Written by: Mahnaz Shujrah
Posted on: January 18, 2019 | 
| 中文
(L-R) Raza Rumi, Dr Ghafer Shahzad and Neelam Ahmad Bashir
Last weekend, the halls of Alhamra Arts Council lit up as diverse mindsets came together at the Afkar-e-Taza ThinkFest. The second edition of the two day event, Afkar-e-Taza, was hosted by Information Technology University (ITU). Featuring numerous sessions, the event was spread out over January 12th and 13th, and was free for the public to attend. The panel discussions focused on a wide range of topics, ranging from current affairs and global trends, to poetry and literature.
This session caught my attention as it focused on the two famous Noor Jehan(s): Malika-e-Hindustan (Empress of India) and Malika-e-Tarannum (Queen of Melody). Moderated by Raza Rumi, the panel discussion was taken forward by Dr. Ghafer Shahzad and Neelam Ahmad Bashir. Unfortunately, the critic Omer Adil could not make it due to an emergency.
Dr. Shahzad, who has written extensively about the Empress of India and Lahore, started off the session by sharing stories of the young Mehr-un-nisa, before she became the single-handed ruler of the Mughal Empire. Noor Jahan was the title given to her by Emperor Jahangir, when she married him in 1611, after which she contributed greatly to different aspects of life in India. She commissioned unprecedented architecture, was an excellent markswoman, added new fashion statements to the royal style, and served as the front face of the empire. Needless to say, she was unlike any previous Mughal Empress.
Neelam Bashir then brought around the conversation to the more recent Noor Jehan, whose songs we still hear on the streets of Lahore. An immensely talented woman, who was not afraid to live life on her own terms, Neelam remembers Noor Jehan as an honest and passionate human being. Her acting and music career was unlike any other, as she became the voice of countless actresses. Neelam also paid tribute to the late artist, by singing beautiful renditions of a few of her songs, including the famous, "Kabhi Tum Bhi Hum Se Thay Ashna" from the 1965 film, Ghoongat.
One can question whether a comparison between the two Noor Jehan's is justified, keeping in mind their distinct contributions and roles, but there is no doubt that both had a special relationship with Lahore. Similarly, both faced a lot of opposition during their lifetimes. Dr. Shahzad discussed and critiqued the narrative, which is often drawn around Empress Noor Jehan, of her being a manipulative and cunning political figure. She outlived Jahangir by almost two decades, and those against her made sure that the ex-empress of India was given a hard time. Similarly, Noor Jehan, the singer, was also resented by some, including her ex-husband who published a book trying to defame her, and yet this did not stop the strong-willed singer who continued to lead by example.
Overall, through the accounts they shared, the panelists created an atmosphere of remembrance and appreciation. The interactive session left the audience with a different perspective on the role these women have played in our history, along with a curiosity to learn more.
The session was dedicated to launching Dr. Nadhra Khan's book, “The Samadhi of Maharaja Ranjit Singh in Lahore: A Summation of Sikh Architectural Features and Ornament.” The text is unique in that it’s the first detailed account of this historically significant monument from the Sikh Period. The discussion was initiated by Jean-Marie Lafont, an established historian and author, who gave context about the book and Sikh architecture. The floor was then handed over to Dr. Nadhra, who gave the audience an overview about the structure and content of the text. Through her presentation, she highlighted the importance of this research and what specifically inspired her on this journey.
One of the most prominent rulers of the Sikh Period, Ranjit Singh lived from 1799 to 1839. The Samadhi is his funerary monument, begun by his son Kharak Singh and later completed as a state funded project during the British rule. The structure is located within the larger Dera Sahib Complex, next to the main entrance of the Lahore Fort. The historic building has been recently opened for public.
An important feature of the book is that it includes 450 photographs, a compilation of both the architectural design and analysis of wall paintings found in the building, years of cumbersome effort to uncover the layers of history. Through her research, she shows how the motifs and concepts exhibited here, are linked back to earlier traditions of art and architecture.
After taking the audience through the basic layout and significance of the Samadhi, Khan turned the focus of the presentation to a key question: Why has this structure, along with other buildings from the Sikh Period, been overlooked? She highlighted how our understanding of history is shaped by certain ideas of identity, which often end up drawing lines in our shared heritage. She challenged the dominant narrative, which argues that Ranjit Singh pillaged the Mughal monuments, stripping them of precious stones and white marble. The notion has been built up systematically, and she brought forth historical as well as modern publications, which categorize architecture from the Sikh period as inferior to Mughals, even though many of the artisans, craftsmen and methods were the same. The result has been the brushing aside of an entire era of history. Giving the example of Sheikhupura Fort, which is close to collapsing, she highlighted how these windows to the past have been left in ruins.
At the end, she concluded by saying that learning about what we identify as the "other" is essential for shaping our understanding of the past and the present. The present is a continuation of the past, and in this case, a past which demands to be reinterpreted, reconsidered and restored.
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