A Punjabi proverb 'Haftay day sut din tay uth melay' denotes the influx of cultural activities in Lahore, celebrating eight festivals within seven days of a week. Which proves true, even in these days of severe economic slowdown. The preceding week witnessed numerous festivals, even outclassing the proverbial number of festivals in the city.
The festival of lights, locally called 'Mela Charaghan' stood as the most distinctive among all. The three-day festival of lights (Mar.27-29) was ironically commenced without 'lights', with the compliments of WAPDA, as the city experienced one of the worst 18-hour load shedding in its history. It is another story, however, that enthusiastic Lahorites, themselves, managed to have certain alternative arrangements of putting a glowing cover on the undesired darkness of our so-called 'good governance'.
The non-availability of water for drinking and ablution purposes, for the Maghrib and Isha prayers, was an added tragedy inflicted by the WASA, Auqaf Department and local administration. Thousands of faithful, including old people, women and children too, who had come from across the country were physically and mentally stranded in the dark gulf of fear, particularly in the prevalent security situation in the country, especially experienced in the provincial metropolis during the preceding days.
People say it is an insult to their aspirations by the local authorities, who in a collaborated effort, undermined the centuries-old festival of lights, putting darkness over it. It is the earnest obligation of the provincial government and the Chief Minister to investigate the matter and fix responsibility with regard to criminal negligence in the management of the festival.
The festival of lights is observed every year, in the last weekend of March, coinciding with the spring season, to mark the anniversary of one of the great mystic poets of Pakistan Shah Hussain Lahori (1538-99). He was born to a poor family of a weaver Muhammad Usman inside Texali Gate, one of the 12 historical gates of the walled city of Lahore. In his innocent childhood, he memorised the Quraan and used to spend his days and nights, either at the bank of river Ravi, which was flowing through the city during those days or the shrine of the great mystic Data Gunj Bukhsh.
In the tutelage of another saint of his time, Shah Behlol, he learnt mysticism. Since then, he used to spend most of his time, in ecstasy and a state of trance. He started expressing his inner self through Kafis, a simple form of Punjabi poetry. It was the period of Mughal King Akbar, when Lahore was suffering from the worst kind of famine and turmoil.
The sorrows and agonies of the poor masses were unleashed to an unimaginable extent. They were looking towards saints and mystics for refuge. Shah Hussain translated their tragedies into his simple poetry. People started assembling around him. This was not acceptable to the ruling junta of those days. So King Akbar, himself, came to Lahore to control the tide of rebellions.
In addition to the socio-political satirical poetry, Shah Hussain, under the spiritual influence of contemporary saints of the time, used to create mystic poetry with symbolic icons of socio-cultural and spiritual ambience. His devotion to the Creator was so high that he used to remain in a state of ecstasy and thus sang like it;
-- Charay pallu chunri rondi day bhinnayn
-- Kat nah janan punian dosh daini an munan
-- Avan avan keh gya mah baran punnayn
-- Kalay harnan char giyon Shah Hussain day bannayn
-- (The four corners of my scarf are soaked in tears
-- He promised he will come, but all seasons passed -waiting,
-- My cell is so dark and friends have gone away
-- You lustful black deer, you grazed away Hussain's field
There are numerous verses created by the saint poet, which reflect the human passion of belonging to the Creator. A predominant part of his poetic accomplishment relates to criticism on nepotism, cleric's hypocrisy, the double standards of the wealthy people and the barbaric attitude of the ruling class towards the downtrodden masses.
And these are the downtrodden masses of the land, which amass every year at the shrine of the great saint Shah Hussain, who is usually called Madho Lal Hussain. Madho Lal was a Hindu young person, who was so dear to the saint that people thought them one and thus Madho Lal Hussain was used to denote the great saint himself. Both are buried in the shrine in Baghbanpura (the abode of the gardener),which stands for the residence of the 'chief gardener' during the Mughal period.
It may be recalled that in the vicinity of the saint's shrine, there stands the magnificent and historical Shalimar Garden, constructed by the Mughal King Shah Jahan. Till recently, the festival of lights used to be held in the Shalimar Garden. It is, however, abandoned for such festivities due to its heritage value.
The people urged the government, and its concerned departments, to learn from this year's mistakes and ensure better of management of the great festival of lights for the next year, in a befitting style, matching the cherished aspirations of the people of Pakistan.
Faiz Amn Mela:
Faiz Amn Mela or Faiz Peace Festival was held on the 26th under the auspices of Anjaman-e-Taraqqi Pasand Musunnafin at the Open Air Theatre, a place which had been the abode of the great creative calligraphist Sadequain in the mid-70s. The venue was surrounded with a bloomy lush green, colourful floral easure of the spring season at the famous Baghe Jinnah. The natural ambience, added to the meaningfulness of Faiz Amn Mela as the great poet himself preached the beauty of life with icons of flowers, petals, colors and enchanting birds.
I. A. Rehman, a media stalwart and human rights activist, while elaborating the poetic philosophy of Faiz said that he was the torch-bearer of the cherished values of love, peace, progress and prosperity. He struggled for upliftment of the poor masses. Faiz, in fact, was a poet who always heralded reverence for humanity.
He paved the way for the revolutionary cadres of society. Dr Solat Nagi paid rich tribute to the great poet due to his persistent endeavours for the promotion of global peace and fraternity irrespective of creed, colour or belief. Dr Saadet Saeed was another speaker, who evaluated the poetry and prose created by Faiz and opined that most of his work revolves around the freedom of people from all sorts of yokes and tyrannies inflicted by the oppressing class.
Abid Hassan Manto, a veteran lawyer and writer discussed, in length, the prevalent state of terrorism and viewed through Faiz's poetic works, we could create an effective deterrence against brutality and barbarism inflicted on humanity at large.
Most of the peace-loving people were questioning the role of literary institutions under the control of either the provincial or federal government as they remained almost alien to the Faiz Amn Mela. A senior citizen and mother said that it is the earnest duty of the people's government to put its contribution in artistic or literary activities, including the Faiz Amn Mela, aimed at the promotion, projection and perpetuation of peace in the country.
Handicrafts show: The Nairang Art Galleries is hosting an attractive and charming exhibition of handmade articles for art lovers these days. Inaugurated on Mar. 29, the display showcased the creative genius of our land, which has been the centre of innovative pursuits, either in the arts or crafts, for centuries. The ancient civilisations of Meher Garh, Moenjodharo, Harappa and Gandhara bear testimony of the wonderful innovative modes of our people, which have been conserved in the form of artifacts excavated from the ruins of ancient civilisations.
The pottery, clay and stone accomplishments, explicitly manifest the high sense of aesthetics and innovative faculties of our craftsmen. The old tradition of creative pursuits has been enlivened by the devoted clan of craftsmen in the country. It is manifested through our present day fabric of crafts.
The exhibition is showcasing a variety of hand-made small-sized carpets and rugs etc, with colorful inscription of Quranic calligraphy, wall hangings, in a variety of charming modes. The most attractive segment of the exhibition reflects the traditional and regional dresses fashioned in this area in the preceding periods of timeline. A good quantity of wooden and metallic vases, flower-pots, carved artifacts, colorful wooden plaques and home utensils are also displayed for the viewers.
The NAG in Lahore has been very active in the promotion of art and crafts since its inception. It is, however, suggested that such useful events should also be available to our younger generation so that it could also be familiarised with its heritage and national treasure of art and crafts. It infuses a sense of belonging and feelings of pride over the national heritage and our collective identity.