The national awards in Pakistan have increasingly been under the spotlight, primarily because those responsible for judging the contributions of those who  have rendered services to the country often themselves become beneficiaries of the medals.

To restore the credibility of the awards, the first benchmark should be that those in power exclude themselves from the list of potential award winners. One cannot, in theory, sit in judgment of themselves. Those in a position to judge should not be in the category of potential winners.

For this reason, the awards have, over the years, been losing the credibility and prestige that should go with them. The recognition of talent and contribution should be above board.

But there were names on the list this year that need to be mentioned. Zohaib Hasan has been playing the sarangi for many decades and has stuck to his task without batting an eyelid. His life has been one of struggle, poverty and limited opportunity, but he has remained unwavering in his commitment to being almost the last living sarangi player in the country. Similarly, the inclusion of Mazhar Bundo Khan in the category is heartwarming. From a great lineage, all his forebears have contributed greatly to the art of music.

The sarangi, like so many of our instruments, is dying. Its revival is of utmost importance, especially for those who are sensitive to the critical significance of cultural heritage.

The sarangi, though an old instrument, came into its present form during the Nineteenth Century and became prominent as an example of virtuosity with the rise of kheyal gaiki in the century. It was regarded as a benchmark of the complexity of the form as long as kheyal remained the foremost form of vocal music during the next two centuries. With changing tastes in music and the onrush of technological innovations in the production of music through digital input, sur ka lagao (intonation) has undergone a sea change, hence the emergence of synthesised sound.

Similarly, brando is said to be a musical instrument as old as the Indus Valley itself. The fact that it is still played points to the continuity of the cultural traditions that have underscored civilisation in this part of the world. Allah Jurio has been rewarded for making the instrument.

Many artefacts from that civilisation, like the sculpture of the Dancing Girl and the bust of the Priest-King, as well as the bull and the cart, have survived the vicissitudes of history to connect us to the spirit of the times that have consistently flowed through thousands of years to shape us.

Among the forebears of Ejaz Tawwal Khan was Ustad Tawwaal Khan, who never had his music recorded and was known as a great virtuoso of kheyal gaiki. Shahbaz Ali has been playing the harmonium with dedication. Nadeem Salamat has been foremost among the qawwals of the new generation.

The writer is a Lahore-based culture critic.