A Melody Is Born
If the wind kept a diary, there’s no doubt that August 27th, 1935, would be one of its most cherished entries. "Why?" someone, unaware of the wind’s quiet yearning to enchant the world with its hum, might ask. The answer lies in the magic of that day—when, in the heart of Delhi, Iqbal Bano was born—a voice destined to carry melodies that would resonate for generations. Perhaps it was the gentle breeze of that day, unnoticed by most, that first introduced her to the rhythms of life. Over time, her music would echo far beyond those quiet beginnings, leaving an indelible mark on the world. Iqbal Bano, often referred to as the Queen of Ghazal, had her talent for singing identified early on when she was sent to learn music under Ustad Sabri Khan and Ustad Chaand Khan of the Delhi Gharana on the advice of her father's friend. After mastering the classical forms of thumri and dadra, she was referred to All India Radio, Delhi, where she sang and recorded her first songs.
In 1948, she migrated to Pakistan where she married into a wealthy family in Multan and moved in after being promised that she would never be stopped from singing- a promise that was well kept. During her career, Iqbal Bano collaborated with well known poets like Saifuddin Saif and Qateel Shifai, and composers like Inayat Hussain and Rasheed Attre. She captivated audiences with her soulful voice in Urdu films, bringing playful elegance to Gumnaam and Qatil with songs “Payal Mein Geet Hai Cham Cham Ke” and “Ulfat ki Nai Manzil Ko Chala” respectively. Each note she sang turned lyrics into timeless emotions, securing her place in the hearts of music lovers.
Faiz: The Inspiration
One of the most significant influences on the musical career of Iqbal Bano was that of the revolutionary Urdu poet Faiz Ahmad Faiz. Faiz was one of the most celebrated and influential poets of his time. He was often regarded as a “man of wide experience”, having worked as a teacher, military officer, trade unionist, journalist, and broadcaster. His works were steeped in the essence of Marxism and, later in his life, a form of Islamic Socialism. Critics often saw his poetry as an unconventional fusion of love and revolution appealing to the new-age reader who “loves his beloved yet lives for humanity.” Faiz was often regarded as an artistic rebel and not a proponent of the “art for art’s sake” philosophy.
His poetry often voiced dissent against oppression, becoming a beacon for those fighting for justice and freedom. Faiz spent 4 years in prison and faced an informal exile from Pakistan after the Rawalpindi Conspiracy, an attempted coup to overthrow Liaquat Ali Khan, the first prime minister of Pakistan.
Bano immortalised his poems with her soulful renditions. She lent her voice to many of his iconic ghazals, breathing life into their profound themes. Mujh Se Pehli Si Mohabbat began as a romantic piece but evolved to reflect societal suffering. Bol Ke Lab Azad Hain Tere stood as a powerful anthem for freedom of speech and expression. Chand Roz Aur Meri Jaan resonated deeply as a call for patience, perseverance, and the certainty of justice and change.
And, of course, Hum Dekhenge. The poem, written by Faiz in 1979, called out Zia-Ul-Haq, who, according to Faiz, was a worshipper of corruptive power and a challenger to the divine. Iqbal Bano brought this extraordinary piece to life with her iconic performance in 1986. Her rendition came at a time when Pakistan and its people had been forced into submission by Zia’s military regime, and it instilled a wave of transformation in people’s hearts.
Iqbal Bano’s album “A Tribute to Faiz” is a celebrated collection of Faiz’s poetry, where she captures the revolutionary spirit and romanticism and renders it with a nuanced vocal expression highlighting the theme of hope, struggle and love. The production complements her vocals with traditional instrumentation, keeping the essence of Faiz’s poetry intact while appealing to both purists and casual listeners.
The Voice That Shook The Regime
Apart from her melodious ghazals, Iqbal Bano is also remembered for the revolutionary changes she brought to the art form itself. While ghazals had traditionally focused on themes of spiritual and romantic love, Bano transformed this delicate art form into a powerful, revolutionary and political weapon. Through her music, she boldly challenged societal norms, exposed injustice, and inspired social change. Her stirring melodies and courageous lyrics empowered listeners, giving voice to their struggles and hopes.
One of the most iconic moments of her rebellion came on February 13, 1986, at the Al Hamra Hall, when she rose like a storm against silence. Draped in a black saree, defiant in its elegance, Iqbal Bano’s voice soared, no longer a soft, fleeting note but a bold eagle in flight, its talons aimed at the heart of General Zia-ul-Haq’s oppressive regime. Singing Faiz Ahmed Faiz’s Hum Dekhenge, a poem of fearless resistance, she transformed the stage into a battlefield of words and emotions, her song a weapon, her presence an unspoken challenge. Bano made a public stand against the regime’s oppressive policies, including the curtailment of basic human rights.
Faiz’s grandson, Ali Hashmi, recalled the unforgettable energy of her performance at Alhamra. Hashmi wrote, “Once the doors were opened, people streamed in, and soon there was not an inch of space left in the hall. People were sitting on the stairs, the floors, wherever they could find some space.” The hall was packed beyond capacity, and thunderously loud cheers followed as Iqbal Bano sang Faiz’s poems, with the loudest one reserved for Hum Dekhenge. As Bano sang, the hall reverberated with energetic cheers, reflecting the revolutionary spirit of Faiz’s poems, as the crowd erupted uncontrollably into chants of ‘Inquilab Zindabad’. Hashmi recalls that Bano had to repeatedly pause, her voice overwhelmed by the fervour of the crowd. Iqbal Bano was banned from singing on television or in public, while the organisers of the event faced persecution. However, these restrictions only made her more famous, and she continued to perform for select private gatherings, where, it is rumoured, her guests even included military officials.
Despite the ban, Bano’s influence only grew. Tape recordings of her songs were sold on the black market, fueling a sense of resistance and solidarity among the people. Through her music, Bano continued to challenge the inhumane regime, reminding the public of the power of art to resist tyranny and inspire change. Even today, “Hum Dekhenge” represents revolution and defiance, its spirit as vibrant as ever. Its evocative imagery paints a vivid image of the triumph of the oppressed over tyranny.
An Echo That Never Fades
Iqbal Bano received many honours for her music and has left a significant legacy behind. Bano played a pivotal role in the revival and preservation of the Urdu ghazal, turning it into a celebrated art form for the modern audience. The genre’s appeal grew significantly because of her masterful renditions and soulful performances.
In 1960, King Zahir Shah of Afghanistan invited her to perform at the festival Jashn-e-Kabul. Her renditions of Persian ghazals mesmerised the king and the royal court. King Zahir gifted her a golden vase, a prestigious Afghan honour. In 1974, Bano was awarded the Tamgha-e-Imtiaz (Pride of Performance) medal by the government of Pakistan for her exceptional contribution to music.
Iqbal Bano’s legacy lies not just in her talent in this artform, but also in her ability to transcend political and cultural boundaries through said art. Critics have often compared her to the Indian ghazal icon Begum Akhtar. Bano bridged the hearts of audiences in both countries, instilling a feeling of cultural unity.
Following her death in 2009, various cultural events were dedicated to her memory, celebrating her enduring legacy. Anwar Maqsood, a well-known Pakistan TV anchor, famously said, "Her command over the 'taal' and 'sur' of classical music was just perfect". Iqbal Bano was highly respected among the public for her services to Pakistan. She is popularly known by her honorific title, Malika-e-Ghazal (The Queen of Ghazal), in India and Pakistan. She gained fame not only in Pakistan but also in India and other parts of the world for her emotionally charged performances and masterful singing technique. Iqbal Bano left behind a cherished legacy, blending fearless defiance and beautiful art. Her renditions of iconic ghazals and poems symbolized her role as a cultural pride for both countries, constantly reminding us of the power of art and music in stirring emotions and shaping history.
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