Folk songs of Alam Lohar

The other day, a friend presented me a cassette of songs listening to which created an overpowering nostalgia for an age, which had produced a large number of versatile vocalists. Captioned Wajaan Mariyan, it contained 16 songs of late folk singer Alam Lohar, who lost his life about 28 years ago in a car accident.
Late Alam Lohar was one of those few folk singers, who became legends in their own lifetimes. He was revered and listened with attention by the masses, especially in the rural hinterland of the country. His simple but attractive folk songs were also widely cheered by diverse audiences of several foreign countries, which he visited.
Folk music in Pakistan is steeped deep in regional traditions, which reflect the ethnological characteristics of the country as a while. Yet all these different sub-cultures along with their many manifestations come under the umbrella of national folk culture. Ultimately, the regional nuances, features and traits of these sub-cultures submerged in the mainstream of a national culture. The fusion of regional folk music of different genres has resulted in the emergence of a grand stock of folk songs with a wide and varied range of themes, rich in tunes and rhythms.
Alam Lohar, the charismatic folk singer from the Punjab contributed much towards the further enrichment of folk music of Pakistan in general, and the Punjab, in particular. His quest for knowledge of folk lore and his insatiable love for singing impelled him to travel all over the country to familiarise himself with the folk melodies of all the provinces and benefit from the experiences of folk singers from different regions.
His rich and variegated repertoire of folk songs, simple and straight in text and tune, and easily understood by the village folks, included Heer, Sohni Mainwaal, Sassi Punnu, Sunder Tota, Daud Baadshah, Sailf-ul-Maluk, Peer Murad, Veer Jodh, Jugni, Sammi, Mahiya and Dhola. Devotional songs like Kafis of Sufi saints also were part of his presentations. Musical instruments of the folk orchestra of the colourfully attired handsome singer included variously Nal, Dholak, Ghara and Chimta, in addition to a couple of string instruments and a harmonium.
It is heartening to note that our folk traditions in music are now being carried forward by a large number of crooners, who take pride in calling themselves pop singers. In the tenaciously resistance offered by our folk traditions lies the vitality of our cultural heritage. Also of particular satisfaction to millions of listeners in our rural areas is the fact that commercial gramophone companies are joining the efforts aimed at preserving folk legacies of our ancestors.