essay writing urdu

Exploring The Beauty Of Urdu Writing: #1 Easy Guide

• , March 15, 2024

Growing up in New Delhi, I had always been fascinated by the remnants of Mughal architecture dotting the city skyline. But it was the Urdu writing – Urdu tehreer (اردو تحریر) carved on those centuries-old walls and minarets that would catch my attention every time.

Now, it might not be a ‘romance’ language like French, Italian, or Spanish, but many in north India and Pakistan consider Urdu a language of romance. Rekhta (ریختہ), one of its earlier names, is a language of culture – of Adab (ادَب – respectfulness) and Tahzeeb (تَہْذِیب – mannerism). It is the language of mystical Sufism, divine love, and poetry. It is the language of Sukhan (سخن) – speech, language, and Urdu words .

Let’s discover what makes Urdu a beautiful language to learn .

What Are The Features Of Urdu Writing

#1 the urdu script.

As we noted earlier, it uses the Nastaʻliq script and is typically written from right to left. After the Mughal conquest, Nastaʻliq became the preferred writing style for Urdu. The appearance of letters in cursive depends on their context and positions: Isolated form, initial position (starting from left), medial form (both sides), and final position (joined on the right).

#2 The Urdu Alphabet

There are 39 or 40 Urdu letters without any distinct letter case. Now, the ambiguity regarding the number of Urdu alphabet present in this script is quite clear. That’s because it is an ‘abjad’ script that evolved from the Persian script. 

This implies that the Urdu script only identifies consonants and long vowels. The pronunciation of short vowels is left to the reader’s inference. The first letter of the script is  ا  (pronounced:  Alif ), and the second letter is  ب  (pronounced:  Bē ).

#3 Sound System

There are 41 consonant sounds and 11 vowel sounds in this language. It is interesting to note that it has borrowed numerous phonemes (smallest unit of speech) from Perso-Arabic and Indo-Aryan languages. It has adopted 14 Indic sounds with aspirated consonants, retroflex consonants, and additional letters in the form of aspirated and unaspirated sounds.

#4 Word Order

The Urdu sentence structure follows the SOV pattern: Subject + Object + Verb. For instance, one can write the translation of “I am eating food” as میں کھانا کھا رہا ہوں ( Main khaana kha rahaa hoon ). Further, the verbs and adjectives agree with the subject (gender and plurality of nouns).

So, a male would say: میں کھانا کھا رہا ہوں ( Main khaana kha rahaa hoon ) whereas a female would say میں کھانا کھا رہی ہوں ( Main khaana kha rahi hoon ).

#5 Vocabulary

There’s no denying that this Asian language is unique when it comes to the terminologies it uses. In the case of the Urdu language, most of the terms are known to be greatly influenced by Persian, Turkish, and Arabic words that are not commonly found in other languages (as shown in the tables below). So, the next time you’re trying to connect with someone in Urdu, you might want to brush up on these useful words and phrases beforehand.

Fascinating Features Of The Urdu Language

Urdu is the native language of many Indians and Pakistanis, with a vast diaspora settled in the UK, the USA, Canada, Australia, and several Gulf countries. Though born in Delhi of yore, this language enjoys the status of being the official language of the Islamic Republic of Pakistan and one of the 22 official languages of the Republic of India. It is also the official state language of several Indian states.

Its Origins

This language was born from the regional Apabhramsha (the literary language of northwestern India’s final phase of the Middle Indo-Aryan languages) in the 12th century. This new language came into existence in the region of present-day Delhi as an amalgamation of the Hindu and Muslim cultures. Urdu was derived from the Turkish word ‘ordu,’ meaning army.

Throughout the centuries, it came to be known by various names – Hindvi, Gujari, Dakkhani, Zaban-e-Hind, Hindi, Zaban-e-Delhi, and so on . In the late 17th and 18th centuries, it was called Hindustani and Zaban-e-Urdu (the language of the army), respectively.

Its Similarities With Hindi

Hindi and Urdu are considered sister languages . One can argue that on many parameters, they are almost identical. For instance, they sound intelligent to each other’s native speakers. At the conversational level, the spoken version of both these languages sounds the same as they both evolved from the same source – Khari Boli – the dialect of the Delhi region during the Delhi Sultanate’s reign.

The primary difference lies in their written forms. While Hindi is written in the Devanagari script from left to right, Urdu uses a modified form of Perso-Arabic script known as Nastaliq (nastaʿlīq – نستعلیق ) and is written from right to left.

Moreover, the majority of the Hindi lexicon is borrowed from Sanskrit and Prakrit, while Persian, Arabic, and Turkish heavily influence the latter.

Want To Learn Urdu? Try Ling

Now, wasn’t that a solid start to making a foray into writing the Urdu language ? Yes, it might seem quite challenging at the beginning, but which learning curve doesn’t? The most important thing is to make a commitment to your resolve and stay determined to it. For everything else, you can always depend on Ling .

The Ling app offers unique linguistic techniques and modern technology to provide you with a fulfilling language learning experience. With its gamified interface, interactive exercises, and fun quizzes, you are bound to make quick progress in your language-learning journey. Picking up a language has never been this easy! So, without wasting much time, go to your Google Play Store or Apple App Store and download the Ling app for free now!

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Essay Writing Tips in the Urdu Language

• Post author: Mr-Teacher
• Post last modified: February 21, 2023

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Are you learning Urdu and need to write your first essay in the Urdu language? It won’t be as easy as ABC because you must do much research to complete a high-quality paper. Urdu refers to rare languages and has distinctive features and peculiarities. More and more students decide to contact professional academic writers at essay writing services not to fail and submit a flawless essay in Urdu. Want to write an insightful essay that will be evaluated positively? You’ve come to the right place. Here is a collection of expert writing tips from SmartWritingService that will make the essay writing process easier and more effective. 

Choose the Topic You Know the Best

First, choose the topic you can reveal in the Urdu language. If you are a beginner, you shouldn’t pick complex topics. It will be hard to discuss them, and you won’t be able to give information on all the topic issues. Don’t choose too broad or too narrow topics. Brainstorm ideas on the topics you are interested in and feel passionate about discussing. Ensure you know all the necessary Urdu words and terms to discuss the chosen subject.

Conduct Research and Analysis

The second thing you need to do is to search for credible sources of information. You need to use only educational websites and electronic libraries with trusted sources. Don’t use any facts or data until you make sure all the information is true. You can use books, articles from newspapers, and web sources. The more sources you use, the better. Collect all the information on the topic you can find and analyze what pieces of information are valuable for your essay.

Write a Detailed Essay Outline

Now you have a topic and enough material to get started. Make an essay outline to have a clear picture of how to structure your essay paper. Using a good outline you won’t miss any important ideas on the subject. 

Divide Your Content into 3 Parts

Your essay should consist of 3 parts: an introduction, the main body, and the conclusion. You should start with an engaging opening paragraph. The main key to success is to include interesting facts or a story about your topic. You should structure your essay, so the content is easy to perceive and understand. There is a wealth of literature in Urdu. This is the literature of Indian Muslims that dates back to the 13th century. Until the beginning of the 19th century, it was represented mainly by lyric poetry on religious-philosophical themes and was strongly influenced by Persian poetry. It’s a good idea to include poetry in your essay. Find several lines that reflect on your essay topic and use them at the beginning of your essay paper.

Write a short introduction to attract the reader’s attention and proceed to the main part of the essay. Here, you need to discuss all the key issues, give arguments for each of the discussion points, and start any new idea from the new paragraph. Finally, conclude your Urdu essay with several sentences that will make it clear to the reader why he/she has spent time learning the topic. Write about the possibility of further research on the topic. The conclusion should be brief, clear, and concise. 

Pay a Special Attention to Grammar in Urdu

The grammar of Urdu is generally similar to that of Hindi; however, due to the cultural separation of Muslims from Hindus, Urdu has incorporated some elements characteristic of the grammar of Arabic and Persian. 

• Nouns, pronouns, and verbs change in numbers (singular and plural) and cases (direct, indirect, vocative), verbs, some adjectives, and nouns also in gender (masculine and feminine). Some postpositions also vary in gender and number.
• Urdu pronouns are classified into several groups of meanings. Urdu has no negative pronouns; instead, negative constructions with indefinite pronouns are used. By the nature of the changes and functions in the sentence, pronouns are divided into pronouns-nouns, pronouns-adjectives, and pronouns-numerals. There are several types of participles in Urdu. The participles combine verbal and nominal signs. Foreign language (Arabic, Persian) participles in Urdu are used as ordinary adjectives.
• There are several types of verb tenses in Urdu. In terms of the present, there are two kinds, in terms of the past – three, and in terms of the future, the kind can both be expressed (in three forms) and remain unexpressed. Most tenses are formed by creating a nominal predicate from a participle and an auxiliary verb. The imperative mood has several forms, which differ in the degree of politeness. Also, in Urdu, there are “intensive verbs” – combinations of the stem of a verb with one of the 12 service verbs. As a result of this combination, the main verb receives a refined shade of its meaning. Intensive verbs are usually not recorded in dictionaries, they are not separate verbs, and in each particular case, they are formed directly in speech.

Proofread and edit the essay, if necessary. Make sure it doesn’t contain grammar errors, and that the whole essay sounds logical. If you lack essay writing skills or knowledge of the Urdu language, don’t hesitate to ask custom writers to check your paper and make it error-free. Experienced writers will provide a high-quality essay sample on the necessary topic to get inspired and learn how to express your thoughts in Urdu.

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Publisher : writers emporium, mumbai, origin : mumbai, india, year of publication : 1957, language : urdu, categories : essays & profiles, sub categories : essays, pages : 228, contributor : darul musannefin shibli academy, azamgarh.

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How to Write Urdu Essay | For Students of Competitive Exams

March 17, 2012 by Admin 9 Comments

How to write Urdu Essay? (For all competitive exams) Writing an Urdu essay seems difficult to many candidates but it is not at all difficult. In PMS Urdu Essay is included in Urdu compulsory paper and it comprises of 40 marks. In the exam of Tehsildar, it is of 50 marks. No matter how many marks it is comprised of, you can write it in a best way by following the tips given below. Following are the tips to write an essay worth reading. Step#1. You would be given options between different topics to write an essay on. Read all topics carefully and select the one about which you are sure that you have sufficient knowledge. Step#2. Let’s suppose that you have chosen an essay,”Sahafat aur hmari zimadarian”. Now you have to draw a rough sketch of all the points that are in your mind on rough sheet. Step#3. Jolt down all points in a sequence. Important tip: Essay is just like a body with head, abdomen and legs and you have to draw this drawing beautifully. Head of the Urdu Essay This is an opening paragraph and it should be free of mistakes. Moreover the words used in it must be eye catching. This paragraph is the theme statement of the essay and must reflects the main idea of the statement. Abdomen of Urdu Essay In this part of the essay you will discuss all the points but in a sequence

•  Write down the facts and figures about Sahafat.
•   Explore the role played by Sahafat on national, international and local level.
•   Discuss the causes, remedies and effects of “ azad-e-sahafat”
•   Put quotations, couplets, examples, hadith, ayats etc where needed.
•   You can handle this topic globally by discussing the role played by Bain ul aqwami Sahafat against Muslims and Islam and in this context what should be done by Qomi sahafat?
•   Disclose another side of this topic by discussing the importance of local sahafat in bridging the gap between the provinces.

Lower part of Urdu Essay or conclusion. In this part you will conclude all your efforts that were generated in the whole essay. Your end should be positive and hopeful. Either you are finding a way or not to any problem but you are not suppose to show yourself a pessimist person.

Reader Interactions

November 15, 2015 at 8:56 am

March 14, 2016 at 2:20 pm

It is not that good!

August 18, 2017 at 1:43 pm

meh….. its….difficult to do cause I REALLYYYYYYYYY DONT WANNA WRITE A RO;IGH SKETCKH

August 18, 2017 at 1:44 pm

fine just fine.

October 1, 2017 at 4:18 pm

Good but give some quotes to

October 25, 2017 at 3:01 am

IT IS VERY GOOD I LIKE IT

November 15, 2017 at 3:52 am

ITS NICE WAY TO WRITE AN ESSAY I LIKE IT

February 19, 2018 at 4:27 pm

You’ve encouraged us by saying it’s very easy.by the way I don’t know the meaning of sahafat.loll

November 18, 2019 at 2:47 pm

Yes you are right lol

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وقت کی پابندی پر مضمون

Back to: Urdu Essays List 2

اگر آج ہمارے ہاتھ سے دولت نکل جائے توکل کو واپس بھی آ سکتی ہے۔اگر کل کو ہمارا کوئی دوست روٹھ جائے تو پرسوں اسے منایا بھی جاسکتا ہے۔اگر اس سال ایک مکان زمین پر گر پڑے تو اگلے برس اس کی تعمیر بھی ہو سکتی ہے۔اگر ان دنوں ہماری صحت جواب دینے لگے تو آنے والے ایام میں اس نقصان کو پورا بھی کیا جا سکتا ہے۔لیکن وقت کا خزانہ وہ بیش قیمت خزانہ ہے کہ اگر ایک بار ہاتھ سے نکل گیا دنیا بھر کی دولتیں اسے واپس نہیں لا سکتیں۔

وقت کا ایک لمحہ ہزاروں لاکھوں اشرفیوں سے بڑھ چڑھ کر قیمت رکھتا ہے۔اس کے سامنے ہر قیمتی چیز خاک کے برابر بھی وقعت نہیں رکھتی۔جلیل القدر بادشاہ سکندر اعظم نے مرتے وقت یہ خواہش ظاہر کی کہ اگر مجھے چند منٹ اور زندہ رہنے کی مہلت مل جاے تو اس کے بدلے میں تمام سلطنت قربان کرنے کو تیار ہوں۔مگر دنیا کی کوئی طاقت اس کی خواہش کو پورا نہ کرسکی ۔فلسفی حیران تھے وزیر دم بخود رہ گئے۔امیر بے بس تھے۔ مشیروں کو کوئی چارہ نہ سوجھا۔ وقت کے سامنے کسی کی پیش نہ گئی۔

‌اسی حقیقت کی روشنی میں داناؤں نے ہمیں وقت کی قدر کا پیغام دیا ہے۔انہوں نے تلقین کی کہ ہم ہر کام میں وقت کے پابند رہیں۔ بے کار اور بے فائدہ کام کرنے میں ایک لمحہ بھی اکارت نہ جانے دیں۔قانون قدرت ہمیں قدم قدم پر پابندی وقت کا سبق سکھاتا ہے۔سورج کو دیکھو وقت پر طلوع ہوتا ہے اور وقت پر ڈو بتا ہے۔ زمین کو دیکھو کس باقاعدگی کے ساتھ اپنے محور اور سورج کے گرد گھومتی ہے۔اگر وہ اس گردش میں ذرا بھی لغزش کھا جائے تو دنیا میں قیامت بپا ہو جائے۔ فصلیںں موسموں کے مطابق وقت پر اگتی اور پکتی ہیں اگر ان کے اوقات میں خلل واقع ہو جائے تو دنیا بھوکی مر جائے۔ یہی حال انسانوں اور قوموں کا ہے۔

جو انسان وقت کی قدر نہیں کرتا وہ ذلیل و خوار ہو کر مرتا ہے اس سے کسی کو کامیابی نہیں ہو سکتی۔ جو قوم وقت اور موقعہ کو غنمیت نہیں جانتی وہ دنیا میں پچھڑ جاتی ہے۔ زندگی چند روزہ ہے۔اس لئے وقت کی قدر اور بھی زیادہ ہونی چاہیے اور اس مختصر زندگی میں ایک لحمہ بھی ضایع نہ کرنا چاہیے۔جو لوگ وقت کی قدر کرتے ہیں وہ ہر کام جلدی سے جلدی انجام دیتے ہیں اور کھبی بھی وقت کی کمی کی شکایت نہیں کرتے۔ ان کے تمام کام عین وقت پر یا اس سے پہلے ہی پورے ہو جاتے ہیں۔ اس کے برعکس جو آدمی سست اور غافل ہوتا ہے اس کا وقت یوں ہی گذر جاتا ہے اور وہ کوئی کام وقت پر نہیں کر سکتا اس لیے اس کے کام ادھورے رہ جاتے ہیں اور وہ نا کام و نامراد ہو کر کف افسوس ملتا رہ جاتا ہے۔ وقت کی پابندی کا مطلب صرف یہ نہیں کہ ہم اپنے وقت کو سوچے سمجھے پروگرام کے مطابق صرف کریں بلکہ اس کا مطلب یہ بھی ہے کہ ہم دوسروں کا وقت بھی ضایع نہ کریں۔

وقت کا پابند رہنے کی عادت بچپن ہی میں ڈالنا ضروری ہے۔چھوٹی عمر میں جو بری عادتیں پڑ جاتی ہیں وہ جوانی اور بڑھاپے میں بھی قائم رہتی ہیں اور مرتے دم تک ساتھ نہیں چھوڑتیں ان سے پیچھا چھڑانا مشکل ہو جاتا ہے اس لیے بچپن میں ہی اچھی عادتیں پختہ ہونی چاہیئے ہر کام وقت پر کرنے کی عادت بہت اچھی اور مفید عادت ہے اس لیے زندگی کے اوائل میں ہی اسے ڈالنا اور پختہ کر لینا چاہیے اس سے ساری زندگی عیش و سکون کے ساتھ گزرے گی۔ کامیابی قدم چومے گی.

وقت پر سونا، وقت پر جاگنا، وقت پر کھانا پینا، وقت پر بیٹھنا، وقت پر کھیلنا غرض ہر کام مناسب وقت پر سر انجام دینا وہ اکسیر ہے کہ کوڑیوں کے مول حاصل ہو سکتی ہے لیکن خزانوں کے عوض بھی ہاتھ سے نہیں جانے دینی چاہیے۔ گاڑی چلنے سے ایک گھنٹہ پہلے سٹیشن پر جا کر بیٹھا رہنا گویاقیمتی وقت کو مٹی میں ملانا ہے ۔امتحان کے کمرے میں چند منٹ دیر سے پہنچے تو ‏سال بھر کی محنت پر پانی پھر گیا۔ اگر صحت، ترقی، شہرت، عزت اور سب سے بڑھ کر کیریکٹرکی نعمتوں سے مالامال ہونے کی آرزو ہے تو ہر حال میں وقت کے پابند رہو۔نیلسن کے کلمات قابل ذکر ہیں “ہر کام وقت مقررہ پر کرنے کو تیار رہو” اگر آج کا کام کل پر ڈال دو اور کل کا فرض اٹھا کر پرسوں پر ٹال دیا تو پرسوں کا معاملہ ترسوں پر جا پڑے گا اور تم ہاتھ ملتے رہ جاؤ گے اور پھر کل کس نے دیکھا ہے۔

دانا ہو یا نادان! وقت سب کے لیے برابر ہے۔ فرق صرف یہ ہے کہ نادان نہیں جانتا کہ اسے کہاں لگائے۔لہذا وقت اس کے لیے وبال بن جاتاہے۔دانا وقت کے لمحے لمحے سے فائدہ اٹھاتا ہے اور مصروف رہتا ہے۔یہی وجہ ہے کہ دانا اپنی یادیں چھوڑ جاتے ہیں کہ قیامت تک ان کا نام زندہ رہے گا۔افلاطون اور ارسطو، گوتم اور ویاس،سکندر اور نپولین، اور دیگر اہل کمال کے کارناموں پر ہمیں حیرت ہوتی ہے۔ان لوگوں کا سال بھی بارہ مہینے کا اور دن چوبیس گھنٹے کا ہوتا ہے۔ان کی ناموری اور عظمت کا راز کیا تھا ؟پابندئ وقت….

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2nd Year Urdu Essay Bacpan Aik Sunehri Dour | FSc part 2 Notes

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Today's Paper | May 14, 2024

Essay: we’re ready for your close-up now.

JUNE 13, 2014

I am excited to be here, thrilled to have the opportunity to audition. Despite being on the verge of throwing up, I walk into the audition room assertively.

The male and female casting directors size me up. They study the way I carry myself. They ascertain my charisma, assess my brand potential and evaluate my attractiveness. I am conscious of all of it and yet, I allow them to continue doing it.

I am a willing participant in this game, voluntarily choosing to subject myself to constant rejections. Perhaps all artists have masochistic tendencies and perhaps these are mine.

The casting directors thank me for coming in and I thank them for their time. I notice that I am trembling as I grab my bag from the floor. Before I have even stepped out of the room, the whisperings have begun.

As I stumble out into the waiting room, the other actresses peer closely at me, attempting to decipher whether I blew it or bagged the role. I remain stoic and they hastily return to rehearsing their monologues. We are all clones of one another. We hold out hope, waiting for that singular break, which will catapult our lives into a growing trajectory.

Diary entries from a former actor reflect on how the desire to conform to the norms of the entertainment industry allowed her to lose her own sense of self and how words helped her rediscover it

The room reeks of desperation and throbs with want. I walk out.

Upon returning home, I tactfully avoid my mother, who will undoubtedly want to know how the audition went. I loiter aimlessly in the kitchen, before finally grabbing a glass of water and heading to my bedroom.

I feel restless and out of control. I need to reaffirm my beauty. I pick up my phone and select a desirable photo of myself from my camera roll. In it, I’m half-smiling, caught in the ‘golden hour.’

I post it to my Instagram and, within a couple of hours, 192 people like it. The comments roll in slowly: ‘stunning!!’, ‘OMG, so beautiful.’ I’m moderately satisfied.

I move over to my Instagram mailbox and scroll through a handful of DMs from random men. This, in a way, also reaffirms my beauty. I’m living in the male gaze and I no longer mind it. I’ve done good.

JULY 15, 2015

Across my teenage years, I work sporadically as an actress in Karachi. I scour Facebook pages of production houses and advertising agencies and bookmark audition callouts. I, then, eagerly drive to audition at rented bungalows in Defence and Sea View.

I carefully curate bits of work in commercials, short films and plays — the only mediums where I am provided a larger margin to experiment as a female performer in Pakistan.

I am cast as the ‘feminist, middle-aged woman whose husband is cheating on her’ in a contemporary play or as the ‘galvanising, empowered 20-something Pakistani woman’ in a commercial.

I stare into cameras, grim and unsmiling. I find comfortable homes on stage and sets. I revel in the camaraderie of grown-up adults playing make-believe. I don’t mind the long hours or the protracted time it takes for the shots to be lit up — this is all worth the wait.

The stage, for me, has become a safe space to be vulnerable, without judgement. In a way, it is a refuge from the hardening of the soul that comes with growing up as a woman in this world.

Though I am pleased with my work, a part of me remains discontent. There is a scarcity of roles in Pakistan. Playing the traumatised daughter-in-law or the scorned woman are unappealing options. In auditions, I am still patronised by casting directors, who tell me to ‘be less angry.’ Yet, I play along. I be what they need. I wear make-up, albeit horrendously. I try to appear striking.

And then, I am mortified when I am not given a callback.

My parents are nonplussed. They cannot fathom why their academically gifted daughter prefers a profession where she is commodified and where her youth is a currency. They cannot understand why I have promised loyalty to a media machine that still operates on patriarchal benchmarks of beauty.

Unsurprisingly, by my early adulthood, I fail to carve out my own identity. I forfeit my voice. I become an extension of something else and nothing more.

FEBRUARY 25, 2017

There are specific moments on set when I am hyper-aware of my gender. I spend hours suspended from reality, with a cast and crew who are strangers I am introduced to just a few hours earlier.

We all attempt to foster greater intimacy for a worthier creative breakthrough — this is within the acting job description, after all. But there are times when this faux closeness is exploited by those with far greater clout than me and, in those moments, the onus of protecting myself falls on me alone.

So, I grudgingly laugh along to misogynistic jokes. I do my best not to appear over-friendly. I refuse to prolong conversations beyond work on WhatsApp with casting agents. And after shows, I head straight home, avoiding the spaces where things get murky.

Because, who will believe me?

Historically in Pakistan, women simply become a centre of speculation upon whom moral investigations are conducted. Society and viewers will ultimately turn the blame on me – I chose to be a pawn in this industry. I, a Pakistani-Muslim woman, have entered this ‘vulgarity’ out of my own volition.

I do what other women do. I silence myself. I relive traumas. There is no Human Resource team, there are no harassment policies read out on the first day of production, and there is no power I hold.

Everything simply goes.

AUGUST 12, 2018

It’s August and I’m cast in a commercial, which releases on Pakistan’s Independence Day. Ironically, the theme of this commercial is ‘women empowerment.’ Ironic because, as I sit in my makeup chair, artists arrive to accentuate my features, cover up my blemishes and contour my nose.

Intermittently, they drop in beauty tips on how to ‘tame my hair’ and encourage me to acquire better make-up. I nod politely, as if I’ll actually consider their advice, but all I feel internally is dejected.

For years, I had assumed that my mind, my imagination and my education were worthy devices. But in actuality, I had greatly underestimated how much of the world ran on beauty.

I slump forward in my chair and think about how I have given so much of myself to a profession where I am a throwaway, simply replaceable by the next pretty young thing who walks through those doors.

SEPTEMBER 20, 2018

I’ve decided to take a break from acting.

It’s been five years of endless auditions and unremitting rejections. Of course, discounting the notion that my self-esteem has plummeted to irredeemable depths, the decision also makes sense — I’m leaving Pakistan for the first time, to complete my undergraduate degree abroad.

In England, I periodically dabble in theatre to satisfy my acting itch. I perform in consequential plays like The Vagina Monologues. I deliver dramatic readings of passages from exiled authors in dimly lit studios. But even here, as a brown-Muslim woman, the roles I am given are scant. The leads are reserved for white people, whilst other ethnicities are relegated to the supporting roles.

Here, I face other hitches — I am seen as either too dark or not dark enough. I am either a religious creature or an outlandish woman from an exotic land. I am still seen from a white person’s perspective.

MARCH 27, 2020

The world has stopped turning on its wheels. A global pandemic rages across the globe and humanity has been ordered to stay home. I scramble to return to Pakistan and spend the next few weeks doing what everyone else is doing — baking, scrolling through social media and bingeing on television shows.

But, after a while, the days mesh into one and I am forced to sit with myself for the first time in my life. I reflect and ponder over the last couple of years, which led to me becoming the woman I am today.

One restless night, I pick up my laptop in search of an avenue for creative expression. I open up a blank MS Word document and begin to write. And after 22 years of silencing my voice, the words gush out of me, like a broken faucet which won’t turn off. These words had seemingly lived within me, waiting with bated breath, soundlessly patient.

So, I write. I write about the experiences I never had. I write stories in which I garbage social norms and where women are flawed individuals. I write stories about the spaces I wish to inhabit. I write about the women who inhabit my real life — women who fire after their yearnings without the fear of retribution.

Slowly, I begin sending out my tales into the world, hoping my lived experiences may relate to someone. I face the familiar call of rejection but, ultimately, the year of the pandemic becomes the year of writing.

Through those long months of staying at home, I use my words to reckon with the trauma of my past and the horrifying moments I allowed myself to go through. With reclaiming my narrative, I feel cathartic. By writing about the pain, I have not let it best me. I am finally the protagonist of my own story.

As I write, I relearn everything I have been taught. I purge all the venomous psychology, instilled in me as a young girl. I begin to closely understand my womanhood. In my essays and stories, my beauty and physicality are no longer determining factors in my worthiness. My mind is my weapon and, unlike my beauty, it doesn’t have an expiration date.

OCTOBER 30, 2021

My heart feels irritated. Today, I have nothing to write on my computer. My fingers flick over to the old, bookmarked link of my acting portfolio. As the website loads, my heart starts pounding.

The pictures appear one at a time. I scroll down and see old headshots and performance screen grabs. I am 17, 19, and 20. I am smiling, poised, concealing the hurt. I am being what they need me to be — their thoughts, opinions and desires. I inhale shortly and close my laptop.

I am remorseful that I couldn’t protect that little girl. That girl who fell in love with the stage. The girl who learnt how to finesse technique, to hit the mark consistently, to access unknowing depths within her.

But writing about that girl and restructuring her narrative, I have a greater agency over my past and present. I have allowed myself to gain autonomy through creative expression. These words have saved my life.

Neha Maqsood is a writer and poet. Her work can be read at nehamaqsood.com

Published in Dawn, EOS, May 12th, 2024

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Arooj Aftab Knows You Love Her Sad Music. But She’s Ready for More.

The genre-crossing songwriter’s introspective “Vulture Prince” was a pandemic hit. Now she is returning with “Night Reign,” an LP that reveals her many dimensions.

By Sam Sodomsky

In a remote studio in North Brooklyn, the actress Tessa Thompson stood behind a camera and instructed a young model how to project a precise but elusive expression of longing: “Almost like you can’t help it,” she suggested from beneath a black beret. Thompson was making her debut behind the camera, directing a music video by the Pakistani composer and vocalist Arooj Aftab .

“This is a dream come true,” Thompson said between takes on an afternoon in March. “A dream I didn’t know I had.”

The clip was for Aftab’s latest song, the dusky “Raat Ki Rani,” from her fourth solo album, “Night Reign,” due May 31. Drawing inspiration from Ingmar Bergman’s 1966 thriller, “Persona,” the treatment weaves an imagistic love story between two women into a trippy meta-narrative that takes place on the set of a perfume commercial. Accordingly, the room was filled with fragrant bouquets as Aftab, 39, observed quietly from the sidelines.

If you didn’t know she was the star of the show — not to mention, the beautiful, Auto-Tuned voice pouring from the speakers all day — you might have assumed she was one of the crew members assessing the scenery, keeping the mood light, checking if anyone needed bottled water. As the team reset for a complex shot accompanied by a relentlessly looped fragment from her track, Aftab whispered offhandedly to a cameraperson, “Thank God the song is good!”

“Raat Ki Rani” is Aftab’s first official music video and a rare instance of the musician outsourcing her distinctive vision. Many listeners first encountered her hypnotic and immersive style via her 2021 breakthrough, “Vulture Prince” : a minimalist blend of jazz, folk and ghazals, a form of Urdu poetry that incorporates themes of longing and loss.

The album became a rare pandemic-era success for an independent artist, partly because its quiet, introspective music aligned with the times. It was forged in grief as a tribute to Aftab’s younger brother, who died in 2018, and the emotional intensity often came through her stunning vocals.

With more than six million plays on Spotify, the slow-building, eight-minute ballad “Mohabbat” has become something like a signature song. Its fans include Barack Obama, Elvis Costello and the Grammys, where it picked up best global music performance, making Aftab the first Pakistani artist to win the award. (She was also nominated for best new artist but lost to Olivia Rodrigo.)

“‘Vulture Prince’ bridged a gap in the industry,” Aftab said. “There were renditions of old poems and traditional songs, heritage material from Pakistan and South Asia.” She referred to “Mohabbat,” an oft-covered ghazal written by Hafeez Hoshiarpuri, as a “national treasure” among South Asian artists and is proud to exist in this lineage. But she has consciously avoided instruments or textures that Western audiences might associate with the term “world music” — a philosophy she boils down to “bitching about tablas.”

“Night Reign,” Aftab’s first solo release for a major label, Verve, offers a more comprehensive self-portrait, with vivid songs veering as close to pop music as she has ever come while still making room for explorations like “Na Gul,” the first time the writing of the 18th-century Urdu writer Mah Laqa Bai Chanda has been set to music.

“‘Vulture Prince’ was a sad record because I was sad,” Aftab said with a lucidity and self-awareness that seems to come second nature to her. “But in the years that passed, I’ve had this joy inside of me. It would be unfair if it didn’t translate in my music.”

The success of “Vulture Prince” put Aftab on a different track. “I was finally financially free,” she said. “I don’t have a desk job. I don’t have a supervisor. I can be in a different city every night playing.” As soon as pandemic restrictions eased, she got on the road — “like 200 shows in a year” — and observed the way her sound evolved to fit each space. “We learned that it goes in a big room, it goes in a small room,” she said. “It goes in a festival where there’s a rock band onstage next to you.”

GROWING UP IN Lahore, Pakistan, Aftab attended a school with what she called “all-girls convent vibes,” where she played sports and acquired a spirit of collaboration, competition and “solidarity with women.” Much of her free time was filled with music. She learned from her parents’ tradition of curating mixtapes to soundtrack parties — that sprawling, genre-agnostic approach remains crucial to Aftab’s art — and made friends with acoustic guitars and record collections.

Soon, she was fronting a band, performing local gigs and boasting a songbook of heartbroken originals and popular-demand covers. (Her first brush with fame was a performance of Leonard Cohen’s “Hallelujah” that went semi-viral on the pre-YouTube internet.)

At Berklee College of Music in Boston, where she studied production and audio engineering, Aftab was electrified by the local jazz scene and the community of musicians. Many of her fellow students moved to New York with her upon graduation, and several appeared on her debut, “Bird Under Water” from 2014, a record she looks back on as an early stab at her multidisciplinary aesthetic.

Touring “Vulture Prince” and its follow-up, “Love in Exile,” a collaboration with the jazz musicians Shahzad Ismaily and Vijay Iyer from 2023, shaped the nocturnal reflections of “Night Reign.” During a trip back to her hometown, the smell of the raat ki rani flower (its name translates from Urdu as “Queen of the Night”) flooded her with memories of childhood. She connected these images to the nightlife in Brooklyn, which she has called home since 2009.

“I am really an extrovert,” she said. “But there’s also the silence of the night, the calmness.” She reflected for a minute. “Also, you know, everyone just looks better when it’s all shadowy and unclear. I don’t want to be seeing people in the daytime.”

A lot of Aftab’s thoughts evolve this way: She will summon the wisdom of her music and quickly swat it away with a self-effacing joke or conversational aside. Despite her rising profile, she remains an unassuming presence. Casually chatting about the album at a hip Brooklyn social club, she drank a cup of tea. She was wearing a North Face vest and a pair of sunglasses, standing out from the loudly dressed attendees of a nearby fashion show. “I don’t know that it’s in my persona to become a persona,” she said.

On “Night Reign,” she seized the opportunity to express different sides of her personality. There’s “Raat Ki Rani,” which features an uncharacteristic use of Auto-Tune that emerged from a whimsical studio experiment. (“I was like, ‘This is not a T-Pain record. We need to dial it back.’”) And “Whiskey,” an English-language love song she started writing in college, with a depiction of drunken intimacy that represents her most direct, unguarded moment as a writer. “I think I’m ready to give in to your beauty and let you fall in love with me,” she sings over a starry folk arrangement.

To match the range of the songwriting, Aftab enlisted her familiar collaborators, including the harpist Maeve Gilchrist, the bassist Petros Klampanis, the guitarist Gyan Riley, the veteran percussionist Jamey Haddad and her “Love in Exile” bandmates Ismaily and Ayer. She also extended her circle to Costello (who plays Wurlitzer on “Last Night Reprise”), the guitar virtuoso Kaki King, the Philadelphia spoken-word artist Moor Mother and Joshua Karpeh, the R&B songwriter and multi-instrumentalist who records as Cautious Clay.

Describing their collaboration on “Last Night Reprise,” a jazzy interpretation of a poem by the 13th-century Persian writer Rumi, Karpeh recalled Aftab taking the vantage of a film director, using visual cues to encourage different takes. “There’s a trust in how we approach our music,” he said of their shared approach. “It felt very free and raw.”

Aftab said Karpeh embodies her ideal player: someone who gravitates to the unique. “I search for people like that because that’s 80 percent of the thing,” she said. “There’s nothing I can write down and ask you to play if you don’t have that innate feeling.”

In Tessa Thompson, who Aftab pinged with a friendly DM on Instagram, Aftab found both a natural collaborator and a role model for navigating the business on her own terms. (She had previously met some musical members of Thompson’s family: her half sister, Zsela, and her father, Marc Anthony Thompson, a.k.a. Chocolate Genius.)

“I haven’t been around that type of person who has been in the industry a long time and still manages their mental health and knows how to be chill and natural and not overwhelmed by stuff,” Aftab said of Thompson. “Maybe I’m just a baby!”

ON A WARM April day, Aftab was ready to premiere the final cut of the “Raat Ki Rani” video. In her Brooklyn brownstone apartment, a cozy spot with a lush backyard garden, she made tea and explained the history of a rare instrument she found on eBay — the Sonica, a synthesizer in the shape of a guitar. Discussing her excitement about the video, she zoomed out to place its imagistic depiction of queer romance in a larger context. “It feels natural to me in this moment in culture for the center of desire to not be a man,” she said firmly. “We are in a time that is fluid.”

When the conversation turned to a recent Instagram post in which she announced the imminent retirement of “Mohabbat” from her set lists, Aftab laughed. “I was just [expletive] around,” she said. “Obviously nobody’s going to let me not play that anymore.” Her tone quickly turned more serious. “I’ve never had a hit, so I don’t know what to do. I guess Norah Jones still has to play ‘Come Away With Me.’” Eventually, Aftab confirmed that she still connects with the song every time she sings it, but her impulse to move forward is no joke.

“Let me be more personal,” she said, leaning forward. “Let me be me and not a representative of culture.” She paused. “People still call me, like, ‘the Sufi fusion singer,’ or whatever. And it’s just, like, I actually don’t really know anything about Sufism.”

“I see a lot of artists saying this,” she added. “We want to run away from being labeled — but we can’t. So we have to do it in our music.”

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