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Nurturing a Classical Infant

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By Imran Shirvanee

Classical music has a long history, but in that long history there is a very recent entrant Sagar Veena which was created in Lahore in 1970. In fact, its present version was finalized as late as 2012 by the inventor Raza Kazim. A man of many talents and a musicologist, his love for the instrument is being carried forward by his daughter Noor Zehra Kazim, who is perhaps the finest exponent of Sagar Veena playing. Being a new entrant does this instrument have any future in this dwindling classical music environment? Noor Zehra believes it has a future. And she has a reason for saying that. “Our natural response to our own music is inherent in the raags and their structures,” she explains. “Sagar Veena is capable of exposing us to the undiscovered aspects of those emotions. The conceptual route means that it is already a part of a thought structure. If that belongs to these times and its people, then Sagar Veena is only a means to convey them.”

Noor Zehra explains the instrument was developed on the basis of ideas contrary to the evolutionary route which most of the musical instruments that are handcrafted have taken. The evolutionary stages of any instrument are mainly dependent on the aesthetics of the musician who gets those changes done, and also his own understanding of the structure of the instrument, which was always insufficient. The present instrument makers in India mainly have perfected the art. The younger generation instrument makers have also utilized the technology to make them. On the other hand, Sagar Veena was constructed on the basis of understanding the principles of how a stringed musical instrument works.

“In fifty years the Sagar Veena was standardized. Unfortunately the most crucial part of the instrument, the jowahri could not be completed, as Raza abruptly stopped working due to health issues. The sound of the Sagar Veena keeps changing on a micro level,” says Noor Zehra.

She believes potentially the instrument can communicate much more than the sitar or surbahar. Its resonant sound can tap those areas of the mind which other stringed instruments cannot. “Listeners don’t pinpoint the reason, but they respond to the resonant sound,” she says. “The music is exactly the same as on the sitar. In fact the rhythmic and fast tempo music is better expressed on the sitar. The alaap, which literally means conversation, is expressed and elaborated in the emotional domain much more, but the resonance is more pronounced in the Sagar Veena.”

When asked about the interests in classical music among the younger generation, Noor Zehra was somewhat skeptical. “If you were to say that the younger generation is getting interested in classical music, does this mean that there is a revival of classical music. These questions will demand a closer look. Sufi music is now qawwali, fusion music and kafis. And this does not come under the definition of classical music.”

She, however, is not pessimistic. “The younger generation, on a relative scale has shown interest in learning vocal and instrumental music,” she points out. “Young people have much more access to technology which enables them to learn and understand classical music better. Virtual learning is a bigger reality than guru shishya training. The younger generation is more curious to see how it is different from the music that they are acclimatized with. Some have been exposed to classical music since childhood, but they are few. More than other genres, classical music needs rigorous training. With electronic tools they substitute the rigours of learning.”

Noor Zehra believes that in the absence of guru shishya training and with little or no previous exposure to the diversity of raags, the younger generation catches on to certain moods in the traditional compositions in the simpler and attractive raags, like Daes, Bhairavi, Bihag, and some others. “They are a smart lot,” she admits. “If they have the talent to play or sing, figuring out compositions in difficult rhythms is easy for them. Improvising on the basis of certain principles is also not difficult for them.”

Noor Zehra’s optimism comes from her understanding of the classical music as it stands today. She says the future of classical music which has a restricted authentic audience, is bright. “It is basically a repository of innumerable facets of learning. This repository is not going anywhere,” she asserts. The role of music in society in the past has corresponded to the cultural, political and social structures, Noor Zehra points out. Folk songs, devotional music, religious music, and music with national fervour bear witness to this fact.

Most importantly, the instrumentalist says, this is all because of the role music plays in any society. “I think music has played a role since time immemorial. Today let us generate awareness, in order to get rid of our prejudices and ignorance,” she says.

Extract:

Noor Zehra explains Sagar Veena was developed on the basis of ideas contrary to the evolutionary route which most of the musical instruments that are handcrafted have taken.

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Remembering Zubeida Mustafa

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Zubeida Mustafa, who passed away recently, was much more than a distinguished editor at Dawn. She was a pioneer, a mentor, and a beacon of inspiration whose guidance shaped generations of professionals in journalism and beyond.

Those who worked with her often spoke of her rare ability to bring out the best in others. She had a gift for mentoring, encouraging her colleagues to discover their potential and pursue meaningful work. Many who came under her influence went on to lead impactful lives, a testament to her nurturing presence.

Her legacy was celebrated at a gathering organized by Idara-i-Taleem-o-Agahi (ITA) and Pakistan learning Festival, where friends, colleagues and mentees paid rich tributes. ITA CEO Baela Raza Jamil remarked that “Zubeida Mustafa may have left, but not before showing the way to so many.”

Many renowned people who had gathered in remembrance of this brilliant person, spoke on the different aspects of her life and how she had impacted theirs.

Her journey was not without challenges. Born with a condition that required her to wear special shoes, and later struggling with hearing and eyesight difficulties, she nonetheless carried herself with unwavering determination. Her resilience was matched only by her work ethics. At Dawn, she wore many hats: writing daily editorials, producing weekly columns, managing the paper’s vast reference library, and editing its celebrated literary supplement, Books & Authors.

Her appointment as assistant editor marked a historic milestone — she was the first woman to hold such a senior position at Dawn. At a time when female representation in newsrooms was scarce, she carved a path that many others would follow. She often credited her editor, Ahmad Ali Khan, for supporting her professional journey, particularly when she balanced her career with raising children. His understanding approach enabled her to remain in the newsroom while tending to her family, a flexibility that allowed her to thrive in both roles.

Over the years, as more women entered journalism, many looked to Zubeida Mustafa as a guiding light. She generously mentored colleagues, offering advice and encouragement until her very last years.

After leaving Dawn in 2009 due to declining eyesight, she continued to make her voice heard through her writings. Her columns tackled critical issues such as health, education, human rights, and environmental challenges. The books she authored, along with the archive of her articles preserved at www.zubeida-mustafa.com, continue to serve as a resource and a reflection of her sharp intellect and compassionate outlook.

Her funeral brought together former mentees and colleagues, who gathered not in mourning alone but in gratitude for the values she embodied: integrity, perseverance, and the joy of meaningful work. Her influence endures in the countless lives she touched.

Centre of Excellence in Journalism (CEJ) also held a remembrance meeting with former colleagues and friends speaking at the gathering. Zubeida Mustafa’s sister, Dr. Fatima Jawwad talked about her earlier life on the occasion.

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HUM Network Hosts Mehfil-e-Milad to Mark Eid Milad-un-Nabi

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HUM Network organized a Mehfil-e-Milad recently, at Pearl Continental Hotel, Karachi, to celebrate Eid Milad-un-Nabi – an event that provided an opportunity to the women employees as well as families and friends, to come together in an atmosphere of unity and devotion to strengthen their spiritual connections and honour the teaching of Prophet Muhammad (PBUH).

The venue was thoughtfully decorated, featuring a beautifully adorned stage with elegant floral arrangements, where women naat-khawans, dressed in traditional attire, recited naats that impacted the audience with their beautiful and soulful rendering. The event began with a warm welcome by HUM Masala hosts Kiran Khan and Abeel Khan, who highlighted the significance of Eid Milad-un-Nabi—not only as a celebration of the Prophet’s birth but also as a reminder to embody his values of compassion, kindness, and justice in our daily lives.

The Mehfil featured inspiring naat recitations by Tahreem Muneeba, Talat Hashmi, Bushra Ansari, Samina Kamal, Maha Aslam, Sandiya, and Ayat Sheikh. A thoughtful bayan delivered by Khushbakht Shujaat encouraged attendees to strengthen their spiritual connection through reciting durood and seek Allah’s blessings through prayer and reflection.

The event was graced by Sultana Siddiqui, President, HUM Network, along with artists and media personalities such as Nosheen Shah, Sidra Iqbal, Nadia Hussain, Ghazal Siddiq, Amna Ilyas, Fauzia Aman, Masarrat Misbah, Irum Tanveer Odho, Saba Ansari, Angie Marshall and Seemi Pasha.

HUM Masala chefs Shireen Anwar, Rida Aftab, and Samina Jaleel were also present. The event concluded with a heartfelt dua led by Talat Hashmi, followed by a high tea that provided an opportunity for discussion and conversation.

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Runway SS’25 – Fashion For A Cause

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When the fashion runway is used to promote a noble cause, the latter elevates its status to something above and beyond a fashion platform — it becomes symbolic and a harbinger of positivity and change. Runway SS’25 show held in Karachi focused on this noble cause.

A fashion segment highlighting the sartorial designs of unisex designer Zubair Shah and his all-white puritanical collection with its avant-garde design sensibilities, was elevated when he joined forces with the iconic Masarrat Misbah’s Depilex Smile Again Foundation to put the spotlight on acid burn survivors and their path to recovery overcoming personal challenges, familial constraints and social taboos. They stood tall as spokespersons for the DSF as ambassadors for their cause, to a standing ovation.

While the night belonged to the DSF survivors, others also made their mark with their contributions to the fashion. Bridal couturiers were aplenty with Mahi’s, Ramsha Iqbal, K. Yousuf and Lubna Mudassir all carving their niche on the fashion runway. While their sensibilities varied, what united them was their expression in design, eye for colours and choice of embellishments, and experimentation with newer trends in cuts and silhouettes.

In another distinctly iconic moment, actress and host Nadia Khan’s daughter Alizeh made her debut as a fashion model on the Runway SS’25 ramp for debutant bridal designer Ramsha Bilal. But they were not alone in their declaration that night as fashion students of the Millennium Institute of Technology and Entrepreneurship (MITE), budding young designers displayed their full potential in brilliantly sculptured costumes on sociopolitical themes brinking on the bizarre and outlandishly insane.

Sheema Kermani performing to an exclusive recording of Faiz Ahmed Faiz’s Dasht-e-Tanhai was the piece de resistance when it comes to dance performances, with the dance troupe of the trio of Naina Black, Yoshua Hussain and Shehzore Akhtar coming in a very close second with their performance to Khamaj by Shafqat Amanat Ali. Singer Syed Hasaan gave his vocal performance after the dance.

Walking away after the event suddenly made one hit the realisation that fashion outing was spiritually wholesome and uplifting, irrespective of the minor glitches.

The show had a double runway, giving a unique look, though one has to train the audience to sit and not move about during the models’ catwalk. Though there were minor glitches, the effort put in by the organisers was obvious and very commendable.

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