Director hits the right note with film on folk music

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‘Indus Blues’ weaves the story of the reality facing those holding strong to the folk music, the rapidly disappearing instruments and threatened craftsmanship that have been intertwined with the diverse cultures present in Pakistan along the Indus for ages. (Photo courtesy: Jawad Sharif)
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‘Indus Blues’ weaves the story of the reality facing those holding strong to the folk music, the rapidly disappearing instruments and threatened craftsmanship that have been intertwined with the diverse cultures present in Pakistan along the Indus for ages. (Photo courtesy: Jawad Sharif)
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‘Indus Blues’ weaves the story of the reality facing those holding strong to the folk music, the rapidly disappearing instruments and threatened craftsmanship that have been intertwined with the diverse cultures present in Pakistan along the Indus for ages. (Photo courtesy: Jawad Sharif)
Updated 31 October 2018
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Director hits the right note with film on folk music

  • Documentary aims to highlight difficulties faced by artistes in Pakistan, Sharif says
  • Indus Blues also throws light on endangered genre of music and instruments used

DUBAI: By panning the camera on the dying breed of folk artistes across the country, Pakistani filmmaker Jawad Sharif said that he hoped to unearth the genre’s “hidden gems” through his latest venture, Indus Blues.
Speaking exclusively to Arab News, Sharif said that virtuosos in the field continue to live a difficult life in Pakistan, as “being a music performer is a social taboo in society.”
During the research phase of his project, Sharif says he came across several instances of people who were of the opinion that the income earned by musicians was haram (against Islamic principles or forbidden), thereby making it an arduous task for the folk artistes to earn a decent livelihood.
“While we had a general impression about people looking down upon musicians as a lower segment of the society, we were shocked during our research about how difficult life was for them. This is why folk musicians are leaving their art form in droves,” he said, adding that this very experience forced him to create “Indus Blues.”
Having won notable awards for ‘K2 & the Invisible Footmen,’ a feature film which was screened at several international film festivals, Sharif said he was hoping to reach a wider audience in the Gulf region through his latest venture.
‘Indus Blues’ premiered at the Regina International Film Festival in Canada earlier this year and earned critical acclaim, taking home the Grand Jury Award for Best Documentary Feature at the Guam International Film Festival 2018, in October this year.

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The film, which took more than three years to complete, weaves the story of nine instruments and a group of musicians who choose to face society's harsh realities every day in order to protect their endangered craft – the very art form that has been an integral aspect of the diverse cultures representing Pakistan, along the Indus, for ages.
Through his journey of a thousand miles, Sharif takes us through the northern Karakoram mountains to the southern coastline, all the while in search of Pakistan’s folk treasures.
When he finally chances upon them, he discovers that instead of a culture that should be thriving, artistes from this specific genre of music were struggling to make ends meet as they continued to fight the odds against those who did not see the value in keeping the art alive. “There are elements in the society who are against this valuable heritage,” he said, analyzing conversations with several community members who expressed resentment for the craft.
Narrating details of one such interaction, he talked about an incident whereby his production team was moments away from being attacked. “In the concluding sequence of the trailer, a student union at a prominent educational institution in Peshawar stopped us from covering a sarinda (a stringed folk musical instrument similar to lutes or fiddles popular across the Indian subcontinent) performance, even though we had the permissions to do so, because, according to them, it was not a part of their culture,” he said.
With a desire to compel people to think otherwise, Sharif lamented that our culture would be half empty “if [we] close our eyes to our rich musical heritage.”
“In a country riddled with political turmoil, economic challenges, and social identity crisis, musicians and instrument craftsmen find it hard to survive and sustain their art. We have to share these hidden gems. The world should know that Pakistan is a home of beautiful instruments and musicians,” he said.


Walnut tree remains ‘under arrest’ for over a century, living symbol of colonial power in Pakistan

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Walnut tree remains ‘under arrest’ for over a century, living symbol of colonial power in Pakistan

  • British officer is said to have ordered chaining of the tree in 1898, a reminder of the absolute authority and psychological control enforced under colonial rule in Khyber Pass region
  • Locals and historians say the shackled tree survives as a physical memory of the Frontier Crimes Regulation era, when even nature could be punished to discipline subjects and display power

LANDI KOTAL, KHYBER: In the military cantonment of Landi Kotal, close to Pakistan’s Torkham border crossing with Afghanistan and the mouth of the historic Khyber Pass, a single walnut tree stands bound in heavy iron chains.

It has been this way for more than a century, a surreal, almost absurd monument to the power structures and punitive imagination of the British Empire’s rule in the tribal frontier.

Black shackles still brace parts of its branches, giving it the appearance of a theatrical installation. To locals, it is a wound that never fully healed, a reminder that even nature could be punished when authority wished to show dominance.

Local oral histories trace the origin of this bizarre imprisonment to 1898, when a British officer named James Squid, allegedly intoxicated, believed the tree was moving toward him and instantly ordered it arrested. Soldiers carried out the instruction and the walnut tree has never been freed since.

Muhammad Sardar, the caretaker who oversees the site today, recounted the story as it has been passed down for generations.

“This British military official at that time was drunk and thought this walnut tree was moving toward him to attack him,” he told Arab News. “The officer ordered to arrest this tree, hence the soldiers had to obey the order and arrest this tree.”

Whether the event unfolded exactly as described is impossible to verify, but historians and residents agree on what the continued chaining represented: the unquestionable authority of colonial power.

A LAW THAT COULD BIND PEOPLE — AND TREES

Landi Kotal was one of the most militarized points of the British-controlled frontier, a strategic chokepoint along the Khyber Pass, a route armies, traders and empires have used for thousands of years. To control the region, the British introduced the Frontier Crimes Regulation (FCR), a law that denied locals the right to appeal, hire lawyers or challenge government decisions. Entire tribes could be punished for the suspected action of one member.

The chained walnut tree is often interpreted as a physical embodiment of that era: a warning made visible.

Dr. Syed Waqar Ali Shah, Assistant Professor of History at the University of Peshawar, said the symbolism was deliberate.

“It was an assertion of their [British] authority, it was a symbol of their power. Right. It’s a funny thing as well, because it’s something which was under the influence of some intoxication,” he explained.

“The officer behaved or gave orders for the imprisonment of that particular tree under the influence of some intoxicants.”

Dr. Shah continued:

“It was something which was a symbol of colonial authority, assertion of their authority, of bureaucratic diplomacy, a symbol of their bureaucratic strength and power, and maybe some cultural encounter as well.”

He added that such displays endured because “it was a cultural link between the locals and the colonial power. So it was a reflection of that. But later on, they continued with it in the presence of FCR (Frontier Crimes Regulation) and regulations like this.”

Even once the officer sobered, the chains remained.

Dr. Shah believes that was intentional: psychological messaging meant to instill conformity and fear in people living under colonial law.

“Their objective and purpose was to make it a symbol of discipline for the masses. It was an exhibition of power, a sheer exhibition of power, a symbol that if we can do this to something which was inhuman … if they can deal with a tree like this, so the general public, they should be aware that discipline is very important.”

Landi Kotal’s older residents say their fathers and grandfathers retold the story long before Pakistan existed and long before independence movements dismantled the Raj.

Usman Khan Shinwari, a 26-year-old shopkeeper, said the story continues to live in households like a family inheritance.

“My grandfather would often narrate this story of the arrested tree,” he recalled. “My grandfather would say that it shows how the then rulers were treating the locals and what our ancestors had endured.”

Over a century later, long after the end of British rule and the formal abolition of the Frontier Crimes Regulation in 2018, the walnut tree remains exactly where it was chained, part spectacle, part scar.

Tourists sometimes come to photograph it. Others stand silently before it.

But for many in Khyber, it is neither attraction nor curiosity.

It is proof that power once flowed one way only. A tree could be punished, so people learned not to resist.