A tragic relationship with the arts | Pakistan Press Foundation (PPF)

Pakistan Press Foundation

A tragic relationship with the arts

Pakistan Press Foundation

It appears that insecurity about the performing arts, once the hallmark of Khyber Pakhtunkhawa, has not gone away. Recently one of the leading Pashto vocalists, Hashmat Sahar, advised his fellow artistes not to seek immigration abroad and to stay at home. Hashmat Sahar is a popular vocalist and does get to travel and perform abroad. His CV is quite impressive, and once abroad, he makes it a point to come back home and be with his own people.

But it is not something that needs to be exhorted and told and reinforced repeatedly. This constant reassurance betrays a sense of insecurity – and is a reminder that the situation there is not normal or not as normal as it should be. It may appear strange that the Pakistan Tehreek-e-Insaf’s government which has been in power for more than five years and has been stressing on making Pakistan a tourist destination does not tire of the rhetoric that Pakistan has more lovely spots that can be counted, that tourists from across the world should take full opportunity to spend their holidays in the unspoilt landscape of the country, and yet so many locals desire to leave these places.

Since assuming power in the centre PTI does not fail to remind its people and those abroad of the potential inherent in tourism and the boost that it can give to the country’s faltering economy. Certain steps too have been taken for making travel to the country easier by relaxing the visa regime. But even a layperson knows that security is the biggest reason why people do not come to Pakistan. Making the security situation better can be the best advertisement for people to travel to the country – for no amount of assurances can counter it and offer an alternative incentive for the visitors.

Khyber Pathkunkhawa has had a tragic relationship with the arts, particularly the performing arts. Women have suffered even more and have been targeted ruthlessly and without qualm over decades. Apparently conservative from the outside, but from the inside like any other people wanting to express themselves and enjoy life not riddled with violence, this paradox has paid dividend through a vibrant cultural undercurrent.

But in the last 40 odd years or so, the artistes have been on tenterhooks travelling from Afghanistan to Pakistan and then back to Afghanistan, given the kind of regimes that have been in place in the countries or to put it more correctly in Kabul and Peshawar. Many of the artistes tiring of these threats have decided to move to the west, if Australia and New Zealand can also be seen as outposts of the western civilisation. These countries have also extended help and given the necessary protection that is the basis of a civilised existence.

In the last 40 years or so, the artistes have been on tenterhooks travelling from Afghanistan to Pakistan and then back to Afghanistan, given the kind of regimes that have been in place in the countries.

So there has been a growing trend to go away from here to these societies. The desire has been augmented by the presence of a sizeable disapora there which does ensure that the artiste has an audience that he can perform to. Recording for a studio may be well and good but live performance is another act that inspires and motivates them with instant feedback. Our arts were designed and have evolved to be performance-based and hence recording does take that critical edge away.

Given the overtly conservative nature of society, it is amazing as to how many artistes these extended areas of KP and Afghanistan have thrown up. And, unfortunately, these artists have prospered away from home. It is only in recall or a snap visit that that relation becomes revitalised and even livewire. It happens with more famous artistes who eventually get recognition at the international level. Since the centres of art are in western capitals, the artistes who become famous lose some kind of a connection with their origins. This connection should not break, being vital for artistic sustenance. It has been a general impression that these artistes add more to the cultural expression of those societies and in the process their own get impoverished.

With women the condemnation is easier and swifter. It is a general assumption in this society that whatever happens to a woman happens to her because of her own doing. And with women from the arts and show business, it is obviously seen as their own fault that they pay for. It is double condemnation as it is said that she deserved it as well. It is rare that voices are raised in sympathy where women actors, vocalists or dancers are concerned because it is assumed that they meet the fate that they willed upon themselves.

Even from other parts of the country reports keep appearing in the media on the death, attempted murder or even throwing of acid on the faces primarily of female actors. It is usually seen in the light of some dispute, monetary to begin with over fee for the show or the event, and then it comes down to the inevitable, that of exploitation or a feud over money meshed in an emotional tangle of some kind of a relationship. It can never be a relationship of equals because so much is stashed against women in show business that it becomes impossible for them to put up a credible case or a proper defense for themselves.

Hashmat Sahar learnt music under the tutelage of Maaz Khan Ustad and Saida Gul Maina and is confident that things are looking better and that the security situation is showing signs of improvement. It is a little surprising because he hails from Hangu, an area that has been worst hit by violence. But his courage and optimism must be admired. It is basically optimism that has kept many or most going and Hashmat Sahar’s resolve can add value to that optimism.

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