However, 1971 also saw the legendary poet Faiz Ahmed Faiz compose Dhaka Se Wapsi Ke Baad, more popularly referred to as Hum Ke Thehre Ajnabi, which expressed the tragedy of the dismemberment of the country.
More importantly, the secession of East Pakistan represented a considerable challenge to the very idea of Pakistan, and thus efforts to celebrate the imagined nation became more obvious. Given that the modern nation state was itself a recent phenomenon, it is interesting but not surprising to see a musical genre moulding itself around celebrating the concept. The Pakistan that emerged from the embers of a second partition saw patriotic songs (milli naghmay) gain popularity and indeed become a genre in and of themselves. The trick was repeated during the 1971 War, and perhaps went a long way towards expunging the shock and shame of a civil war and consequent dismemberment of the country.
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Played endlessly on state TV and radio, the songs sound-tracked the conflict in an extremely effective way, converting the perception of what was a rather ill-advised military encounter into a valiant stand by a young heroic nation. One of the most iconic examples would be the songs of Madam Noor Jehan released during the 1965 War. Another way to look at this is to consider ‘patriotic’ songs as pieces of propaganda.Ĭertainly the earliest examples of popular patriotic songs are little more than highly effective propaganda. Again, it can be argued that ideally the most patriotic song is the most subversive one, but in this context ‘patriotic’ is used to mean those sorts of songs which are meant to bolster and support the existing state, society and nation while a subversive song would be one that seeks to critique, upend or condemn all those things. In terms of music, it is perhaps instructive to divide it into songs that are ‘patriotic’ versus those which are ‘subversive’.
But our discussion here is focused towards that music which has actively sought to discuss and evaluate political situations and conditions. Of course, in one sense it is impossible for any creative work to not make a political statement - the means of its production, the worldview of its maker, the cost of access and the strength of its impact are all factors that are a result of (and create further) specific socio-political relationships. Even today, those who vehemently oppose music for a variety of reasons still manage to put out songs themselves - music which is wrapped under the conventions of devotional genres, but which is still very much music.Ĭonsequently, it should come as no surprise that political aims and messages have often been an overt part of various songs which made their mark on our society. More so than language, ethnicity and even shared belief systems, music exists as one of the most universal and unifying aspects of the Pakistani people.
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