Ustad Juman was the only Sindhi Singer who could sing any tune with different variations and use of taals. As a composer, he introduced the use of various instruments in Sindhi music.
By Muhammad Habib Sanai
Soz Halai, Hala-based Sindhi language poet and prose writer, whose three poetry collections (Darshan Daro Daar and Rang Rata Pechra and Man Ander jee Mosam (posthumously)) and three prose books (Kawee jee Khatha and Karoon Wass Kayam and Saz ain Awaz) have been published, asked me to write upon Ustad Mohammad Juman, a renowned Sindhi vocalist, and musician. As I am not the man of the music field, therefore, I want to share the views and assertions of Soz Halai about Ustad Mohammad Juman.
After poetry, the second passion of Mr. Soz was to get due recognition of the services rendered by Ustad Mohammad Juman in the field of Sindhi music. To further this cause, Soz sahib authored a book entitled “Karoon wass Kayam” about Ustad Juman, wherein he tried to prove the greatness and stature of Ustad Muhammad Juman. Nowadays, he is compiling an anthology of articles, write-ups, and interviews of Ustad Juman as a labor of love and for paying tribute to him, what he calls an unsung hero.
Ustad Juman was born in the house of Haji Ahmed, who was a suranda player, on 10th October 1935 at Sourh Goth in coastal area near Karachi, and breathed his last on 24th January, 1990. The last days of the great musician and distinguished singer were not different from his mentors and artistes. Usually a singer breathed their last in miseries and without any care on the part of government, and so was happened with him. He left this world with smile over his wrinkled face and sparkle in dim eyes in Karachi.
When we meet, most often Ustad Juman is spoken about. I gather from the outpourings of Soz Sahib, that Ustad Juman was artiste par excellence but did not receive due recognition. During his lifetime, he was mistreated by the cultural establishment of Sindh. Ustad Juman did not belong to a traditional family of musicians and therefore, traditional music families did not consider him Maestro.
According to Soz, Ustad Juman was proud of his skills and knowledge, therefore, he did not involve in the flattery of the cultural establishment of Sindh, as such, he suffered a lot.
Listen to Ustad Juman ‘Ishq hane kaje kehensaan’ – Sung for Radio Pakistan
Ustad Juman started his career with Radio Pakistan Karachi Station, but was transferred from Karachi to Hyderabad, when New Radio Station was established there. He was not nominated for various awards, which were handed over to cronies of the cultural establishment of Sindh. Despite his unparalleled work in Shah Latif Musicology, he was not given Shah Latif Award, because the award distributing cultural establishment disliked him.
Mr. Mumtaz Mirza, a cultural icon of Sindh, has written three superb books about Sindhi vocalists, but there is no mention of Ustad Juman in these books. To substantiate his claim that Ustad Juman is a great vocalist and composer, Soz offers a long list of qualities of vocalism and composition skills of Ustad Juman. “Ustad Juman could sing not only in high tone but also in a low tone,” Soz Sahib said adding that singing in Low (kharj) tone is very difficult because that sound emits from the liver. “Ustad Juman was basically a great exponent of Kafi singing. For singing a Kafi, his style is not only Arho (difficult and lengthy), but also simple. His notation style and style of the starting point of rhythmic arrangements of beats is moderate and active just like Ustad Umed Ali Khan.”
“Kafi was sung in either classical style or a folk style. He developed a third style which is known as the folk neoclassical style. He lengthened the duration of Sindhi Kafi by the inclusion of baits/Dhooheeras (couplets). He also changed the last portion of Kafi by adopting a fast rhythm. He sang Sindhi Kafi into different classical raags,” Soz told.
Watch Ustaad Juman ‘Yaar Dadhi, Ishq Atish Lai Hai’
In his singing all shades of pre-folk to folk and semi-classical to neoclassical are present. Another distinction of his singing is that his voice did not get diminished by either rhythm or instruments but remained clear and audible. Previously Shah Latif’s poetry was sung in different surs/raags according to the wishes of singers. But Ustad Juman was the first vocalist and composer, who sang Shah’s poetry according to its specific raags. Now Shah Sahib’s Surrerag is not sung into Raag Bhervi or Sohni in Jog. Shah Latif has composed five Surs (thematic chapters of poetry) about Susai. Out of them three Surs Desi, Hussaini, and Kohiari had their raags (assigned melodic scheme for singing), but two Aabree and maezoori did not have any particular Raag. Ustad Juman being a resident of Kohistan researched and developed particular raags for these two Surs.
Ustad Muhammad Juman has sung Shah Latif‘s thirty Surs with new raags which were relevant to the subject matter discussed in particular surs. “His other contribution is that he introduced various classical raags into Sindhi music and composed various tunes, as such he enriched Sindhi music. He used to include various classical taals (a rhythmic and cyclic arrangement of beats) during private singing so that they could remain alive. “He was the first person, who introduced pauses in rhythm. First time while singing Shah Sahib’s waee “Aryani Punhoon re muhjee sartiyoon kan sare” he introduced that technique. Now other composers and singers use that technique of pauses.
Watch – Ustad Juman ‘Boond Birah ji bahar lagi’
“Ustad Juman was only Sindhi Singer, who was able to sing any tune with different variations and use of taals. He used to sing Raag Rano in ten different styles. As a composer, he introduced the use of various instruments in Sindhi music, such as Tanpura, Surmandal, and also developed number of tunes for folk songs, weddings songs.”
This year Government of Sindh has established Ustad Mohammad Juman Music Library in the Sindh Museum Hyderabad.
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Muhammad Habib Sanai is based in Hala town of Sindh
