Hadiqa, being a multilingual singer, has this time experimented with her vocals in Persian too.
The album contains a Pashtu song as well. The poignant vocals along with English translation
make it more striking and matchless.

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 singing “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. She feels great to use Iqbal’s poetry in her
compositions.

After seeing so many musicians with Iqbal’s poetry, it’s not difficult to know why they have
chosen 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 fêted Kilam.
His poetical works not only depict profound 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 mirrors 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 are a few lines from translation of his poem
“Bache ki Dua”,

“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...?”