Written by: Varda Nisar
Posted on: July 26, 2019 | 
Abro-PAL Ayaz
The importance of a piece of literature can often change with time. While one text might become completely irrelevant, another might take on a whole new meaning due to the prevalent socio-political climate. Consider Shakespeare for example, whose Hamlet takes on new meanings and color with each interpretation and performance.
However, in order for the work to stay relevant, it must be picked up by the literary and cultural luminaries of the current era. These experts should study and analyze the work in order to place it within the new context, and use fresh frameworks to investigate it. The current show at Chawkandi Art Gallery does just that, as it revisits the life and work of the legendary Sindhi poet and writer Sheikh Ayaz.
The show is titled “An Apology to Shaikh Ayaz”, and is curated by Mariam Mushtaq Kazi and Jamal Ashiqain. Eleven unique Pakistani artists have taken up the poet’s ideas and themes of romance and revolution, by presenting their personal interpretations through art. Their works are not just diverse in their mediums and expressions, but they join together to delve deep into the world of Ayaz’s poetry through visual interpretations.
While the curators see it as a step to remember the works of this poet, for me, it reflects how we have failed the spirit of Shaikh Ayaz. Defined as the poet of the oppressed, and keeper of Sindhi language, Shaikh Ayaz’s work has not diminished in Sindhi literature no matter how much time has passed since his death. It is of critical importance that his work is revisited, so that it can reach newer and younger audiences.
For example, the work “Pal” (Moment) by Abro is inspired directly from a verse by Ayaz. The strokes on the canvas feel as if they are in constant movement. They are reminiscent of a windy day, or a view that disappears too soon from sight, but still leaves behind a colorful trail in its wake.
Mohsen Keiany’s work “Against My Art”, depicts horses and men charging at each other during a fearsome struggle. However, trapped between the figures adorned in red ajraks, are cobalt blue backdrops of minars, and tombs of Sindh, Ayaz’s beloved homeland. As a whole, the charging figures seem to lose their individual differences as they unite under the culture and beauty of Sindh.
Agha Jandan’s “Untitled”, is a painting of a blackboard with seemingly incomprehensible scribbles and sentences. A lot is left undeciphered, and this may be due to my inability to read Sindhi language. The piece appears to represent an element of hopelessness and unfinished potential, most likely a depiction of a stunted Sindhi education system.
Aliya Bilgrami’s work, on the other hand, takes on a uniquely and abstractly rhythmic tone. Titled “Arey oh chanda, arey oh chanda, mera mahboob tun na daika ha” (oh moon, oh moon, have you seen my lover), the diptych work shows two moons, with halo-like orbit patterns around them. The two pieces seem to be having a conversation with each other, in an effort to exist in one frame, and find a balance together.
Wrapped up in multiple layers, Khalil Chistee’s work “Ibn-e-Maryam hua kare koi” (If there is a son of Maryam), shows a steel sculpture of a crucified Jesus, composed of the verses of Ghalib which mention the crucifixion. This comparison between Christ and Ayaz is not all that tenuous, especially when one considers how Ayaz’s poetry talks about love, humanity and harmony in an almost venerable and spiritual way.
When it comes to literature, there isn’t a lot of scholarship available on regional writers, poets, novelists, no matter the impact they have on their local cultures. Which is why a show such this is a refreshing sight to see; it allows people to learn something new and engage with text in moving and thoughtful ways. The exhibition will continue at Chawkandi Art Gallery till 2nd August.
You may also like:
