Begum Akhtar - The Queen of Ghazal

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Bob Chowdhury

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Posted: 19 years ago

#31

Begum Akhtar (1914-1974)

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The name of Begum Akhtar has a special significance and meaning for ghazal. She was barely seven when she was captivated by the music of Chandra Bai, an artiste attached to a touring theatre group.With initial training from Imdad Khan, a sarangi player from Patna, Faizabad-born Akhtari began her musical career. She came to be groomed as a classicist by traditional training from Ata Mohammad Khan of Patiala and Abdul Wahid Khan of Lahore in subsequent years. But her real aptitude was for light classical music, in which she was destined to emerge peerless. In her quest, she was inspired by Jaddan Bai, a noted dispciple of the great thumri singer, Moijuddin Khan (and mother of the late celebrated film actress, Nargis), and the equally noted Barkat Ali Khan, the younger brother of Bade Ghulam Ali Khan. Begum Akhtar's music presented an uncanny fusion of technique and appeal. There was in her singing an incredible blend of all that was best in the Purabi, and Punjab genres of light classical singing. Whatever the song-form, she had evolved her own individual and inimitable style of presenting it. Few, indeed, could equal her - much less surpass her - when it came to imparting the touching tone to a lyric clad in an equally delicate tune. Her songs revealed not only a delicate grace of spontaneous niceties of musical phrasing, but their poetic excellence. Besides, there was that hypnotic quality of her voice and the authenticity of style and approach that swayed her countless votaries. What also gripped her listeners was the kind of youthful exuberance that came so naturally through her music till her death at the age of 60. In between, Begum Akhtar's good looks and sensitive voice brought her under the spell of the silver screen in the early years of her career. But when she chanced to hear great singers like Gauharjaan and Malakjaan, she decided to forsake the glamour of the film world to take to music. And she never looked back. Begum Saheba's supreme artistry in light classical music had its moorings in the tradition of pure classicism. This is the secret behind her finesse for setting her repertoire to basically classical modes, which comprised a variety of simple as well as complex ragas. This she did with an ingenuity and craftsmanship difficult to come by in a blue-blooded Hindustani vocalist. And this was what made Begum Akhtar the darling of the classes and masses alike. She was always in her elements when she came to perform. She was widely traveled and ranked high among our foremost cultural ambassadors. Official recognition came to her rather slowly and late. She was honoured the Sangeet Natak Akademi award for vocal music and a mere Padma Shri a few years before her death. Ironically, the Padma Bhushan came to be conferred on her posthumously. But to the people at large, Begum Akhtar was the "Queen of Ghazals", and it is this acclaim that she cherished most. She has left behind hundreds of songs in commercial discs. She has also groomed a large number of disciples. All said and done, Begum Akhtar's music is truly sui generis.

Discography

In alphabetical order of the title

Title	Music / recording	Contents	Label	Year
All India Radio Recording		Thumris, Sawan, Ghazals	Music India
Ghazals		Rasm-E-Ulfat Sikha Gayo Koi, Khuda Ke Waste Ab Be-Rukhi Se Kaam Na Le, Tabiyat In Dino Begana-E-Ghum Hoti Jati Hai, Hum To Mita Sake Ye Zamane Me Dum Nahin	Music India
Malika-e-Ghazal		Begum Akhtar in Mehfil. Ghazals "Yahiya" Jasdanwala	Music India
Malika-E-Ghazal		Ae Mohabbat Tere Anjam Pe, Diwana Banana Hai To, Ulti Hogain Sab Tadbiren, Others.	EMI India
Rare Gems		Dil Aur Woh Bhi Toota Hua Dil, Dabdaba Aayi Woh Aankhen, Abhi Josh-E-Baharan Dekhna Hai, Mashq-E-Sitam Farmate Rahiye, Sun To Sahi Jahan Mein Hai Tera Fasana Kya, Sab Kahan Kuchh Lala-O-Gul, Yun Aankhon Ka Aalam Gulabi, Others.	EMI India
Rare Moments		Dil Aur Who Bhi Toota Hua dil, Na Socha Na Samjha Na Seekha Na Jana, Rahe Aashiqui Ke Maare, Bazm Se Unki Hum Kya Laaye, Ilahi Kaash Gham-E-Ishq Kaam Kar Jaaye, Laila Majnu Ki Misalon Pe Hansi Aati Hai, etc	EMI India
The Golden Collection - Begum Akhtar		Aye Mohabbat Tere Anjam Pe, Ab Ahhalakte Huye Sagar, Diwana Banana Hai Tu, Who Jo Hum Mein Tum Qarar Tha, Ulti Ho Gain Sab Tadbiren, Dayam Pada Hua Tere Dar Par, Kuchh To Duniya Ki Inayat Ne, etc. 2 CD Set.	EMI India
The Golden Moments - Shaam-E-Firaq		Ishq Mein Gairat-E-Jazbaat, Kis Se Poochen, Uzr Aane Mein Bhi Hai, Unki Berukhi Mein, Mere Naseeb Me Jab Mujh Pe, Itna To Zindagi Mein, Ab To Yahi Hain Dil Ki Duayen	EMI India
The Golden Moments Vol 3 Dil Ki Baat		Dil Ki Baat Kahin Nahin Jaati, Is Ishq Ke Haathon Se Hargiz, Duniya Ke Sitam Yaad, Zindagi Ka Dard Lekar, Jab Bhi Nazm-E-Maikada, Sar Mein Sauda Bhi Nahin, Khoosh-Hoon Ke, Zamin Pe Rakhe	EMI India

Edited by Qwest - 19 years ago

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Bob Chowdhury

@Qwest

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Posted: 19 years ago

#32

Originally posted by: Barnali

Here's her bengali songs CD.

Koyelia Gaan Thama
Begum Akhtar

CD- 1 Disc(s).Published: 1996
Language: Bengali
Publisher:SaReGaMa - RPG CD NF 142102

Description

1. Jochhona Korechhe Aari 2. E Moushume Paradeshe 3. Chupi Chupi Chole Na Giye 4. Phire Ja Phire Ja 5. Piya Bholo Abhimaan 6. Phire Keno Elena 7. Phiraye Diyo Na More 8. Koyelia Gaan Thama

Barnali di, Just Thanks is not enogh. I am speech less, what a great thread you have started. God Bless you.

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Bob Chowdhury

@Qwest

Inactive

Posted: 19 years ago

#33

NEW DELHI, Oct 13: "Mohabbat Karne Wale Kum Na Honge Teri Mehfil Me Lekin Hum Na Honge," - true to one of her last recordings, even 31 years after her death, people rever Begum Akhtar for her ghazals, knowing little about the person behind the rich voice.

However, a new book by one of the singer's disciples, throws light on the life and little known aspects of the personality of Mallika-e-Ghazal, who for most connoisseurs of ghazal, has remained a mystery.

A pioneer in the field of Indian light classical music, she helped popularise the traditional form of Thumri and ghazal gayaki and took it to the concert level all over India, says the book "Begum Akhtar-the story of My Ammi" by Shanti Hiranand.

"Unfortunately, despite her talents, an entire generation of Indians has grown up listening to only gossip connected with Begum Akhtar's life, be it the controversy surrounding the Nawab of Rampur or her other alleged affairs," says the book, but notes "... There is a side of Begum Akhtar that was hitherto hidden in the dusty corridors of her house."

"If she grew 'emotionally attached' to someone in particular, she would launch him under her banner. For instance, if she took a liking to a sitar player, she would encourage him to perform with her on all her concerts..."

She never requested or accepted any teaching fees, and freely passed on her knowledge of music to all those who wished to learn, says the book.

"... Ammi had friends from all walks of life. Even out an out intellectuals and professors were big fan of hers," says Hiranand.

"She made a great deal of money, but gave it away generously to her immediate family and all those in need of help. As a teacher, she treated her advanced disciples like her own children," says Hiranand.

But when she died no one came forward to help. At the all India Radio, Ahmedabad, where she had gone for a programme, no duty officers turned up to help so that her body could be taken to Delhi, even the hospital coldy told her assistants to remove the body once it had been embalmed.

Hiranand say they were not able to charter a flight to bring her body as it required a minister's prior permission. "... These arguments and discussions just go to prove the utter callousness of the Government of the time."

But Begum Akhtar had such an aura and commanded such respect that even Pandit Nehru once is said to have got up as she reached the dias at red fort to perform. At her first concert in Calcutta in 1934, the nightingale of India, Sarojini Naidu, after hearing Begum Akhtar, praised her.

"She was a fiercely independent-minded person and a brave character who drew her life path herself. She was among a small number of artists who grew up in the feudal culture and sparkled in its aftermath.

"Spanning the transition from colonial times was in Begum Akhtar's case a transition also from being the wife of a respected lawyer of Lucknow," she says, adding "she (Begum) was candid enough to admit that she came from a tradition of tawaifs. But added that she earned her living from that profession with honesty."

But such strong was her wish to get married and reach a respectable status in the society that as part of an arrangement she gave up singing after her marriage, says the book. (PTI)

Edited by Qwest - 19 years ago

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advil

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Posted: 19 years ago

#34

A hijack to remember
By Sen Gupta
(An article in Deccan Herald,Sept02,2005)

(Although the photograph with Begum Akhtar was never found, memory of the evening lingered- Sen Gupta)

It was almost a hijack. I was about to enter Rabindrakalakshetra in Bangalore, when two gentlemen 'hijacked' me and before I knew it, I was being driven in a big Buick towards Hudson's circle. The hijackers were two very distinguished professors. "Sorry, Sen Gupta, let me explain it," Professor Chandrasekhar of the Raman Research Institute was about to begin.

"No, please let me explain." That was the well known musician, Professor M R Gautam of Benares Hindu University, then on a visit to the Indian Institute of Science. "You know down south, we do not use a harmonium as an accompaniment and when Begum Akhtar, who has been flown all the way from Lucknow for her ghazal performance this evening, came to the greenroom in the Kalakshetra and saw this miserable little box, she simply refused to sing. You know how Begum Akhtar relies on a good harmonium which she plays herself. The organisers of the programme had promised to provide her with a good harmonium and she had not brought her own. The moment she saw that box, she decided to leave. The organisers are in a state of panic now. All the tickets have been sold. Rabindrakalakshetra is almost full. I remembered you have a good harmonium. We decided to take a chance and were lucky to find you. Hope you do not mind being dragged away like this."

Fortunately in those days, more than 30 years back, the traffic in Bangalore was nothing like what it is today and in less than half an hour we could go to Vyalikaval and come back to Kalakshetra with my scalechanger made by the famous Pakrashi of Calcutta. We carried the big box and entered the green room. Begum Akhtar looked glum. Her sarangi player looked anxious and the tabla player was pacing the floor. As soon as she saw my scalechanger with Pakrashi inscribed on it, her face lit up. "Check the tuning," she told the sarangi player. "Please play the kalipanch." I played the scale. Barabar ( perfect), he said.

Begum Akhtar walked onto the stage and started with one of her immortal numbers, "Koi yeh kahede, gulshan, gulshan..." and then went on singing. That was one of the most memorable evenings of my life. It was a proud one too.

After she received a standing ovation, Begum Akhtar walked back to the greenroom in her regal majesty, the diamond on her nose flashing.

I went to fetch my harmonium and the moment she saw me, she called me, held my hand and made me sit next to her. "You saved my evening," she said. "My harmonium is a hundred times more precious now that you have played on it," I told her. She smiled.

"Take our photo," she told one of the photographers. "Here is my chance of a life time," I thought, being photographed with Begum Akhtar.

I went to the cameraman and asked for his name and address. Instead, he took mine and promised to send me a copy. He never did. Soon after this, Begum Akhtar passed away almost on stage as she was singing to a packed house in Ahmedabad.

Many years have passed since then, but how can one ever forget her "Aye mohabbat tere anjam pe rona aaya...." that she wrenched our hearts with, that precious evening in Bangalore.

Source : http://www.deccanherald.com/deccanherald/sep22005/editpage15 2627200591.asp

Edited by ad_0112 - 19 years ago

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Bob Chowdhury

@Qwest

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Posted: 19 years ago

#35

Begum Akhtar for her ghazals

Akhtaribai Faizabadi, or Begum Akhtar as she was more popularly known, was born on 7th October, 1914 in the small town of Faizabad, Uttar Pradesh in northern India. She was born in a high class family that was not musically inclined. However, at her uncle's insistence, she was sent to train under Ustad Imdad Khan, the great sarangi exponent, and later under Ata Mohammed Khan. Later she travelled to Calcutta with her mother and started learning music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan and finally she became the disciple of Ustad Jhande Khan Saheb.

Her first public peformance was at the tender age of fifteen. She took the music world by storm. The famous poetess Smt. Sarojini Naidu appreciated her singing during a concert which was organised in the aid of victims of Bihar earthquake. This encouraged her to continue singing ghazals with more enthusiasm. She also cut her first disc for the Megaphone Record Company at that time. A number of gramophone records were released carrying her ghazals, dadras, thumris, etc.

With the advent of talkie era in India, Begum Akhtar acted in a few Hindi movies in thirties. East India Film Company of Calcutta approached her to act in KING FOR A DAY (alias Ek Din Ka Badshah) and NAL DAMAYANTI in the year 1933. Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. The movies she acted in are: Ameena (1934), Mumtaz Begum (1934), Jawaani Ka Nasha (1935), Naseeb Ka Chakkar (1935).

Subsequently Begum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, as a result of which she acted in ROTI which was released in 1942 and whose music was composed by maestro Anil Biswas. ROTI contained six of her ghazals but unfortunately due to some trouble between producer and director, Mehboob Khan subsequently deleted 3-4 ghazals from the film. All the ghazals are available on Megaphone gramophone records. Begum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Begum AKhtar was married to barrister Ishtiaq Ahmed Abbasi and became known as Begum Akhtar. However, after marriage, due to her husband's restrictions, she could not sing almost 5 years, and subsequently, she fell ill. Music was prescribed as the only remedy! In 1949, she returned to the recording studios. She sang three ghazals and a dadra at Lucknow Radio Station. She wept aferwards and returned to singing in concerts, a practice which lasted until her death.

Begum Akhtar's involvement with films was not yet over. Music Director Madan Mohan persuaded her to sing in two Hindi movies viz. DAANA PAANI (1953 - ai ishq mujhe aur to kuchh yaad nahii.n hai) and EHSAAN (1954 - hame.n dil me.n basaa bhi lo). Satyajit Ray's Bengali film 'JALSA GHAR' (1958) was her last role where she played the role of a classical singer.

She acted on stage as well. However, the theatre required for her to raise her voice so that she could be heard in "the pit class" at the back. Her voice was adversely affected by it. So, she had to give it up.

Begum Akhtar is almost synonymous with the concept of ghazal gaayaki. She immortalized her own definitive style of singing - a style that few have been able to match. She is rightly known as Mallika-e-Ghazal.

Her voice matured with time, adding richness and depth. She sang ghazals and other light classical pieces, singing them in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based.

During her last concert which was held in Ahmedabad, she had raised the pitch of her voice as she felt that her singing that day had not been as good as she had wanted it to be. She had not been feeling well that day to begin with. The additional demand and stress she put herself under resulted in her falling ill and being rushed to the hospital. She passed away on 30th of October, 1974 leaving a big void in ghazal lovers' hearts.

She was posthumously awarded the Padmabhushan. Just eight days before her death, she recorded Kaifi Azmi's ghazal:

sunaa karo merii jaan un se un ke afsaane
sab ajanabii hai.n yahaa.N kaun kis ko pahachaane

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advil

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Posted: 19 years ago

#36

Thank you too. This is my favourite topic after u know what 😉

Originally posted by: Dawn05

thank you Barnali ji , Bhaskar ji , Qwestji , Anol bhai and Adi for this great thread .

it is a treat for me 👏👏👏

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advil

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Posted: 19 years ago

#37

Online edition of India's National Newspaper
Friday, November 03, 2000

The mesmeric voice lives on... Begum Akhtar

Music was an inseparable part of Begum Akhtar's life and it remained so till the end. M. Q. KHAN remembers the Queen of ghazals who passed away on October 26, twenty six years ago.

THE POPULARITY of the ghazal owes a lot to ghazal queen Begum Akhtar. In the Iwan-e-Ghalib, under the banner of ''Bazm-e-Rooh-e-Ghazal'', in 1974 the 60th birthday of Begum Akhtar was being celebrated, where she sang a ghazal of Kaifi Azmi:

''Woh tegh milgayi jissay huatha qatl mera,

Kisi kay hath lekin nishan nahin milta''.

(The sword which had killed me was traced,

But there was no mark of any one's hand on it.)

She was not keeping well then. When she sang the lines her disciples and audience began sobbing. How prophetic these lines were and how apprehensive she had been about her death which laid its icy hands on her shoulder just 25 days later on October 30, 1974!

Begum Akhtar's name was Akhtari and she was born on October 7, 1914, in Faizabad (U.P.). After her marriage to Quazi Ishteyaque Ahmad Abbasi, bar-at-law in Lucknow, she was known as Begum Abbasi. In the realm of ghazals she is known as Begum Akhtar and she reigned supreme for about 35 years.

She had an inherent fondness for Urdu which grew stronger as time went by. After marriage, she discovered the literary environment. Poets from all parts of the country came to Lucknow and stayed at the residence of Quazi Ishtayaque Ahmad Abbasi and many Mushairas were held there.

After primary lessons in music, Ustad Atta Mohammad Khan of Patiala gave her lessons in Indian light classical music. After him, Ustad Abdul Waheed Khan of the Kirana school of music, the brother of Ustad Abdul Karim taught her music, especially khayal and dhrupad.

She was about nine or ten years old when some of the inhabitants of her own mohalla (area) developed a deep enmity with her mother. One night they set her house on fire. Scared of the constant danger, her mother took her to Gaya in Bihar. Later on they shifted to Calcutta. Some time later a music conference was organised to raise funds for the victims of the 1934 earthquake in Bihar. It was here, for the first time, that she sang before an audience and won the hearts of her listeners.

It was a turning point in her life. Renowned singers and musicians from all parts of India were invited to take part in this function. Begum Akhtar went there with her teacher Ustad Atta Mohammad Khan simply as part of the audience. There was no idea of including her in the programme. At the function time was running out but the artists who had to perform had not arrived. The audience grew restless. The organiser approached Atta Mohammad Khan who requested Begum Akhtar to sing and engage the public for a while.

Her first ghazal was well appreciated. It encouraged her and she continued singing for more than an hour. The audience forgot everything and sat spellbound. When she came off the stage, a khadi clad woman congratulated her saying, ''I'm very pleased with your singing. I listened to you today, you remember to listen to my lecture tomorrow.'' After this she disappeared. Begum Akhtar later came to know that the person was Sarojini Naidu.

Her fame spread and gramaphone companies began recording her. She had more than 400 songs recorded. She also worked in theatre and cinema. Entering the film world in 1937, she worked in a few films, notable among them being - ''Roti, Ek Din Ki Badshah'' and ''Mumtaz Begum''. She also sang for films such as ''Nal-o- Damyanti'', ''Nach-Rang'' and ''Ehsan''. In the Satyajit film, ''Jalsaghar'' she performed live and the film was widely acclaimed for its superb music.

Fortune always smiled on her. Whatever she aspired for, she got. She won innumerable awards and was honoured with Padmashri. Padma Bhushan was conferred on her posthumously. She is well known as the Queen of Thumri and the Queen of Ghazal. Her individuality lies in the fact that she was a great exponent of light classical music, and more so in the fact that it was she who raised its status to great heights.

She was an expert in the Punjab Ang and Purbi Ang; but she fused the two and produced a third which came to be called after her as Begum Akhtar Ang. This new ang gave the thumri a new tone, elasticity and a turning point which was totally the creation of Begum Akhtar.

While singing dadra she included suitable Urdu lines so deftly that people who did not like anything else other than classical songs also listened with rapt attention. She very often said that dadra properly handled could be very interesting and touching.

So far as ghazal singing is concerned she is peerless. She sang the ghazal in different ragas and made them so popular that musical meets are now seldom successful without ghazals.

In 1967 she had her first heart attack. In spite of having been advised complete rest she began giving recitals within a fortnight. She had a second attack again on July 25, 1974. She recovered but lost her stamina. And finally on October 26, 1974, after singing at a musical meet in Ahmedabad she had third attack. Four days later, the singing bird flew away.

Edited by ad_0112 - 19 years ago

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advil

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Posted: 19 years ago

#38

Interview

June 27, 1999

"Today ghazal is being sung as geet
in India"

REKHA SURYA looks more like a model than a ghazal singer. However, when she starts talking she comes across as an intelligent person, who is pretty bindaas about life. Though Rekha talked frankly about her experiences as a singer, she was a little wary that as a women staying alone she should give no wrong impressions. She is an extremely sensitive person and is a Luckhnavi to the core.

Rekha spoke passionately about her music-- her beautiful expressive eyes saying more than the words. She said that though she has achieved recognition for her art, she still has miles to go before she can relax and look back. Excerpts from an exclusive interview with Belu Maheshwari:

Do you feel that even in today's age there are connoisseurs of traditional forms of music ?

Definitely. I am following the traditional style of ghazal gayaki in my concerts. It is not foot-tapping music. I have my fans who are very loyal, including the young. Even today, Begum Akhtar's music commands its fair share of music aficionados. Music is not limiting, it does not have boundaries.

How did you, with no background in music, get into this field?

I have no musical pedigree, though I liked singing from childhood. When I joined Miranda House, Delhi, to do my graduation in literature, I was exposed to different styles of music. I met Begum Akhtar through an acquaintance and asked her to make me her shishya. She had stopped teaching because of some bad experiences with her disciples. But I persisted. She asked me to sing, and after hearing me said that she would not let my voice go waste. I was her sishya for a year. She died thereafter. She gave me a lot.

What was Begum Akhtar like as a person?

Till the last she was busy giving concerts. She was a wonderful person. She made my father agree to my giving concerts. Begum Saheeba taught me how to behave with fellow musicians, audiences, organisers, etc. Her dictum was: Kisi ka dil nahi dukhana chahiye. She was graciousness personified, wore only sarees and always advocated dignity as the basic virtue for a performer. I was her akhri shagird.

How have you evolved as a singer. How different are you from Begum Akhtar?

Begum Saheeba used to say that learning music was more difficult for my generation because of the many distractions. I have been open to many influences, different styles, other gharanas. She always said, try to imbibe good from all, even from film music. I have been a shishya of others also ---Bashir Khan and Girja Devi. I am a mixture of the Benaras and Patiala gharana.

What did you learn from Bashir Khan, and Girja Devi?

Bashir was basically a sarangi player-- brilliant, eccentric, a great believer in creativity. He taught me how to use my head while singing and the importance of riyaz. Girja Devi was a great believer in the physicality of music because she was a virtuoso. She believed in dazzling -- her command over Palta and Taan were unbelievable. I learnt from her on and off, never over a long period of time.

Did you have to struggle to be on your own?

My first concert was at the Prithvi theatre. It had Shabana Azmi and Kaifi Azmi in the audience. The response was warm. I did struggle for about 3-4 years initially. I have sung all over the world-- U.S.A. Canada, Sri Lanka. My first priority was to buy a flat, have a physical niche in the world. Now I am settled. I have enough work.

How do people react to a young, good looking singer?

Life has been difficult. I belong to Lucknow and Lucknavi tehzeeb teaches politeness. This tehzeeb got me into difficult situations because some people mistook it for weakness. Now I am very careful in picking and choosing private concerts. We generally have knowledgeable listeners but some can be crass also. I am a headstrong person and have lived life on my terms. I do not now take nonsense.

Isn't your style of singing akin to the courtesan way of performing?

The word courtesan now carries negative connotations, but in those times they were great performers. Some of the greatest contributions in Hindustani music have been from Sidheshwari Devi, Rasoolan Bai, Begum Akhtar, all courtesans, basically pandering to male audiences.

In this style of singing there is an element of phampha taal, it is not necessarily negative. We have to communicate one to one with our audience-- aankhon mei aankhein dalane wala music hai. It is not a Khayal which can be sung with eyes closed; it is interactive singing.

I communicate with women also. I find them more sensitive as audiences. I play my own harmonium so there is no scope for adda.

What is the difference in classical singing and your style?

In classical singing they start with Kajri, Dadra. Thumri is sung as dessert piece at the end. Khayal singers are not trained to pour passion in their singing. Thumri singers are. Ours is specialised singing. It demands fulsomeness of voice. Bhim Sen Joshi is not a Thumri singer though in his field he is brilliant.

What genre does your singing fall into?

Ours is semi-classical, based on ghazal gayaki. What you hear is not really pure ghazal, Jagjit Singh is a very good nazm/geet singer. He is not a good ghazal singer. He has a lovely voice and has popularised the so-called ghazal singing. But he has also diminished the original standards of ghazal singing by diluting it.

Do you think Thumri will survive?

Thumri is surviving, will survive though its allied forms may not survive. I am confident of its survival because of its inherent beauty. I have a dream to build a Thumri and allied forms foundation in order to ensure its continuation in the future. Good Khayal singers will come, they have to.

Tell us about your personal self?

I hail from Lucknow, and I am a modern working woman. An artiste basically leads a lonely life, there is an emotional void. Living on your own is not easy but my family helps me not to derail. I draw my strength from music, family and friends. I feel uncentered if I am away from music for long.

What are the qualities you seek in people you want around you and who do you shun?

Sincerity, honesty. I feel artistes can be friends because they are like-minded and can interact at least at one level. Somewhere, all artists have a certain degree of estrangement from society.

I cannot stand altu-phaltu people. I am upset by peoples prejudices and biases. I cannot tolerate those people who perceive me as a light and frivolous person when they see a package of good looking singer. I am an educated, accomplished and an intelligent woman whose music is serious.

What according to you is true ghazal singing?

Today, ghazal is being sung as geet in India. Pakistani ghazal singers have another style in Khayal which has Sargam and Teehai, which are Khayal characteristics. While I am not against experimentation and innovation, I think the correct manner of rendering ghazal is by using a Thumri approach. Mehdi Hassan is a brilliant ghazal singer, he has given it a new direction and seriousness. But because he does not have strong training in Thumri singing, he tends to be sentimental rather than passionate.

What would you list as your achievements?

In spite of the commercial pulls, I am sticking to pure ghazal gayaki and holding my head high. And I do consider myself as a purist because I believe in being true to a form.

How do you choose your ghazals?

I work on choosing my songs very painstakingly. I have dug out old Jhula, Kajri, Cheti and Hori in the form of Dadra to add to my repertoire. Then I have learnt Urdu. I read a fair amount of poetry and interact with contemporary poets. While ghazal gayaki has deteriorated ghazal writing has not. Issar Ansari a poet in Bombay is my favourite. I want to sing contemporary poets who use contemporary idiom.

Does it mean you have made no compromises in your singing?

I have accepted the changing realities of time. In terms of language, I have simplified the words. I try to avoid chaste Urdu words as people are not erudite enough. I explain what I am singing to the audience. I give the text, explain the context.

Edited by ad_0112 - 19 years ago

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advil

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Posted: 19 years ago

#39

Film pays tribute to the life of 'Queen of Ghazals', 23.8.05

Nearly 30 years after she died, the essence of Begum Akhtar, known as 'The Queen of Ghazals', is captured in a new film, Aye Mohabbat, a dramatic and emotional story of a woman's empowerment and artistic achievement.

Begum Akthar fought for a place for herself as a woman and an artist, in the closed claustrophobic society of the thirties and forties. She belonged to an age of grace and leisure and her music and charm ensured a place for her in the world of the ghazal, so that even today the legend of Begum Akhtar lives on.

Now her incredible story is brought to life again by producer Juhi Sinha. "Begum Akhtar's success story is a tribute to her grit and determination," says Sinha. "Certainly, society at the time was male dominated and while a number of men passed through her life, her success was in the face of all odds and due to her talent and single-minded passion for music, and music alone."

Surrounded by people, yet often alone, Begum Akhtar remained something of an enigma till the day she died. Begum's story is told in her own voice with English sub-titles from archival footage, with her songs providing the music and audio tracks.

Begum Akhtar once said, how proud and happy she was to have been born in a country where her music was loved and appreciated. Her music transcended all barriers of caste, creed, age, religion and political and physical boundaries.

During the 1930s and 1940s Begum was at the peak of her success facing challenges in a male dominated industry.

Sinha says it was challenging to make the film recalling how difficult it was to present the life of the mysterious woman. Three decades after Akhtar's death and with no close relatives and few contemporaries alive, the production crew visited numerous cities to meet with a vast cross section of people - friends, artists, family, neighbours, musicians, and disciples.

"Begum Akhtar was something of an enigma and perhaps she enjoyed the aura of mystery she created. So while the number of people she interacted with, as a performer was very large, it was really difficult to cull the details about her personal life," says Sinha.

"It took months of patient research and many interviews before we could plan the shoot. I often think that perhaps Begum Akhtar was how God meant women to be - beautiful, charming, whimsical, enigmatic - and in her case, enormously talented."

"Aye Mohabbat", is a film on Begum Akhtar by Juhi Sinha

Edited by ad_0112 - 19 years ago

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Posted: 19 years ago

#40

Aye Mohabbat, a film of Begum Akhtar plus post-show discussion with producer Juhi Sinha.

Tuesday 23rd August, Hexagon Theatre, mac 8pm. Tickets 3.50 (2.50 concs) Ticket office 0121 440 3838 or www.macarts.co.uk

Post-show discussion with producer Juhi Sinha hosted by Sunandan Walia (End Board Films)

"I often think that perhaps Begum Akhtar was how God meant women to be - beautiful, charming, whimsical, enigmatic - and in her case, enormously talented." Juhi Sinha

Aye Mohabbat is the dramatic and emotional story of a woman's empowerment and artistic achievement.

Nearly 30 years after Begum Akhtar died, Juhi Sinha set out to find the essence of the women known as "The Queen of Ghazals" and the woman, whose supremacy in the world of ghazal is perhaps still unchallenged.

She fought for a place for herself as a woman and an artist, in the closed claustrophobic society of the thirties and forties. Charming, temperamental, generous, whimsical, outrageous, independent, but above everything she was tremendously talented. Again and again circumstances diverted her from her true destiny - her music, but each time she had the courage and perseverance to start all over again. She spurned name, fame and money in other fields, and steadfastly returned to her first love, her music. Her fans were legion. In every city she visited, she charmed with her voice and her smile.

Surrounded by people, yet often alone, Begum Akhtar remained something of an enigma till the day she died.
Begum Akhtar once said, how proud and happy she was to have been born in a country where her music was loved and appreciated. Perhaps what she didn't realize fully was how her music transcended all barriers of caste, creed, age, religion and political and physical boundaries, so that briefly the borders of nations ceased to exist.

Making the film on Begum Akhtar has been enormous challenge. Three decades after her death, with no close relatives and few contemporaries alive, it has been a labour of love that has taken Juhi and her production crew to numerous cities to meet with a vast cross section of people - friends, artists, family, neighbours, musicians, and disciples but ordinary people too, whose life she touched briefly, yet unforgettably

Begum Akhtar belonged to an age of grace and leisure, where 'tehzeeb' was a fact of daily living, not a word from Urdu poetry. And her music, charm and 'ada', have ensured a place for her in the world of the ghazal, so that even today the legend of Begum Akhtar lives on.
Begum's story is told in her own voice (archival footage), with her songs providing the music and audio tracks. There are English sub-titles for Begum's voice.

The film is 50 minutes long.

Edited by ad_0112 - 19 years ago