ISSN (Online) - 2349-8846 Coke Studio Pakistan: An Ode to Eastern Music with a Western Touch SHAHWAR KIBRIA Shahwar Kibria (
[email protected]) is a research scholar at the School of Arts and Aesthetics at the Jawaharlal Nehru University, New Delhi. Vol. 55, Issue No. 12, 21 Mar, 2020 Since it was first aired in 2008, Coke Studio Pakistan has emerged as an unprecedented musical movement in South Asia. It has revitalised traditional and Eastern classical music of South Asia by incorporating contemporary Western music instrumentation and new-age production elements. Under the religious nationalism of military dictator Muhammad Zia-ul-Haq, the production and dissemination of creative arts were curtailed in Pakistan between 1977 and 1988. Incidentally, the censure against artistic and creative practice also coincided with the transnational movement of qawwali art form as prominent qawwals began carrying it outside Pakistan. American audiences were first exposed to qawwali in 1978 when Gulam Farid Sabri and Maqbool Ahmed Sabri performed at New York’s iconic Carnegie Hall. The performance was referred to as the “aural equivalent of the dancing dervishes” in the New York Times (Rockwell 1979). However, it was not until Nusrat Fateh Ali Khan’s performance at the popular World of Music, Arts and Dance (WOMAD) festival in 1985 in Colchester, England, following his collaboration with Peter Gabriel, that qawwali became evident in the global music cultures. Khan pioneered the fusion of Eastern vocals and Western instrumentation, and such a coming together of different musical elements was witnessed in several albums he worked for subsequently. Some of them include "Mustt Mustt" in 1990 ISSN (Online) - 2349-8846 and "Night Song" in 1996 with Canadian musician Michael Brook, the music score for the film The Last Temptation of Christ (1988) and a soundtrack album for the film Dead Man Walking (1996) with Peter Gabriel, and a collaborative project with Eddie Vedder of the rock band Pearl Jam.