FAIZ FEST Series –II
The Faiz Fest celebrated a diverse array of art forms, including performing arts, music, dance, and instrumental performances, which served as an integral part of the festival. These creative expressions provided a welcome respite from the intellectually stimulating sessions, injecting vibrancy into the festival. The mesmerizing blend of movement, flowing colors, melodies, and radiant artistry transformed the festival into a kaleidoscopic spectacle of entertainment.
The Faiz Fest at Alhambra Hall burst into vibrant life with the rhythmic ‘Dhaak Dhamaa’ drumming of traditional ‘dhols’, trailblazing a novel musical experience in Pakistan. The cadence began modestly, with simple beats by a band on a lush lawn, gradually drawing in a crowd of keen onlookers. As the audience joined in, clapping along with the drummers, small ‘unidrums’ were passed from hand to hand, weaving a spell of infectious energy. The crowd, fueled by the pulsating beats, swelled into a sea of clapping, dancing revellers, with latecomers joining the fray, creating an electrifying atmosphere. As the ‘tumbaknaris’, a traditional Sindhi drum, joined the main drummers, the music built into an explosive crescendo, with the audience screaming for more. The ‘dhamaal’ continued for three consecutive evenings, with the crowd flowing, playing, and passing on the drums in clockwork precision, creating an unforgettable experience. – “It was a electrifying ‘dhamaal’!” exclaimed a group of girls and boys as one of them -Talha aptly put it – “Faiz Festival is the cultural, linguistic, and performance-based extravaganza that Lahoris eagerly await every year.”
“Lahore Grammar School, a stalwart participant in the performing arts, presented a powerful dance piece choreographed by Adnan Jahangir, inspired by Faiz’s iconic poem ‘Sar-e-Wadi-e-Sina’. This potent, symbolic, and metaphorical masterpiece enthralled the audience, as actor-dancers, contorted in anguish, emerged from the ‘graves of oppression’, while ghostly figures, shrouded in cellophane, performed a haunting dance. The soul-stirring performance exposed the darker aspects of society, issuing a poignant cry for revolution against the abyss of oppression, religious dogma, tyranny, corruption, and environmental pollution. Ultimately, the piece transitioned from darkness to light, symbolizing the triumph of the human spirit. The intense imagery, coupled with eerie sound effects, sent shivers down the spine, leaving a lasting impact on the audience. Samina Rehman Director LGS commented – “Every year LGS strives to bring a novelty on stage!” Femina Hussain Principal LGS was thrilled with the flawless presentations by various segments of LGS on the Faiz Fest stage.
A ground-breaking performance by Laal Band symbolic of the communist ‘Laal Salaam’ commenced with Faiz’s revolutionary poetry sung on contemporary tunes and western instruments – drums, guitar, banjo, with lead artist Dr Taimur Rehman, a firebrand political and social activist against religious extremism and terrorism, and miseries of society, regaled audiences with hours of live pulsating fusion music. Drawing curtains with ‘Duma-Dum-Mast-Kalandar’ a grand finale of clever mix decrying rising prices, the exorbitant cost of living, unemployment, policy and poverty-driven miseries artfully weaved into the rhythm of music, laying a question mark at the doorstep of current weak governance and a lame political roadmap.
“Renowned South Indian classical dancer Dr. Swarnamalya Ganesh revitalized the ancient, flowing traditions of ‘Bharatnatyam Naritya’ in Pakistan, rekindling a long-forgotten cultural connection. Meanwhile, Aranyani Bhargav delivered a poignant performance, her haunting piece powerfully conveying the plight of Gaza’s children, leaving a lasting impact on the audience.”
Pak’s singing sensation Shafqat Amanat Ali’s enchanting melodies ruled a night of pure filmic music. Sweet, soulful symphonies held the audience captive for nearly two hours of nonstop musical splendour. Along with the quintessential anthem of freedom – “Bol” from Faiz’s rich repertoire, Ali belted out Indian cinematic hit melodies – Mitwa, Tu hi mera, Tere naina, Teri jhuki nazar, Tum mily, Allah waariyan, Phir le aya dil, making for an unforgettable glamourous, evening, where houseful of audience joined in the singing chorus. The audience, a mix of classes and masses, was overjoyed by the soulful renditions embedded in India’s Hindi cinema. The musical evening reached its crescendo when Khanzada Asfandyar Khattak, a torch bearer in fusion classic with tribal dance took the stage, mesmerizing the audience with his fluid movements. Shafqat Amanat Ali’s soulful vocals perfectly complemented Khattak’s supple performance, adding a touch of elegance and refinement to the electrifying atmosphere.
Asfandyar Khattak is no ordinary artist; he’s a visionary pioneer in the fusion of classical and tribal dance forms. Resplendent in his vibrant ‘malang’ attire, complete with flowing robes, a majestic ‘kalgi’ plume adorning his traditional Pakol cap, and mystical whirls reminiscent of Sufi dervishes, Khattak’s performance was a breathtaking showcase of his innovative blend of classical Kathak and tribal Khattak dance. A 12th-generation descendant of the famed Pashtun poet Khushal Khan Khattak, Asfandyar Khattak has broken societal taboos to pursue his passion for dance, even as he holds an MBA degree in HR Management and worked as a consultant to USAID, Gates Foundation, and British Council. He performed on numerous world stages and a dozen foreign embassies. Fluent in seven languages, Khattak’s dance moves can only be described as ‘poetry in motion.’ He described the Faiz Festival as a ‘mystical calling’ that forges lifelong friendships and transcends borders, changing the image of a country and providing opportunities for talent on the fringes. Khattak intends to incorporate the Khattak ‘sword’ and ‘flame’ dance into his next fusion project, adding another feather to his ‘Pakol’ cap.
Pak looks at self-interest, freely grants visas despite India’s visa ban
The longstanding India-Pak tradition of one-upmanship persists in certain contexts, as evident in the ongoing construction of a massive stadium on the Pakistani side of the Wagah-Attari Border, matching the gigantic one on the Indian side. This phenomenon is reminiscent of the intense breathless sound competition during the border retreat ceremony, where both sides engage and try to outdo each other in a display of lung strength. The rapid precision throw and folding of flag-post ropes, aggressive posturing and battle readiness, or the speed of the marcher to reach the flag post, down the symbol, wrap, carry flag on outstretched arms and quick march to conclude the retreat, However, despite these lingering elements of competition, a subtle yet palpable shift has occurred, hinting at a more conciliatory era.
My recent experience at the Pakistan Embassy in New Delhi was a pleasant surprise. As part of the Indian delegation for Faiz Fest 2025, I received a warm welcome that went beyond mere words and hospitality. Gone was the sarcasm and tit-for-tat attitude that often accompanied visa applications for Indians. Instead, we were treated to tea and cookies in fine China cups and saucers in the embassy waiting room. The warmth may have been partly because the visas were for the Faiz Festival, organized by the Faiz Ghar Foundation, chaired by Salima Hashmi and Moneeza Hashmi, daughters of the revered poet Faiz. However, what struck me was that Pakistan seemed to be prioritizing its own interests by freely granting visas to Indians. The country has been witnessing an overwhelming response to religious tourism, generating significant foreign exchange and contributing to its economic growth. It’s clear that a tit-for-tat policy is a losing proposition, driven by ego rather than economic sense. According to senior Pakistani officials, other forms of tourism are also on the horizon, with a new visa policy set to be implemented soon. And why not? It’s a pragmatic move that benefits both nations. (To Be Concluded)
NOTE: All photos by Haroon and Muhammad Sajjad Anwar.
- The author can be reached at rashmitalwarno1@gmail.com.
DHAAKH DHAMMAL DRUMMING CIRCLE (L), DR TAIMUR REHMAN LAAL BAND (R).
