Daily Times

The star of hit television serials Nur e Zindagi, Tishnagi Dil Ki, and Mera Dard Na Janay Koi, Shahvaar Ali Khan is a man of many parts. In a matter of just a few years, the talented young man has made a name for himself as an actor, writer, musician, vocalist, lyricist, and advertising professional, and is one of the most popular people in show business today. In an exclusive interview for the Daily Times, he sits down with Ally Adnan to talk about his personal and professional life, music, poetry, acting and a lot more.

You are an actor, writer, musician, vocalist, and poet. What role do you enjoy the most?

I am, first and foremost, a storyteller. That is what I enjoy doing. I may take on many different roles – actor, writer, musician, vocalist, and lyricist – but I am always telling stories. That is my one vocation and my calling.

I do have a fondness for cinema. I like its scale, passion and glamour. It holds great allure for me. If I had to pick one role – and I hope I never have to – it would be working in films. My ultimate goal is to be a part of great feature films.

You say that you are a lyricist and not a poet. What is the distinction?

Poets are great people; the likes of Ghalib, Faiz, Nasir, Sahir, and Faraz. They have great intellect, intelligence, sensibility, skill, and ability. I am just a lyricist who writes songs.

Unlike a lot of pop musicians, you have received formal training in music. Have you found the training to be beneficial?

Absolutely and totally. My training in music has been invaluable. I would not have been able to become a musician without it. I owe any and all success that I have had as a musician to my teacher, Ustad Basharat Hussain Khan.

Do you still train with your teacher?

Yes, I do. I have a lot to learn. My ustad is a staunch believer in riyaz and sadhana (the regular and rigorous practice of music). He believes that missing a single day of riyaz puts a musician behind by one hundred days. I try to practice on a daily basis but, sometimes, end up skipping days due to acting and ad film work. That is unfortunate because I can immediately feel a negative effect on my vocals.

The musician says classical music is regaining popularity in Pakistan, after a very long time. “That is a good omen for the future of music in the country.”

Basharat Hussain Khan belongs to the Gwalior gharana of music. What are the unique characteristic of the gharana?

The Gwalior gharana was founded by Raja Man Singh Tomar in the 16th century and came into its own during the reign of Mughal emperor Jalaluddin Muhammad Akbar. The greatest musician of all time, Miyan Tan Sen, came to the court of Akbar from Gwalior. It is the oldest gharana of khayal, which is the most popular genre of classical music both in India and in Pakistan, today.

The Gwalior gharana is known for its simplicity, authenticity and purity. Exponents of the gharana like to perform well-known, popular rags, and use musical ornamentation with restraint. Their focus is on pure singing, free of artifice and contrivance. The most commonly used tan is the sapa tan, which employs music notes in sequence. A lot of emphasis is placed on the text of compositions, the bandish, which is rendered with great fidelity and accuracy. Gimmickry is avoided and, in general, the focus is on subtle artistry. Musicians of the gharana are known for their virtuosity and knowledge. They prefer to sing at medium and fast tempos. In my personal opinion, Gwalior musicians make music accessible, enjoyable and comprehensible.  They try to endear, and not impress, listeners.

In addition to musical prowess, what is required to become a successful pop musician in Pakistan?

I am not sure that I know the complete, or correct, answer to the question but let me take a shot at answering it.

Authenticity of style, music and emotion is the key to success for a pop musician. He needs to have a distinct and individual style, tone and tenor. His music should be highly personal, unique and original; people can spot fakery and do not like it. He should understand marketing and know how to promote himself as a brand. He must be savvy about using social media for both publicity and promotion. He should have good knowledge of audio and video technology. And, most importantly, he should be dedicated to music. That is truly essential. All else fails in the absence of dedication, devotion and commitment to music.

What do you think of the music scene in Pakistan? 

I think it is in a phase of revival after a slump of many years. Pakistan’s indie music has a charming and unique flavour. It is nothing like the music one hears in, say, India. Classical music is regaining popularity in Pakistan, after a very long time. That is a good omen for the future of music in the country. A very large number of television dramas are being produced and, for the first time in the history of television in Pakistan, there is a focus on using original scores and songs. That is a great development. The growing film industry of Pakistan represents a new avenue and holds a lot of opportunities for musicians. I believe that we are headed in the right direction and hope that we stay on the path.

Your first single, ‘No Sazish No Jang’, promoted peace, understanding and syncretism. How did you come up with the idea of creating the song?

During my years of study in the United States, I gained an understanding and appreciation of multiculturalism, diversity and inclusiveness, and became a staunch advocate for peaceful coexistence, understanding and tolerance.  I met a lot of Indian students while in school and came to see that they were wonderful people, just like Pakistanis. I never met one Indian person who deserved to be hated because of his religion or national origin. In fact, the key to happiness, and a whole lot else, in my opinion, is the libertarian doctrine:  live and let live. Hate, intolerance and religious extremism will result in disaster. It is these thoughts that compelled me to write No Sazish No Jang. The song celebrated the values of pluralism, open-mindedness, and peace; values that form the fabric of my person.

‘No Sazish No Jang’ was a huge hit and received very well all over the world. Did the tremendous reception of the song come as a surprise?

Yes, it did. No Sazish No Jang was the first song that I released. I had no idea that it would become the international hit that it did. In fact, I was very nervous and unsure at the time of the release of the song. I am very grateful that the song became popular but always feel embarrassed when given credit for the success of No Sazish No Jang. Because the success of No Sazish No Jang was not my success; it was the success of the very potent message of the song. The message resonated with people all over the world and made the song a big hit.

Your second song, Filmain Shilmain, was featured in the Indian film Desi Boyz. How did this come about?

Filmain Shilmain is hummable, easy on the ears and rich on emotion. I wrote it at a time when I was struggling as a musician. I was very naïve, a trifle melancholic, and a little frustrated, at the time. The song was an ode to the simpler, more carefree time of my childhood.

Filmain Shilmain did wonders for me both personally and professionally. On a personal level, it lifted me out of my funk and returned me to a state of irrepressible optimism; a state that I spend most of my life in. Professionally, having my song featured in a successful Indian film proved to be a boon for my career. David Dhawan, one of Bollywood’s most successful directors, and his son, director Rohit Dhawan, listened to the song and liked it. David believed in the song and encouraged Rohit to use it in his film, Desi Boyz. Rohit agreed and the song became a huge hit. A large number of covers of the song have been done both in India and in Pakistan. The song and its covers continue to be popular.

Your cover of Mehdi Hassan’s song Jab Koi Pyar Se Bulaye Ga from the 1969 film Zindagi Kitni Hasee? Hai was not received well. Indeed, you took the liberty of treating Ga-Ma-Pa as Dha-Ni-Sa, making the underlying melodic mode sound like Rageshri. Do you think that your cover was a worthy tribute to Mehdi Hassan?

I do not think that anyone, and certainly not me, can do justice to Mehdi Hassan. I did the cover as my tribute to a great singer for whom I have enormous respect. I enjoyed doing it and feel that the song garnered me considerable recognition as a vocalist.

Azad Ki Dua did very well in both Pakistan and India but could not match the fervor generated by No Saazish No Jang. What went wrong with Azad Ki Dua?

Azad Ki Dua is a highly personal song that is very dear to me both as a vocalist and as a musician. It was never meant to be a commercially successful song. It was the first national anthem of Pakistan and was written, on the personal request of Muhammad Ali Jinnah, by Jagan Nath Azad. I am glad that I was able to bring the anthem, in the form of a song, to the people of Pakistan.

A lot of historians disagree with the assertion that Jagan Nath Azad wrote the first national anthem of Pakistan. Moreover, there is no record of a meeting between of Muhammad Ali Jinnah and Jagan Nath Azad. Are you aware of the controversy?

Yes, I am. I am not a historian and cannot talk definitively on the topic but do feel that Azad’s anthem was indeed Pakistan’s first national song. The family of the Indian poet got in touch with me after the release of Azad Ki Dua. They were full of praise and appreciation for the song. Their feelings, and the fact that they reached out to me, touched my heart. It is heartening to see Indians and Pakistanis connect with love, understanding and warmth.

I am all for historical accuracy but do want to point to the fact that the anthem is a genuinely beautiful piece of poetry. It deserves to be read – and heard, if you will – over and over again.

Did you have formal training in acting?

I do not and wish that I did. Acting is tough. I learn something new about acting every time I am on set. Although nothing can, or should replace, formal training, acting can be learnt through indirect and unconventional means. I have done that.

We have a great set-up in show business in Pakistan. Our actors, directors and producers have created a warm, nurturing environment that, for newcomers like me, is a veritable school of acting. I have learned, and continue to learn, a whole lot about the craft of acting from these wonderful people.

I have had a lifelong affair with cinema and have watched films all my life. I am truly a movie junkie, if not a cinephile. This interest in cinema has giving me the opportunity to observe great actors, from Pakistan, India and the rest of the world, very carefully and learn by watching them perform. Watching good actors perform well has helped me enhance my histrionic skills.

My experience in the world of advertising also helped me with acting. I have worked behind the camera and as a voice actor for advertisements and commercials. The experience has helped with confidence, screen presence and dialog delivery.

Finally, singing has helped me work on my voice and performing live has helped me face audiences, and the camera, with confidence.

All of this being said, I must say that there is a whole lot left for me to learn.

What are you doing these days?

I am acting in a television serial for GEO entertainment. It is the story of a simple, young lad, torn between the conflicting demands of love and tradition, trying to navigate Pakistan’s disparate urban and rural cultures. I am involved in several very interesting advertising campaigns. I am hiring people to build a larger team for my advertising agency, so that I can free up some time to focus on music and acting.  I plan to release several songs in 2018. I am in talks with a few people about doing feature films. I am being very choosy and particular about that. I am also focusing on enjoying the comforts of friends and family. I love being with my parents. They are wonderful people and my most honest, yet loving, critics. More than anything else, I am spending quality time with my wife, Rohma Khan. She is the love of my life.

The writer lives in Dallas and writes about culture, history and the arts. He tweets @allyadnan and can be reached at allyadnan@outlook.com