Afzal Saahir is an internationally renowned poet with a multi-faceted personality. His contributions and services include as a phenomenal journalist, as a writer, as a Radio host, as a Drama Writer, as a Producer and a Director Programmes, as a Lyricist, to name but a few. He also has a number of books to his credit. Afzal Saahir is a well-known and respected name in the activism of restoring the Punjabi language and Punjabi Literature back to its ‘old glory.’ Publications: • Naal Sajan De Rahiye, Book of Punjabi Verse. In Shahmukhi by Sanjh Publication, Lahore. In Gurmukhi by Udaari Publication, Canada. In Gurmukhi by Chetna Parkashan, Ludhiana, India. • Kaghaz Te Canvas, Amrita Pritam’s Punjabi Poetry, Transcription from Gurmukhi to Shahmukhi, Sanjh Publications, 2006 and in 2013 • Ajj Di Lok Dastaan, 1998 Punjabi Trans-creation of Urdu Verse by Farhat Abbas Shah, 1997. • Kalam e Shiv, Punjabi Poetry, Transcription from Gurmukhi to Shahmukhi Sanjh Publications Lahore 2017. To be published: • Prem Kate’ Book of Punjabi Shloks/Doha’s Kitab Trinjan, Lahore. • Nanak Naam Alsat Hai’ Book of Punjabi Shloks/Doha’s, Kitab Trinjan, Lahore. • Lalkar Poetry’ by Lal Singh Dil Transcription from Gurmukhi to Shahmukhi. • Mashriqi Punjab Ke Afsaane’ Selection of Indian Punjabi Short Stories translated in Urdu. • Kalam e Shiva: (Shiv Kumar Batalvi) Punjabi Poetry, Transcription from Gurmukhi to Shahmukhi, Published by: Sanjh Publications, Lahore in 2017 Afzal Saahir was born in a village 258 R B, Pharala, Dijkot near Lyallpur on April 14, 1973. His ancestors had migrated to Pakistan from Hushiarpur; at the time of its creation. The family comprises sisters and eight brothers. His family was into agriculture. Afzal recalls that the stories of partition, massacre, migration and separation, as told by his elders had developed a deep sense of pain and sensitivity in him; at a very early age. He started saying poetry during his school days and became a part of Lyallpur’s Mushairas within a short space of time and was soon after warmly welcomed by Lahore’s poetry lovers. Afzal comments to Nirupama Dutt in Chandigarh Index, 2005: “I was writing in Urdu but soon afterwards I moved to Punjabi, as I was beautifully influenced and was deeply in love with the folk poetry, sung by my mother and the folk legends, told by my father.” Afzal’s mother was from Jandi and his father was from Chabewal. Whenever the Partition is mentioned it makes this sensitive poet sad; “My parents got married a month before the Partition. My mother was away on her ‘Muklava’, when the riots broke out. My parents saw each other after that, for the first time in a refugee camp. My mother would tell us how the hen had just laid the eggs and the wheat had been made ready for bread baking, for lunch, the day they fled their village.” When Afzal moved to Lahore, he fell in love with the city and said: Saari Umraan Di Tore Howe (it is a lifetime’s dominance) Agle Jehan Jaiye (when we go to the world hereafter) Shala Othe Vi Lahore Howey (wish Lahore is there too) Band Ishqe Di Taaki Aei (the window of love is shut) Lahore Ich Rehne Aan (we live in Lahore) In India, Afzal Saahir is introduced as Pakistan’s Shiv Kumar Batalvi but he would rather be known as Afzal Saahir. Afzal is declared as a poet of lyrical tradition. In Chandigarh he refuted this equation by explaining “Babeo! Na I am an admirer of Batalvi who was one of the best poets the two Punjabs have seen but I would rather be known as Afzal Saahir for that’s who I am.” He goes onto explain that while Batalvi romanticized pain, he has endeavoured to look at pain in the eye. “Pain for me is not an individual experience; I speak of the pain of an entire populace. It is not I but us who are undergoing the pain and this pain is inflicted on humanity by vested interests and not by divine ordinance”. Afzal Saahir’s popularity is basically due to his closeness to folk poetry and music, folklore and Sufi poetry. Afzal is also known as a strong supporter of women rights. The first book ‘Naal Sajjan Dei Rahiye’ by Afzal Saahir though is spread over 120 pages, it is comprised of about 65 poems, in various formats such as Kafi, Dohe, Ashlok, Tappe, Bolian, Haiku, Taraile, Geet, Ghazal, Vaar, fixed rhyme or Azad Verse, and poems. Traditional way of saying poetry is seen with new angles and styles in this book. Apparently, following traditions would decipher a diction that is cliché but that is not so and in order to reach to the depth of what this poet is saying, one has to reach to the roots of his creativity in a poem or in a couplet. Reading Afzal Saahir’s poetry not only judges’ purity of reader’s taste but also is a path for consolidating his/her thought process in a new perspective. So, Afzal Saahir is seen to not only give a respect to the traditional way of saying poetry but also to fresh knitting of words, rhythms and style that is forwarded. He has done so with great tidiness proving his command over what he is projecting. His first book ‘Naal Sajjan Dei Rahiye’ is a proof of this diction and style. There is a dire need for the prevalent critics to re-look at their approach to judge somebody’s poetry. Their approach is hackneyed. Some do not even offer encouraging words to the newcomers with new approaches in poetry with the result that many have become disheartened and have stopped writing. The critics need to be above colour, cast and creed. Then the poetry offered at Stage may invite momentary appreciation but when studied in depth is much below the acceptable standards. Then the hackneyed approach exists of anybody not saying poetry in Ghazal format is not considered as a poet. The result is many churning out Ghazals in wrong rhymes or substandard contents. In this scenario, poets, especially saying in Punjabi when tries to make it attached to masses end up in the traditional way of expressing themselves in their poetry using the cliché diction. Afzal Saahir is different in a way that his poetry is related to something in between the tastes of urban and rural people. His pains are those of the masses. He is a representative of both classic traditions and the Progressive Writers Movement, simultaneously. His poetry has all the ingredients of poetry that is popular in a crowd, in books and in literary sittings. There is a flow of Punjab’s rivers in his poetry. If on one hand he has a touch of Sufi Saints, peace, love, truth, universal brotherhood in his poetry, on the other hand he has traditional wisdom too. His poetry also speaks of economic disparity, political wrestling, moral degradation, unkindness to women, decline in the way of living etc. Chan Di Apni Beparwahi (the casual approach of the moon) Sooraj Apne Kameen (sun has its own routes to follow) Jeevan Joga Din Nahi Disda (one yearns for the day that can be lived) Raat Kalehni Lammi (callous night is long) Rooh Rich Bhatkan More Ghair Kei (am lost in the soul) Sutte Vich Patala (not restful sleep) Akh Di Sukhni Jholi Dei Vich (in the curve of the eye) Jum Gaiyaan Tarkalaan (frozen water in eyes) So, the lover of Afzal Saahir’s Punjabi poems cannot remain deprived of the pleasure they seek. Those poets linked with the tradition cannot but appreciate the richness of diction in Afzal Saahir. Let us see his poem ‘Bakhshish’ (charities): Chamri Jeevain Chimri Chipran (shaver’s pasted thin layers) Jyun Bullaan Tei Soka (like dry lines on lips) Do Nainan Dei Khuho Bharya (filled with water from the well of two eyes) Khare Luhu Da Hauka (sigh of hard blood) Chamri Jeevain Tirian Chipran (my skin is like pasted thin layers) Menu Dang Kei Laal Gulaabi (bitten with red and rosy colours) Ho Gaye Kaale Sheesh (the cobras became black) Menu Apna Jeevan Jaape (life looked to me like) Yaaran Di Bakhshesh (charity by my friends) Afzal Saahir’s poetry has been acknowledged by the great Indian poet Amrita Pritam. According to one story, she said that when he met her many years ago, there was madness of a Sufi Darwaish in all his eyes and the lines he wrote. It seemed that this madness did not contain itself in his lines but poured out of them. Whatever tumultuousness lay inside him, it appeared on his face. His poems spilled from his mouth like a fist full of sand. No poem seemed complete but when he spoke, he left a golden line drawn, perhaps on earth, or in air, or in the clouds. That line was a proof that something he had passed by. It showed that he had passed many a difficult terrain and that he had also traveled many Darwaishi paths. He seemed in urgency to sit and write his experiences and emotions on both sides of the paper. He stood and wondered what to write. The clouds’ thunders had appeared in many electric currents which was difficult to put on paper. He kept on standing wondering which word to look for! Amrita got hold of a paper and scribbled ‘Inside Afzal Saahir, Sultan Bahu had kindled the ‘Chambe Di Booti’! Afzal got excited and held the piece of paper close to his cheek in excitement. After many years Amrita heard Afzal again but now on a piece of paper flying in the air. It seemed that Bahu’s flowers had blossomed as per his couplet ‘Ander Booti Mushk Machaya’ (Odour was strong as though flowers were budding) Amrita wrote “At sunset, I too felt that sun of my life was also losing its shine. I couldn’t speak. He came running and sat by my cot. He started crying and said that he had lost Afzal Saahir. I came to know that his mother was telephoning at all places looking for him. Then she managed to speak to Afzal that she had lost him. He responded that he too was looking for him. Then he looked at me and asked who was he? I responded laughingly: You are ‘Hoo’ of your Sultan Bahu. The moment it leaves, it crosses all borders it goes where there in no timeline. Afzal laid down his pen and said a ‘Jalpari’ was his soul. I responded that our both your homes are twin homes in no man’s land where flock of birds are collecting wood pieces to build roofs of your houses”. Contributions in other areas: Afzal Saahir’s incredible contributions in Radio as a DJ/producer/director, in theater, in journalism, in print media and in other organizations must also be acknowledged. Afzal Saahir was programmes manager at FM103 network in Lahore, in Karachi, in Multan and in Fasialabad from the years 2008 to 2012. Since 2005 he is a programme host at Mast FM103, in Lahore, in Multan, and in Faisalabad. He is also the host of the tri-weekly programme, ‘Mauj Mela’, a prime-time show comprising infotainment, comedy and music with LIVE interaction, with the listeners. It is an extremely popular show. Programme ‘Naal Sajjan Dei’ is also a show hosted by Afzal Saahir. It is a midnight biweekly show with music, culture and discussions on socio-political issues. Another one of Afzal’s shows, Programme ‘Lok Lehar’, is a prime-time program, which has guest interviews on numerous socio political and historical issues. Afzal also conducts programmes for the Australian Radio. He is the Program Host at ‘Radio Haanji 1674 am’ on which he conducts, ‘Naal Sajjan De’, two Prime time shows containing infotainment, comedy, Punjabi literature, and music and talk on Heer Waris Shah . Afzal Saahir has written songs for numerous films, TV channel dramas and albums. His most popular song is “Shakar Wandaan Re”, Coke Studio Season 7, sung by Asrar (2014). Other songs include, “Jinde Jinde” sung by Rahat Fateh Ali Khan, Album ‘Pardesiya’ (vol.2); “Peerraan Vikne Aaiyaan” for Lollywood film ‘Swaarangi’ (2015); “Rooh Pighle” for Lollywood film ‘Swaarangi’ (2015); “Jhanjar” song, for Punjabi RDX (2018) and “Jeevan Ghuman Gheriyan” sung by: Zainab Jawad, Chakkar – Drama OST, BOL Entertainment. Afzal Saahir wrote the “Saiyaan Nainaan Waaliyaan”, a play for Punjab Theater performed locally and at the International Children Festival, India. Afzal Saahir directed two episodes for season 1 and ten episodes for season 2 of Radio series ‘Qaid Kahani’ for Justice Project Pakistan; a pro-bono legal action charity defending mentally ill and juveniles on death row. Afzal Saahir directed voice over for multiple animations and live art installations based on the real-life stories of death row prisoners for Justice Project Pakistan. He produced and directed three radio dramas and multiple promos for Punjab Access to Justice Project to create awareness on women’s right to inheritance and property laws. Afzal Saahir is currently the Creative Director of Azaad Theater Pakistan, a Leading pro people’s Punjabi Parallel Theatre Group. Work in Print Media: Afzal Saahir is the: • Co-Editor of Weekly Qalaar, Faisalabad • Sub Editor of Bi-weekly Rvel Lahore (Punjabi) • Co-Editor of Monthly Meettee (Children Magazine) • Deputy Editor of The Genius Karachi (Trilingual) • Editor In-charge of Daily Bhulekha Punjabi • Magazine Editor of Sunday magazine Daily Bhulekha Punjabi • Guest Editor of Lehran Punjabi monthly magazine • Co-Editor of Monthly Ashkaal (Urdu) • Executive Editor of Sver International (Monthly Punjabi) • Editor-at-Large of Monthly Amber Bail (Urdu Digest) • Editor of Rvel Punjabi fortnightly socio literary magazine, Lahore. (Punjabi) • Editorial In-charge of Punjabi daily Lokai, Lahore. In Organizations: Afzal Saahir is the President (Literary Wing) Punjabi Parchar, Pakistan. He is vice president of Punjabi Adbi Markaz, Punjab, Pakistan. He is also the member Core committee of Punjabi Parhaao Movement. He is also the member Executive Committee, Progressive Writers Associations. Afzal Saahir is the co-organizer of Sufi Festival, Pakistan, Vasaakhi Festival and Punjabi Culture Day, Pakistan. He is the Ex- Executive Member, RDPI (Rural Development Policy Institute). He is the Ex Joint Secretory, Punjabi Writers Association, Pakistan. Afzal Saahir has received the following awards: • Masood Khadar Posh Award for Poetry, (2013). • Baba Farid Award for Punjabi Poetry and Activism, (2011). • Nanak Award for Punjabi Poetry, (2013). • Shah Hussain Award on work for Punjabi Language and Literary, (2011). • Bolan Award Best Radio Host, (2010). • Punjabi Sewak Award, (2018). • Award of Distinction, Central Association of Punjabi Writers, North America, Surrey, B.C, Canada, (2012). Afzal Saahir’s poetry was published first in Lyallpur and then in Lahore’s magazines but his awakening to Punjabi Movement appeared in fortnightly Rvel by Ilyas Ghumman and Jameel Ahmad Paul. He used to visit many schools in Lyallpur, provide pamphlets and books to students and teachers such that Punjabi language reached schools. In Lahore he started his job for Rs. 400/- as sub-editor with the magazine close to his ideology. In 1993-94 he and Ilyas Ghumman started compiling the course work for Punjabi from class 1 to 10 and got the books printed. He and his colleagues used to visit Lahore’s schools, meet MPAs and Chief Minister Haneef Ramay and Governor Altaf Hussain for Punjabi to be started teaching in schools. He along with Ilyas Ghumman, Jameel Paul, Muhammad Asif Khan and Shafqat Tanvir Mirza met all important cultural leaders like Fakhar Zaman and many political personalities. He along with colleagues started protest rallies and raised voice in favour of Punjabi language. Their voice reached the provincial assembly. Fazal Hussain Rahi spoke in Punjab in the assembly. Even today he attends all the rallies where he leads them with microphone in his hands. Nowadays he has been able to give a political angle to Punjab Movement though literary angle had been fairly represented in the literary magazines already. Though the success has not been in the fate of these Punjabi Movement Leaders but Afzal Saahir is fairly optimistic that he and others who are participating in the protests and rallies for this noble cause shall meet success soon! The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com