“The heart which aches after an evening lost in glasses of cognac, longing for a lost lover, the acute awareness of dispossession in Multani Kafi’s of Khawaja Farid: dispossession of Lands of Saraikies , of Baluchiis of Palestinians , the Natives who have lost Love and Land to Migrant states with civilizing missions”

Shaheryar Ali

Longing is common between Love and Palestine, lover longs like I am longing for him and Palestinians long for Palestine. They are Palestinians without having Palestine. The thing which define them, gives them identity, give them a name; they are deprived of it. This is alienation and dispossession. This is the point where politics merge with Art. “Firaq” is the continuous state of existence for a lover and for a Palestinian. Loss of the lover; heart aches, eyes cry, soul rebels. Every thing else seems meaningless, the cosmos focuses on a single being “the beloved”. The evening is hovering in a cool grey mist and I remember his green eyes, his olive skin , cognac seems to burn my soul , the universe seem to rock on to the Lover’s Lament emerging from Ustad Salamat singing Kaafi of Khawaja Farid :

Sanwal Mor Moharan

Ro Ro mein waat Nihara’n

Sanwal Mor Moharan

[O my handsome [Baluch] lover turn your camel around, I am crying, my gaze is fixed on the burning desert, Return o my Handsome [Baluch] lover]

The voice of the master strikes like a dagger on my heart, every thing seems to cry “Sanwal Mor Mohara’n” “Sanwal Mor Mohara’n” Return o my lover, Return. First Sassi died in desert and now Rohi [Romantic name of Saraiki Cholistan desert] is dead. Rohi is raped everyday by the Arab sheiks that have been given the land by Islamic Republic of Pakistan to hunt our deers, our doves, our little girls and our little boys. With poisonous dagger of Islam they have cut our land into small pieces .Our land our goddess is now a form of bribe given to Mullahs, retired Army officers, Punjabi politicians. Saraiki native wander in Rohi: slaves dying of thirst and hunger, drinking water along with animals. Our lovers, our lands lost for ever— Sanwal Mor Mohara’n. . Return my lover—- Pakistanis don’t understand these things, what is loss of land, what is loss of love , they have been taught to grab the land with sword Like Muhammed Bin Kassim who robbed Sindh and took daughter of Dahir , land and love both taken with sword

Mahmoud Darwish understands this. He is one of the dispossessed, he speaks of Love or does he speak of land, its Art or Politics. I am not sure of it but I am sure of one thing, its Love and it’s longing

Her eyes and the tattoos on her hands are Palestinian

Her name, Palestinian

Her dreams and sorrow, Palestinian

Her kerchief, her feet and body, Palestinian

Her words and her silence, Palestinian

Her voice, Palestinian

Her birth and her death, Palestinian

“The Lover, Darwish”

spe4This powerful love which natives have gives them strength to resist, this land than becomes mother, goddess and beloved life giver against the colonizers, their symbols and discourse. State of Israel and State of Pakistan both have brought hegemonizing religious beliefs , YHWE of Bible and Allah of Koran Jealous deities who want lands, temples and submission. The land of Israel is given to Israelis, the natives are slaughtered, and they have to in order to grab the land. Anat the goddess of Canaanites emerges as soul of Palestine to give them strength against those who destroyed temples of natives and grabbed their land in the work of Palestinian artist Abdel Rahmen al Mozayen . Al Mozayen’s pen and ink drawings have become synonymous with Palestinian liberation struggle. Palestinian embroidery, their historical tradition and stylized figures give his work a kind of sublimity. He focuses on Palestine’s Canaanite heritage to demonstrate longevity and steadfastness of Palestinian culture and to counter the Israeli efforts to co-opt local culture and erase their historical roots in line with Bible. These four drawing [Pen n Ink] are his work in response to Jenin’s massacre when Anat emerges as soul of Palestine who rises with the city which will re assert it self.

Imagery of goddesses has emerged as an important artistic expression of resistance especially against Catholic Church, Orthodox Judaism and fundamentalist Islam. Salman Rushdie’s most original protest against colonization experience and resultant dualism of identities found the artistic expression in discourse involving Arabian Prophet’s efforts to “divinize” and “co-opt” the 3 native Meccan goddesses Al Lat , Al Manat and Al Uzza. The act of humanism later attributed to Satan by fundamentalist transformation of Islam [event recorded by earlier muslim Imams but disputed by later scholars during establishment of Arab imperialism] Satanic Verses thus “in its effects” becomes an act of resistance against censorship imposed by Islamic fundamentalism, states and other institutions of control and transformation. With imposition of wahabi Islam by Islamic Republic the dispossessed natives of this migrant state have re-discovered the “feminine goddess imagery” of this land. “Maaa’n” or mother thus becomes the point of worship in Punjabi mystic poetry instead of Allah of mullah. The “bad-women” of romantic tales are heroines of native intellectual as opposed to the state and its patriotic intellectual. For the native Sindhi Poet Sheik Ayaz , the daughter of Dahir is heroine, for Pakistani state his molester the Arab invader of Sindh Muhammed Bin Kassim is the hero. The Sindhi resistance against Kassim and later Islamic republic finds artistic expression in female heroines Sassi and Marvi which have now merged with imagery of Benazir Bhutto the daughter of Sindh murdered in Kufa of Islamabad.

When Islamic Republic poisoned the Saraiki heartland with fundamentalist Islam, Jhang the romantic town of Heer the romantic heroine of Punjab became the ground zero of sectarian violence. The late Saraiki poet Sarwar Karbali invoked the feminine imagery of Heer to resist Talibanization

Jud tuk Jhang Heer da Jhang hai

Maakhi, Makhan, Kheer da Jhang Hai

Aj kul Jhang Islam da Jhang he

Jhang de vich Islam di Jang ae

Goli te barood di dhoo’n ae

Adam boo ae Adam boo ae

[There was a time when Jhang was town of Heer , than Jhang was town of Life, of honey, butter and milk, these days Jhang is city of Islam, Jihad of Islam is going on in Jhang, every where there is smoke of TNT and bullets and smell of charred human flesh—-]

My glass is empty and my heart aches for lost love for lost time and for lost lands, the lament continues Sanwal Mor Mohara’n——–, or my lover return——