A Specimen of Balti Script -Image courtesy Google
Dr.Mazhar Naqvi
Lack of awareness
about Hussain Ali Khan’ Muhib’, considered as Mir Anees of Baltistan,
exemplifies how dirty politics kills culture and pushes into oblivion great
poets. He was
the youngest son of the last independent ruler of Baltistan Ahmad Shah Maqpon
who was forced to surrender by Dogras in 1840.The victors deported Shah to
Jammu with his family. Muhib experienced the humiliation and captivity with
patience. He started writing marsiyas (elegiac poetry) in memory of martyrs of
Karbala in Balti language. His passion kept him away from any kind of
depression as he found solace in the epic of Karbala where Grandson of holy
Prophet Imam Hussain was slaughtered with his companions after being subjected
to humiliation and sufferings unheard so far in the history of mankind. The
troubles of Imam Hussain and persecution of Imam Zainul Abdeen, Hazrat Zainab
and three year old Janab-e-Sakina not only moved Muhib but also blessed him to
produce marsiyas of such literary quality that he is remembered as Mir Anees of
Baltistan. His marsiyas are recited every year during Muharram in various
cities and town of Baltistan. But he remains unheard beyond Baltistan due to
lack of preservation of Balti language and its literature. Before1948, Baltistan was part of Dogra
kingdom. Balti is stated to be an archaic dialect of the Tibetan Language.
The language lost its link from Laddakh after coming under the occupation of
Pakistan. Separation put Balti under pressure from Urdu. Lack of
a suitable means of transcribing the language following the abandonment of its
original Tibetan script aggravated the problem. In 21st century, neither the Baltis have the awareness to
revive neither their original script nor any institution to restore and
persuade the people to use it again.
Muharram Procession in Baltistan
More so, the region has been witnessing large scale sectarian
violence and mass killing of Imamis and followers of Sufism for over three
decades. Imamis have to brave all dangers and put their lives at stake to bring
out processions and hold majalis during Muharram, for Pakistan government is
interested only in the exploitation of natural resources of the picturesque
region but least bothered to curb fanatics. Outfits backed by Taliban who also
enjoy at times the patronage of likeminded Pakistani soldiers have been
striving to bring the entire Imami community on the verge of extinction. As a
result, marsiyas of Muhib are not available in written form but preserved in
the memory of local marsiyakhwans. Way back in 1980, Renate Sohnen Thieme from Department of Central Asian Studies,
University of Bonn, had transcribed six Balti marsiyas with the help of a
Radio Pakistan Official. Of these, two were claimed to be composed by Muhib.
The scholar developed interest towards Balti literature while collecting
different versions of the ancient Tibetan epic of King Kesar of Ling under a
project. He traced a number of marsiyas and got six of them transcribed. He
could garner support of Radio Pakistan official and artists as Pakistan was not
much stricken with sectarian violence and Baltistan too was peaceful.
Since then, the political instability has only been ruining the
culture of Baltistan and forcing the talented people to migrate to America and
European countries. Those still living in Baltistan under the shadow of terror
are keeping the Muharram rituals alive against heavy odds but they lack
resources to save the rich Balti literature that revolves around Karbala.
Adhering strictly to Islamic principles, Balti poets focused only on Qaseeda
(Praise) and marsiyas compositions and paid not much attention to other genres
of poetry like ghazal. They considered writing anything other than the praise
of Prophet and his family. Similarly, they considered marsiya writing to
highlight the sufferings of Prophet’s family at Karbala as their solemn
religious duty after Muhib embarked upon his mission to propagate Hussaini
Inquilab in Baltistan through his elegiac poetry. His efforts turned Azadari a
mass movement in Kashmir valley at a time when Mir Anees was attaining
tremendous popularity for Muharram in Awadh with his marsiyas and heart-rending
recitation.(References available on request).
More so, the region has been witnessing large scale sectarian
violence and mass killing of Imamis and followers of Sufism for over three
decades. Imamis have to brave all dangers and put their lives at stake to bring
out processions and hold majalis during Muharram, for Pakistan government is
interested only in the exploitation of natural resources of the picturesque
region but least bothered to curb fanatics. Outfits backed by Taliban who also
enjoy at times the patronage of likeminded Pakistani soldiers have been
striving to bring the entire Imami community on the verge of extinction. As a
result, marsiyas of Muhib are not available in written form but preserved in
the memory of local marsiyakhwans. Way back in 1980, Renate Sohnen Thieme from Department of Central Asian Studies,
University of Bonn, had transcribed six Balti marsiyas with the help of a
Radio Pakistan Official. Of these, two were claimed to be composed by Muhib.
The scholar developed interest towards Balti literature while collecting
different versions of the ancient Tibetan epic of King Kesar of Ling under a
project. He traced a number of marsiyas and got six of them transcribed. He
could garner support of Radio Pakistan official and artists as Pakistan was not
much stricken with sectarian violence and Baltistan too was peaceful.
Since then, the political instability has only been ruining the
culture of Baltistan and forcing the talented people to migrate to America and
European countries. Those still living in Baltistan under the shadow of terror
are keeping the Muharram rituals alive against heavy odds but they lack
resources to save the rich Balti literature that revolves around Karbala.
Adhering strictly to Islamic principles, Balti poets focused only on Qaseeda
(Praise) and marsiyas compositions and paid not much attention to other genres
of poetry like ghazal. They considered writing anything other than the praise
of Prophet and his family. Similarly, they considered marsiya writing to
highlight the sufferings of Prophet’s family at Karbala as their solemn
religious duty after Muhib embarked upon his mission to propagate Hussaini
Inquilab in Baltistan through his elegiac poetry. His efforts turned Azadari a
mass movement in Kashmir valley at a time when Mir Anees was attaining
tremendous popularity for Muharram in Awadh with his marsiyas and heart-rending
recitation.(References available on request).
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