Wednesday, August 3, 2011

‘It’s time to raise the flag of peace’

The poems of Fraaz Mahmud spring from a heart which needs nothing from anyone, a heart that is filled with innocent sentiments about personal desires and dreams. He uses pen and paper to give vent to a sense of loss and loneliness, but he does not seem suffocated, rather Fraaz lives in close proximity with his ideal. He believes in silent efforts and suffering in silence. Love for society, in particular, runs in the poems like blood.

For instance, Abhi Dam Baqi Hai is one such example. It is composed in the memory of a child who scarcely survives in a road accident. Fraaz feels drenched and dissociated at the spiritless attitude of the fellow beings who appear hardly inclined to rescue the child. There is a generalised impression in the poem as he speaks like a commentator whose main concern is to study human behaviours and reactions.

People in our age do not seem to be the members of an integrated community. They live as individuals, holding meager amount of collective approach and assume as a crowd at some point. It is mostly an outcome of the vested interests that they wish to serve. This is why our action is devoid of vigour and enthusiasm.

Fraaz, however, does not promote pessimistic note in his poems. He shares his personal positive aptitude with a reader with an expectation that it will create a universal appeal. He follows the theory of "Values and Self-satisfaction" which opines a fact that literary values are a must to nurture productive approach in a society. Unlike traditional Urdu poets, Fraaz does not put much emphasis on a conventional poetic expression related to love poems. He speaks less on 'love encounters' rather he presents a word picture of a person who absorbs shocks of love with realistic grace and intactness.

Bitterness, heat, afternoon time, restrictions or so-called norms and values, resentfulness and a questioning tone, all are dealt with by the poet with maturity of thoughts and seasoned eagerness of imagination.

Sheer idealism and rebellious approach are negated consciously to project the respect and consideration that we are supposed to undertake as members of a cultured community. The poet condemns extremism and anti-social learning that exist in individuals. He is a flag-bearer of honesty, civility and seriousness of cause in daily-life patterns. Peace and positive possibilities need to be made trends of the time. The following verse aptly expresses the views of Fraaz: Deta hai dunya me duhai ye Fraaz Har jagah parchm-e-aman ko lehraya jaey It reveals a fact that the poet is socialistic in ideas and strongly intends to stir up such sentiments as regular disposition of modern man.

This could be a deliberate effort of the poet to maintain him as a humanitarian soul whose chief call lies in establishing speculative approach of money, sacrifice and service. To conclude, we may say that Fraaz Mahmud is, no doubt, a fresh addition to the comity of poets. The simplicity of expression and vividness in imagination both prompt a reader to buy and relax Khayal Kahani for the weekend.

Khayal Kahani’s review by Agha Ghazanfar Hussain

‘It’s time to raise the flag of peace’

The poems of Fraaz Mahmud spring from a heart which needs nothing from anyone, a heart that is filled with innocent sentiments about personal desires and dreams. He uses pen and paper to give vent to a sense of loss and loneliness, but he does not seem suffocated, rather Fraaz lives in close proximity with his ideal. He believes in silent efforts and suffering in silence. Love for society, in particular, runs in the poems like blood.

For instance, Abhi Dam Baqi Hai is one such example. It is composed in the memory of a child who scarcely survives in a road accident. Fraaz feels drenched and dissociated at the spiritless attitude of the fellow beings who appear hardly inclined to rescue the child. There is a generalised impression in the poem as he speaks like a commentator whose main concern is to study human behaviours and reactions.

People in our age do not seem to be the members of an integrated community. They live as individuals, holding meager amount of collective approach and assume as a crowd at some point. It is mostly an outcome of the vested interests that they wish to serve. This is why our action is devoid of vigour and enthusiasm.

Fraaz, however, does not promote pessimistic note in his poems. He shares his personal positive aptitude with a reader with an expectation that it will create a universal appeal. He follows the theory of "Values and Self-satisfaction" which opines a fact that literary values are a must to nurture productive approach in a society. Unlike traditional Urdu poets, Fraaz does not put much emphasis on a conventional poetic expression related to love poems. He speaks less on 'love encounters' rather he presents a word picture of a person who absorbs shocks of love with realistic grace and intactness.

Bitterness, heat, afternoon time, restrictions or so-called norms and values, resentfulness and a questioning tone, all are dealt with by the poet with maturity of thoughts and seasoned eagerness of imagination.

Sheer idealism and rebellious approach are negated consciously to project the respect and consideration that we are supposed to undertake as members of a cultured community. The poet condemns extremism and anti-social learning that exist in individuals. He is a flag-bearer of honesty, civility and seriousness of cause in daily-life patterns. Peace and positive possibilities need to be made trends of the time. The following verse aptly expresses the views of Fraaz: Deta hai dunya me duhai ye Fraaz Har jagah parchm-e-aman ko lehraya jaey It reveals a fact that the poet is socialistic in ideas and strongly intends to stir up such sentiments as regular disposition of modern man.

This could be a deliberate effort of the poet to maintain him as a humanitarian soul whose chief call lies in establishing speculative approach of money, sacrifice and service. To conclude, we may say that Fraaz Mahmud is, no doubt, a fresh addition to the comity of poets. The simplicity of expression and vividness in imagination both prompt a reader to buy and relax Khayal Kahani for the weekend.

Khayal Kahani’s review by Agha Ghazanfar Hussain

Stop the blame game

Stop the blame game

Matters can never be resolved rather become more complex if people start blaming one another particularly those who are at the helm of affairs. Same is the case here in Pakistan where so-called leaders are indulged in looting the country and defending themselves by blaming one another.

The worrying situation is that the political parties are giving agendas but not for the betterment of the country rather for defending their positions. Everybody is passing the ball to the next one which can never be termed as a positive and responsible attitude.

Punjab blackmails the federal government for the implementation of its 10-point agenda while the federal government hushes it up by giving a 19-point agenda. The PML(Q), in a bid to prove itself the real opposition, pushes a 5-point agenda towards the Punjab government whereas the MQM, having the sense of insecurity, gives a 9-point agenda for the implementation of its demands. All these agendas are for nothing but to keep one anothers mouths shut.

But in this foolish blame game, who is suffering the most? Whose life span is getting narrowed day by day? Who is unable to make both ends meet? Its the public.

How would they know that who is sincere to the country when every party is giving a different opinion? Realising the situation, already confused people do not want to get more confused as the terrorist attacks, future insecurity and extreme price hikes have numbed their nerves to the extent that these political issues are of no importance to them. But a storm always comes after a complete silence.

The silence of public over the present political situation can be an indicator for the political up set ahead. There must be a one-point agenda from the people: Stop this non-sense. But it is possible only if they are given a direction or lead in a proper direction.

In the present democratic system, every political party can contribute to the relief of the people. Instead of giving only agendas, they should help one another in making us stronger.

FRAAZ MAHMUD

Pakistani singers eye on Indian music industry

Pakistani singers eye on Indian music industry

An artist always needs appreciation or positive criticism for his or her work. Those who find both of them in a country, they flourish and those who dont, they wither away. Some unfortunate artists have potential but the industry in their country does not acknowledge them. Some of these artists feel discouraged and quit while others keep on moving and are hijacked by foreign art lovers.

Same is the case with Pakistani singers in the present era. They surely can do wonders if Pakistans music industry utilises them and highlights their talent. Having no other option, Pakistani singers usually move to Indias music industry which admires them, utilises their efforts, highlights their USP and pays them handsome. Pakistan has seen much brain drain in recent years and this habit has become popular amongst young musicians and singers. Noor Jahaan, Mehdi Hassan, Ustad Amanat Ali Khan, Ustad Ghulam Ali Khan and Ustad Nusrat Fateh Ali Khan were some of the legends of Pakistani music industry and they also brought fame to the country. But now the situation is different, ground realities have changed and the Indian music industry stands in the limelight with the impetus provided by Pakistani singers.

No one except the Pakistan showbiz industry itself is responsible for this chaos.

FRAAZ MAHMUD

Tangas going off the road


Tangas going off the road

Tanga or tonga in English, a horse-drawn wooden carriage used for transportation, is fading with the passage of time as rickshaws have left them far behind in this fast-paced era.

Tanga, besides being a fine mode of transportation, is a cultural symbol as well and people usually enjoy riding it because it does not cause much noise pollution and is cheaper to hire than a rickshaw. Before bringing it on the road, a set of ornaments is used to control the movements of a horse that includes headgear, a headstall, a bit and a metal for the animal’s feet.

The set of instructions used by the coachman or kochwaan to steer the horse also seem a unique piece of communication between a man and an animal as a single pull of reins makes the animal understand the command. The music produced from the movement of the horseshoe nailed to the hooves of the horse also sounds well.

The popularity of this means of transportation can be assessed from the fact that it has been used in the literature as well. Songs like Tangay wala khair mangda and Mard tangay wala accurately reflect the tanga culture of our society. The main reason of their decreasing numbers is also their main characteristic as well. Its slow pace, once loved by its riders, is not in demand anymore as everyone seems to be in a hurry. People have adjusted to the fast paced life of thios modern day, they dont have time for a slow ride and enjoy the surroundings, looking at the signboards while riding this majestic horse-driven carriage. They dont even pay any attention to the clap clap sound produced by the horses feet on a metal road.

Their large wooden wheels lack shock absorbers and cause jolts on an uneven road but this deficiency never affected the carriages popularity. Presently, they are mainly found in older parts of the cities and towns, and are becoming less popular for travel due to the arrival of auto rickshaws.

FRAAZ MAHMUD

Monday, February 14, 2011

A peek at Punjabi stage

A peek at Punjabi stage
By: Fraaz Mahmud
Stage plays are an ultimate source of recreation for a specific stratum of our society
LAHORE - There’s no doubt that stage plays are an ultimate source of recreation for a specific stratum of our society. These stage plays mostly concentrate on producing witty dialogues by discussing ironic gestures, sexual metaphors and seductive dances. People enjoy hours of these plays according to their taste as some people go to theatres to see women dance, some find pleasure in the dirty jokes while others enjoy the satirical taunts and postures. Whether they are taunts or dance performances, the actors in these dramas know how to capture the attention of people. The dialogues spoken in these plays are closely related to the life of a common man and thus the audience is able to relate to the plot of the play. At times the characters interact with the audience by asking questions or by calling them names. They usually try to make their audience laugh by highlighting a few obvious Pakistani drama gestures.Cast: They criticise different castes and pin up ridiculous attributes to them that talk no sense but it still makes people laugh.Physical Features: They discuss colour, height and posture and produce odd sentences by comparing them with some weird things.Possibilities: They also talk about incidents that have never occurred but always have a chance to take place. Again, these are the incidents that can be related to life.Occupation: Characters on the stage also make fun of occupations. They discuss the professions in such a way that the audience cannot help laughing.Dance: Is the most important feature of Punjabi shows as most of the people come to theatres only to see the seductive dances. Female performers try to highlight some specific physical gestures while dancing. They maintain eye contact with the people sitting in the front row and sometimes smile and wink at them as well. These are the moments that actually pay back the audience.Title: Titles of these stage plays are mostly stolen from Indian songs and films. Usually the title verse of any Indian item song or the name of any hit film becomes the caption of a new Pakistani Punjabi stage play. Some of the titles of these stage dramas are: Don, Munni Badnaam Hui, Hont Raseelay Tere, Chaska etc.Script: These stage shows do have a plot and script but neither of the two is followed strictly by the actors. Once the characters are on stage, their acts and talks become spontaneous. They change the script according to the environment of the play and need of the character.A BUSINESS: We cannot overlook the fact that these stage shows have become a reasonable source of income for the actors. In our country where every industry is faced with financial problems, the trend of stage shows is not declining. The reason is that these plays help in providing relief to the otherwise crisis-stricken people, and also helps the actors in earning money and fame.Several stage actors have made their ways into people’s home through satirical talk shows. Sohail Ahmad, a famous actor is working in Hasbe Haal programme for Dunya TV. Express TV is utilising the experience of famous stage actor Khalid Abbas Dar for its political satire Dar and Darling while Geo TV is utilizing the expertise of Sakhawat Naz and Amanullah in Khabarnak.Moreover, stage actors are also moving towards India due to their exceptional potential. A Pakistani stage actor Shakeel has worked for an Indian comedy show Comedy Circus that is a good omen for rest of the stage community. As Punjabi stage shows are enriched with our culture and usual way of talking, that is the reason, people encourage them and sit through the whole show.

Indian film industry - where stars are made..

Indian film industry - where stars are made…
By: Fraaz Mahmud

India's Bollywood industry, known for having a variety of films related to social, domestic, political and commercial issues, is turning away from the original and God-gifted talent because ‘ancestral dominance’ is replacing the talent which is made for this industry. Young and energetic talent is being ignored in B-Town and the only merit to be a leading actor or actress is to be a son, a daughter or relative of a renowned artiste. This trend is not a new one rather it has its roots deep in the past when it was not as intentional as it is now. It looks like a rule to be the offspring of the existing pillars to get success in B-wood.Now the question arises either anyone can be a reasonable actor by just being the offspring of a famous actor. A sensible person would definitely say ‘No’ but B-people say ‘Yes’ to it and are in a continuous struggle to prove their notion. Bollywood’s this effort clearly reflects its philosophy that they believe in making ‘stars’which seldom shine.The pillars in the industry have become greedy and they do not want to see anyone replacing them except their children. Here they neglect the most important thing that their children either have the taste for acting or not. Instead of following their natural inclinations, they send their children to acting institutions and get them trained in the field.It can be called a common truth that acting cannot be learnt through academies only; rather it is a God-gifted ability that is given to specific people and it is not necessary that the relatives of an artiste can earn fame in the same field. If we go through the history of Bollywood, we can easily find the examples that show the efforts for constructing the talent. We can talk about Amitabh Bachan who is regarded as the father of Bollywood industry.No doubt, he and his wife earned a great name on the screen and, specially, Amitabh was endowed with enormous artistic abilities but when his son Abhishek Bachan appeared on the screen with his debut film ‘Refugee’, people did not accept him then but after many years of the Bachan’s support he now shines.