The Motley Theatre Group, which was created by Shah, Tom Alter and Benjamin Gilani in the year 1977, has been striving to bring quality theatre to people on both sides of the border. Although there has been limited media coverage of the Motley Theatre Group itself, Shah’s visits to Lahore always evoke interest in the group’s performances. On his recent visit, Shah’s Motley Theatre Group collaborated with Faiz Ghar to bring to the people of Lahore an adaptation of Lee Blessing’s Pulitzer prize winning play, A Walk in the Woods.

The play, which is being performed at the Alhamra Arts Council, opened to a fully packed audience on December 5, 2013. While some felt relieved to have scored seats for the play, others felt a sense of pride in being in the audience, since Shah’s contribution to theatre in Lahore has refuted criticism that the arts have left the city. Taking photographs and videos was strictly prohibited by the troupe to ensure that there were limited distractions for the actors.

Adeel Hashmi, a well-known commercial actor and grandson of the legendary Faiz Ahmad Faiz, made a short introductory note, where he clarified that the play was copyrighted and that the actors had done their best; now, it was up to the audience to make the play a success. And then, the lights dimmed and the play began.

The two-hour-long English play revolves around the relationship of a senior, cynical diplomat from Karachi, Pakistan named Jamaluddin Lutfullah (Shah) with Ram Chinappa (Rajit Kapur), a young, idealistic Indian negotiator, set against the backdrop of peace talks between Pakistan and India.

The set is sparse and comprises of trees and a wooden bench, where the two diplomats meet. In an attempt to ascribe meaning to what they do, the two characters engage in a dialogue that lasts over four seasons. Despite having polarised personalities, the two develop a ‘bromantic’ relationship as they deal with the harsh realities of their countries’ bilateral relations. They acknowledge that no matter how close they get to making it, their respective governments would ultimately avoid a peace deal.

Boasting great comedic timing and offering an overall entertaining experience, the play is a success. After the play, Shah thanked the audience as he took a bow. “Whenever I perform in Lahore, the audience gives me a great response and I hold the city very highly,” said Shah.

Shah’s wife, Ratna Pathak, is the director of the play. Originally Shah, along with Faisal Rashid and Randeep Hooda, were planning to direct. A thoughtful director, Pathak hopes that the audience takes something away from the performance and that the play delivers a thought-provoking message.

“Putting together a play of this scale is ambitious; whenever we reach out to the Motley Theatre Group, who are our friends, we find nothing but goodwill,” remarks Salima Hashmi, who is Faiz’s daughter and an organiser of the event. She recited some beautiful verses of her father’s poetry during the evening’s proceedings.

Cultural icon and good friend of Shah’s, Yousuf Salahuddin, describes Shah as a lover of both Lahore and the arts. He says that Shah values the opportunity to perform in Lahore, and bringing his theatre troupe here brings immense satisfaction to the actor, mainly because it promotes positive relations and cultural interchange across borders.

“While film is something he has always maintained he does for money, theatre is very important to him because he is very interested in the arts, Faiz and poetry,” says Salahuddin. More importantly, a lot of time and effort goes into the planning of his tours to Lahore. Just last year, Shah brought his complete production team to Pakistan and performed renditions of Ismat Chughtai’s poetry.

“It’s really amazing. He is the perfect ambassador and has the ability to cast a lasting influence on people. Just one look at the people he spends time with when he comes to Lahore — students, teachers, intellectuals — can show you how important and far-reaching his work is.”

The play was performed again on December 6, and will be followed by 3 stories by PremChand on December 7 and 8, in which Shah will also be performing. Tickets priced between Rs1000-3000 will be available through Faiz Ghar.

Published in The Express Tribune, December 7^th, 2013.

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Shamoon Abbasi has never been one to take a back seat, or take a break. Any time he completes a project, he is already looking forward and thinking about how he can make an impact. One main aspect of his multi-dimensional career has been his desire to direct.

“I have never wanted to just be a stagnant actor, directing has always been my plan. I’ve always felt it was my responsibility to stand-up, produce and deliver,” says Abbasi. The actor has come a long way since he first entered the industry. While the success of Waar may have made him a famous face, he has always made sure to have control over the types of projects he works on.

“When I started out I had to struggle. I didn’t have money or projects, I was trying to survive. That is what my journey has mainly been about,” says Abbasi.

His directorial debut is something that he wants to undertake on a large scale. Gidh (which mean vultures in Urdu) is an attempt at making a commercial Pakistani film that maintains the sub-continent aesthetic of glamour, music and scale. The film will be produced by Six Sigma productions, which also produced Mein Hoon Shahid Afridi.

“The idea is to make a commercial film, not necessarily in the monetary sense but visually. We have a lot of action films which have touched upon issues of war and fundamentalism. The idea with Gidh is to tackle a serious subject and replace that desire to produce Bollywood-style films,” says Abbasi. “This will be totally Pakistani, and have a commercial look with its glamorised feel.”

Gidh has been described as a film about a well-known celebrity, who struggles with society at-large, through the media, police and public. The theme will explore how one man is tested by the challenges aiming to drag him down.

“I can’t really discuss the plot in detail, but it’s about vultures in our society, and how a superstar is brought down by people whose intents are dangerous,” says Abbasi.

Following the success of Waar, Gidh has expanded its budget and will look to begin production by February. “I think it’s a good thing that the release has been pushed because it has allowed us to get an idea of what this new market is like, and gauge the reaction of the people,” says Abbasi.

Shamoon has assembled an outstanding cast for the project, including Mumbai-based actor Sara Loren, Humayun Saeed, Hamza Ali Abbasi, himself, and two new female actors Sadia Khan and Kiran Tanveer. While the film had originally been slated for an earlier release, it was delayed as Abbasi and Humayun Saeed got caught up with other projects. Shamoon had also interestingly tabbed Hamza Ali Abbasi to write the film before he became famous, by complete chance.

The film will have an array of songs by different directors such as Kamran Akhtar, who is known for his work with Mahesh Bhatt in Bollywood. The film will be shot in Islamabad and Lahore, with songs being shot in various scenic locations all over Pakistan. The background score will be done by Amir Munawar and Hasil Qureshi, who also have Waar in their repertoire.

Gidh will not have a lengthy production process; the plan is to release the film by August 2014, meaning that the film will be complete, from beginning to end, in eight months. Abbasi said he felt it was important that film productions did not lag because of the hindered output of the overall industry.

Published in The Express Tribune, December 10^th, 2013.

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Being produced under the banner of MiRaqsam Media, Poora Chand’s shooting is reported to conclude by January 2014 and concurrently start its round of post-production. The film’s cast boasts big names from the entertainment industry. TV actors Fahad Mustafa and Sanam Saeed will be making their film debuts, alongside model and actor Iman Ali, who has previously worked in Shoaib Mansoor’s films Khuda Kay Liye and Bol. Mustafa and Ali will be seen playing double roles in the film.

Defying the current trend of commercial cinema, the makers of Poora Chand have roped in famous playwright Sarmad Sehbai as script writer for the venture. “We have always looked up to Sarmad Sahib,” says Rana. For producers Ikram and Rana, the current state of cinema culture is one that is conducive for those seeking to experiment with film genres, hence their decision to make an art film. “The debate on commercial film versus art film does not really matter. Everything depends on the audience’s response — they either like a film or they don’t,” says Rana, former chairman of the United Producers Association.

A year ago, Rana along with Ikram, who was previously a senior executive with a major television channel, forayed into the cinema from the television industry. “I pushed Badar, saying that we should come up with an idea which is new and big. It was about time we formed our own production company, which catered to the kind of work we are interested in,” he explains. The film, which includes five songs, is currently being shot in Karachi where Poora Chand’s team has constructed large studio sets in order to streamline the shooting process.

The film is directed by two-time Lux Style Award winner, Anjum Shehzad, known for making stellar television dramas before this. The film, which Sarmad wrote five years ago, draws inspiration from an 18th century poet but is set in the contemporary world. Sarmad’s brother, Manzar Sehbai, who was last seen in Bol, plays the antagonist in the film.

Ikram says that contemporary film audiences demand more complex themes and stories. “The film assumes that the audience is smarter than what is assumed in the industry generally. This film is brought forward with the belief that the audience will be able to digest its complex theme,” says Ikram. “Despite being an offbeat film, everyone participated in the project with the spirit of creating something very unique. As for the audience, they should be expecting a brave film.”

Although Pakistani cinema industry has been flourishing in recent years, Rana feels its identity is yet to be defined. He adds that there is still a massive divide between quality production teams and local talent, and that is the reason why he thought it was important to make something which can be considered a truly original Pakistani effort. “Any actor, designer or producer who is involved with cinema is looking at this as a long-term business investment. Right now it’s too early what genre or style will constitute Pakistan’s narrative.”

Seconding Rana’s statement, Ikram says, “The decision to produce a film like this was long overdue. I can’t say that India or Iran cannot make a film like Poora Chand, given that there are some extremely intelligent people in their respective film industries. But this is a film, we believe, that they will not [be able to] make, because it’s not their style, per se.”

Currently, the makers of the film are in talks with local distributors. Meanwhile, they are also deliberating to launch an official website and Facebook page for the film.

Published in The Express Tribune, December 14^th, 2013.

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Beginning from a one-room studio apartment behind Lahore’s Metropole Cinema on Abbot Road, Azad Theatre’s office is now situated a few streets away from the old one. The new office is larger, but the dream and mission behind the venture are even more so. Despite initial financial issues, Azad Theatre now has a much bigger team of members. Maintaining a muscular presence in the midst of polarised opinions regarding theatre — one, that theatre is dead. Two, that the only theatre left is distasteful and commercial — is no easy task.

“We have maintained a good presence; we are now considered to be one of the main theatre groups in Lahore,” says Sarfraz Ansari, the art director of the group. Despite the cost involved, the group was determined to introduce authentic theatre to the masses. With what was a feat in itself, Azad Theatre members took part in the production process of, and played supporting roles in, film Zinda Bhaag — Pakistan’s entry for the Best Foreign Language Film category at the 86th Academy Awards.

The troupe’s effort to highlight societal ills and create harmony between traditional and modern theatre has lent impetus to their venture. It has performed contemporary and politically awakening street theatre projects. Their upcoming production, titled Cover-up, will take place from December 16 till December 18, at the al Hamra Arts Complex in Lahore. Revolving around the US-led War on Terror, the play will be directed by Malik Aslam. “We have maintained a balance by reviving our folk tales, but we also focus on contemporary issues to instil positive ideals in people,” he says.

The play’s script has been adapted from the first place winning story written by Sibghat Wyne for a theatre scriptwriting competition, that the group held in June. The group prides itself for providing newcomers with a platform to project their talent. “There are a very few writers in theatre, so we thought that by holding a competition, we could search for and introduce new talent through our plays,” explains Aslam. The story highlights the current status of the War on Terror and is set in the backdrop of the US invasion of Iraq in 2003. The plot revolves around a revolutionary poet in Iraq, who is held in custody by authorities for civil disobedience when his daughter is accidentally killed at a security check post. The play then goes on to explore how authorities ‘cover-up’ the situation and try to justify the act by telling the father that such collateral damage happens during wartime. “I think it will be an interesting topic since it will try to address some of pertinent questions about the morality of war and vested interested, which have sustained conflicts,” remarks Aslam. The play will star Ansari and its supporting cast will include Usman Zia, Alia Abbassi, Nadeem Abbas, Zohaib Haider and Mohammad Waseem, among others.

Malik Aslam, Sarfraz Ansari. PHOTO: FILE

Ansari says that with each play, the pressure on Azad Theatre to consistently expand and increase its scale of production, is rising. “We are getting a good response both locally and internationally. Our goal is to continue to expand our group and keep improving with every project,” he states.

Bearing in mind the progress that the two-year-old group has made, Azad Theatre has undoubtedly emerged as an invaluable addition to Pakistan’s theatre scene.

Published in The Express Tribune, December 16^th, 2013.

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“I have always been interested in staying in shape, but for this film, I felt I had to transform myself,” says Shehraz. The trailer introduced the actor, who is making his debut.

Getting the perfect body has resulted in a rigorous diet and health regimen for Shehraz, who plays the lead role in the film, which is being directed by veteran Lollywood producer Ghafoor Butt’s son (and) Shehraz’s brother Shehzad Ghafoor. The film was first announced in the summer and began production in fall.

The trailer introduces Shehraz, a talented actor who, according to legendary actor Nadeem, along with other seniors connected to the film, grows in stature with every scene. Transforming his body meant developing a custom workout schedule, which began six months before the film’s shooting, and had Shehraz doing up to three workouts a day.

“My diet is very strict and I didn’t eat salts the last three months, so I would get quick and good results for my role.”

Set in Lahore, the film will explore how different forms of corruption at the local level permeate into everyday lives of middle-class families. The production team, which prides itself on being part of the revivalist cinema movement, looks to bring productions different from traditional Lahore-based ones that have been made in the past.

The film has been made with an approximate budget of Rs5 million and is shot with RED 2 cameras. Two songs have been shot in Norway and the film includes actors such as Shafqat Cheema, Nadeem Baig and Nayyer Ijaz. Three new female actors will be making their debut in the film.

This is not Shehraz’s first attempt at acting; he was previously seen in the film Khamosh Raho, which was produced by his father. The movie, unfortunately, was a cinematic failure — now known as the debut of Juggun Kazim in Lollywood. The film was directed by veteran director Altaf Hussain and featured Shehraz as the second lead behind Shaan.

“It was a learning process for me, which was important as I learnt a lot of things from that movie. I feel now, that as a newcomer, the role was maybe a wrong choice,” says Shehraz.

The experience has pushed him to work hard on his own acting skills and become more selective about the roles he chooses. “In the end, it gave me motivation to work much harder. I waited for a script that was different and suited my personality better,” says Shehraz.

“I am not really allowed to discuss my role, but it’s not a stereotypical or traditional role of a hero. The character is multi-dimensional and has to adapt to various situations in the film, which has made the character challenging to play.”

The film has finished its first cut and will be undergoing its final phase of production, including colour-grading, in India. The film’s associate director Awais Ahmed says the teaser trailer attempts to project a new feel when it comes to cinema from Lahore.

“We wanted to show that films can be made that are not dependent on one hero, so we have gone with new faces in the lead roles. Now, the question is whether the public will like it or not,” says Ahmed.

Published in The Express Tribune, December 19^th, 2013.

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Established in 1976 as a tribute to performing artiste, the late Rafi Peerzada, RPTW has played a potent role in sustaining arts in the country. The Peerzada family is full of renowned individuals whose contribution to preserving culture and the film industry has been invaluable.  Salmaan Peerzda recently made an acting debut in the Pakistani film Chambaili, Imran Peerzada has been actively involved in film-making, Tasneem Peerzada is known for culture reporting in Urdu media, and the late Faizaan Peerzada was an artist and a puppeteer.

This year, Usman received more than 250 film entries from across the world, of which only a handful were selected for screening at the RPTW International Film Festival.  Out of the films that were selected, nearly 80 were of Pakistani origin. “The involvement of local film students has been massive; I think it’s very important to share what they have done [through this platform],” says Usman.

Usman, who joined the film industry in the 1970s, has had an illustrious career. He wrote, directed and produced Nazdikiyan, which was one of the lowest budget films ever to have won a great number of national film awards. In 1989, he penned, directed and produced Gori Diyan Jhanjran, which also won multiple national awards.

Today, Usman is looking towards making a comeback with three projects that will further boost the already growing market for local films. “Right now, we are planning three films; our first project is a children’s film [to be released in the middle of next year]. It should take about two years to make all three films,” he shares.

“I am a film-maker and always have been a film-maker. I personally think the time is right [to re-enter the industry], since the environment has become cinema-friendly and people want to watch local films now.” Usman hopes that the films will stay true to the ethos of RPTW, which has always concentrated on the theme of family and children.

“We are presently working on the pre-production, musical score and locations,” he says. Usman acknowledges the fact that there are limited children-centric films and, to compensate for this, RPTW has done a lot of work with children. “I think in a place like Pakistan, it is our duty that we come out with [entertaining and quality] cinema for children.” Usman feels that this can help in maintaining a stronghold in the South Asian entertainment market.

Saidaan thinks that this year’s festival has been more important than the previous ones, given the recent success of feature films in the country. He says that growth in the film industry has increased the interest of young film-makers in the field.

“This is a movement we have seen grow in front of our eyes. A number of small and independent films have surfaced, and they need to be promoted for film-makers to keep up their good work,” says Saidaan.

The RPTW International Film Festival lasted from December 19 till December 21, 2013. It included a discussion with leading film-makers from Pakistan and India, among other countries. The last day of the festival was dedicated to the late Faizaan, who was the driving force behind RPTW.

Published in The Express Tribune, December 25^th, 2013.

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LAHORE: If anyone is organising a film-festival in this part of the globe, Santanu Ganguly is sure to be there. He probably wouldn’t stand out in the crowd, but he is the backbone of the growing trend of film festivals around the globe. The growth of film festivals has become an important circuit for aspiring filmmakers.

“Most people in India would not know what a film festival curator is. In fact my in-laws would ask ‘what is this job you do’, and in most places in India, people don’t know what film festivals are about,” says Ganguly.

Ganguly, who was in town for the third Rafi Peer International Film Festival held in Lahore last weekend, said that the job of film curator has become an important aspect of the ‘festival circuit’. Like any arts curator, he spends his life organising and scouting independent films around the globe for an array of film festivals.

“I am always on my toes from September to March, I am travelling like crazy, and I have found that people are very interested in film festivals everywhere,” he says.

Ganguly specialises in bringing regional films to the forefront; such as Bengali, Malayalam, Tamil, Telegu and others. His year is booked solid, with him travelling around the globe, either organizing film festivals or conducting workshops related to the growing field.

“You can watch a film anywhere, on TV or cinema, but the beauty of the film festival, is that it goes deeper into creating an understanding of how to watch films, and what is good or bad about particular films,” says Ganguly.

As an expert on Asian cinema, he views the importance surrounding film festivals as a force that allows non-commercial films to come to the forefront. He interacts with directors who find it hard to break-in the controls of the mainstream industry.

“In the Bombay film industry, you have four houses controlling the industry. In Hollywood it’s the same thing, there is little space for people outside of the mainstream. I am looking to reveal those that are,” says Ganguly.

Muhammed Umar Saeed, who recently curated the Third Rafi Peer Film Festival, says that it is important to extend the culture of film festivals locally.

“I have studied film from Punjab University. After I graduated, I started to roam around the world attending film festivals. This allowed me to understand what they are all about first hand,” says Muhammed Umar Saeed.

When asked to curate and program the festival in Lahore, Saeed said he had been reluctant initially as he was unsure as to how many films he could curate. He said that being part of the festival circuit meant that he was able to get films from 35 countries.

“The importance of film curators and festivals, even if you go abroad, is that filmmakers from different backgrounds get to interact, and then you get to look and view everything related to films, so it’s important in preserving a culture,” adds Saeed.

Published in The Express Tribune, December 27^th, 2013.

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The issue began several weeks ago when Mubashir Lucman filed a petition declaring the Statutory Regulatory Order (SRO) issued in 2006 as violation of the Constitution.

“If you want to run Indian films, you should legalise it or create legislation on it but you cannot do it the way it’s currently being done,” said Amir Ali Shah, counsel for various associations pushing the cause to ban Indian films in multiplexes.

The uncertainty of Pakistani cinema has created widespread panic among the exhibitors and distributors who have through the growth of new multiplexes and foreign films developed a small market in the country. The question of banning Indian films has been largely a lever used to pressure exhibitors and politicians connected to protect the local industry rather than inspired by broader hyper-nationalist sentiments.

The country whose history at one point saw somewhere between 750-1,110 cinema screens in the country was reduced by 2005, to nearly 20 cinemas. From 2008 to 2014, over 5 billion rupees have been invested in new cinemas increasing the number to 104.

The memorandum of understanding agreed upon by major film producers may just be the first framework that has been created for the future of the new film industry to come. The agreement points out that the future of cinema has become deeply connected with the overall growth of Pakistan film.

Further, by taking back the case, major film exhibitors in the country would ensure that 50% of the screens would be provided to films of calibre while on Eid 50% of the capacity in multiplex cinemas would be dedicated to Pakistani films.

“We have to look at the larger perspective, we are going through a rebuilding process, so any deterrence to that whether it is the entertainment tax or Indian films issue,  its equivalent to hurting yourself,” said Nadeem Mandviwalla, a leading member of the PFEP.

By bringing back the case exhibitors are wary over why the agreement was signed in the first place. Zorraiz Lashari, who is the chairman of the Pakistan Film Exhibitors’ Association, says that it will raise a lot of questions over what was the point of the agreement.

Published in The Express Tribune, December 28^th, 2013.

“You may remember me as the one who played Shaan’s child in the 2001 film Moosa Khan,” says Adeel, who likes to use Adeel PK to distinguish himself from his father, veteran film writer Pervaiz Kaleem. 25-year-old Adeel, who has both experience and a film legacy to his name, disclosed his plan last week to make his directorial debut, which he will start shooting on January 7 in Lahore.

“Everyone has been giving  their blessings and is really happy, because they know me and how hard I have been working since I was a child, so I suppose there will be a lot more focus on the work I do as well,” says Adeel.

The news of Ishq Positive was first announced at the launch of Raga Boyz’ single Channa, the music video of which is directed by Adeel and features actor Noor Bukhari. The story will centre around two people, who both run away from their respective villages to the city. They are working in the same area and are forced by circumstances to live together. As the story evolves, they eventually develop a romantic relationship. There is a catch however, despite the fact that they are clearly in love, both characters have run away from previous relationships.

Adeel has been working on productions since he was a teenager. Eventually, he began taking on a more active role as film editor in major films such as Bhai Log and Ishq Khuda.

With Ishq Positive, Adeel hopes to shift away from previous experiences and give the industry a film based on comedy — a genre that has been overlooked by the recent boom of films coming out of Pakistan and, according to him, has now been primarily confined to Punjabi stage theatre.

“I myself am the action sort, but I felt that there was already a lot of action taking place in the country, so I have planned a romantic-comedy musical, which will offer people relief and let them enjoy,” he elaborates.

His rise has been relatively slow ever since he entered the industry. Adeel has been involved with local film projects for quite a while now. He has drawn inspiration from people such as Shaan and his own father. He believes that his experience with them has taught him to adapt to the uncertainties that the industry always seems to provide.

“I think in Pakistan, if you learn theory before practical experience, it does not work. You have to be a guerrilla film-maker on many levels because you have to deal with so many things,” says Adeel.

Ishq Positive stars Wali Hamid Ali Khan of the Raga Boyz, who is making his way slowly into Pakistan’s entertainment industry, both as a singer and an actor who recently made his debut in a Punjabi film. Noor Bukhari will be returning to the silver screen for her role as a female lead in the film. Javed Sheikh will also play a significant role in the film, which has been written and directed by Adeel.

The music for the film was completed during the pre-production phase. The soundtrack will feature music by Rahat Fateh Ali Khan and the Raga Boyz, along with Indian artistes Shreya Goshal and Sunidhi Chauhan.

Published in The Express Tribune, January 2^nd, 2014.

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He has received appreciation from music heavyweights, such as Mekaal Hasan, Fariha Pervaiz and Ali Zafar. With songs such as Pehla Pyar, he has always had an appeal as crooner. Now, with the launch of his band Jimmy Khan & The Big Ears, he is embarking on a new chapter in his music career.

The band released its first single Nadiya on January 1, 2014. The band comprises of Jimmy Khan (vocals/guitar), Zain Hasan (ukulele), Sameer Ahmed (bass) and Raavail Sattar (percussions). In a tête-à-tête with The Express Tribune, Khan talks band, beats and beyond.

Khan shares the name of the band came about because Mekaal Hasan used to call him ‘Jimmy Big Ears’. “This project and our identity formed when we started to perform together as a live band. I had previously been thinking of adding a new sound,” says Khan. “I had been working on a collaborative title that would work, and I think it adds an interesting dimension [to the band].”

The young singer, believes in the power of joint projects and that is it important for musicians to stick together in the challenging local music scene. “Even when I started my career, I felt music is not defined by the studio; it’s more about feeling and connecting with other musicians, because it is when you collaborate that you create something good,” says Khan. With an independent singer scene prevalent in Lahore, artistes are often unwilling to compromise on their personal style of music and aren’t open to partnering up. However, for Khan, a singer can make magic with other artistes.

The single Nadiya, which is written by Khan, is a folk-blues track from the band’s untitled album. It draws inspiration from the 50s and the 60s, and focuses on the themes of love and loss. “The song is essentially about a lover who has left a vacuum; it could have come from personal experience, but I am not certain it did,” explains Khan.

The video for the song has been shot on the platforms of the Lahore Metro Bus by a young film-maker and friend of Khan’s, Fatima Shah. It shows the story of a young boy who is infatuated with an older woman, and follows her around Lahore.

“It was as if I had written the song before I even started penning it — it was in my mind; [it reverberated] the tone and melodies by maestros like RD Burman that I had grown up listening to, and that have gone missing due to the advent of post-modern music,” says Khan.

Zain Ahsan, of the Poor Rich Boys, who has also produced the song, says of his experience with the band: “It has been a lot of fun. Making music with a wide variety of artistes is quite enjoyable. The Big Ears project is unlike any of the other projects I’ve been working on.” He interprets Nadiya as a “happy sort of pop song.” “The fact that it hasn’t come out of a machine is what made the experience interesting for me. We sat down and made a happy song and it was good.”

The band has been performing in the local Coke Studio gigs. Khan has said he does not see any reason why he should sign with a record company at this point. Nadiya was recorded at Mekaal Hasan’s Digital Infidelity Studios. It was Hassan’s idea to record the band’s album; it includes eight songs that were performed live, so the band could maintain the live feel associated with Khan’s work.

The band, with its melodically strong tunes, shows great promise.

Published in The Express Tribune, January 3^rd, 2014.

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“I have been approached several times, not only for movies but also for games and T-shirts, and many fans have even purchased the posters,” says Zaidi.

“Usman showed great interest. I saw his work and he seems to be passionate [about comics]. I hope he will do justice to the character.”

The character Bloody Nasreen has gained relative cult popularity via social media. Zaidi started out as cartoonist in 1997 and is a painter and concept artist, who has worked in several major production studios, but comics seem to have taken the forefront for him.

“In 1999, when I was 17, I made a comic for a local magazine called ID Magazine. It was about a superhero fighting crime in futuristic Karachi. It was published, but I couldn’t continue it due to my studies.” It was then that Zaidi decided that he would be making another comic series based on local characters.

“The comic book culture isn’t particularly prevalent in Pakistan, but we have had a number of movies based on comics that have released in the past few years,” says Zaidi. The artist believes that people have now become familiar with the medium, and more artists are releasing comic books in the country. “I think social media has played a big role, particularly Facebook, and also, the revival of cinema has helped,” says Zaidi.

“I grew up reading comic books and graphic novels, I think it’s the second best way of telling stories, after movies,” he adds. Another reason for producing a graphic novel was that Zaidi didn’t have the resources to make a film. “Since I am not a professional writer, I haven’t yet finished the novel, but much artwork has already been produced,” he shares. Now, Zaidi will be involved in the creative aspect of the film, and that is something he is very excited about.

“I am sure if it is made right, this movie will be fun to watch. I think a cult audience will like it, just like Tarantino movies. Of course, if someone goes to the cinema with a Godfather type drama in mind, they will be disappointed,” says Zaidi.

Regardless, Usman Mukhtar says that the project was a dream, since he is a comic-fan, who has been searching for the perfect Pakistani superhero. He is expecting a two-year production time, in which they plan to complete the film. The two have already begun creating a screenplay and storyline.

“The challenge is that we have to create an entire world!” says Mukhtar.  “We do not want to exaggerate it, but keep it very close to reality, so the challenge will obviously be finding the right creative team, since nothing like this has ever been done before.”

The challenge of finding an actor who can easily fit into the role of Bloody Nasreen, a powerful female character, will be challenging. But Mukhtar says they plan on doing all their homework before making a decision on the casting.

“We live in a male-dominated society, and generally, most superhero films have male leads. I think it will be interesting to see how this turns out,” says Mukhtar. “The challenging part will be finding someone to play Bloody Nasreen. If you asked me right now, I would say the only person I can think of is not from Pakistan but India. We will need to conduct local auditions, and the character will require a lot of dedication in terms of time, training and diet which most likely will affect other projects.”

We look forward to seeing not only a female protagonist in a film, but a crime-fighting one at that.

2016 is gearing up to be the year for Bloody Nasreen!

Published in The Express Tribune, January 5^th, 2014.

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“When it comes to Seraiki poetry, Shakir Shuja Abadi is one of the biggest names. Almost every columnist in Seraiki has written extensively on his work. He is in dire shape,” says Nazar Farid Bodla, a student and an apprentice of sorts, who is now officially assigned by Shakir to recite his poetry.

Bodla tells The Express Tribune that it has been two years since the Punjab government stopped providing Abadi a stipend and he has not been able to work. Bodla says that Abadi’s house is small, and the family has no lands or supplementary income. According to Bodla, Abadi has been dependent on hand-outs from an MNA, or if a poetry recital takes place, he writes down poems for Bodla to recite.

“He is not well,” says Waleed Abadi, the younger son of Abadi. Waleed has returned home to be with his father, who in Seraiki folk-culture is a literary figure. Most regional languages are overshadowed by the prominence of Urdu or English, and Seraiki is no exception. Due to this, we forget the hidden geniuses that are yet to be discovered in the heart of our country.

Waleed says only a few friends and fans have visited regularly since his father has been bed-ridden. Shuja’s poetry is still published regularly in a newspaper, whenever the Shakir pens a thought. Most of his life’s work has been built out of experience and the process of life itself.

It is said that his poetry came from a dark place of struggle and uncertainty, because of a stroke that he suffered as a child. He managed to attend a local government school, from where he drop-out after the death of his grandmother.

Forced to work as fruit-seller, he was entrenched in the vicious cycle of making ends meet in Bhawalpur. Poetry was still not in the picture. He then moved to Karachi, where he worked two jobs both as fruit-seller and chowkidar.

“He was forced out of the workforce. He spent his life working, but his health and age didn’t allow it. Poetry came to him when he had nothing,” said Waleed, while his father sat next to him.

Abadi started to recite his thoughts at the local darbar, and by the early 90s he was considered a towering figure of Seraiki culture. His first proper Mushaira was held in 1986 and he then headlined the All-Pakistan Mushaira held in 1991. The last Mushaira before his childhood condition got worse was held in 1994, but he still recited and his following still stood strong.

His poetry is laced with beautiful prose, which seems to put forth riddles regarding the world and society. He discusses themes of honesty, poverty, inequality, and underdevelopment related to the region. His ability to surpass linguistic barriers and appeal to non-Seraiki speakers is very powerful.

There are several popular lines, such as Tu Mehnat Kar, Tay Mehnat da silla Jaane Khuda Jaane (Just work hard and reward for that hard work, only God knows what you will get.) or Tu dewa bal kay rak ja, hawa jaane khuda jaane (Light the lamp, and let the winds decide or fate decide).

It is unfortunate to see talent such as that of Abidi being wasted due to sheer indifference.

Published in The Express Tribune, January 7^th, 2014.

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“I am better known for my acting, so a lot of people told me ‘focus on that’ or ‘wait before you make a film’, but I felt I had to do it. It’s kind of like getting married, you can wait five years or do it now,” Abbasi tells The Express Tribune.

Abbasi has paid no heed to these suggestions and is currently in the process of directing what is being hyped as a vitriol comedy that should be released  by mid-2014.There are many positive things about Abbasi, but one thing is certain, he is always talking about bringing people together and supporting each other for the betterment of the industry. The actor-director has kept his indie-film roots intact with this endeavour by casting and running the production through people he feels comfortable with.

“The passion aspect has overshadowed professionalism. We’re all people who are doing this for the first time, so I think that’s what made the project so interesting,” says Abbasi.

His production team is a cultivation of minds he has brought together or scouted over the years. More importantly, they are people he trusts. For instance, the script is a collaborative effort between Abbasi and two theatre veterans, Atif Siddiqui and Jawad Rana. His production team includes two relatively new figures — Shayan Latif, who was his DOP in Mudhouse and newcomer Sharmeen Khan.

“My first priority was to work with people I already knew and thought I had a comfort level with, so we would stay together at work, so that helped me,” says Abbasi. The hype surrounding the film has been apparent since its inception due to the originality of the piece, and the star ensemble assembled by Abbasi. Ahsan Khan was initially going to star in the lead role, which is now being played by Abbasi himself.

Kambakht has quite the all-star cast, including Abbasi, Shafqat Cheema, Humayun Saeed, Shehryar Munawar, Sohai Ali Aabru, Fizza Zehra and Gohar Rasheed, amongst others. A comedy with an original storyline, Kambakht is about two people, one middle-aged man from the backward areas of the frontier, played by Shafqat Cheema, and a young urban city-slicker played by Abbasi himself, who strike an unlikely and accidental friendship.

“I think it’s going to feel like a combination of both Hera Pheri and The Hangover mixed together. It’s pure comedy and entertainment, in which I think the film’s strength is going to be the story and the characters,” says Abbasi.

Gohar Rasheed, who helped with production and is playing the role of a policeman, is quite excited about Kambakht, due to the hilarity surrounding its characters. He says that the out-of-the-box and non-conventional approach has provided something really different.

“It’s really a roller-coaster ride; it has one turn after another, one twist after another, and one event after another. Personally I am against comparisons, because I feel it’s just that original. This film will leave its own mark,” says Rasheed.

Comedy aside, he says there is a broader change coming, in light of the fact that type-casted actors such as Shafqat Cheema, who has only been known for his roles as a villain, will be seen in a completely different light. Another person to look out for will be Humayun Saeed, also known for dark-harrowing characters, playing against his type.

The film is going to be distributed by ARY Films, and will be releasing its teaser trailers in the coming months. We can’t wait to see what Hamza Ali Abbasi has in store for us this year.

Published in The Express Tribune, January 10^th, 2014.

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“I had been searching for a script to follow-up Ishq Khuda. I was divided over the idea of making a comedy or an action film, but a politician’s statement made the choice very easy for me,” explained Rafique.

“I just couldn’t understand how he [Munawar Hassan] could make such a careless statement about the armed forces fighting on the frontline,” he added.

The film Salute will not be an ISPR-funded project. In fact, it will be Rafique’s attempt to explore the questions of morality surrounding extremism, and will give thorough insight into the journey of an individual from a man to a martyr. Film is an important medium that can be used to challenge extremist ideologies surrounding war on terror, and, more importantly, religious intolerance.

“This film will not be made on an agenda in terms of funding. It’s sort of a tribute to the journey of a young man and the challenges he faces on his way to becoming an army officer,” said Rafique.

“Till now, every film I have made always tries to address a broader question. I am over 40, I don’t feel the need to make a fun film. My target is to make an issue-based film that is serious.”

Even in an earlier movie, Rafique touched upon a sensitive topic. His previous film Ishq Khuda aimed to challenge the notion of extremist ideologies by addressing the idea of true love and spirituality. It also openly challenged rigidity and the fundamentalism that has flourished on a societal level.

Salute is currently being scripted by writer Tariq Ismail. He is hoping to cast Ahsan Khan in the lead role, with Nadeem Baig and Atiqa Odho as part of the cast, depending on availability. He will shoot major portions of the film at military academies as he feels that it is time to move beyond the methods of formula filmmaking. “The things that have to stand out in every film are emotions and sentiments. This is the only formula that matters. The rest is your story, your characters, and your topics,” said Rafique.

It is worth mentioning that Rafique is planning on giving young directors a platform under his production banner. He said that he plans on grooming his assistant directors for feature films and would be launching them in the near future.

When Assistant Director Hasnat Afridi was asked to give some insight on this upcoming movie Salute, he said, “This is not your typical story on the armed forces. Whatever I have seen of the script is very original, because it gets into the details of how one man becomes an army officer and the hurdles he comes across.”

He said that the film is not necessarily about the armed forces, but focuses primarily on patriotism and an officer’s life. Afridi disclosed that the film would be shot in Swat and Karachi and have some scenes shot in America, as well, since there is a parallel storyline set there.

“We are planning a lot of interesting things for the film. The main point is that the story will focus on the officer himself and there will be an element of patriotism. We are also planning on including a large production team, so that we can introduce more young people to the film industry,” said Afridi.

Published in The Express Tribune, January 11^th, 2014.

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The festival is a commendable medium to project the Sufi path that gets one in touch with the soul. The three-day event is perhaps one of the most widely attended events organised by RPTW. The platform makes Sufi music accessible for the genre’s enthusiasts.

But other than the gripping kalam, what attracts a following for Sufi music are the artistes themselves, whose history and traditions are worth knowing. In a backstage conversation with some of the musicians performing at the festival, The Express Tribune explores the various aspects of their lives as Sufi singers.

The family of musicians, called Shah Jo Raag, who sing at the shrine of Shah Abdul Latif Bhittai have maintained their 400 year long tradition and kept close to their roots. There is nothing commercial about their craft and there is potent spirituality in their music.

Muhammed Ismail Mirjat, who is a direct descendent of Shah Jamal, says that every Thursday, the singers gather after the Isha prayer and sing for the rest of the night and on the event of an Urs, they sing consecutively for three days.

“This has been going on since three hundred years. We have never missed a day at the shrine and we perform without any money/salary to sustain ourselves; it is pure devotion and no night has been empty,” says Mirjat.

Saeein Ghulam Abbas of the Madhu Lal Group adds that although the musicians hail from different backgrounds, they all wish to enter the dervish mode while performing, through the song, the sound of the dhol or dance. Having travelled around the globe, he says that it is praiseworthy that the festival pays homage to the complete devotion and purity of the centuries-old Sufi poetry and songs.

“I think if a hundred people came to any of our shows, they will develop faith in the Sufi way because it’s the way of peace and calm,” says Abbas. “There is a fear that we may become extinct, but let me say that whenever the Sufi message is discussed, people do gather.”

The festival brought together some of the most renowned Sufi artistes this week, including Sanam Marvi, Saeein Zahoor, Pappu Saeein, Akhtar Chinar and Arieb Azhar. Each day had its own charm, and with its greatly designed set-up and impeccable sound system, the event had a high entertainment quotient.

On its last day, the show started with an act by Mehboob Mian Miri qawwal and was reminiscent of the days when the legendary Nusrat Fateh Ali Khan could captivate any crowd with his live performances. On the recommendation of Saidaan Peerzada of RPTW, the qawwal tried a first-off fusion performance with Rafaqat Ali Khan, for which he harmonised his traditional qawwali with Khan’s contemporary classical music.

Krishnan Lal Bheel from Cholistan, who performed primarily in his local Marvai language, sees the festival as an institution that has, in modern times, given a platform to Sufi artistes both locally and internationally.

While Sufi and folk music continues to embark upon its aim of touching the soul of the masses, Bheel says that the government must do more to preserve the art. “If the government would give us some support, it would help make [Sufi and folk] music thrive again. Many of our elders are leaving slowly because they cannot sustain themselves and don’t receive much emphasis or protocol,” says Bheel.

It is fitting to see Sufi artistes, who rarely get the opportunity to display their art in the mainstream, being offered a prestigious channel to do so in the form of the RPTW Mystic Music Festival.

Published in The Express Tribune, January 14^th, 2014.

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Lodhi has always had a penchant for acting and was offered a number of opportunities outside of Lahore, but his business commitments restricted him take up any project. “I always wanted to do films. In fact, television was more or less an accident. Nevertheless it was a blessing; it came at a time when I became a trendsetter and everybody then followed. Eventually, I got tired of all of that and wanted to do something bigger,” says Lodhi.

Lodhi has since then taken a break from the small screen and focused completely on his film. “If you do a show for five to six months regularly, who would want to come and watch you in cinemas? So, I wanted to take this break,” says Lodhi, who spends most of his time at the Lahore Hockey Stadium, where he works as the youth ambassador and media organiser for the Punjab Youth Festival.

Lodhi is not only acting in the project, but also producing it, under his and partner Irfan Rafique’s banner called Red Ocean. Rafique, who has worked closely with the delightful host, says that Lodhi has a great sense of creativity and is business-savvy. Hence, film-making seems logical for him to pursue and the originality of this script was apt.

“We thought the story is very powerful and he had been trying to work on the story for two to three years. When we discussed the idea with potential sponsors, even their response was positive because they found the subject to be very interesting and original,” says Rafique. “That’s why, when we formed the company, we decided to put everything else on the backburner and work on the feature film as our first major production.”

With Mausam, Lodhi hopes to add to the diversity of film-making, now prevalent in Pakistani cinema. The film which is about a father-son relationship will be directed by veteran screenwriter and director Pervaiz Kaleem. The project also includes new talents like fresh art directors from the National College of Arts in Lahore and an undisclosed London-trained film-maker who has the experience of working with Indian directors.

Lodhi emphasises he is serious about quality film-making and therefore, he is maintained a balance of experienced and fresh people on his production team. “This isn’t a run-of-the-mill, typical Lollywood or even Bollywood project. Instead its aesthetics can be related to Hollywood films because while it is a romantic film, the emotional concept behind it is very different from usual,” asserts Lodhi.

It is apparent that with this film, Lodhi has been able to follow his life-long dream of entering commercial cinema. “People don’t know this but even when I was doing television, I was trying really hard to do films, but it just never happened. Now I feel it’s the right time, and hopefully it will pay off,” he says.

The team is currently looking for a female lead, which will likely be from India. However, there have been rumours that they have signed British model Puja Panchkoty. The film will go on the floors in the coming few months, while the official press announcement will be made by the end of this month.

Published in The Express Tribune, January 21^st, 2014.

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“There was a time when I wanted to make music my bread and butter, but I realised that there is no music industry to speak of, it caters to people who have already made it,” Mujahid tells The Express Tribune. It’s been three years since Meri Zindagi was released, which presented her as one of Pakistan’s ultimate rock chicks. The song was very personal to her and seemed to connect well with her own place in life and her search for independence.

She laughs and says that she was in her 20s and going through a time when she felt that women in our society have a set timetable. The song had the sort of success that she didn’t realise would happen.

“It was really interesting because of the type of responses I got. There were many young girls and women who emailed me about how the song had given them motivation,” says Mujahid. That’s why her latest single Uth Oye is interesting. It doesn’t necessarily move beyond the phase of her 20s but it engages with, and tries to bring about, a sense of positivity to the picture. After three years in the shadows, Mujahid is restructuring her career priorities, and is approaching music in a different manner.

“People are always so negative. My idea now is that even if you know about the negative things, you should be thinking positively and being positive,” says Mujahid. Uth Oye has a sort of anthem feel to it, and the video tries to articulate Mujahid’s positive frame of mind.

“I can say this is my anthem. I don’t think I set out to make anthems or anything, but it’s how I feel, and these are things I feel strongly about and believe in, so people do find it motivational.”

The song is written and composed by Haider Hashmi, a good friend of Mujahid’s. The singer gave Hashmi full freedom to use his words to express what she was feeling. She says the experience has been fulfilling, since she is now making music on her own terms. The video showcases the stories of three females who have touched people on many levels.

Take for instance Farah Deeba, the  26-year-old who started an initiative to educate and provide schooling to underprivileged children at the tender age of 20. Today, her institute Alam Bibi Welfare caters widely to the underprivileged. The video also shows Sabira Sultana, a former burns’ victim who is now a patient coordinator at Depilex Smileagain Foundation. Sultan has overcome trauma to provide inspiration to many other women.

Haider Hashmi, who is best known for his cornerstone role in the band Aaroh, which is also making a slow comeback, said “I felt that the feeling had to be one of hope or umeed, since I had wanted to write for women who have to struggle so much on a daily-basis, so the idea was to portray the feeling that you cannot let anything bring you down,”. He also disclosed that he would be working on more projects with Mujahid, and that they had already penned a number of other songs.

Published in The Express Tribune, January 22^nd, 2014.

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“Whenever I sit-down and plan I always ask, how do I move forward, what is next, and how can it be unique,” says Falak.

“I was actually kicked out of a band at Hajvery University, because there was already vocalist they had told me I could not sing and so on,” says Falak.

“But for me this was a passion, and I knew this was what I wanted from life.”

His sophomore album Judah, was released worldwide on December 27th through T-Series and was also made available online for the Pakistani market.

His music has been experimental, in the sense that he has focused on promoting a Punjabi Dubstep sound, which has both a global and local appeal. The sound also caters to his live performances. This has been part of an overall transformation he has attempted, since his first single in 2008.

“I focus on my lyrics, because you will see what I want to say as an artist, but more importantly the music has to be such that it caters to my live performances, which means that people should want to dance and have fun,” says Falak.

His focus on Punjabi is both due to comfort and understanding of its appeal. He says that it is a language that generates energy, whether you’re at wedding or a concert, dance is what drives the experience, he says.

“Punjabi music makes you want to dance, and if you were to compare overall, Punjabi songs have been more successful than Urdu one. I also believe Punjabi suits my vocal tone, so I think that’s why I sing more in Punjabi,” says Falakh.

“It also represents my growth from Pakistan, Lahore, it protects that, it protects my culture and the country’s culture, and the feeling of Punjabi people,” he adds.

Falak emanates a vibe that can only be described as genuine, which is what makes him interesting. He also marks one of the few bright spots coming out of our music industry today. From humble beginnings, he has broken through an industry known for its cliques, whether in Lahore, Karachi or Islamabad.

While other musicians have lamented the declining conditions of Pakistan’s music industry, Falak has seen an increase in concerts, ranging to over a hundred each year. His manager, DJ Mac also disclosed that Falak performs 15 – 20 concerts at a time.

“His rise may not have been possible in the nineties, but it shows how people have changed due to social media, and have developed their own tastes and individuality with regard to the music they listen to,” says his manager.

Suspiciously, there was little media coverage and hype in the country surrounding Falak. He recalls that his first singles had been overlooked by channels due to the lack of openness to new sounds and content. In many ways, he is a formidable opponent, grounded by his lahori roots, and his sound is both crafted and linked to his approach to music in general.

“I don’t socialise much, but at the same time I didn’t want to be around for only a few years and then disappear,” says Falak. “ that’s why I had to work from the roots, I’m here four years later, and in 10 years, I’ll still be here producing good work,” says Falak.

Moving forward, Falak says his focus will be on tours, and he will be regularly doing playback songs in Bollywood. He is not however, working on a new album at the moment.

Published in The Express Tribune, January 25^th, 2014.

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“My entire experience of making this film was exciting. They say all is well that ends well, but this is just the beginning, it has been a great experience making a film on my home ground, I have high hopes that this film will be successful,” said Mehreen Raheel.

For Raheel, this is her follow-up to her debut film Virsa. The cast of the film comprises of a close-knit group of actors who have strong grounds in theatre and television. The charismatic Salman Shahid, who is fresh-off the release, remarked that he had done some theatre with Omair Rana and has worked with Mehreen Raheel’s mother Seemi Raheel.

Regardless, the cast and production team of Tamanna was relatively new on many levels for old Lollywood film journalists from Lahore, who are now coming to terms with the new faces. One of them was so confused and flabbergasted by the development, he asked producer Sarah Tareen, “Why have you left our heritage and forgotten our old Lollywood personalities such as Noor.”

Tamanna has been a work in progress for a long time.  It is an initiative by two ambitious young filmmakers, Sarah Tareen and Steven Moore, who are attempting to make a film that would be different. Tareen explained that there were different commercial styles of filmmaking and her goal was to bring story-telling on the screen.

“People have asked why it took three years. It’s very simple. Some countries have a studio system, over here that does not exist, so you have independent filmmaking. All these films that have been made are being done independently, people are raising their own funds and making films,” says Tareen.

The film is about Rizwan Ahmed (Omair Rana) a struggling actor who meets Mian Tariq Ali played by Salman Shahid, a relic of the once thriving film industry. The struggling actor is there to convince Ali to divorce his wife, and in the process engages in an ordeal which leaves only one of the two men alive. The film incorporates elements of dark humour, melodrama, crime, passion and revenge and is based on Anthony Shaffer’s play, Sleuth. It is written for the screen by Steven Moore and Ijlal Khan.

The film has already received considerable acclaim due to its soundtrack. The track, Koi Dil Mein, which has been sung by Rahat Fateh Ali Khan and composed by Sahir Ali Bagga, won the Best Music Talent in Film Award in the 14th London South Asian Film Festival 2012’s BAFTA ceremony. Come Pakistan Day, audiences will be able to determine if it deserves acclaim for the story and acting performances as well.

Published in The Express Tribune, February 4^th, 2014.

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Carrying saffron flags and chanting ‘Pakistanis go back’ and ‘Vande Mataram’, Shiv Sena activists forced their way into the venue and heckled the members of Mekaal Hasan Band, overturning chairs and refusing to allow the press conference to continue.

Speaking with The Express Tribune, singer Mekaal Hasan said the conference was scheduled to announce a collaboration between musicians from India and Pakistan. “This was not a political press conference, but they politicised it,” Hasan said.

A musical performance by the artists, including Hasan and Ahsan Pappu representing Pakistan and Gino Banks, Sheldon D’Silva and Sharmista Chatterjee representing India, was also scheduled for the event.

Police dispersed the protestors and the entrance to the press club was closed. Mumbai Press Club President Gurbir Singh said that he has approached the home minister, RR Patil and Joint Commissioner of Police (Law and Order) Sadanand Date to ensure the deployment of additional policemen at the club.

Singh deplored the party’s actions, saying efforts to improve Indo-Pak relations should be welcomed. Similarly, Hasan reiterated, “Indian musicians are learning about our culture and we should keep calm and focus on the good things we’ll do together.”

He said some Indian journalists have contacted him and apologised for how the band was treated. Hasan said the band would continue to pursue such international collaborations, pointing out that the band’s ‘Sanwal’ and ‘Sajjan’ were regularly performed at talent shows in India, including Sa Re Ga Ma Pa and Indian Idol.

“I do not believe that these people have even heard of what we do,” Hasan said. “They have every right to not like our music but they are not the ones who invited us to India and they do not have a right to ask us to leave.”

The band is not disheartened, he said, explaining, “While there are many who do not want us to work together, there are many more who do.”

The Shiva Sena has opposed the participation of Pakistani artistes in events held in India for some time – the party protested the inclusion of television host Begum Nawazish Ali and actor Veena Malik in the television show Bigg Boss in 2010 and disrupted a Sindhi Sufi music festival in Delhi last year as Pakistani artists were included in the show.

While Shiv Sena is the Bharatiya Janata Party’s oldest electoral ally, several in the BJP say it is a mistake to ally with a party that thinks nothing of violating India’s constitution. “I have never shared a stage with Shiv Sena because I am not in agreement with some of the things they do,” BJP senior leader Murli Manohar Joshi confided while speaking with The Express Tribune.  

Published in The Express Tribune, February 5^th, 2014.