Wichaar Punjabi Videos Collection - RSS Feed http://www.wichaar.com/videos Wichaar Punjabi Videos Collection Demise and rise [of film industry] by Waseem Altaf, Viewpoint http://www.wichaar.com/videos/articles/read-demise-and-rise-of-film-industry-by-waseem-altaf-viewpoint_7.html It is heartening that presently a number of private universities, media institutes and art schools are offering courses in TV and film production and many young people taking such courses
In 1977, there were 8 full-time studios, today there are only two; Evernew and Bari, which are partly closed and partly available for TV and film production. Some of the floors of Bari studio have been turned into warehouses while Shahnoor has been partly replaced by a housing colony. In 1976,one year prior to Zia’s martial law, the total number of films produced was 111, in 2011 only 20 were released; 5 Urdu, 7 Punjabi and 8 Pashto. Out of all these films Thakur 420 and to some extent Bhai Log performed well at the box office. Reema’s Love Mein Gum (in publicity posters it was spelled Love mein ghum) released with much fanfare, was a flop and the rest were super flops. In 1946, one year before the Partition, 144 films were released in this region which was later to become Pakistan (24 of these were foreign films). No film was released in 1947 while one film namely ‘Teri Yaad’ hit the box office in 1948, which proved to be a super flop.
The total number of cinema houses in 1977 was 700 which have now been reduced to less than 200, with presently some 175 as fully functional. The rest were either demolished or converted into shopping malls, which are presently being used as either theatres showing stage plays or warehouses.
Today a typical Pakistani film costs between Rs 8.5 to 10 million. However, the cost almost doubles if it involves DTS for which facilities are available in India, Thailand and Singapore.
In 1977, watching a film in a cinema house was the premier family entertainment. Today, one would hardly find a family in a cinema house; this excludes Cineplex as this is a new phenomenon of different dimensions.
Most of the movie-goers today are illiterate singles from the low-income group who get an opportunity to watch some X-rated shots crudely incorporated into the film.
The film makers are mostly gujjars and some businessmen who do it for what in vernacular we call ‘tharak’ [sexist-pleasure]. You are a producer, some artists particularly young actresses are around you; you can have pleasure while drinking, having fun and sometimes gambling too, plus there are prospects of getting some return on your investment as a fringe benefit. In addition, since you have wealth and regard in your particular group, there is also a possibility that you may achieve fame in case you come up with a box office hit. So film making is addictive till such time that you are left with no more money to invest.
Another trend very much in vogue today is releasing old films with new names. Let us have a look at some of the titles; Badmash Gjjar, Chaudhary Badshah, Pappu Gujjar, Ayyash Gujjar, Chowk Badmashan Da, Billo 302, Kala Shah Puria, so on and so forth. What they do is that some semi-nude shots, some x-rated dances and sequences are added to an already released film and present it before the Censor Board with a new title. The Board, which already knows the trick, issues a certificate for exhibition after an underhand deal is struck.
A film industry which was thriving till the 1970’s and even early 1980’s is history today, yet once in a while we do find one outstanding effort on part of someone going against the tide. ‘Bol’ was one such endeavor during 2011. Directed by veteran director Shoaib Mansoor, ‘Bol’ was a high profile film marketed by Geo Films. It is said that the US, some European countries and even some NGOs funded this project. The film is characterized by a bold subject, powerful script and direction. It also excelled in the areas of music, cinematography and acting. Although it focuses on several subjects simultaneously, yet the overall impact of the film won several accolades.
Today, Pakistan film market is almost completely taken over by Bollywood. On Sep 20, 2011 the Central Convening Committee of the Pakistan Film Industry held a press conference where its Chairman Mr. Anwar Ali Warraich sought complete ban on Indian films, as this was causing hindrance in the screening of their own films. However, the Pakistan Film Exhibitors Association totally disagree with this stand as they say that the quantity, let alone quality of films released every year is so miniscule that it is virtually not possible to reserve all the cinema houses for them.
The fact remains that even in the past when generally there was no competition; Pakistan film industry produced by and large sub-standard films. Of course there were some exceptions, and some of them even won international film awards, yet Pakistani film as a whole stands nowhere when compared vis-à-vis international cinema. Illiterate non professionals mostly belonging to the red light district of Lahore with third rate actors and actresses ruled filmdom for a very long time. The people had little choice but to watch their clumsy performances on screen.
However, when in 1954 Indian film Jaal starring Dev Anand and Geeta Bali was imported for exhibition, fearing stiff competition, leading personalities of the film industry came on the roads to prevent its release. On the forefront was W.Z Ahmad. It is interesting to note that the first Pakistani film to be banned titled ‘Roohi’ was produced and directed by W.Z Ahmad. Competition is always healthy and nourishing while people always want to see good films whether Pakistani, Indian or Western.
In an interview with Sama channel on November 7,2011 actor Saud admitted that almost all Pakistani artists were willing to go to any extent, if invited to perform in an Indian production. It is quite frequent that a film actress from Lollywood would disclose on media that she got an offer to act in an Indian film, however, it was refused as Pakistan was very dear to her. However the fact remains that even if most Pakistani artists get the small role of a servant in an Indian film, he or she would accept it then and there without any second thought. Even in the past our so-called super stars Mohammad Ali, Zeba and Nadeem performed small side roles in Indian films.
It is however heartening that presently a number of private universities, media institutes and art schools are offering courses in TV and film production and many young boys and girls from the lettered-class are taking such courses. Recently a Pakistani lady named Sharmeen Obaid Chinoy, who co-directed a film namely the Saving Face has been nominated for an Oscar in the ‘documentary (short subject)’category.
Sarah Tareen is also a highly qualified professional who is producing a film titled ‘Tamanna’ which is due for release this year and is being seen as a trend-setter for Lollywood.
It is also high time that a proper film institute be set up by the Government of Pakistan to patronize and promote performing arts. Similarly, film production should also be declared an industry and tax exemptions, financing and other incentives should be offered by the government to boost the trade. With the coming of new talent in an age of stiff competition from films from across the border and the coming of Cineplex, fostering a new cinema culture, we do have a genuine reason to be optimistic.
]]> Tue, 21 Feb 2012 22:01:15 -0700 http://www.wichaar.com/videos/articles/read-demise-and-rise-of-film-industry-by-waseem-altaf-viewpoint_7.html HINDI FILM SONGS IN VARIOUS RAGA http://www.wichaar.com/videos/articles/read-hindi-film-songs-in-various-raga_6.html Raga: Abhogi Kanada

Jiya lage na kya karu sajna
Na jaiyo re sautan ghar sainyai

Raga: Adana

Jhanak jhanak payal baje – JJPB
Radhike toone bansari – Bhai Bhai
Manmohan man mein ho tumhi – Kaise Kahoon

Raga: Ahir Bhairav

Puchho na kaise maine rain bitai – Meri Surat Teri Aankhen
Ramka gun gaan kariye- Ram Shyam Gun Gaan (non-film)
Meri bina tum bin roye – Dekh Kabira Roya
Main to kabse teri sharan men – Ram Nagari
Zindagi ko sanvarana hoga – alaap
Sola barasaki bali umarko salam -ek dujhe ke liye
Apne jeevan ki uljhan ko – Uljhan
Man Anand Anand Chhayo – Vijeta
Waqt karta jo wafa aap hamare – Dilne Pukara
Ram teri ganga maili ho gayi – Ram Teri Ganga Maili
Meri galiyonse logonki yari badh – Dharmatma
Chalo man jayen ghar apne – Swami Vivekananda
Albela sajan aayo re – Hum Dil De Chuke Sanam

Raga: Alaiya Bilawal

Jana gana mana – National Anthem
Bhor ayi, gaya andhiyara – Bawarchi
Sare ke sare ga ma ko lekar – Parichay

Raga: Asavari

Mujhe galese lagalo bahut udas – Aaj aur Kal
Chale jana nahin naina milake – badi Behen
Piya te kaha – Toofan aur Diya

Raga: Bageshri

Jag dard-e-ishq jaag – Anarkali
Radha na bole na bole – Azad
Bedardi dagabaz ja tu nahin – Bluff Master
Chah barbad karegi – Shah Jahan
Jao jao nand ke lala – Rangoli
Aaja re, paradesi – Madhumati
Ghadi Ghadi mera dil dhadke – Madhumati
Hamse aya na gaya – Dekh Kabira Roya
Poochhta jaa mere marghatse – A ghazal from Ghulam Ali
Chaman men rang-e-bahar – Ghulam Ali album

Raga: Bahar

Chham chham nachat ayi bahar – Chaaya
Mann ki bin matwari baje – Shabab

Raga: Bairagi

Kisi nazar ko tera intazar aja – Aitbaar
Mein ek raja hun- Uphaar

Raga: Barawa

Khai hai re humne kasam – Talash

Raga: Basant

Ketaki, gulab, juhi champaka – Basant Bahar

Raga: Bibhash

Sanjh dhale gagan tale hum – Utsav
Neelam ke nabh chhayi – Utsav

Raga: Bhairav

Sun ri pavan, pavan puravaiya – Anuraag
Jaago mohan pyaare – Jaagte Raho

Raga: Bhairavi

Babul mora naihar chhooto – Street singer
Insaf ka mandir hai – Naya Daur
Kaise jaun jamunake tir – Devta
Laaga chunari men daag – dil hi to hai
Jyot se jyot jagate chalo -san gyaneshwar
Jo bhaje hari ko sada – Bhajan
Jab dil hi tut gaya – Baiju Bavra
Ai diwali, ai diwali – Shah Jahan
Do hansonka joda bichhad – Ratan
Barasat men, hamse mile tum – Ganga Jamuna
Dost dost na raha – barsaat
Bol radha bol sangam hoga ke – Sangam
Mera juta hai japani – Sangam
Ramiya vasta vaiya – shree 420
Suno chhotisi gudiya ki lambi – shree 420
Khamosh hai – seema
Mere ai dil bata – amar
Sanvare sanvare – JJPB
Ai mere dil kahin aur chal -anuradha
Mile sur tera hamara – Doordarshan
Kaise samjhaoon bade nasamajh-Sooraj
Bhor bhaye panghatpe-satyam shivam sundaram
Jare, jare ud ja re panchhi – maaya
Jay bolo beiman ki- beimaan
Mithe bol bole – kinaara
Mitwa re mitwa purab na jaio -jawaab
Hato kaheko juthi banao – manzil
Jiya jale jaan jale nainon tale – Dil Se
Phool gendava na maaro -Door ka Chand
Dhanya bhag seva ka avsar – sur sangam
Mile jo kadi kadi, ek zanjeer- kasme waade
Hume tumse pyar kitana – kudrat
Kar chale hum fida jaan-o-tan – haqeeqat
Heer ( doli chadhke heer) – heer ranjha
Phir kisi raah guzar par shayad – ghazal – Jagjit
Meri tanhaiyon tum hi lagalo – Ghazal – Jagjit
Yeh dil yeh paagal dil mera – Ghazal Ghulam Ali
Beshaq mandir masjid todo – bobby

Raga: Bhatiyar

Ek ritu aye ek ritu jaye – Jhanak Jhanak Payal Bhaaje

Raga: Bhimpalasi

Ai ri main to prem diwani – Navbahar
Maine chand aur sitaronki- Chandrakanta
Ye na thi hamari kismat – Mirza Ghalib
Dil mein tujhe bithake puja – Fakira
Nainon mein badra chhaye – Mera Saaya
Jhanakar payalaki tose binati – Naga Devta
Hum giridha rake ghar jaun – Meera Bhajan
Samay dhire chalo – Rudaali
Kismat Se Tum Ham Ko Mile Ho – Pukar
Ae Ajnabi Tu Bhi Kabhi – DIl SE
Khilte Hain Gul Yaha – Sharmilee
Main gareebon ka dil hoon – ab-e-hayat

Raga: Bhoopali

Chanda hai tu, mera suraj hai tu – Aradhana
Sayonara, sayonara – Love in Tokyo
Pankh hote to ud aati re – Sehraa
Jyoti kalash chhalke – Bhabhi ki Chudiyaan
Jab nil gagan ki chhaon mein – Amarapali
Achyutam keshavam ram – shloka
Jaun tore charan kamal par vari – Sur Sangam
Om namah shivay – Bhairavi
Panchhi banu udti firun mast – Chori Chori
Dekha ek khwab to yeh silsile – Silsila
In ankhon ki masti ke, mastane – Umrao Jaan
Dil hun hun kare – Rudali
He Govind, He Gopal, He Dayaal – Jagjit singh ghazal…

Raga: Bhupali Todi

O zindagi ke denevale – Nagin

Raga: Bihag

Tere sur aur mere geet – Goonj Uthi Shehnai
Koi gata, main so jata – Alaap
Tere pyar men dildar – Mere Mehboob
Ae dil beqarar jhum – Shah Jahan
Hamare dilse na jaanaa – Udan Khatola
Chalenge tir jab dil par- Kohinoor
Zindagi ke safar men gujar jate – Aap ki kasam
Yeh kya jagah hai doston- Umrao jaan
Meri ladli re, meri ladli – Andaaz
Tujhe jeevan ki dor se baandh – Asli Naqli
Hamare dilse na jaanaa -Udan Khatola

Raga: Bilaskhani Todi
Jhoothay naina bolay – Lekin
Diya na bujhegi, aaj hamara

Raga: Basant Mukhari
O basanti pavan pagal – Jis Desh Me Ganga Behti Hai
Vada kar le sajna – Haath ki Safai

Raga: Chandrakauns
Tu hi tu main seva karu
San sanna sanna sanna, jao re o pavan
Majhi re himmat na har

Raga: Charukeshi
Bainya na dharo, o balama – Dastak (old)
Aaj dilpe koi jor chalta nahin – Milan
Kabhi raat din hum dur the – Aamne Saamne
Ek tu na mila – Himalay ki Godmen
Akele hain chale aao – Raaz
Bekhudimen sanam kisi rahamen kisi modpar – Mere Humsafar
Megha re Megha re… – Pyaasa
Bedardi balama tujh ko, mera man yaad karta hai – Aarzoo
Shyam teri bansi pukare radha naam – Geet Gata Chal
Jaan-e-jaana…Jab jab teri surat dekhun – Janbaaz
Chhod de sari duniya kisike liye – Saraswati Chandra

Raga: Chhayanat
Chanda re, ja re ja re – Ziddi (old)
Baad muddat ki yeh ghadi aayi – Jahan Aara
Hum bekhudi mein tumko pukaare chale gaye – Kaala Paani
Tere naina talaash karen jise – Talaash
Chaina nahin aye, kahan dil jaye – Samundar
Zan Zan Zan Zan payal baje

Raga: Darbari
Ye Hawa Ye Raat Ye Chaandni – Sangdil
Bahon Ke Darmiyan – Khamoshi (new)

Raga: Darbari Kanada
Dil jalta hai to jalne de – Pehli Nazar
O duniyake rakhawale – Baiju Bawra
Tute hue khvabonne – Madhumati
Mohabbat ki jhuthi kahani pe roye – Mugal-e-azam
Tora man darpan kehlaye – Kaajal
Daiya re daiya laj mohe lage – Leader
Guzre hai aaj ishqmen – Dil Diya Dard Liya
Raha gardishonmen haradam – Do Badan
Jhanak jhanak tori baje payeliya – Mere Huzoor
Hum tujh se muhabbat kar ke – Awara
Teri duniya mein dil lagta nahin – Baware Nain
Mere mehboob shayad aaj kuchh – Kitne Paas Kitne Door
Ghoonghat ke pat khol re – Jogan
Dekha hai pehli baar – Saajan
Tumhe zindagi ke ujale mubarak – Poornima
Ishwar satya hai – Satyam Shivam Sundaram
Kitna hasin hai mausam – Azad
Hum tum se juda ho ke – Ek Sapera Ek Lutera
Aap ki nazaron ne samajha – Anpadh
Ud ja bhanwar maya kamal ka – Rani Roopmati
Koi matwala ayaa more dware – Love In Tokyo
Pag ghoongroo bandh meera naachi thi – Namak Halal
Yaad mein teri jaag jaag ke hum – Mere Mehboob
Tu pyarka sagar hai – Seema
Hangama hai kyon barpa – A Ghazal by Ghulam Ali
Pag ghoongroo bandh meera naachi thi – Namak Halal
Ab kahan jayen ham – Ujala
Nainheenko raah dikha prabhu – Bhakta Surdaas
Shayerana se hai zindagi ke adaa – Phir Teri Kahani Yaad Aye
Jay Radha madhav Jai kunjbihari – Bhajan by Jagjit Singh

Raga: Desh
Phir kahin koi phul khila – Anubhav
Bekasi hadse jab guzar jaye – Kalpana
Door Koi Gaaye, dhun yeh sunaye – Baiju Bawra
Pyaar Hua Chupke se – 1942, A Love Story
Om jai jagadish hare – Poorab Aur Pashchim
Phir kahin koi phool khila, chaahat na kaho usko – Anubhav
Vande mataram

Raga: Desi
Aaj gaavat man mero jhumke – Baiju Bawra

Raga: Durga
Geet gaya pattharon ne – Geet Gaya Pattharon ne
Chanda re mori patiya le ja – Miss Mary

Raga: Dhani
Prabhu tero nam jo gae phal – Hum Dono

Raga: Gara
Tere mere sapne ab ek rang hain – Guide
Jivanmen piya tera sath rahe – Gunj Uthi Shehnai
Raghupati raghav raja ram – Bhajan
Thumak chalat ram chandra – Bhajan
Aise to na dekho – Teen Deviyan
Kabhi khud pe kabhi haalat pe ronaa aaya – Hum Dono
Mohe panghat pe nandlal chher gayo re – Mughal-e-Aazam
Unke khayaal aaye to aate chale gaye – Lal Patthar

Raga: Gaud Malhar
Garajat barsat savan ayo re – Barsaat Ki Raat (old)
Jhir jhir barase savani ratiyan – Ashirvad

Raga: Gaud Sarang
Allah tero naam – Hum Dono
Naadir deem, ta na dere na – Pardesi

Raga: Gurjari Todi
Ek tha bachapan – Ashirvad
Jaa-jaa re ai pathikwa – Lekin

TOP

Raga: Hamir
Madhuban men radhika nache re – Kohinoor
Jao re jogi tum – Amrapali

Raga: Hansdhwani
Jaa tose nahin boloon kanhaiya – Parivaar

Raga: Hemant
Yad piyaki aye – A Thumri by Ustaad Bade Ghulam Ali Khan
Udajare ja re kaga – Meera bhajan by Lata Mangeshkar
Tumbin jeevan kaise – by Manna Dey

Raga: Jaijaiwanti
Manmohana bade jhoothe, haar ke haar na maanein – Seema
Bairan ho gai raina – Dekh Kabir Roya
Zindagi aaj mere namse sharamati hai
Yeh dilki lagi kam kya hogi – Mugal e Azam
Dost bankar bhi nahin saath nibhanevala – A Ghazal by Ghulam Ali
Suni suni saans kay sitaar par – Lal Patthar
Thumak chalat Ramchandra, baajat paijaniya – Bhajan

Raga: Jaunpuri
Dil chher koi aisa naghma – Inspector
Ghunghat ke pat khol re tohe piya milenge – Jogan
Jaayen to jaayen kahaan, samjhega kaun yahaan – Taxi Driver
Meri yaad mein tum na aansu bahaana – Madhosh
Muhabbat ki jhoothi kahani pe roye – Mughal-E-Azam

Raga: Jhinjhoti
Mere mehboob tujhe meri muhabbat ki kasam – Mere Mehboob
Jaun kahan bataaye dil – Chhoti Bahen
Tum mujhe yun bhula na pao ge – Pagla Kahin Ka
Teri ankhoke siva duniyamen – Chirag
Mose chal kiye jaye hai re hai hai dekho saiyan beiman – Guide
Ja ja re ja, balmava – Basant Bahar
Koi hamdam na raha, koi sahara na raha – Jhumroo
Ghungharoo ki tarah, bajata hi raha hoon main – Chor Machaaye Shor
Chhup gaya koi re durase pukarake – Champakali

Raga: Jogiya
Dil ek mandir – Dil ek mandir hai
Kah do koi na kare yahaan pyaar – Goonj Uthi Shehnai
Raat bhar ka hai mehmaan andhera – Sone Ki Chidiya
Raga: Kafi
Kali ghodi dwar khadi – Chashme-baddoor
Biraj me holi khelat nand lal – Godaan
Gairon pe karam apnon pe sitam – Aankhen (old)

Raga: Kalavati
Hay re vo din kyun na aye – Anuradha
Kahe tarasae jiyara – Chitralekha
Koi sagar dilko bahalata nahin – Dil Diya Dard Liya
Hai agar dushman dushman, zamaana ghum nahin – Hum Kisi Se Kam Nahin
Subah aur sham kamhi kam – Uljhan
Bhajan bina chain naa aye ram – Rafoochakkar

Raga: Kalingda
Mohe bhool gaye saanwariya – Baiju Bawra

Raga: Kalyan
Do naina matavale tihare – Choti Bahen
Janevale se mulakat na hone payi – Amar
Ansu bhari hai ye jivanki rahe – Parvarish
Jiya le gayo ji mora savariya – Anpadh
Mausam hai ashikana – Pakeezah
Inhi logone le lina dupatta mera – Pakeezah
Jab dip jale ana – Chit Chor
Woh sham kuchh ajib thi – Khamoshi (old)
Chandansa badan chanchal chitavan – Saraswati Chandra
Apke anurodhpe main ye geet – Anurodh
Bada dukh dina tere lakhanne – Ram Lakhan Yaad
“Breathless” – Breathless (Shankar Mahadevan)
Lagta nahin hai dil mera – Laal Quila
Man re tu kahe na dhir dhare – Chitralekha
Saranga teri yaadmen – Saaranga
Abhi na jao chhodkar – Hum Dono
Mere humsafar mere paas – Refugee

Raga: Kamod
Eri jane na dungi – Chitralekha
Jao re jogi tum jao re – Amrapali
Tumko dekha to ye khayal aya – Saath Saath

Raga: Kedar
Bekaspe karam kijie – Mugal-e-Azam
Humko manki shakti dena – Guddi
Pal do pal ka saath humara – The Burning Train
Aapki ankhonmen kucch – Ghar
Bole to basuri kahi – Saawan Ko Aane Do
Uthaye ja unke sitam – Andaaz (old)
Main paagal mera manwa paagal – Aashiana

Raga: Khamaj
Ayo kahan se ghanashyam – Buddha Mil Gaya
Bada natkhat hai…ka kare yashoda maiya – Amar Prem
Vaishnav jan to – Narsinh Mehta Bhajan
Nazar lagi raja tore bungle par – Kaala Pani
Kuch to log kahenge – Amar Prem
Vaishnav jan to taine re kahiye (Bhajan)

Raga: Kirwani
Mera dil ye pukare a ja – Nagin
Yaad na jaye bite dinonki – Dil Ek Mandir
Meri bhigi-bhigisi palakonpe – Anamika
Ye raten ye mausam nadika kinara – Dilli Ka Thug
Nind na mujhako ae – Post box No. 999
Pukarta chala hun main – Mere Sanam
Geet gata hun mai – Laal Pathhar
Anevala pal janevala hai – Golmaal
Bekaraar dil too gaaye ja – Door Ka Rahi
Mera dil ye pukaare aaja – Nagin

Raga: Lalit
Tu hai mera prem devta – Kalpana
Ik shahenshahne banvake hansi – Leader
Pritam daras dikhao – Chacha Zindabad
Koi paas aya savere savere – A Ghazal by Jagjit Singh
Tu nahin to mere liye – Tum Yaad Aaye
Raina biti jaye – Amar Prem

Raga: Madhuvanti
Rasm-e-ulfat ko nibhaayen, to nibhaayen kaise – Dil Ki Rahen
Ko birahini ko dukh jane – Chala Vahi Desh

Raga: Madhyamad Sarang
Aa laut ke aaja mere meet – Rani Roopmati

Raga: Manjh Khammaj
Kaanha kanha aan padi re tere dwar – Aman
Jane kaise sapano me kho gai ankhiyan – Anuradha
Kaise dina bite kaise biti ratiyan piya jane na – Anuradha

Raga: Malgunji
Nain so nain nahi milo – Jhanak Jhanak Payal Baaje
Ghar a ja ghir aye badra – Chhote Nawab
Unko yeh shikayat hai – Adaalat (old)
Na jiya lage na – Anand

Raga: Malkauns
Man tarapat hari darshanko – Baiju Bawra
Aadha hai chandrama rat adhi – Navrang
Tu chhupi hai kahan – Navrang
Aaye sur ke panchhi aaye – Sur Sangam
Ye kahani hai diyeki aur tufanaki – Tufan aur Diya
O pavanvegase udanevale ghode – Jai Chaittaur
Ankhiyana sang ankhiya lagi aaj – Bada Aadmi
Deep jalaye jo – Kalakaar

Raga: Mand
Tu chanda main chandani – Reshma aur Shera
Kesariya Balam – Lekin
Ab to hai tumse har khushi apni – Abhimaan
Piya piya bole mora kangana – Swarg Nark
Bachpan ki mohabbat ko – Baiju Baawara
Dheemo re chale re vaayariyo – Album (Piya Basanti)

Raga: Maru Bihag
Matwaali naar thumak thumak
Tum to pyar ho sajna – Sehra
Jamunaa kinare aaja chaliya pukare aaja – Mehbooba

Raga: Marwa
Payeliya bavari – Saaz aur Aawaz

Raga: Megh
Mahefil men baar baar kisi par nazar gai – A Ghazal by Gulam Ali
Konpalen phir fut ayi – A Ghazal by Mehdi Hassan
Kahan se aye badra – Chashm-e-Badoor

Raga: Megh Malhar
Dukh bhare din bite re bhaiya – Mother India
Tan rangalo ji aaj man ranga lo baraso re – Tansen
Kare kare badra – by Lata Mangeshkar
Ghata ghana ghora ghora – Tansen

Raga: Miyan Ki Malhar
Bole re papihara – Guddi
Bhay bhanjana vandana sun humari – Basant Bahar
Baadal umad bhar aaye – Saaz
Ghir ghir aayi badariya kaari – Sardari Begum

Raga: Miya ki Todi
Bhini bhini bhor aayi – Asha Bhosle’s Album ‘Dil Padosi Hai’

Raga: Mohanam (Carnatic)
Jyoti Kalas Jalke – Bhabhi Ki Chudiyaan

Raga : Multani
Daya karo e girdhar-gopala
Raga: Nand
Tu jahan jahan chalega – Mera Saaya

Raga: Pahadi
Sunri sakhi mohe sajna bulae – Nagin
O durke musaphir hamko bhi sath le le – Udan Khatola
Are ja re hato natakhat – Navrang
Chal ud jaa re panchi – Bhabhi
Koi pyaar ki dekhe jadugari – Kohinoor
Sakhi ri mera man umade tana dole – Nagin
Chaudavika chand ho – Chaudavi Ka Chand
Ye vadiyan phijae bula rahi – Aaj aur Kal
Tujhko pukare mera pyar – Neel Kamal
Aja re tujhko mera pyar pukare – Waqt
Do sitaaron ka zameen par hai milan aaj ki raat – Waqt
Din hai bahar ke tere mere – Waqt
Kaun aya hai nigahonmen chamak jag uthi – Waqt
Hum jab simatake aapki bahonmen – Waqt
Janevalo jara mudke dekho mujhe – Dosti
Chaahoonga main tujhe saanjh savere – Dosti
Gudiya hamse ruthi rahogi – Dosti
Lag ja gale ke phir ye hansi raat – Woh kaun thi?
Vahan kaun hai tera musaphir – Guide
Dil pukare aa re aa re – Jewel Thief
Rulake gaya sapna mera – Jewel Thief
Chalo dildaar chalo – Pakeezah
Aaja re, aaja re o mere dilbar aaja – Noorie
Kabhi kabhi mere dilmein – Kabhi Kabhi
Isharon isharon mein dil lenewale – Kashmir Ki Kali
Aaj ki raat mere dil ki salaami le le – Ram Aur Shyam
Neela aasman so gayaa – Silsila
Javaan hai mohabbat, hasin hai zamaana – Anmol Ghadi
Jo waada kiya wo nibhaana parega – Taj Mahal
Kora kaagaz tha ye man mera – Aaradhana
Meri aankhon mein bas gaya koi re – Barsat
O door ke musaafir, ham ko bhi saath le le – Udan Khatola
O mora naadaan baalama na jaane dil ki baat – Ujala
Saawan ka mahina, pawan kare sor – Milan
Shaam dhale khidki tale tum seeti bajaana chhor do – Albela
Suhaani raat dhal chuki, na jaane tum kab aayoge – Dulari
Tere mere honthon pe, meethe meethe geet mitava – Chaandani
Paayo ji maine ram ratan dhan paayo (Bhajan)
Aapko dekhke baadal ko pasinaa – Hum Aapke Dilmen Rahte Hai

Raga: Palasi
Gori tera gaanv bada pyara – Chit Chor

Raga: Patdeep
Saaz ho tum awaz hun main – Saaz aur Aawaz
Megha chhaye adhi raat – Sharmilee

Raga: Pilu
Ajahun na aye balma – Sanjh Aur Savera
Jhoole mein pavanki ayi bahar – Baiju Bawra
More sainya ji utarenge paar nadiya dhire baho – Uran Khatola
Dheere se aaja ri akhiyan mein nindiya – Albela
Banwari Re Jeene Ka Sahara – Ek Phool Char Kante
Jaiye aap kahan jayenge – Mere Sanam
Dhoondho dhoondho re saajna – Ganga Jamuna
Allah megh de pani de – Guide
Kali ghata chhaye mora jiya ghabraye – Sujata
Tere bin soone nayan hamare – Meri Soorat Teri Aankhein
Pi ke ghar aaj pyari dulhaniya chali babul – Mother India
Nadiya kinare harayee aayee kangna – Abhiman
Ab ke baras bhejo bhaiya ko babul – Bandini
Baharon ne mera chaman loot kar – Devar
Kaun gali gaye shyam – Pakeezah
Tu jo mere sur men – Chitchor
Na jao saiyan chhuda ke baiyan – Sahib Biwi Aur Ghulam
Din sara guzara tore angana – Junglee
Mainu ishq lag gaya rog – Dil Hai Ke Maanta Nahin
Surmayi akhiyonmen nanha munna ek sapna de jaa re – Sadma
Apni kaho kuch meri suno – Parchhain
Ai meri johara zabeen, tujhe maaloom nahin – Waqt
Chandan ka palana resham ki dori – Shabab
More kaanha jo aaye palat ke – Sardari Begum
Raghuvar tumako meri laaj (Bhajan)

Raga: Puriya Dhanashri


Tori Jai Jai Kartaar – Baiju Bawra
Ruk jao banavasi ram – Sampurna Ramayan
Rut aa gayi re, rut chha gayi re – 1947:Earth
Hai rama yeh kya hua – Rangeela
Meri sanson ko jo mehaka rahi hai – Badalte Rishtey
Tumne kya kya kiya hai hamare liye – Prem Geet

Raga: Rageshri


Mohabbat aisi dhadkan hai – Anarkali
Mere sang ga gunguna – Janwar
Kaun aaya mere manke dwaare – Dekh Kabira Roya
Mitva bole mithe bain – Parichay

Raga: Sarang


Aa laut ke aaja mere meet – Rani Roopmati
Savan aye ya na aye – Dil Diya Dard Liya
Dair-o-harammen basne waalon – Ghazal by Jagjit Singh
Saawan rut aaye dekho balam – Album (Piya Basanti)

Raga: Shudh Kalyan


Chand phir nikala – Paying Guest
Meri muhabbat javan rahegi – Janwar
Jahaan daal daal par sone ki cheediyaan – Sikandar-e-Azam
Chaand phir nikala, magar tum na aaye – Paying Guest
Rasik balama – Chori Chori

Raga: Shankara
Rumajhuma rumajhuma chala tihari – Tansen
Bolo bolo kanha bolo chhaliya – Chhaliya

Raga: Shivranjani
Aawaz deke hamem tum bulao – Professor
Jaane kahaan gaye wo din – Mera Naam Joker
Sansar hai ek nadiya – Raftaar
Khabar meri naa lini re bahut din bite – Sant Gyaneshwar
Mere naina savan bhado – Mehbooba
Banake kyun bigada re – Zanjeer
Ai mere sanam ai mere sanam, do jism magar ek jaan – Sangam
Dil ke jharokhe mein tujhko bithakar – Bramhachari
Tere mere beech mein – Ek Duje ke liye
Kahin deep jale kahin dil – Bees Saal Baad
Tumhe dekhti hun to lagta hai aise – Tumhare Liye
Bahaaro phool barasaao, mera mehboob aaya hai – Suraj
Yaad teri aayegi, mujhko bara sataayegi – Ek Jaan Hain Ham

Raga: Sindh Bhairavi
Ajahun na aye balma – Sanjh Aur Savera
Chhod gaye balam – Barsaat (old)

Raga: Sohni
Jhumati gayi hawa, yaad aa gaya koi – Sangeet Samrat Tansen
Kuhu kuhu bole koyaliya – Swarn Sundari
Prem jogan ban ke – Mughal-e-Azam

Raga: Sur Malhar
Dar lage garaje badariya – Ram Rajya

Raga: Tilang
Chhup gaye saare nazaare hoye kya baat ho gayi – Do Raaste
Chota sa baalama akhiyaan neend udaaye le gayo – Ragini
Rehte the kabhi jinake dil mein ham jaan se bhi – Mamta
Yahi armaan lekar aaj apne – Shabab
Itna to yaad hai mujhe – Mehboob ki Mehndi
Meri kahani bhulnevale – Deedar
Sajna sang kahe neha lagae – Main Nashe Me Hun
Lagan tose lagi balma – Dekh Kabir Roya

Raga: Tilak Kamod
Dil-e-nadaan tujhe hua kya – Mirza Ghalib
Tumhare bin ji na lage gharmen – Bhumika
Jalta rahata din raina

Raga: Todi
Insan bano – Baiju Bawra
Mai to ek khvab hun – Himalaya Ki God Mein
Duniya na bhaye mohe, ab to bulale – Basant Bahar
Sun rasiya sun rasiya, kaahe ko jalaaye jiya aaja – Nagin
Too hai mera prem devta – Kalpana
Khuda e baratara teri jaminpar – Taj Mahal

Raga: Vrindavani Sarang
Jhutimuti batiya avan kahe – Rudali

Raga: Yaman
Aansu bhari hain ye jeevan ki raahein – Parvarish
Aap ke anurodh pe, main ye geet sunaata hoon – Anurodh
Bhooli huyi yaadon, mujhe itna na sataao – Sanjog
Chandan sa badan, chanchal chitavan – Saraswati Chandra
Chupa lo dil mein yoon pyaar mera – Mamta
Do naina matawaare tihaare, ham par zulm karen – Chhoti Bahan
Inhi logon ne le leena dupatta mera – Pakeezah
Jaane vaale se mulaaqaat na hone paayi – Amar
Jab deep jale aana, jab shaam dhale aana – Chitchor
Jiya le gayo re mora saanwariya – Anpadh
Mausam hai aashikaana, ai dil kahin se unko – Pakeezah
Nigahen milane ko jee chahata hai – Dil Hi To Hai
O ram ji, bada dukh deena – Ram Lakhan
Woh shaam kuchh ajeeb thi, ye shaam bhi ajeeb hai – Khamoshi
Ranjish hi sahi, dil hi dukhane ke liye aa (Ghazal)

Raga: Yaman Kalyan
Abhi na jayo chhor kar, ke dil abhi bhara nahi – Hum Dono
Ahsaan tera hoga mujh par – Junglee
Beeti na bitaayi raina – Parichay
Is mor se jaate hain – Aandhi
Lagta nahin hai dil mera – Laal Quila
Preetam aan milo
Saaranga teri yaad mein, nain huye bechain – Saaranga
Tere husn ki kya taarif karoon – Leader
Wo jab yaad aaye, bahut yaad aaye – Parasmani
Zindagi bhar naheen bhoolegi wo barsaat ki raat – Barsaat Ki Raat
Aaj jaane ki zid na karo (Geet)
Shri ram chandra kripaalu bhaj man (Bhajan)

]]> Mon, 26 Sep 2011 21:12:10 -0600 http://www.wichaar.com/videos/articles/read-hindi-film-songs-in-various-raga_6.html Ragas http://www.wichaar.com/videos/articles/read-ragas_5.html Rāga (Sanskrit, lit. "colour" or "mood") refers to melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs or ghazals sometimes use rāgas in their compositions.

The word "raga" first occurs in the Brihaddeshi of Matanga (circa second century AD or 5th to 7th century), where he describes it as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". The term raga was defined by Joep Bor of the Rotterdam Conservatory of Music as "tonal framework for composition and improvisation." Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.

Rāgini is an archaic term for the 'feminine' counterpart to a rāga.

Nature of rāga

"That which is a special dhwani (tune), is bedecked with swara (notes) and varna and is colorful or delightful to the minds of the people, is said to be rāga" - Matanga in the Brihaddeshi.
The basic mode of reference in modern Hindustani practice (known commonly as the shuddha - basic - form) is a set which is equivalent to the Western Ionian mode — this is called Bilawal thaat in Hindustani music (the Carnatic analogue would be Sankarabharanam). In both systems, the ground (or tonic), Shadja, Sa, and a pure fifth above, Pancham, Pa, are fixed and essentially sacrosanct tones. In the Hindustani system, in a given seven-tone mode, the second, third, sixth, and seventh notes can be natural (shuddha, lit. 'pure') or flat (komal, 'soft') but never sharp, and the fourth note can be natural or sharp (tivra) but never flat, making up the twelve notes in the Western equal tempered chromatic scale (Western enharmonic pitch equivalences like, for example, A♯ and B♭ do not apply; e.g. Re tivra may, to a Western musician appear enharmonic to Ga shuddha in that system, but in practice is not.) A Western-style C scale could therefore theoretically have the notes C, D♭, D, E♭, E, F, F♯, G, A♭, A, B♭, B.

The Carnatic system has three versions — a lower, medium, and higher form — of all the notes except Sa, Ma and Pa. Ma has two versions (lower and higher), while Sa and Pa are invariant. Rāgas can also specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Tradition has it that the octave consists of (a division into) 22 microtones ("śrutis"). Furthermore, individual performers treat pitches quite differently, and the precise intonation of a given note depends on melodic context. There is no absolute pitch (such as the modern western standard A = 440 Hz); instead, each performance simply picks a ground note, which also serves as the drone, and the other scale degrees follow relative to the ground note. The Carnatic system embarks from a much different shuddha (fundamental) scalar formation, that is, shuddha here is the lowest-pitched swara.

By comparison, using the common tonic "C" for a western musician:

Carnatic
Hindustani Western E.T.
Sa
Sa "C"
Shuddha Ri "Ri 1" Komal Re "D♭"
Chatusruti Ri "Ri 2" Shuddha Re "D"
Shatsruti Ri "Ri 3" (Komal Ga) "D♯"
Shuddha Ga "Ga 1" (Shuddha Re) "D"
Sadharana Ga "Ga 2" Komal Ga "E♭"
Antara Ga "Ga 3" Shuddha Ga "E"
Shuddha Ma "Ma 1" Shuddha Ma "F"
Prati Ma "Ma 2" Teevra Ma "F♯"
Pa
Pa "G"
Shuddha Dha "Dha 1" Komal Dha "A♭"
Chatusruti Dha "Dha 2" Shuddha Dha "A"
Shatsruti Dha "Dha 3" (Komal Ni) "A♯"
Shuddha Ni "Ni 1" (Shuddha Dha) "A"
Kaisika Ni "Ni 2" Komal Ni "B♭"
Kakali Ni "Ni 3" Shuddha Ni "B"

Rāgas and their seasons

Many Hindustani (North Indian) rāgas are prescribed a time of day or a season. When performed at the suggested time, the rāga has its maximum effect. During the monsoon, for example, many of the Malhar group of rāgas, which are associated with the monsoon and ascribed the magical power to bring rain, are performed. However, these prescriptions are not strictly followed, especially since modern concerts are generally held in the evening. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian rāgas, which do not come with any particular time associated with them. The result of these various influences is that there is increasing flexibility as to when rāgas may be performed.

Notations

Although notes are an important part of rāga practice, they alone do not make the rāga. A rāga is more than a scale. Many rāgas share the same scale. The underlying scale may have five, six or seven tones made up of swaras. Rāgas that have five swaras are called audava (औडव) rāgas; those with six, shaadava (षाडव); and with seven, sampoorna (संपूर्ण) (Sanskrit for 'complete'). Those rāgas that do not follow the strict ascending or descending order of swaras are called vakra (वक्र) ('crooked') rāgas.
It is the mood of the rāga that is more important than the notes it comprises. For example, Rāga Darbari Kanada and Rāga Jaunpuri share the same notes but are entirely different in their renderings.

Northern and southern differences

The two streams of Indian classical music, Carnatic music and Hindustani music, have independent sets of rāgas. There is some overlap, but more "false friendship" (where rāga names overlap, but rāga form does not). In north India, the rāgas have been categorised into ten thaats or parent scales (by Vishnu Narayan Bhatkhande, 1860-1936); South India uses an older, more systematic classification scheme called the melakarta classification, with 72 parent (melakarta) rāgas. Overall there is a greater identification of rāga with scale in the south than in the north, where such an identification is impossible. Rāgas in north Indian music system follow the 'law of consonances' established by Bharata in his Natyashastra, which does not tolerate deviation even at the shruti level.

As rāgas were transmitted orally from teacher to student, some rāgas can vary greatly across regions, traditions and styles. There have been efforts to codify and standardise rāga performance in theory from their first mention in Matanga's Brihaddeshi (c. tenth century).

Carnatic rāga

In Carnatic music, rāgas are classified as Janaka rāgas and Janya rāgas. Janaka rāgas are the rāgas from which the Janya rāgas are created. Janaka rāgas are grouped together using a scheme called Katapayadi sutra and are organised as Melakarta rāgas. A Melakarta rāga is one which has all seven notes in both the ārōhanam (ascending scale) and avarōhanam (descending scale). Some Melakarta rāgas are Harikambhoji, Kalyani, Kharaharapriya, Mayamalavagowla, Sankarabharanam and Todi.

Janya rāgas are derived from the Janaka rāgas using a combination of the swarams (usually a subset of swarams) from the parent rāga. Some janya rāgas are Abheri, Abhogi, Bhairavi, Hindolam and Kambhoji. See the full List of Janya Ragas for more.

Each rāga has a definite collection and orders of swaras (the basic notes). In Carnatic music, there are 7 basic notes of which there are 12 varieties. The seven basic swarams of Carnatic music are: Sa, Ri, Ga, Ma, Pa, Da, Ni.

Related rāgas

Even though Janya rāgas are subsets of Janaka rāgas in notation and representation, the differences between the child ragas are clear due to the differences like

some notes that figure more in a particular rāga compared to another, while other notes used sparingly
some notes may be sung with gamaka, stress, elongation, etc., in one rāga compared to other
specific phrases used and other phrases to be avoided in a rāga (so as to avoid deviation into another rāga's domain)
the scales of some ragas may contain at least one swara that does not figure in their janaka ragas. Such ragas are termed as bhashanga ragas. Ragas such as Bhairavi, Kambodhi, Bilahari, Devagandhari, and Neelambari fall under this category.
The effect of the rāgas are different from each other, even if they notationally use same swarams (or subset of swarams between each other) due to above subjective differences related to bhava and rasa (mood caused in the listener). The artists have to ensure the same when elaborating on a rāga, as has been followed and expected on each rāga, without digressing into the phrases of another related rāga. As we all know, science and notations cannot fully represent emotions and feelings.

Rāga-rāgini

The rāga-rāgini scheme is an old classification scheme used from the 14th century to the 19th century. It usually consists of 6 'male' rāgas each with 6 'wives'(rāginis) and a number of sons (putras) and even 'daughters-in-law'. As it did not agree with various other schemes, and the 'related' rāgas had very little or no similarity, the rāga-rāgini scheme is no longer very popular.

Rāgas and rāginis were often pictured as Hindu gods, Rajput princes and aristocratic women in an eternal cycle of love, longing and fulfilment.
]]> Mon, 23 Nov 2009 13:43:26 -0700 http://www.wichaar.com/videos/articles/read-ragas_5.html Raga Darbari Kanada -- the majestic gait and its tonal geometry http://www.wichaar.com/videos/articles/read-raga-darbari-kanada-the-majestic-gait-and-its-tonal-geometry_4.html Raga Darbari Kanada has often been described as the Emperor of Ragas and the Raga of Emperors. These descriptions recall the raga’s association with Miya Tansen at Akbar’s court, and the majesty of the Mughal Empire at its zenith. But, such imagery could not have either surfaced, or survived through the centuries, if it had not also been supported by the melodic character of the raga.


The key to the majestic aloofness of the raga lies in the ponderous deliberateness with which it has to be rendered. This “ponderous deliberateness” of musical expression owes itself primarily to the “andolit” (oscillated) treatment of two swaras – komal Ga, and komal Dh – in the ascent as well as the descent. These two oscillations are fundamental to the sculpting of the two phrases which virtually define the melodic personality of Darbari Kanada – [g M R] and [d n P].


These oscillations around (komal) Ga and Dh swaras define a very specific treatment or intonation of these swaras in Darbari. Some authorities even believe that Darbari does not use the common (komal) Ga and Dh pitch-ratios to base-Sa. Instead, it uses their suppressed micro-swaras (shrutis). According to this view, these suppressed micro-swaras are accessible only as suggestions arising from an oscillation between the natural Re and the flat Ga (for komal Ga) and between Pa and the flat Dh (for komal Dh).


In imparting a sensitivity to these nuances of Darbari Kanada to their disciples, traditionally trained Gurus have often used very obscure language and imagery. The logic of these oscillations is, however, easily understood through acoustic principles -- essentially, the tonal geometry of the two pivotal phrases of the raga: g-M-R and d-n-P.


The first and last swaras in these phrases, Re-Pa and Ma-Ni, are in perfect first-fourth correspondence with a ratio of 1.333 between them. But, the linking swaras, (komal) Ga and (komal) Dh are only in near-perfect correspondence with a ratio of 1.367 between them.

To achieve a symmetry between the lower and upper halves of the Darbari Kanada scale, the two pivotal phrases need to be in perfect phraseological congruence. This is not possible until (komal) Ga and (komal) Dh are brought into perfect acoustic correspondence with each other.


The oscillated treatment of (komal) Ga and Dh explores the relevant microtonal regions for the possibility of tonal correspondence and phraseological congruence. The melodic soul of the raga expresses itself in these explorations.

The aesthetic demands of this tonal geometry might explain why great musicians often favour slow tempo renditions in this raga, and avoid the flattening out of the prescribed oscillations in ultra high-density melodic execution.

]]> Mon, 23 Nov 2009 13:29:16 -0700 http://www.wichaar.com/videos/articles/read-raga-darbari-kanada-the-majestic-gait-and-its-tonal-geometry_4.html Lahore a launchpad for many filmstars and singers http://www.wichaar.com/videos/articles/read-lahore-a-launchpad-for-many-filmstars-and-singers_3.html LAHORE: Many high profile Indian actors and singers lived in the Walled City in the 1940s and Lakshmi Chowk was where the film fraternity got together in tongas decorated with maroon flowers, foot bells and lamps on the side.

The tonga was the primary means of transport for the ordinary and elite in the 40s. Most tongas were undecorated, but the ones used by the elite were special and fascinating.

Indian superstars Pran, Muhammad Rafi, Om Parkash, Balraj Sani, Dev Anand and many less known artistes started their film careers from Lahore. The film life in Lahore was very high profile and animated in those days. Lakshmi Chowk was the hot spot for formal and informal film gatherings.

Pran, who mostly played the role of a villain in films, lived in Qilla Gujjar Singh. He was a skilled photographer and took photographs of famous artistes. One day – while standing at a pan shop in Lakshmi Chowk – he met Wali, a leading film director of the time. Wali asked Pran if he was interested in acting and Pran said yes. Wali wrote the address of Pancholi Studios (one of the most famous film studios of Lahore in Muslim Town) on the back of a cigarette pack and asked Pran to see one of his friends there.

Pran started his film career with ‘Chaudhry’ and later appeared as a hero in ‘Khaandaan’, a film by Shaukat Hussain Rizvi. The heroine was melody queen Noor Jahan. Pran migrated to Bombay in 1947.

The subcontinent’s legendary singer Muhammad Rafi lived in Bhaati Gate. He was from a family of barbers and ran his own barbershop. Rafi had a beautiful voice and most of his customers would often ask him to sing for them while they got their hair cut or got a shave. A man from the film industry introduced Rafi to film director Gul Baloch who gave Rafi the opportunity to sing three songs for ‘Gul Zaman’. The film proved a launching point for Rafi’s film career in Lahore and by the time he migrated to India in 1947, he was an accomplished singer. In Bombay Rafi got a breakthrough in ‘Jugnoo’. The hero was Dilip Kumar and heroine Noor Jehan. Om Parkash was also one of the great names of Bombay. He lived at Matti Chowk, Lohari Gate and always rented out a decorated tonga to take him from Matti Chowk to Lakshmi Chowk every day. Parkash did many small and large roles in films made in Lahore and also migrated to India in 1947.

Balraj Sani also lived at Matti Chowk and was the secretary general of the All India Communist Party. He studied at Government College. Sani also acted in pre-Partition films in Lahore. Dev Anand lived in Lohari Gate, but later moved to Bhaati Gate. He also studied at Government College. Dev Anand participated actively in politics in Lahore. His brother Chaitan Anand was a famous film director in Lahore and was considered quite influential in film studios when it came to casting and other affairs.

Meena Shori was one of the leading female actors of her times. She lived in Bhaati Gate and married the owner of Shori Film Studio (now Shah Noor Studio). She acted in several pre-Partition films made in Lahore and migrated to India in 1947. In 1956 she returned to Pakistan to act in ‘Ms 56’ and never went back to India. She accepted Islam and started living in Lahore. BR Chopra is a leading name in production and direction in the Indian film industry. Chopra lived in an area where at present Chuburji Quarters exist. He produced a film in Lahore called ‘Chandni Chowk’. Khayam, one of the leading music composers of the Indian film industry, was his assistant and served him and his guests tea.

Khurshid Begum was an outstanding singer from Lahore who migrated to India in 1947. She also lived in Bhaati Gate. She sang several famous songs for various Indian films. She sang a great song for film ‘Tan Sain’ with singer Sehgal. She returned to Pakistan after a few years and started living in Karachi.

Tanveer Naqvi was a noted lyricist of his times. He lived in Faqirkhana Museum inside Bhaati Gate. He wrote ‘Awaz Dey Kahan Hai’ and ‘Jaan-e-Baharan, Rashk-e-Chaman’. He migrated to India in 1947. Naqvi also returned to Pakistan after a few years and spent the rest of his life in Lahore. Lakshmi Chowk was the focal point of Lahore’s film industry crowd. By the evening, Lakshmi would be full of tongas, with film stars, top film directors and producers thronging teahouses and discussing filmy affairs. Pran, Om Parkash and Al Nasir, another Lahori film hero, would spend their evenings chatting and playing billiards.

There also was a hotel called King Circle at Lakshmi Chowk where film stars gathered. A bank has taken its place these days. Even today Lakshmi Chowk is a major centre of filmi Lahore.]]> Wed, 23 Sep 2009 00:47:05 -0600 http://www.wichaar.com/videos/articles/read-lahore-a-launchpad-for-many-filmstars-and-singers_3.html Ustad Bade Ghulam Ali Khan http://www.wichaar.com/videos/articles/read-ustad-bade-ghulam-ali-khan_2.html A nonagenarian, aesthete and scholar of high repute, M.A.Sheikh has been associated with the musical circles of Lahore for almost 70 years and has seen profound changes taking place to classical music. "Yaadein" or Memories is a reflection of M.A. Sheikh's memorable moments in classical music. In his fourth article of Yaadein, M.A. Sheikh writes on an historic ceremony known as “shakkar” involving the late Ustad Bade Ghulam Ali Khan, paying homage to Ustad Akhtar Hussain Khan and Ustad Ashiq Ali Khan at the Takia Meerasian in Lahore

Lahore in 1932/33 was a peaceful city marked by mutual brotherhood and simple living. Commonly referred as to the “City of Gardens”, Lahore was devoid of today’s hustle bustle, materialism and pollution filled atmosphere. The main transport system consisted of cycles and tongas whilst the sight of cars plying the city was extremely rare. The pursuits of wrestling and kite flying were amongst the favourite pastimes of the residents, whilst monuments like the Shalimar gardens and Jahangir’s tomb were popular places for picnics and relaxation. Music was considered an integral feature of the city’s cultural activities with countless baithaks, regular music concerts and recorded music of Zohra Bai Agrewali, Bhai Chaila, Maujuddin Khan and others being heard in the main shopping centres.

In these days a grand function was held at the Takia Meerasian, Chamberlaine Road, outside Mocchi Gate Lahore in which Ustad Bade Ghulam Ali Khan confirmed his ties with the Patiala gharana through a ceremony known as “shakkar”, in which he offered his allegiance to Ustad Akhtar Hussain Khan and Ustad Ashiq Ali Khan, the scions of the Patiala Gharana.

It was perhaps the month of October and about 1pm that the music lovers of Lahore started gathering at the “Takia”, by the evening the crowd swelled to over a thousand. The “Takia” was profusely decorated with buntings, carpets and flowers. Large trays filled with sweets were at hand and we could smell the beautiful aroma of food being cooked. The people were excited and embraced each other with greetings and an atmosphere of cheerfulness pervaded all over. Those who were present on this occasion with me were music directors Khawaja Khurshid Anwar and Feroze Nizami, Syed Shabbir Hussain Shah, film actor Gul Zaman, vocalist Ustad Chotey Ghulam Ali Khan, and sarangi player Ustad Nazim Ali Khan.

Ustad Akhtar Hussain Khan and Ustad Ashiq Ali Khan were both sitting at a specially created dais, which was decorated with flowers, carpets, white sheets, and bolsters. A sarangi, tanpura and tabla were placed close by. Ustad Akhtar Hussain Khan was wearing an achkan shining with gold embroidery, a white chooridar pajama, a black folding cap and a red scarf. Ustad Ashiq Ali Khan on the other hand was attired in a dark brown suit, which was designed as a polo outfit with bulging trousers and a short coat with four pockets. Ustad Bade Ghulam Ali Khan was wearing a sprawling white turban, a loose white shirt with a beautiful scarf and a white dhoti.

The ceremony started with the words “Bismillah Sharif” and tying of the “gandha” to Bade Ghulam Ali Khan by the two ustads. This was followed by the distribution of sweets amongst the two ustads and various disciples. Ustad Bade Ghulam Ali Khan presented the two maestros with gifts and money known as the “nazarana”. Innumerable people then followed by presenting nazaranas to the two ustads. There was vociferous clapping and loud shouts of greetings all around. A little later the music concert started. Ustad Ashiq Ali Khan sang raag Marwa for about one hour and the audience was completely overwhelmed with his pure imagery of raag, vigorous tonal variations, inimitable flow of convoluted phraseology and unique rhythmic control. Ustad Akhtar Hussain Khan and Ustad Bade Ghulam Ali Khan were also requested to perform but they politely declined.

This unforgettable ceremony is still recalled by many people, in Punjabi musical parlance it is known as “shakkar” and shares similar traits to the traditional “gandha bandhan” ceremony. The gandha bandhan ceremony is core to the lifelong traditional teacher – student relationship necessary to learning the musical arts in the Indian sub-continent. The ceremony is conducted by the teacher tying a thread (gandha) around the student’s wrist and certifies that the student has become a formal disciple and ready to show commitment in learning music. The union is not just from a musical sense but involves a spiritual attachment between the teacher and student.

The shakkar ceremony on the other hand, is only conducted when the disciple achieves a high level of musical proficiency. It is a celebration of the student’s achievement and enables the student to pay homage to his teachers and fellow members of the gharana in the form of gifts and monetary amounts.

I consider it an honour and privilege to have been present on this historical occasion and at the request of Ustad Fateh Ali Khan of the Patiala gharana and son of Ustad Akhtar Hussain Khan have recorded details of the mentioned above ceremony in a video interview. Some years before his death, Ustad Munawar Ali Khan, the son of Ustad Bade Ghulam Ali Khan visited Lahore and complained to Mr. Hayat Ahmed Khan the Secretary General of the All Pakistan Music Conference Lahore that there was great confusion about the incident as a lot of people held the view that his father was only a disciple of Ustad Ashiq Ali Khan and not of Ustad Akhtar Hussain Khan. Consequently a meeting was arranged at the residence of Mr. Hayat Ahmed Khan in which I personally explained my eyewitness account of this historic ceremony. He was convinced and stated that he would set the record straight on his return to India. However in a recent comprehensive book written by Mrs Malti Gilani and Qurat-ul-ain Haider titled Ustad Bade Ghulam Ali Khan, His Life and Music, published by Harman House Delhi in 2003, no mention whatsoever has been made of this ceremony, which is deeply regretful.]]> Sat, 12 Sep 2009 15:45:32 -0600 http://www.wichaar.com/videos/articles/read-ustad-bade-ghulam-ali-khan_2.html Ustad Aashiq Ali Khan http://www.wichaar.com/videos/articles/read-ustad-aashiq-ali-khan_1.html Saqib Razaq writes on Patiala gharana's Ustad Ashiq Ali Khan. The legendary vocalist who made a lasting impression on the khayal gayaki of the Indian sub-continent.

There have only been a handful of musicians whose legacy has stood strong over the course of time and represented by the future generation of musicians. One such individual was the late Ustad Ashiq Ali Khan whose name is synonymous with the Patiala gharana. The contributions made by the maestro over the course of his career totally revolutionised Hindustani classical music and helped to establish the Patiala gharana as a major proponent of khayal gayaki.

Born in Patiala during the last decade of the 19th century, Ashiq Ali Khan, was the son of Patiala gharana co-founder Ustad Fateh Ali Khan. Ustad Fateh Ali Khan along with Ustad Ali Bukhsh Khan formed the basis of the Patiala tradition of khayal singing. The duo, popularly known as Alliya- Fattu were awarded the respective titles of General and Colonel by Lord Elgan, Viceroy of India during the mid 19th century.

Having lost his father during childhood, Ashiq Ali Khan could only learn the basic elements of classical music before being placed under the guidance of Ustad Ali Bukhsh Khan. This apprenticeship did not last long either, as the young Ashiq Ali Khan, deprived of the watchful eye of his father ran away from home. He spent an extensive period wandering from place to place before being persuaded by Sardar Bai, a senior disciple of his father, to stay with her.

Sardar Bai adopted the young boy and imparted the musical knowledge she had gained from her mentor. Ashiq Ali Khan stayed with Sardar Bai for seven years before spending a considering period travelling in the regions of Punjab and Sindh. It was during his stay in Sukkur, he fell into bad company and developed a liking for opium, hashish and alcohol. His addiction to opium was so extreme, that it resulted in his vocal chords being severely damaged.

Even during his teenage years, Ashiq Ali Khan was not seriously inclined towards music and would perform light music occasionally solely to feed his opium addiction. The real change to his musical career came when he overheard sarcastic comments from a number of musicians mocking him for singing ghazals and kafis despite being the son of the great Ustad Fateh Ali Khan. These comments acted as an impetus for Ashiq Ali Khan to pursue music on a serious note. He sought the guidance of his maternal uncle Ustad Amir Khan of Multan and the prolific Patiala gharana composer Ustad Alladiya Khan alias Meherban Khan, both senior disciples of Ustad Fateh Ali Khan. Both maestros provided him with rigorous training including a number of rare compositions of the Patiala gharana. The maestro is also said to have consulted Ustad Natthu Khan Patialawale and Imam Din Khan of Sialkot. Through a dedicated period of arduous practice lasting approximately five years, Ashiq Ali Khan began to perform classical music and created a storm amongst musicians and listeners alike, establishing himself amongst the top most vocalists of the Indian sub-continent.

In describing Ustad Ashiq Ali Khan’s performance style, one has to look towards one word “mushkilaat” or complexity. He is widely regarded as the ultimate statement of “tayyari” and “layakari” by most of the vocalists of the Punjab region. Due to the deformity in his voice, Ashiq Ali Khan concentrated on the rhythmic elements of classical music. His style was extremely difficult, marked by the heavy usage of complicated taan patterns coupled with fast sargams. He introduced the concept of layakari within the khayal performance by employing tihaees into his performances, commonly starting from any point in the rhythm cycle and sharply ending on the sum. This performance style created a flurry in the regions of Punjab and Sindh and became the normal style of khayal presentation, so much so that even vocalists considered as Ashiq Ali Khan’s rivals adopted this difficult style. Apart from the khayal, the ustad was a master at singing the Multani Kafi, a genre he adopted due to his extensive stay in Sukkur, Multan and Bahawalpur. Although Ashiq Ali Khan had a vast repertoire of raags, he is considered to be a master at rendering Bhairav Bahar, Multani, Madhuwanti, Puriya Dhanasri and Darbari.

Click to hear Ustad Ashiq Ali Khan perform Multani Kafi

On Ustad Ashiq Ali Khan’s mastery over rhythm, Ustad Fateh Ali Khan of the Patiala gharana, recalled a mehfil he attended where the ustad performed Puriya Dhanasri accompanied by Ustad Inayati Khan on tabla. The khayal was set to the twelve beat rhythm cycle of drut Ek Taal. During the course of the performance, Ashiq Ali Khan unexpectedly arrived on the sum on the 12th beat, realising the shocked reaction of the audience, the ustad made the 12th beat the sum and kept on showering tihaees on the final beat of the rhythm cycle.

Despite his addiction to opium and hashish, Ashiq Ali Khan led a life of simplicity. The maestro had a religious bent and strong inclination towards Sufism, spending five years during his youth at the shrine of Shahbaz Qalandar in Sehwan, Sindh. He was never interested in material gains and enjoyed travelling, never remaining in one place for any great length of time. The maestro had a sharp taste for clothes, often preferring to wear a suit and tie during performances. Although there were many offers for him to become a court musician, he preferred not to attach himself under the services of a Maharajah or Nawab. Apart from a brief period of employment under the services of the Maharajah of Patiala, Ashiq Ali Khan preferred to perform in informal mehfils and baithaks, rather than the plush settings of nobility.

The maestro was a man of strong principles when it came to music and believed in retaining the integrity of the Patiala style. He would always respond to a challenge brought upon by rival vocalists and actively took part in musical dungals (form of competition between musicians). Senior citizens of Lahore can still recall his performances at the Takia Meerasian in Mochi Gate, Lahore and memorable dungals with the likes of Ustad Tawakkal Hussain Khan, Ustad Pyare Khan and Ustad Chotay Ghulam Ali Khan.

Former advisor to the Classical Music Research Cell, Radio Pakistan, M.A. Sheikh had many opportunities to hear Ustad Ashiq Ali Khan and recalled a memorable mehfil taken place at the famous music director Khurshid Anwar’s residence featuring the maestro and his protégé Ustad Bade Ghulam Ali Khan. Ashiq Ali Khan started the afternoon performance with a thumri in raag Khamaj with Bade Ghulam Ali Khan providing vocal support. During the course of the performance Ustad Bade Ghulam Ali Khan became emotionally overwhelmed and excused himself from the performance, explaining that the exquisite manner at which the maestro was rendering the thumri he was no longer able to perform with him. Ustad Ashiq Ali Khan followed the thumri with a splendid presentation of raag Multani.

Another interesting anecdote concerning the maestro recalled by a number of senior Lahoris is the time when there were rumours circulating of Ustad Bade Ghulam Ali Khan contemplating on becoming the disciple of Ustad Abdul Waheed Khan, the celebrated vocalist of the Kirana gharana. On hearing this, Ustad Ashiq Ali Khan is said to have become very angry that a disciple of his gharana was contemplating on shifting loyalties. So much so that he went to Abdul Waheed Khan’s residence in Lahore and openly challenged him to a duel. Ustad Abdul Waheed Khan being a complete gentleman is said to have calmed the situation down.

In an era when most classical musicians were against lending their voice on radio and the recording industry, Ashiq Ali Khan actively broadcasted on All India Radio and recorded for the major gramophone companies. His gramophone records are now considered collector’s items and his duets with Ustad Umeed Ali Khan featuring raags Lalit and Shyam Kalyan are regarded as historic pieces of recorded Hindustani classical music.

Click to hear Ustad Ashiq Ali Khan and Ustad Umeed Ali Khan perform raag Lalit

Ustad Ashiq Ali Khan was also a fine teacher and responsible for grooming some of the great names of Hindustani classical music who have become standard bearers of their respective fields. Amongst his numerous disciples, notable names are of Ustad Bade Ghulam Ali Khan, tabla maestro Ustad Allah Rakha, Kabul’s Ustad Mohammad Hussain Sarhang, Mukhtar Begum, ghazal singer Farida Khanum, Zahida Parveen, Ustad Hussain Bukhsh Dhadhi and Chotey Ashiq Ali Khan. Apart from the above, vocalists of the calibre of Ustad Fateh Ali Khan, Ustad Salamat Ali Khan and Ustad Hussain Bukhsh Khan have openly acknowledged that they are strongly influenced by Ustad Ashiq Ali Khan.

Ustad Ashiq Ali Khan passed away childless in Lahore on 10th of March 1948 and is buried at the Takia Meerasian in Lahore. However, there is some disagreement from certain sources claiming that the actual year of his death was 1958. Even though it has been over fifty years since his death, the name of Ustad Ashiq Ali Khan is still remembered with great fervour and regarded as the ultimate statement of khayal gayaki amongst the vocalists of the Patiala gharana.

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