A review by Jessi Kaur
It took me a while to process my response to Punjabi Poetica’s Heer. My literary sensitivity was shaped by the verses of Shakespeare, the pantheism of Emerson, the wisdom of Walt Whitman and other Western poets and writers. I was trained to deconstruct Western narratives, but remained, a stranger to the works of Punjabi poets and the great epics of Punjabi literature. That changed when I attended Punjabi Poetica events at Sonia Dhami’s picturesque backyard and started reading excerpts of poems by poets most of whom I had not heard of.
Waris Shah’s “Heer” curated by Sonia Dhami had a profound impact on me. It was an evocative, deeply visceral experience that brought me to tears and connected me to a legacy I did not know I was missing.
The enduring power of Waris Shah’s “Heer” lies in its timeless, searingly relevant theme. The story of Heer and Ranjha is not simply a historical romance; it is a fierce commentary on societal constraints, patriarchal honor, and the rebellious, untamable nature of true love. In an age where we still grapple with these very issues, Heer in the voice of Ishmeet Narula, a trained Sufi singer was a raw and honest exploration of love pitted against malicious intent. Ishmeet’s singing has a range that perfectly captured the emotional layers of the epic poem. In moments of tender love or quiet grief, her voice was a soulful lament that drew tears. Yet, in Heer’s defiance and Ranjha’s anguish,her notes rose into a powerful, roaring cry against injustice. It was a performance that embodied the full spectrum of emotions embodied in Waris Shah’s Heer. The accompanying musicians -Tejasvi’s lyrical flute, Gurdeep’s grounding tabla, and Harinder’s stirring mandolin created a soundscape that carried Waris Shah’s verses across time and space.
The performance was interwoven with an English narration by Sonia Dhami and Sadia Azmat. They stitched the various episodes together and provided cultural context.
A visual backdrop of beautiful paintings inspired by the legend were projected throughout the performance. Artists Sobha Singh, Abdul R. Chugtai , Ustad Allah Baksh & Jatinder S. Durhailay’s imagery as well as archival Qissa covers from Dr. Ishwar D. Gaur’s collection alongside translations by Ayesha Nadir Alibrought yet another dimension to the presentation.
Punjabi Poetica’s Heer was a bridge across time; a soul -stirring reclamation of our heritage. The timeless tragedy of Heer and Ranjha, often dubbed the “Romeo and Juliet of Punjab,” resonated with contemporary relevance. It was a powerful reminder that Heer is not for the archives. It belongs to us, here and now. When we are ready to embrace our heritage, it tears through time and demands we listen. We listen, feel and strive to bring change in a society ridden with the same malaise that brought an innocent love to a tragic end.
This performance was developed by non-profit Art & Tolerance and supported by the Sikh Foundation and Headlands Center for the Arts