The resolute voice of Ahmad Shah

As a steady warrior for the arts, a philanthropist for the under-served, and an honouree of the Sitara-e-Imtiaz award – Ahmad Shah continues to deliver excellence on all fronts.

Born and raised in Karachi, Ahmed Shah is one of those names who is a brand in himself. He is upfront, bold and houses a pure artist’s soul who has taken drastic steps to transform the Pakistani art industry to great heights.

He joined the Arts Council of Pakistan in 1999, and immediately brought in changes which encouraged the ones who could never do it. As Nelson Mandela once said, “It always seems impossible until it’s done.” It’s hard to change the system until one person takes a stand, and Ahmed Shah certainly took that stand.

How did he do it all? Hear his journey in his own words: “I was born in Karachi and graduated from Karachi University. After my graduation I opened a production house to earn bread and started producing dramas, music albums, and then followed all of that by launching an event management company. I started inviting performers from around the world to Pakistan and arrange shows here. When I entered Arts Council, my inclination was towards poetry and theatre. I was already doing theatre in my youth so when I came here, I brought in like-minded people, brainstormed ideas for the future, and thrived. I had the opportunity to take this organisation to an international level where I arranged Urdu Conferences, drama festivals, events that celebrated music and dance, and festivals for the youth.”

Not only has Ahmed Shah taken the Pakistani art industry to new places, he also widened the scope for creativity within Pakistan by establishing several avenues for artists: “I have opened dance and art academies within the Arts Council that cater to everyone; built buildings, auditoriums, libraries, studios and revived the arts within the premises which was taking its last few breaths back then.”

While the arts was finally beginning to come alive, the work put into said feat was full of difficulty: “It was not easy at all. Karachi was suffering from a turbulent law and order situation and ethnic violence, where dozens of people were dying every day in the city, yet, we didn’t stop our work. I had received death threats to stop the progression of art and there was a constant war to sabotage the system which I was building. People even tried to capture Arts Council from under me, some even went to the courts and filed dozens of cases so they could fail me in the elections and affect my performance. This was a dirty tactic to build pressure and sabotage my image, but nothing happened. The art fraternity and community gathered with me for support. Gradually, what began with a small group of people who were determined to bring in change became stronger as many joined the cause and stayed dedicated to the work. Artists, journalists, musicians, and poets, including Moin Akhtar, Anwar Maqsood, Farman Fatehpuri, Jamiluddin Aali, Mushtaq Ahmad Yusufi, Aslam Farrukhi, you name it. It became a cultural movement in Karachi and everyone supported us.”

The arts are not the only aspect the council has worked for. The community grew so much over the years and their passion to help Pakistan remained strong as ever: “In 2005, when Pakistan had an earthquake, only one message from the council encouraged people to step up on their efforts and they donated generously. We were able to help people in Kashmir, Balakot and other affected areas. We worked there for a month. Then, again when Sindh faced a crucial time when it was flooded, the members of Arts Council donated millions of rupees for the aid of flood affected individuals. There were nearly 4000 people who migrated from interior Sindh and were accommodated by the Arts Council. This organisation is not confined to its walls but has spread like a healthy tree whose branches are spread all over the country, helping and supporting people tirelessly.”

In the events of the past two years, with lockdowns creating obstacles for everyone and artists alike, the council pulled through: “During COVID, most of the artists were jobless since there were no theatres happening nor shows so we helped them, not only financially, but we were also able to send them rations for six months. I would like to thank the government of Sindh who helped us and gave their hundred percent from arranging things to delivering it responsibly.”

With such an important position in the art world, Ahmed Shah has seen it all, and has a wise perspective on the way things go in Pakistan: “Well, I think even if there is censorship in the country, we still don’t stifle the voice of art and celebrate its freedom. There are so many taboo topics and issues which are often brushed under the carpet but Arts Council has given complete freedom to everyone to talk and raise their voices and concerns; people from Baluchistan come and talk on their important issues, Pashtoons, Saraiki people, Women’s Rights Activists, Human Rights Activists and Trans individuals and activists have complete access to Arts Council where we also arrange programs for them so they can deliver their message fearlessly.”

“We have also built such an image that not everyone can come to us and ask us to halt so and so show, it used to happen a lot in the beginning but we have fought it through. I can see how extremists or radicals would never want Arts Council to work. I remember once there was a bomb threat when Madeeha Gauhar had her drama Burka Bragenza, so a few religious extremists came and tried to create panic. Police vanished from the venue despite knowing that there was a bomb threat, and I was standing with a metal detector outside to confront the people who have the audacity to threaten this place. Such incidents kept on happening and then one day these people probably realised that there is some mad man who takes the complete ownership of this place and isn’t scared of anyone or anything, so let him continue his madness.”

While Arts Council has seen countless highs, it has seen some lows in the court of public opinion: “The rumors about banning artists or plays at Arts Council is completely wrong and I fully deny this. The dramas that were being played or performed here even touched the boldest of topics such as sex and other taboo issues, however, even under freedom of speech there is a limit and we can’t promote vulgarity and nudity. Whatever is against the culture and even more so, against the religion, can’t be promoted nor permitted.”

“Freedom doesn’t mean that one forgets the difference of right and wrong. And I say this with full responsibility. There is no pressure from any agency or government, but we feel socially and morally responsible to scrutinise content before it goes to the public through our platforms. I am amongst the audience when a drama is being performed here because my work doesn’t end in making decisions, because executing them is an ever bigger job.”

With such a big and influential organisation to run, one man alone can’t possibly see all aspects through: “There are more than 200 employees and a governing body comprising of 22 people who makes decision under my supervision. Academies have their own system which is run under the chief coordinators and administrative departments also have their heads under which they work. When an application or a proposal comes, we sit together and discuss, but the final call is mine. The grand events such as Youth Festival, Theatre Festival, Urdu conferences; these are the projects which I supervise personally but there is a big team who is working with me.”

The Arts Council has seen immense talent, and continues to churn out several impeccable graduates of art by taking their teachings to the basics, involving the meticulous nature of theatre in their practice: “Theatre actors used to have a bad luck when it comes to trying for TV, but now they are going to places and working in films also. Many big productions are picking our students, like in Khel Khel Mein, there are many youngsters who are Arts Councils students. A trained actor who come from institutes like arts council are polished and strong actors rather than the ones who just have good looks or have appeared from out of the blue to become an actor. We don’t have a proper film academy in Pakistan unfortunately, but theatre aids in training people as directors, improvising their throw of voice and body language as actors or singers.”

“There was almost no theatre in older times of Pakistan, there was no concept or tradition of theatres and there were only four or five people involved in such arts, such as Rafi Peer from Lahore, Imtiaz Ali Taj who wrote Anarkali drama, Zia Mohyeddin who produced a few dramas, and so on. If you talk about today, there are almost a hundred groups that we have made for theatres. They are primarily being trained at NAPA or Arts Council. If you talk about Karachi, then the biggest theatre actor was Moin Akhter, whose demise left a void that could never be filled.”

Facing all these obstacles in his way may leave someone else a little shaken or demotivated, but Ahmed Shah remains unrelentingly secure in his being: “I am a positive person since I was born. You won’t see me worried or frowning about anything, even when people targeted me or threatened me. I was and am still here running Arts Council. I never hid for a day because I am afraid of no one. And believe me, people around me knew that I will stay here and no human power on earth could shake me so people started joining me in the cause, from a mere five people to an army, here we are, stronger than ever. I see negativity as a losers excuse to find an escape and justify their failure. If people are not skilled and smart enough in their professions then they are destined for failure, let it be an actor, dancer or singer. If you are good at what you do, no one can stop you from progressing and succeeding.”

“Moin Akhter is an example; he used to sell ordinary clothes on a footpath in Karachi. He excelled himself and built himself. He proved his commitment and conviction, and he was honest to his profession and see there is no one like him. Becoming an actor like Moin Akhter is a criteria in itself. What a magnificent personality he had. Another great example could be taken of Naseeruddin Shah. He used to sleep on Bombay’s railway stations and struggled to become an actor. If he was not committed, he could have packed and gone home. Gulzar could have surrendered after the hardships he faced in becoming what he is today. Only undedicated people justify their failures by saying that people didn’t give them an opportunity. The talent, skills, and brilliance is all inside you; switch that light in your head and realise your true potential.”

On a lasting note, Ahmad Shah proclaims his sheer support for the youth of this country and highlights the brilliant things they are capable of: “Youngsters of this generation are full of energy and honest. We think they are disrespectful but they are blunt and speaking their truth which we should value. Even at Arts Council, I have seen youngsters working with so much dedication and hard work and that too on their own. These kids don’t come from privileged settings; the type of strong content that the youngsters from Liyari or Lalu Khait are producing are setting a benchmark for the biggest directors we have right now.”

“The thinking capabilities of this generation is beyond our reach and only they will change the future of this country. They have the world in their hands and they will be the ones changing the future. The older generation will just have to let these kids grow the way they want.”