Khayal Darpan is a cry for help for a classical music heritage that used to exist.

It explores the contemporary fate of classical Indian music of the subcontinent on the Pakistani side of the border. This indigenous musical form existed long before the creation of either Pakistan or India and perhaps has its roots in antiquity. Lost today in a world of westernization; it is alarming how something once such an integral part of our society has become stagnant and non-existent. This documentary brings to attention the current status of classical music, its future and the effect of local pressures, be them social, political and religious within Pakistan. The downfall of classical music can be perceived to be from the same time as the decline of the Mughal emperors and it got more gradual after India and Pakistan were partitioned. Initially, a major setback for classical music was that borders barred singers from the dispersal of their knowledge and art which was restricted to the local place only instead of spreading elsewhere from its origin. One of the main themes on which Yousaf Saeed has highlighted in this film is how classical music has declined after partition in 1947, and how because of our neglect and misunderstanding this art will one day grow fainter. The documentary begins with a discussion on what classical music brought to our society, an eye opener for all those who oppose this distinct art that had bound us for generations. Legends such as Amir Ali Khan, Ashiq Ali Khan and Amanat Ali Khan used to gather in Lahore, which was the centre of classical culture in the olden days. Their performances brought people from all over India, who came to participate whole heartedly. The common people, locals such as butchers, tailors and merchants of all sorts were the ones who made arrangements of huge feasts whenever someone of stature came to perform, which was usually done every Thursday. The common man had such high standards, exquisite taste

that whomever person they applauded became famous world over. They commanded respect, held integrity and it was through them Bade Ghulam Ali Khan and Umeed Ali Khan gained recognition. The entire documentary is essentially a compilation of interviews conducted with Pakistani patrons and practitioners of the traditional form of classical music. The immediate impression it installs is striking, particularly for people who understand music. It is unfortunate to see that while such an exquisite form exists in our own backyard, little, in fact nothing has been or is being done to promote or at least preserve it in its authentic form. Classical music has all the superior aesthetic elements and indubitably qualifies as good music. However, to see the practitioners of this classical musical form living in obscurity and relative poverty compels one to raise a number of questions. The documentary traverses the narrative from history to the present day, mostly by way of offering what the people who have had an association with classical music have to say. The remnants of the Gharana tradition, practioners and descendants of Ustads (masters), express their nostalgia for the olden days when their music was valued. The awe and respect accorded to the masters and patrons of the past is a recurring occurrence over the length of this documentary. It brings to attention the patronage, primarily of the upper class, that sustained the development and standard of classical music. This is something which is not to be seen today, which has perhaps accounted for the marginalization of this indigenous and unique art form. But this raises an important issue. The fact that only the nawabs, riches and connoisseurs were the patrons of this musical type in the olden days undermines its claim of a cultural creation. The slow tempo, raga or raags and the unintelligible vocals, although replete with aesthetic quality, might not appeal to the workaday masses but only to the trained listener, a fact that the esoteric nature of this art entails. This is perhaps the reason for the tenuous existence of classical music.

The experts repeat the fact that the mass migrations after 1947 relocated musicians, which curtailed the activities of the gharana traditions. Consequently, where previously musicians moved freely during the colonial and pre colonial times, now found themselves in a position with little or no access to proper instruction and communication. Another important issue brought into discussion is how Pakistans endeavour of creating a religious national identity impinged on classical music. These religious and identity pressures curtailed the practice and popularization of classical music. It must be noted that since the Indo-Muslim civilization was not confined to the areas which now constitute Pakistan, many elements which supersede the national geographical boundaries are inevitably found in its culture and art. Moreover, since these traditions are much older than the Muslim era, many ingredients unrelated to Muslim social traditions were/are present (Faiz 28). This essentially was the case with classical music. As a consequence, classical music had to go through a reformation phase because of its Hindu borrowings .These were local pressures, which were impediments but there were attempts in terms of revival and preservation as musicians, and historians in the film discuss. Khayal Darpan has identified certain factors that caused this affect on our age old art of classical singing. The classical singers of today have deviated from the original styles of classical singing namely, dhrupad, thumri and other forms of raag that were an outlet of expression for not only the singers themselves but also for those who listened to them. The more recent styles of classical singing are adaptive to Qawwali and Ghazal as they are more acceptable in such form. Faiz discusses the factors behind these subtle changes over the years, touching upon the facts that the powers endowed to the Mullahs to bring unity among an imbalanced structure of our nation brought a bad name to the classical singing culture. Often associated with Mujrahs and called haraam, the origins and intentions of the classical

schools of thought were never taken into consideration. Tagged haraam via Islam, classical singing became somewhat taboo in our modern society right after partition. The film also discusses the emergence of pop and folk and their effect on classical music. . The emergence of the pop artists e-g Vital Signs initiated a chain of artists that adapted to this western style of singing on looking the classical approach. This day saw classical singers battling for their place among the locals, shunned from all sides. Stamped anti-religious, now they face adversity again with new rivals.Also at national level, folk music received appreciation, traditional classical music was not treated in the same way until new artists, like Mehdi Hassan, with their brands of the ghazal form did a meritorious task in this regard to reinvent, and to some extent resuscitate classical music, although not in its older and purer form. According to Faiz Pakistanis held a, misconceived, fallacious, short-sighted and even perverse national attitude after partition, as the classical singers converted from their original style of singing to other forms, this thought had been induced by the Mullahs. However, it was not them that benefited from it. Numerous factions brought the culture and arts in disrepute for political reasons. Creating an anti-art attitude that ran amongst the nations common thoughts, which is one of the biggest reasons that has allowed the western influence to filter through our younger generations. Also with the passing of the years Thursday became a day for the indecent performers, a day when beggars beg and dancers dance. Something our generation refers as something symbolic as shameful and indecent. Sad indeed, how we have lost such a beautiful culture that bound our rich and poor. That educated the masses and instilled a sense of unity among locals. Where there is a dearth of proper arts teaching institutions and music schools, there is also lack of governments interest in preserving our traditional arts and culture. Dhrupad and

other forms of original classical singing styles got banned by the government as shown in the documentary, the reason being that they held Hindu lyrics in their raags. And with the passing of the years Thursday became a day for the indecent performers, a day when beggars beg and dancers dance. Something our generation refers as something symbolic as shameful and indecent. Sad indeed, how we have lost such a beautiful culture that bound our rich and poor. That educated the masses and instilled a sense of unity among locals. Documentary exposes some talented but unfortunately obscure practitioners of the classical form. These practitioners could make a negligible contribution in the classical music because of lack of sponsorship from the state. Also we lack experts and professional classical singers like the gifted Aliya Rashid and Ustad Badruzzaman who have inspired the youth. Khayal Darpan is in itself a unique memory of a culture lost to us. A cry for preservation it demands nothing, only shows how blindly we have disregarded and shunned our own culture. With Faizs reading clearing the depth to which we have felt the loss of it, now under influence of the west, we are dominated by their culture and their thought. Where divorce is just another turn on the road of life and family values are not a priority. We have lost a crucial part of our culture and must try to preserve it. We must expect from our government to take a stand to at least preserve what is ours even if in museums, so next generations may learn and blossom from the influences of arts and cultures of the olden days.