Mushairas Reflect Conflict in Society

By M H Ahssan

“Koi dul dul sawar aya nahin kyun, tere bandon ne kii aisi khata kya?” (What mistake have your people made/that no angels came to save us). These lines by Ashraf Rafi, could well express the Hyderabadi ‘shaer’s state of mind now, though they were actually written on the Babri Masjid demolition. Moving ahead from love and peace, mushairas are responding to sociopolitical reality now more than ever before.

Shaera (poetess) Ashraf Rafi, a professor of Urdu literature recalls, “Shaers have always been sensitive to socio-political issues, right from the Ghadar or the first war of independence, the Partition, through the assassination of Indira Gandhi to the recent terror attacks on Mumbai.” Mushairas turned to politics as “shaeri took on the ‘inquilabi’ style to speak on politics, labour problems and social stigma,” says S A Shukoor, director of Centre for Educational Development of Minorities.

Clearly, terrorism is the latest area of concern as was evident during a recent mushaira, dominated by the 26/11 attacks. A poet laments, “raushnion ke shahar mein kaisa bair, din dahade yeh kaisa andher,” (what conflict in the city of lights, what dark gloom in broad daylight) in describing the Mumbai attacks. Another poet describes a child’s reaction: “pathake bhi kahin jo chhoote hain, saham jate hain bachche bum samajhkar.” (even when crackers burst somewhere, children withdraw, fearing it may be a bomb).

Expressions of grief and dismay give way to apprehensions and insecurity. A poet reflects on what the post-terror attack scenario may have in store for the minority community, “kal media pe ayega kuch is tarah bayan, ghar ke chirag ne hi jalaya hai ghar yahan.” (tomorrow there will be a media statement, that a spark or a child at home had burnt the house down). “Hyderabad is a heaven for mushaira lovers, shaers have always been received better here than elsewhere,” says poet Johar Kanpuri.

In fact, most mushairas here host over a dozen local shaers, including youngsters, alongside reputed poets from elsewhere. Many youngsters write on topics of contemporary interest, says a mushaera convener.

The appeal of modern shaeri lies in the simple language used to reflect an intense reaction, expressing either the consent or discontent of the common man.

That is probably why mushairas attract a generous mix of elite and mass audience and enjoy the backing of Urdu media houses and organisations like Zinda dilane Hyderabad, Adabi Trust, Gulshan-e-Adab, Shankarji Memorial Trust, etc.

Kanpuri observes that more shearas (women poets) are participating in mushairas now. However, experts say that few shaeras bring good quality poetry. “Some time ago, shaeras like Nayab Sultana, Azmat Abdul Khayyum Khan and Kurshid Nazir were widely appreciated.

Though the numbers of shaeras have gone up, they are used merely for commercial purpose, to attract audience. Otherwise some of them do not even know proper Urdu and are unworthy of attending mushairas,” says a poetess who prefers anonymity.

Women’s issues are also relegated to the back burner, mostly because they are not appreciated by audience, say observers.

Evidently shaers have to walk the tightrope as they balance their concern for community and social issues with their tradition of cultural synthesis. Kanpuri sums it up: “Zidau ne tarke talluk to kar liya lekin sukun use bhi nahin, bekarar main bhi hun/ aur zaban kahti hai sara kusur uska tha, zameer kahta hai kuch zimmedar main bhi hun.”(We argued and debated obstinately, but s/he is not at peace and I am restless too/ and words say that all the blame was anothers, conscience says I am responsible too.)