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Hum Dekhenge

"Hum Dekhenge" (We Shall See) is a , or poetic composition, in authored by Faiz Ahmed Faiz, a Pakistani poet and avowed communist (1911–1984), in 1979 as a critique of General Muhammad Zia-ul-Haq's military regime that had seized power in 1977. The work draws on Quranic imagery—such as allusions to divine countenance enduring while earthly powers crumble—to prophesy the inevitable downfall of oppressors at the hands of the subjugated masses, blending Marxist revolutionary fervor with appropriated religious motifs to subvert authoritarian structures. First published in Faiz's 1979 collection Mere Dil Mere Musafir, it encapsulated opposition to Zia's Islamization policies and suppression of dissent, positioning the poet's vision of egalitarian upheaval against the regime's theocratic enforcement. The poem gained musical form and widespread resonance through singer Iqbal Bano's rendition, notably her defiant performance on 13 February 1986 at Alhamra Arts Council in before a crowd of 50,000, where she wore a black —banned under Zia's edicts associating it with influence and symbols of resistance. This act provoked thunderous cheers and chants of "" (Long Live the Revolution), though it prompted immediate raids on organizers and a ban on Bano's public appearances and television slots. Banned itself under Zia for its subversive content, "Hum Dekhenge" endured as an underground emblem of defiance, later resurfacing in democratic movements across and , including anti-CAA protests in 2019–2020. Its lyrics, envisioning a day when "only the name of remains" amid toppled thrones, have drawn scrutiny for potentially endorsing religious triumphalism, particularly when repurposed in secular or interfaith contexts, despite Faiz's intent to harness Islamic for class struggle and anti-tyranny ends. This layered underscores the poem's adaptability—and occasional interpretive friction—in mobilizing resistance, cementing its status as a South Asian literary touchstone for challenging over decades.

Origins and Composition

Faiz Ahmed Faiz's Background and Influences

Faiz Ahmed Faiz was born on February 13, 1911, in Kala Qader, , Province of British India (now ), into a family of landowners. His father, Sultan Muhammad Faiz, was a local teacher who died when Faiz was young, leaving his mother, Sultan Fatima, to raise him amid a Muslim household steeped in Punjabi cultural traditions. Faiz received his early schooling at Church Mission School in before pursuing higher education in , where he earned a degree from Government College University in 1935. Following graduation, Faiz embarked on a teaching career, first at M.A.O. College in and later at in , while also working as a in English and . His initial poetic output focused on conventional themes of romantic love and personal longing, reflecting the traditions of . However, his worldview shifted during the 1930s through engagement with the Progressive Writers' Association, where he encountered Marxist ideas under mentors like Mahmoud Zafar, fostering a commitment to and anti-colonial critique. Faiz's literary influences blended classical Persian mysticism from poets such as and with modern Western languages including English, French, and Russian, enabling him to infuse with revolutionary undertones drawn from socialist ideology. He remained a proponent of throughout his life, adapting its class-struggle framework to address oppression in postcolonial , though critics note his work retained Islamic cultural resonances over strict doctrinal adherence. This synthesis propelled his evolution from introspective verse to politically charged nazms advocating collective uprising against tyranny.

Writing Context in 1979 Pakistan

In 1979, Pakistan was governed by the military regime of General Muhammad Zia-ul-Haq, who had seized power through a bloodless coup on July 5, 1977, deposing Prime Minister Zulfikar Ali Bhutto and declaring martial law nationwide. Zia's administration suspended the constitution, banned political activities, and imposed strict censorship on media and dissent, targeting opposition groups including the Pakistan Peoples Party and leftist intellectuals. The regime's Islamization drive, which included enacting the Hudood Ordinances in February 1979 to enforce Sharia punishments for offenses like adultery and theft, further alienated secular and progressive elements by institutionalizing corporal penalties such as flogging and amputation. The execution of on , 1979, in Central Jail—following a for authorizing a political opponent's that many international observers regarded as a judicial —exemplified the regime's intolerance for rivals and sparked widespread protests and arrests. This event, occurring amid ongoing suppression of trade unions and , heightened the atmosphere of fear and resistance, with Zia's forces detaining thousands suspected of . Faiz Ahmed Faiz, a prominent poet with Marxist sympathies and a history of under prior governments for alleged communist activities, penned "Hum Dekhenge" in as a veiled critique of Zia's tyranny, drawing on Quranic imagery to evoke the downfall of oppressors. Having entered self-imposed exile in in February 1978 to edit the Afro-Asian literary journal and avoid Zia's purges of leftists, Faiz remained attuned to Pakistan's turmoil, using the to symbolize popular uprising against dictatorial "idols" of power. The work's revolutionary undertones aligned with Faiz's lifelong opposition to , positioning it as an underground anthem for those enduring martial law's curtailment of free expression and democratic norms.

Lyrics and Thematic Analysis

Structure and Key Poetic Elements

"Hum Dekhenge" is structured as a , a free-verse form of that prioritizes thematic progression over rigid classical constraints, yet maintains a rhythmic through internal echoes and a persistent . The poem comprises seven stanzas of varying lengths, typically four to six lines each, culminating in or bookended by the repeated phrase "hum dekheNge" (we shall see), which functions as a to underscore inevitability and collective resolve. This repetitive structure creates a cyclical, prophetic tone, evoking oral traditions and facilitating its adaptation into a protest anthem with chant-like propulsion. Key poetic elements include vivid of impermanence, such as mountains of dissolving "like bits of " under a , symbolizing the fragility of tyrannical power. Allusions to Quranic , particularly the phrase "wa yabqa wajh rabbik" (only the face of your Lord will endure) from Surah Ar-Rahman, are repurposed to envision a secular where "idols will be smashed" and the oppressed inherit authority. across lines propels the momentum, while and consonance in —such as recurring gutturals in words evoking upheaval—enhance its sonic intensity, blending Sufi with to fuse spiritual longing with calls for earthly justice. The absence of strict meter allows flexibility, yet the poem's bahar (prosodic pattern) approximates mutaqarib for a marching rhythm suitable for .

Interpretations: Metaphors of Judgment and Revolution

The poem "Hum Dekhenge" employs eschatological imagery drawn from Islamic traditions, particularly the Quranic depiction of (the ), to metaphorically represent an inevitable socio-political reckoning against tyranny. Lines such as "jab zulm-o-sitam ke koh-e-garaan rui ki tarah udh jaayenge" evoke 's apocalyptic vision of mountains scattering like wool, symbolizing the dissolution of oppressive structures under a force akin to , where accumulated injustices collapse not through intervention but through human agency in . This metaphor underscores as a causal process: prolonged (oppression) erodes its own foundations, leading to systemic upheaval, rather than arbitrary fate. Revolutionary undertones emerge in the displacement of symbols of authority, as in "arz-e-khuda ke kaabe se sab but utthvaaye jaayenge," reimagining the historical removal of idols from the Kaaba during Mecca's conquest as the purging of false idols of power—be they political elites or ideological constructs—from sacred spaces of justice. The marginalized ("ahl-e-safaa mardood-e-haram") ascending thrones ("masnad pe bithhaaye jaayenge") portrays revolution as restorative equity, where the excluded reclaim dominion, echoing Sufi notions of spiritual equality repurposed for class struggle. Faiz integrates the cry "an-al-haq" (I am the Truth, from Mansur al-Hallaj's mysticism) as a rallying affirmation of human divinity against despotism, blending theological defiance with populist mobilization. The refrain "bas naam rahega Allah ka" culminates these metaphors, drawing from Surah Ar-Rahman to affirm enduring truth amid annihilation, interpreted as the triumph of over transient rulers ("dhadh dhadhakenge aur dhah dhah se phat jaayenge"). Here, converges with : eschatological finality—where only the eternal persists—mirrors the proletarian overthrow of hierarchies, with "khalk-e-khuda" (God's creation, i.e., the people) assuming rule. This layered symbolism, rooted in Faiz's Marxist , secularizes religious to predict empirical upheaval driven by mass , as evidenced in its invocation during anti-Zia protests in 1979 . Critics note potential for misreading such imagery as endorsing theocratic supremacy, yet textual evidence prioritizes universal anti-oppression, targeting any "but" (idol) of irrespective of .

Popularization Through Performance

Iqbal Bano's Defiant 1986 Rendition

In 1986, amid General Muhammad Zia-ul-Haq's military regime, which enforced strict Islamic ordinances including bans on attire like saris deemed un-Islamic and of leftist literature, Pakistani ghazal singer performed Faiz Ahmed 's "Hum Dekhenge" at the Alhamra Arts Council in during the annual Faiz Mela on February 13. The event commemorated Faiz's birthday despite official suppression of his works, viewed by the regime as promoting revolutionary or irreligious ideas. Bano's rendition was an overt act of defiance: she wore a black , symbolizing and violating the regime's for women, before a crowd estimated at 50,000, many of whom were political activists. Her delivery of lines evoking the overthrow of thrones and crowns—"Sab taaj uchalay jaengay, sab takht giraay jaengay"—ignited fervent responses, with the audience erupting in chants of "" (Long Live the Revolution) and demanding encores. The performance's recording, captured surreptitiously, was targeted by authorities who raided organizers' homes to confiscate copies, but one cassette was smuggled to and disseminated underground. In reprisal, Bano faced a lifetime from public singing and television broadcasts, curtailing her career under the regime. This event elevated "Hum Dekhenge" from a poetic to an enduring anthem of anti-authoritarian resistance in , with Bano's voice embodying cultural defiance against Zia's Islamization policies that lasted until his death in 1988. The circulation of her recording ensured its survival and influence beyond the dictatorship.

Early Musical Adaptations and Covers

The poem "Hum Dekhenge," written by Faiz Ahmed Faiz in 1979, received its initial prominent musical treatment through a composition by Pakistani musician Master Manzoor, tailored for singer Iqbal Bano's rendition. This adaptation appeared on Bano's album Meri Pasand Vol. 2, where the melody integrated elements of traditional phrasing with a steady, anthemic conducive to group and settings. Master Manzoor, known for his expertise in raag-based compositions, crafted a tune that underscored the poem's eschatological imagery and call for upheaval without altering its core structure. This version predated or coincided with Bano's widely documented live performances, establishing the foundational sonic identity that facilitated subsequent adaptations in Pakistan's underground resistance networks during General Zia-ul-Haq's regime. While specific pre-1986 covers by other artists remain sparsely recorded in available sources, the Manzoor-Bano collaboration represented the poem's pivotal shift from print and recitation to a performable , amplifying its accessibility amid .

Political and Social Usage

Role in Pakistani Resistance Movements

"Hum Dekhenge" became a central in Pakistani resistance to General Zia-ul-Haq's regime, which seized power through a coup on July 5, 1977, and imposed alongside Islamization measures that curtailed . Composed by Faiz Ahmed Faiz in 1979 amid widespread arrests of political opponents, the poem's verses envisioning the overthrow of false idols and the dawn of justice resonated with dissidents challenging the dictatorship's authoritarian grip, including bans on public gatherings and press censorship. Opposition coalitions, such as secular and leftist groups aligned against Zia's hudood ordinances and public floggings, incorporated recitations and performances of the into underground meetings and street demonstrations during the , framing it as a call for inevitable against entrenched power. The responded by prohibiting Faiz's works, viewing them as threats to its ideological enforcement, yet this suppression only amplified the poem's subversive appeal among activists enduring and . The nazm's endurance extended to later anti-military mobilizations, including protests against General Pervez Musharraf's rule in the early , where it symbolized continuity in the struggle for democratic restoration amid renewed concerns over judicial manipulations and media restrictions. In these contexts, its Marxist-inflected critique of —rooted in Faiz's worldview—provided a unifying for diverse factions prioritizing empirical over regime-sanctioned , though interpretations varied between secular reformers and those wary of its potential Islamist undertones.

Adoption in Indian Protests and Appropriations

"Hum Dekhenge" gained significant traction in during the 2019-2020 protests against the , where it served as a recurring of defiance at key sites including in , a prolonged led primarily by women that lasted over 100 days from December 2019 to March 2020. The poem's recitation and musical renditions evoked themes of impending justice against perceived authoritarian measures, resonating with demonstrators opposing the law's exclusion of from expedited for certain refugees. It was also chanted during campus events, such as at () in January 2020 amid clashes over student union elections and broader concerns. The song's adoption extended to the 2020-2021 farmers' protests against three agricultural reform bills, with a Hariyanvi version performed by the Indora Brothers from Bhiwani in February 2021 explicitly dedicated to the demonstrators encamped at Delhi's borders. Congress leader Navjot Singh Sidhu referenced its lyrics in December 2020 to rally support for the farmers, framing the agitation as a stand against economic subjugation akin to the poem's motifs of overthrowing crowns and thrones. These uses highlighted the poem's repurposing as a versatile symbol of resistance to policies viewed by protesters as eroding livelihoods or communal rights, often amplified by leftist cultural activists and student groups. Appropriations of "Hum Dekhenge" in India have frequently aligned with progressive and opposition narratives, transforming the 1979 Pakistani nazm into a subcontinental emblem of anti-establishment sentiment detached from its Zia-ul-Haq era origins. Documented in works like the 2022 photobook Hum Dekhenge: Protest and Pogrom, which chronicled Shaheen Bagh alongside events at Jamia Millia Islamia and the North-East Delhi riots, the poem underscored narratives of minority vulnerability and state overreach. Such adaptations, while broadening its appeal beyond Urdu-speaking circles, have sparked debates over contextual fidelity, with critics noting its invocation in rallies like Mumbai's Azad Maidan Maha Morcha in February 2020 against CAA implementation.

Controversies and Criticisms

Debates Over Religious and Ideological Interpretations

The poem "Hum Dekhenge," composed by Ahmed Faiz in 1979 amid General Zia-ul-Haq's regime in , incorporates explicit Islamic eschatological motifs, including references to the Day of Judgment (Qayamat), the destruction of idols at the ("sab but uthwaaye jaayenge," all idols will be removed), and the enduring supremacy of ("bas naam rahay ga Allah ka," only the name of Allah will remain). These draw from Quranic imagery, such as Surah Ar-Rahman, and Sufi traditions like Mansur al-Hallaj's declaration "Ana al-haq" (I am the Truth), evoking divine justice triumphing over falsehood. Religious interpretations frame the work as a prophetic vision of Islamic revival, where oppression melts away like mountains of tyranny, an imam arrives bearing a flag of truth, and polytheistic idols symbolize corrupt authority to be eradicated in favor of monotheistic purity—a narrative resonant with historical events like Prophet Muhammad's cleansing of the Kaaba. In contrast, ideological readings, aligned with Faiz's Marxist background as a member of the Progressive Writers' Movement and his involvement in the 1951 Rawalpindi Conspiracy, recast these elements as secular metaphors for proletarian revolution: idols represent dictatorial power structures, the imam a vanguard leader, and Allah's name an abstract emblem of justice beyond theology. This synthesis reflects Faiz's strategy of subverting Zia's Islamist authoritarianism by repurposing religious symbols for anti-fundamentalist defiance. Debates intensified during its recitation at Indian protests against the 2019 Citizenship Amendment Act, where critics contended the iconoclastic language inherently promotes over non-Abrahamic faiths, potentially inciting communal tensions by evoking historical conquests and devaluing Hindu worship as equivalent to tyranny. An inquiry panel at in December 2019 deemed the poem "unsuitable" for a solidarity event, citing harm to Hindu religious sentiments due to its imagery of removal, though it acknowledged no explicit anti-Hindu intent. Defenders, including Faiz's daughter Saleema Hashmi and poets like , maintain its universality as a call against , arguing literal religious offense misreads the contextual subversion of rather than endorsement of . Scholarly analyses highlight the poem's , enabling both spiritual and revolutionary appropriations while noting Faiz's atheist-leaning tempers any orthodox Islamic literalism.

Right-Wing Critiques of Supremacist Undertones

Right-wing commentators, particularly Hindu nationalists in , have critiqued "Hum Dekhenge" for embedding Islamist supremacist motifs within its revolutionary rhetoric. They point to lyrics evoking the Prophet Muhammad's destruction of pre-Islamic idols at the in , such as references to stone idols being toppled and the ultimate supremacy of ("bas naam rahega Allah ka"), interpreting these as endorsing monotheistic dominance over polytheistic traditions, including . This imagery, critics argue, glorifies historical akin to the smashing of murtis (Hindu idols), framing the poem not merely as anti-authoritarian but as subtly anti-Hindu. During the 2019 , these concerns gained prominence when students at recited the poem, prompting a formal complaint from faculty member , who described it as potentially "anti-Hindu" due to its perceived advocacy for the eradication of idolatry. head defended such opposition, asserting that the poem's eschatological elements—like the emergence of an "" (often linked by interpreters to the Islamic figure of the )—promote a vision of divine judgment favoring Islamic purity over other faiths. Outlets aligned with Hindu nationalist views, such as , labeled the verses a "war cry" masking Islamic supremacy under secular guise, arguing that Ahmed Faiz, despite his Marxist leanings, incorporated motifs reinforcing religious hierarchy. Critics further contend that the poem's appropriation in Indian Muslim-led protests amplifies these undertones, portraying a narrative of inevitable triumph for the "oppressed" (mazloom) interpreted through an Islamic lens, which they see as incompatible with pluralistic secularism. Swarajya magazine highlighted Faiz's emphasis on the "supremacy of the pure," suggesting it aligns more with Islamist eschatology than universal revolution. Such analyses, often dismissed by left-leaning media as Islamophobic, reflect a broader right-wing skepticism toward Faiz's work, viewing it as dual-coded to appeal to both leftist and Islamist audiences while undermining non-Abrahamic traditions.

Leftist Defenses and Historical Contextualization

The poem "Hum Dekhenge" was composed by Ahmed Faiz in 1979 during his self-imposed exile in , , following criticism of his political writings as "anti-" by authorities in . , a prominent poet and member of the Progressive Writers' Association founded in 1936, drew from Marxist influences and had faced imprisonment earlier, including a four-year sentence in the Case for alleged involvement in a plot to overthrow the government in favor of a socialist order. The emerged amid General Muhammad Zia-ul-Haq's 1977 military coup, which imposed , enforced strict Islamic ordinances like Hudood laws by February 1979, and suppressed leftist and secular dissent through censorship and executions, creating a climate of authoritarian that critiqued as hypocritical masked in religious . Leftist interpreters frame "Hum Dekhenge" as a universal anthem of and anti-imperialist struggle, repurposing Islamic historical metaphors—such as the Prophet Muhammad's 630 conquest of Mecca—to symbolize the inevitable overthrow of exploitative elites by the masses, rather than endorsing religious supremacy. They argue the lyrics' invocation of "crowns tumbling" and "thrones razed" targets temporal tyrants like Zia, whose regime executed on April 4, 1979, and aligned with U.S. interests during the Soviet-Afghan War starting 1979, betraying egalitarian ideals for geopolitical gain. In this view, the poem's Sufi undertones, echoing Mansur al-Hallaj's 9th-century declaration "Ana al-Haqq" (I am the Truth) executed for perceived in 922 , represent humanistic defiance against dogmatic authority, aligning with Faiz's secular-progressive ethos rather than orthodox revivalism. Defenses against accusations of supremacist or iconoclastic intent emphasize the poem's contextual genesis in resistance to Zia's Islamization policies, which by 1980 had introduced leading to over 1,500 extrajudicial deaths by vigilante mobs by the 2010s, as documented in reports, positioning "Hum Dekhenge" as a call for over vengeance. Left-leaning scholars contend that right-wing readings misattribute Islamist militancy to , ignoring his lifelong advocacy for class solidarity across religious lines, as evidenced by his support for Palestinian causes and opposition to violence in 1947, while the poem's enduring use in labor strikes and anti-dictatorship rallies underscores its role in fostering collective agency without prescribing theocratic . This interpretation prioritizes the nazm's materialist critique of power structures, where divine imagery serves rhetorical accessibility for audiences in a 99% Muslim under Zia's rule, rather than literal .

Cultural Impact and Legacy

Influence on Media and Popular Culture

The song "Hum Dekhenge" has been adapted in musical performances broadcast on television, notably in a 2018 rendition by Rahat Fateh Ali Khan on Coke Studio Season 11, a Pakistani music program that blends traditional and contemporary styles, garnering millions of views and introducing the nazm to younger audiences across South Asia. This version emphasized its poetic rhythm while maintaining Faiz's original lyrics, contributing to its revival in mainstream entertainment amid ongoing political sensitivities. In Indian cinema, the featured prominently in the 2022 film , directed by , where an extended version was included in the soundtrack and trailers, performed by artists including and ; the usage depicted it as invoked by characters in contexts of militancy, sparking debates over its reinterpretation in a focused on the 1990 . Director Agnihotri later asserted copyright claims against unauthorized uses, such as in Pakistani political rallies, highlighting tensions over ownership and context in cross-border media appropriations. Beyond formal media, "Hum Dekhenge" has permeated through user-generated content, including covers reacting to its film appearances and renditions by artists like Samin Raza in , which incorporated celebrities such as Javed Jaffrey to amplify protest symbolism during India's anti-CAA demonstrations. It has inspired visual adaptations, such as internet memes and protest artwork circulating on platforms like (now X) since at least , where lyrics are overlaid on images of resistance, transforming the into a motif of defiance despite criticisms of its perceived ideological undertones. These digital echoes underscore its role in shaping subcontinental , often shared as markers during events like the 2019 abrogation of 370, though interpretations vary by political lens.

Enduring Role in Global Protest Anthems

"Hum Dekhenge" has garnered recognition beyond as a symbol of resistance against tyranny, with its lyrics evoking the collective triumph of the oppressed over oppressors, drawing parallels to universal themes in global protest music. Composed by Faiz Ahmed Faiz in 1979 and popularized through Iqbal Bano's 1986 performance in , the nazm's message of inevitable justice has been invoked in international contexts, particularly during actions. Its adaptability stems from the poem's Quranic allusions to divine and human agency, allowing reinterpretation across cultural boundaries without direct ties to specific national conflicts. In late 2019 and early 2020, amid widespread demonstrations against India's Citizenship Amendment Act, "Hum Dekhenge" echoed in protests organized by South Asian diaspora communities in cities across the , , and , where participants chanted it to express solidarity with Indian demonstrators opposing perceived discriminatory policies. These events, often held at universities and public squares, highlighted the song's role in transnational , bridging expatriate networks and amplifying calls for rights and . Reports indicate thousands participated in such gatherings, with videos and accounts capturing renditions that fused the original with local expressions of dissent. The nazm's global resonance is further evidenced by its inclusion in compilations of influential anthems, alongside tracks like Italy's "," underscoring its status as a timeless call for from power structures. Analysts attribute this to Faiz's Marxist-influenced yet broadly humanistic , which critiques without confining it to regional ideologies, enabling its endurance in diverse movements against . While primary usage remains rooted in South Asian struggles, its sporadic adoption in Western diaspora s demonstrates a limited but persistent international footprint, sustained by online dissemination and cultural events commemorating resistance poetry.

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