DR. SITARA DEVI:A UNIQUE KATHAK DANCER OF BANARAS GHARANA

COVER OF HER KATHAK LP-RECORD

SITARA JI

HER AUTOGRAPHED SNAP

A COMPOSED SNAP

SITARA JI BEING HONOURED BY THE PRESIDENT OF INDIA IN 2009

Recently in July 2009,President of India honoured Dr. Smt. सितारा  देवी  with संगीत  नाटक  अकादेमी  फेलोशिप  अवार्ड  for her great contribution in the development of KATHAK form of dancing.
She belongs to बनारस  घराना  ऑफ़  कत्थक  नृत्य ,which was originated by her father पंडित  सुखदेव  महाराज  ऑफ़  बनारस.Perhaps in the year 1936-37 when she was only in her teens,seeing her wonderful dance performance Gurudev Rabindra Nath Tagore conferred her with the title of 'नृत्य सम्राज्ञी '. Now she has crossed the age of 90 years and still she is active in dancing.
I got opportunity of enjoying her live performances of kathak- dance,three times in the years of 1973 and 1974.One was performed in Ravindralaya,Lucknow and the other two were in Kanpur.Even today after so many years,I remember her artistry and finesse in kathak dancing which is unique.
The dance ballets 'द्रौपदी  चीर  हरण ','जटायु  उद्धार ','कालिया  मर्दन ' created by her, come alive with their each character played by सितारा  देवी  herself.She can keep the spectators spell bound for hours and hours, by her magnificent kathak-dance.I have seen people wiping their tears  during her presentation of 'जटायु -उद्धार'.We get astonished on her calibre of very frequent mixing of the three characters of श्री  कृष्ण ,द्रौपदी  and दुस्साशन  without any error in their facial expressions,in the climax part of 'द्रौपदी-चीर-हरण '.
She has a record of continuous dancing for more than 12 hours, in 'Birla Matushree Sabhagar',in Mumbai.She was honoured with the titles of  पद्मश्री in the year 1973 and later  with पद्मभूषण , by the President of India.She was also honoured with a Ph.D. Degree by the vice-chancellor of इंदिरा संगीत विश्वविद्यालय , खैरागढ़ ,मध्य-प्रदेश.
सितारा  देवी has also acted in about 33 Hindi Films between the years 1938 and 1957 as heroine and also in supporting roles.She has also sung about 44  her own songs in the films. Some of her popular films were:वतन,बागबान  (1938),पागल (1940),स्वामी (1941),दुःख-सुख ,कलयुग ,रोटी (1942),आबरू, अँधेरा ,छेड़ छाड़ ,नजमा ,भलाई, पगली,सलमा (1943),चाँद (1944),फूल (1945), हलचल (1951),लेख (1953),अंजलि (1957) etc. 
Later she also gave'Dance-Direction' in some of the Hindi films like:कोहिनूर ,अमर ,हलचल ,अंजलि ,सावन  को  आने  दो  etc.
   Famous Kathak dancer and film actor Late गोपीकृष्ण was the son of Sitara Devi's real elder sister तारा.I have mentioned her basic contribution in the making of V.Shantaram's famous film 'Jhanak Jhanak Payal Baje' in my other article on  this film .She still deserves more honours for her art.At present she is living with her daughters Jayantimala and Priyamala in Mumbai.I wish her to live  more than 100 year's life.She is really a 'Bharat-Ratna'.
 
Here is a 'snake-dance' number from Chetan Anand's  film 'ANJAJI' in which she played as the mother of heroine Nimmi.

RAAGMALIKA IN HINDI FILM: RAM RAJYA (1967)

Hindi film राम  राज्य (1967) was colour version of the old hit Ram Rajya(1943)..The role of सीता  was played by actress बीना  राय  ( of film ‘ताजमहल ’ fame).The music of the film was composed by veteran music director वसंत  देसाई  and suitable lyrics were penned by poet भरत  व्यास . In the film friends of Sita try to entertain her before the birth of Ram’s son लव , by presenting a dance-drama about the origin of the birth of human child on earth.The central characters of the dance –drama were played by Kathak maestro गोपी  कृष्ण  and actress स्नेहलता .The genius music director composed a beautiful रागमालिका  depicting the whole dance-drama. The show begins with a poetical narration of the origin of human life on earth, sung by मन्ना  डे  in राग  केदार :
”था  अँधेरा  छाया  हुआ ,
  थी  दिशाएं  सुनसान |
  न  सृष्टि  थी  न  जीवन था ,
  न  देह  थी  न  प्राण ||
  अकेला था पुरुष परबह्मा पूर्ण का |
  इच्छा हुई इस पुरुष की ,
  एकोहम बहुष्यामी |
  एक  से  अनेक  होने  का  सतत  चिंतन हुआ ,
  निज प्रकृति को पुकारा और शून्य में स्पंदन हुआ ||”.
 This part shows a male figure standing in a shadow and singing the above lines.
Thereafter गोपीकृष्ण  and स्नेहलता  dance and sing a duet:
 “आ  जा  रे  आ …आजा  तुझ  बिन  साधना  मेरी  अधूरी  है||
   तेरे मेरे मिलन से ही सृष्टि पूरी है | आजा रे आ जरा ..||
   .........बता तू कौन है ,तेरे बिन क्यों मेरी धड़कन मौन है ||
   तू है धरती और मैं आकाश हूँ ,बन के सावन मैं बुझाता प्यास हूँ ||
   तू है सावन तो ये मेरा मन मयूरी है |
   तेरे मेरे मिलन से ही सृष्टि पूरी है ||
   आ जा रे आ जरा ……” composed in राग  भूप -कल्याण  and sung by मोहम्मद  रफ़ी  and लता  मंगेशकर .
After this they are shown departed and in rainy season Snehlata sings a beautiful composition in राग  सूरदासी –मल्हार :
” डर  लागे  गरजे  बदरिया |
   सावन की रुत कजरारी कारी चमके मतवारी बिजुरिया |
   अब काह  करूँ कित जाऊं, मोहे छोड़ गए सांवरिया ||
   डर लागे …।
   मेहा बरसे नैना तरसे ,प्यासा मनवा तुझको पुकारे |
   अब कहा करूँ कित जाऊं ,मोरी सूनी हाय  सेजरिया ||
   डर लागे ......” sung by लता  मंगेशकर .
  Then happy phase of their life is shown and again both dance and sing a duet :
” हटो  जाओ  मत  छेड़ो  बलम तोरे संग नहीं बोलूं रे |
   हटो छोड़ो मत रूठो दुल्हन ,आयी रे रुत बसंत की ||
   कुहू कुहू कोयल बोले ,गुन गुन भंवर डोले |
   हौले हौले पवन चले ,कलियों के घूँघट खोले |
   ऐसे में आओ चलो गले मिले हौले हौले हम ||
   आयी रे रुत  बसंत  की,...... ”,which is composed in राग  बसंत  मुखारी ( or भैरव  बहार ) sung by मोहम्मद  रफ़ी  and लता  मंगेशकर . 
This नृत्य  नाटिका  ends, showing a new born baby and from background a couplet:
”नर  नारी  के  मिलन  से ,झूम  उठा  संसार।
  नया  फूल  जग  में  खिला ,मिला  दिव्य  उपहार।” is sung by मोहम्मद  रफ़ी  composed in राग  भैरवी .
Along with very sweet songs,one can enjoy beautiful कत्थक dance pieces,performed by गोपीकृष्ण . This is one of the best Raagmalikas composed for Hindi films.वसंत  देसाई  had already composed two more Raagmalikas in Hindi films झनक  झनक  पायल  बाजे(१९५५)  and गूँज  उठी  शहनाई(१९५८) .Only a musician of VASANT DESAI'S calibre could create such beautiful musical compositions.

THUMRI SONGS (HINDI) IN FILMS

1. ठुमरी singing which was limited for a class of audience only who could attend music concerts and mehfils, was made popular among the common people by our हिंदी सिनेमा .The music directors of Hindi films composed thumri songs whenever they got a proper situation in the story.Thus a rich heritage of thumris is available ,if we reinvestigate the songs composed for Hindi films.The talent of many reputed vocalists of Hindustani Classical style were occasionally also used by Music Directors of Hindi Films, for such thumri compositions ,if the situation in the film allowed for it. Thus we have artists such as उस्ताद बड़े ग़ुलाम अली खान , बेगम अख्तर , बिरजू महाराज , निर्मला देवी , लक्ष्मी शंकर , शोभा गुर्टू ,परवीन सुल्ताना , कृष्ण राव चोनकर , आरती अंकलीकर , अजोय चक्रवर्ती ,etc. singing for films also. The story of persuading Ustad Bade Ghulam Ali Khan for playback singing for the character of Tansen , in film ‘मुग़ल -ऐ -आज़म ’ (1960) is well known.He first refused flatly to music director of the film नौशाद but when producer-director के .आसिफ insisted, he asked for Rs.25000 as fees for each song so that he himself may withdraw. But K.Aasif accepted his proposal and Ustad sang the famous ठुमरी “प्रेम जोगन बन के …” in राग सोहनी -ललित for this film.Similarly सत्यजित राय in his famous Bangla movie ‘जलसा घर ’(1959) showed on screen बेगम अख्तर herself singing a पीलू ठुमरी “भर भर आयी अँखियाँ …”. Also when Ray produced हिंदी फिल्म ‘शतरंज के खिलाडी ’ he used the voice of बिरजू महाराज for a ठुमरी in राग खम्माज ,’कान्हा मैं तो पे वारी ..’ picturised on a कत्थक dancer in the court of नवाब वाजिद अली शाह . Here I am giving a few of the thumris from the Hindi films:(1). बाबुल मोरा नैहर छूटल जाय - के .एल .सहगल - स्ट्रीट सिंगर -(१९३४)- भैरवी (2). चंदा देस पिया के जा -अमीर बाई कर्नाटकी -भर्तृहरि -(१९४४)-हेमंत (3) साँझ भई नहीं आये --निर्मला देवी -शमा परवाना -(१९५५)-पहाड़ी (4) लागी नहीं छूटे राम -लता ,दिलीप कुमार - मुसाफिर -(१९५८) – भैरवी (5) चले जैहो बेदर्दा - राजकुमारी - बेक़सूर –( १९४९) – पीलू (6) आये ना बालम वादा.. - रफ़ी - शबाब -( १९५४) - भैरवी (7) सैयां जाओ जाओ तोसे न बोलूं .. -लता –झनक झनक पायल बाजे -(१९५५)- देश (8) कजरारी मतवारी तोरी .. - राजकुमारी - नौबहार -(१९५४) – देश  (9). बाजूबंद खुल खुल जाये -लता –बाजूबंद -(१९५४) -भैरवी   (10) कैसे जाऊं जमुना के तीर.... -लता - देवता -(१९५६) - भैरवी  (11). बाट चलत नयी चुनरी ... -गीता रॉय   – लड़की -( १९५३) -भैरवी  (12) बाट चलत नयी .. –रफ़ी ,कृष्ण राव - रानी रूपमती –( १९५९) -भैरवी (13)  सजना  काहे  नाही  आये ..-ग़ुलाम  मुस्तफा  खान - बदनाम  बस्ती -भैरवी  (14). तुम  क्या  जानो .. .. – लता  –शिन  शिनाकी  बूबला  बू - 1952- जौनपुरी (15) बलमा  अनाड़ी  मन  भाये  –लता  - बहूरानी  - 1963 - हेमंत  (16). प्रेम  जोगन बन के .... - उस्ताद  बड़े  ग़ुलाम  अली  खान  - मुग़ल -ऐ -आज़म - 1960 - सोहनी -ललित  (17) जा  मैं  तोसे  नाही  बोलूं  – लता  –सौतेला  भाई - 1962 - अडाना  (18)  चाहे  तो  मोरा  जिया  - लता  - ममता  - 1966 - पीलू  (19) काहे  कान्हा  करत  बरजोरी  –लक्ष्मी  शंकर -बावर्ची - 1972 -खम्माज  (20) रस  के  भरे  तोरे  नैन  सांवरिया ...- हीरा  देवी  मिश्र  – गमन  -1972 - भैरवी  (21) लागा  चुनरी  में  दाग - मन्ना  डे  –दिल  ही  तो  है -1963 – भैरवी  (22)  ना  जा  ना   जा  परदेसी  - सुमित्रा  लाहिरी  - त्यागपत्र  - -जंगला  भैरवी  (23)  आये  न  बालम  का  करूँ - येसुदास  - स्वामी  -1977- –भैरवी  (24) छोटा  सा  बालमा  -आशा  भोसले  -रागिनी  - -तिलंग  (25)  आयी  ऋतु  सावन  की -भूपेंद्र ,मधुरानी - आलाप   -1973 - देश  (26)  ठाड़े    रहियो  ओ   बांके  यार  हो ... – लता  - पाकीजा  - 1971 -मांड  (27)  नजरिया  की  मारी  मरी मोरी ...   – राजकुमारी  – पाकीजा  - 1971 - पीलू  (28)  भर  भर  आयी  अँखियाँ - बेगम  अख्तर  –जलसा  घर (बंगला फिल्म ) -1959 – पीलू  (29)  कौन  गली  गयो  श्याम  - परवीन  सुल्ताना  – पाकीजा   - 1971 –खम्माज  (30)  हमें  तुमसे  प्यार  है कितना .. – परवीन  सुल्ताना  - कुदरत  - 1981 – भैरवी  (31)  आन   मिलो  सजना  - परवीन  सुल्ताना , अजोय  चक्रवर्ती - ग़दर -2003 -खम्माज  (32). कान्हा  मैं  तो  पे  - बिरजू  महाराज -शतरंज  के  खिलाडी -1977 -खम्माज  (33) छबि    दिखला  जा  - रेवा  मुहुरी  –शतरंज  के  खिलाडी -1977 -खम्माज  (34) नैना  ढूंढें  तोहे  श्याम रे ...- मन्ना  डे  – दिल  की  राहें  - 1973 - काफी  (35)  लागी  नाही  छूटे  – लता  , मीना कपूर  - सौतेला  भाई  - 1962 - भैरवी   (36) चली  पी  के  नगर  –आरती  अंकलीकर  – सरदारी  बेगम - -भैरवी  (37) फूल  गेंदवा  न  मरो - मन्ना  डे  – दूज  का  चाँद - 1964 –भैरवी  (38) बाबुल  मोरा  नैहर  – जगजीत , चित्रा  सिंह - आविष्कार  - 1973- भैरवी  (39)  साँवरा   रे  तोरे  नैना लागे  –संध्या  मुख़र्जी  – ममता  -1966 – शिवरंजिनी  (40)  मोरा सैय्या  सौतन  घर जाए  - वाणी  जयराम  – पाकीज़ा  - 1971 - पहाड़ी  (41)  सैय्याँ    रूठ  गए   –शोभा  गुर्टू  - मैं  तुलसी  तेरे  आँगन  की  -1978-पीलू   (42) मोरे  सैय्याँ   बेदर्दी  – शोभा  गुर्टू  – फागुन   - 1973 - भैरवी (43). हटो  काहे  को  झूठी  – मन्ना  डे  - मंजिल  - 1959 -भैरवी  (44)  गोरी  तोरे  नैन काजर बिन कारे .. - रफ़ी  , आशा  - मैं  सुहागन  हूँ  - 1964 - देश  (45)  बैंयां  ना  धरो  बलमा  – लता  - दस्तक  - 1973 -नट  भैरव  (46)  नज़र  लागी  राजा तोरे बंगले पे ..  - आशा  भोसले  – काला  पानी  -1958 - विहाग  (47)  आयो  कहाँ  से घनश्याम ... - मन्ना  डे    - बुड्ढा  मिल  गया  - 1971 - खम्माज  (48)  हेराई  आयी  कंगना नदिया किनारे ...  -लता  - अभिमान  -1973 - पीलू  (49)  जाओ  ना  सताओ  रसिया ... – लता  – रूप  की  रानी  चोरों  का  राजा  -1961-बागेश्री  . (50)  जा  जा  रे  जा  बालमवा....     - लता  – बसंत  बहार  - 1956 - बागेश्री  (51)  राधिके  तूने  बंसरी  – Rafi - बेटी  बेटे  - 1964 - अडाना  (52)  क़दर  जाने  ना मोरा बालम ... - लता   - भाई  भाई  - 1956 - भैरवी  (53)  बालमवा  नादान  - लता  - आराम  - 1951 - भैरवी  (54) छाई  कारी  बदरिया  बैरनिया  हो  राम ..-लता - जीवन  ज्योति -1953-पीलू  (55). मोरे  कान्हा  जो  आये  पलट  के , उनसे  खेलूंगी  होरी ..-आरती  अंकलीकर -सरदारी  बेगम  -2004- पीलू  (56). मोरे  सैंयाँ  जी  उतरेंगे  पार  हो  -लता   - उड़न  खटोला -1955-पीलू ( 57).ढलती  जाए  चुनरिया  हमारी ...-आशा  भोसले -नौ  दो  ग्यारह -1959-पीलू  (58).ठंडी  ठंडी  सावन  की  फुहार ...-आशा  भोसले  - जागते  रहो  -1956-तिलक  कामोद ( 59).सखी  कैसे  धरूँ  मैं  धीर ..-लता - कवि  कालिदास -1959- तिलक  कामोद (60).सखी  री   सुन  बोले  पपीहा  उस  पार ..-लता , आशा  - मिस  मेंरी  - 1957- तिलंग  (61) सजन  तोरी  प्रीत  रात  भर  की . .-आशा  भोसले - सगाई - -सोहिनी  (62).तुम  काहे  को  नेहा  लगाये ..-आशा  भोसले - जासूस - - तिलंग  (63).बड़ी  देर  से  मेघा ...-आशा  भोसले - नमकीन  - -तिलक  कामोद  (64) मैंने  रंग  ली  आज  चुनरिया ..-लता  -दुल्हन  एक  रात  की  -1966- पीलू  (65). घर  नाहीं  हमरे  श्याम .. -आरती  अंकलीकर - सरदारी  बेगम  -2004-गौड़  सारंग  (66) का  से   कहूं  मन  की  बात ..- सुधा   मल्होत्रा  -धूल  का  फूल -1959- काफी (67) काहे  गुमान   करे  री  गोरी ...-के .एल .सहगल -तानसेन -1943-पीलू  (68) कोई  रोके  उसे  और  यह  कह  दे - अमीरबाई  कर्नाटकी  -सिन्दूर -तिलक  कामोद (69)  सौतन  घर  न  जा ..-राजकुमारी -वारिस -1959-तिलक कामोद .(70) आजा पिया मोहे निंदिया ना आये ..-संध्या मुखर्जी -आलोर पिपासा -1965-बागेश्री .(71) तड़प  तड़प  सगरी  रैन  गुजारी -अमजद  खान -शतरंज  के  खिलाडी -1977-पीलू  (72) पिया  बिन  नहीं  आवत  चैन ..-के .एल .सहगल -देवदास -1935 -झिंझोटी  (73)  रो  रो  नैन  गवाओं  सजनवा  आन  मिलो ..-अशरफ  खान -बागवान  -1938-मिश्र  शिवरंजनी (74)  बार  बार  तोहे  क्या  समझाए  पायल  की  झंकार ..-लता ,रफ़ी  -आरती -1962-मिश्र  खम्माज   (75)  दो  नैना  मतवारे  तिहारे  हम  पर ..-के .एल .सहगल - माय  सिस्टर -1944-शुद्ध  कल्याण   (76) बालम  आये  बसों  मोरे  मन  में ...-के .एल .सहगल  - देवदास -1935-काफी (77)  ना  तोड़ो   पिया  लाज  का  बंधन ...-सलमा  आगा  -शीशे  का  घर -1983-मिश्र  सोहिनी (78)  सजन  संग  काहे  नेहा  लगाय ..-लता  -मैं  नशे  में  हूँ -1959-तिलंग (79)पा लागूँ कर जोरी श्याम मोसे ना खेलो होरी - लता मंगेशकर - आपकी सेवा में -1947 - पीलू (80)पिया के आवन की मैं सुनत खबरिया -उस्ताद अमीर खान-क्षुधित पाषाण-1958-खम्माज.(81)डारे जा,डारे जा ,डारे जा रंग... -शुभ्रा  गुहा -यात्रा -2007-भैरव्  .(82) जाओ जी जाओ .करो ना झूठी बतिया तुम तो बड़े हरजाई -शुभ्रा गुहा,अदिति भट्टाचार्य  -यात्रा - 2007-मिश्र खम्माज. (83)मोरी अँखियाँ ढूंढ रही -शुभ्रा गुहा - यात्रा -2007- मिश्र पीलू .(84) भोर भई ना आये  पिया ..-शोभा जोशी -हजारों ख्वाहिशें ऐसी - -भैरवी .(85)ढाई श्याम रोक लई...काहे छेड़ छेड़ मोहे ...-श्रेया घोषाल -देवदास -  -बसंत बहार (86)ठहरो ज़रा सी देर तो आखिर चले ही जाओगे ..-गीता  दत्त - सवेरा -  -बिलावल .(87) सुनो सजना पपीहे ने कहा सबसे पुकार के ..- लता - आये दिन बहार के -    - बिलावल . (88)हे बंधन बांधो ..-शोभा गुर्टू -पाकीज़ा -1971- भूपाली .(89)सैया हो तोसे लागे नैना ..- रफ़ी, आशा भोसले - नयी राहें -    -भैरवी .( 90) कान्हा बैरन हुयी बांसुरी....-रेखा भारद्वाज -वीर -2009 - मिश्र खम्माज  . (91)तडपे बिन बालम मोरा जिया -शुभरा गुहा - यात्रा -2007- दादरा .(92)ना  बजैहो ना बजैहो श्याम बैरन बांसुरी ...-लता मंगेशकर -आलोर पिपासा -1965-जंगला  भैरवी.(93)घिर आयी बदरिया पिया नहीं आये...-लता मंगेशकर -आलोर पिपासा -1965-शहाना.(94)बलमा बड़ा नादान रे ...-लता मंगेशकर -अलबेला -1953-भीमपलासी (95)मोरे अंगना आये री घनश्याम...-लता मंगेशकर -नरम गरम -    -भीमपलासी (96)जाओ जाओ नन्द के लाला तुम झूठे ..-लता मंगेशकर -रंगोली -1962-बागेश्री (97)अब तो सजन घर आ जा ..-लता मंगेशकर -झनक झनक पायल बाजे -1955-पीलू (98)जिया नहीं लागे का करू सजना -लता मंगेशकर -सौ साल बाद -1964-अभोगी .(99)चले आओ सैय्याँ पडू मैं तोहरे पैय्यां...-श्रेया घोषाल -खोया खोया चाँद -2005-देस (100)बाजूबंद खुल खुल जाए ...-              -बनारस -2003- भैरवी (101)तुम्हारी अदाओं पे मैं वारी वारी ....-               -मंगल पाण्डे-2009- दरबारी .(102)बेईमान तोरे नैनवा निंदिया ना आये ..-लता मंगेशकर-तराना -1954-मिश्र खम्माज.(103)मोरी बाली रे उमरिया अब कैसे बीते राम..-लता मंगेशकर -1964 -मिश्र खम्माज.(104)कान्हा कान्हा आन पडी मैं तेरे द्वार..-लता मंगेशकर -शागिर्द -1966-खम्माज.(105)अब आगे तेरी मर्ज़ी ...-लता मंगेशकर -देवदास -1955-मारू विहाग.(106)चली गोरी पी से मिलन को चली..-हेमंत कुमार -एक ही रास्ता -1955-सिन्धु भैरवी.(107)दिल लगा के क़दर गयी प्यारे ..-आशा भोसले -काला पानी-1958- मिश्र पीलू.(108)रैना बीती जाए श्याम ना आये ..-लता मंगेशकर -अमर प्रेम -1968-गुर्जरी तोडी.(109)झूठे नैना बोले साँची बतिया ..-आशा भोसले -लेकिन -1993-बिलासखानी तोडी.(110)जा रे बदरा बैरी जा रे ..-लता मंगेशकर -बहाना -1961-यमन कल्याण.                                                                 

RAAGMALIKA IN HINDI FILM: UMRAO JAAN ( 1982)

Rekha as UMRAO JAAN

KHAYYAM

GULAM MUSTAFA KHAN

COVER OF LP RECORD

उमराव  जान  (1982) was an award winning film for its music and songs.The atmosphere of the film was of mid-nineteenth century, during the reign of नवाब  of अवध  in लखनऊ .Umrao jaan was also a poetess as well as a trained singer and dancer of that time. In the film she is shown getting her basic training from a Ustad of Music,early in her childhood on a ‘kotha’ run by an old prostitute Khanum. Finding the proper situation in the film ,Music director खय्याम  composed a unique Raagmalika .Main singer is उस्ताद  ग़ुलाम  मुस्तफा  खान , whose lessons are repeated by singers शाहिदा  खान  and रुना  प्रसाद .
 रागमालिका  begins with an आलाप  and prayer:
 ”प्रथम  धर  ध्यान  दिनेश,
   ब्रह्मा विष्णु महेश …” in राग  भैरव.
Second song is:
 “अब मोरी नैय्या पार करो तुम,
   हज़रत निज़ामुद्दीन औलिया ..” composed in राग  तोड़ी.
 It is followed by a traditional composition in राग  केदार:
  “सगुन  विचार  आयो  बमना,
    कब  पिया  आये मोरे मंदिरवा  …”.
 In the mean time children are shown growing during their music and dance training and Raagmalika continues with the next number a होरी composed in राग  काफी :
“बिराज  में धूम मचायो कान्हा,
   कैसे कर जाऊं अपने धाम  ..”,
 followed by:
 “ दर्शन  दो  शंकर  महादेव |
    महादेव तिहारे दरश बिना,
    मोहे कल न परत घरी पल छिन दिन || …”
in राग  यमन  कल्याण  and on it the grown up 'उमराव  जान '(रेखा) is shown dancing on the steps of कत्थक.Along with dance steps both disciples further sing with their Ustad a मालकौंस  number:
 “ पकरत बैयाँ मोरी बनवारी,
    चुरियाँ करक दई  सारी अनारी ।।…”.
The Raagmalika concludes with a Holi Song in भैरवी :
“ बांसुरी बाज रही धुन मधुर कन्हैय्या की,
   खेलन जावत होरी …।।”.
 All the seven compositions reflect the talent and skill of musical genius खैय्याम ,the veteran music composer of Hindi films.

RAAGMALIKA IN HINDI FILM: PHOOLON KI SEJ (1964)

Adinarayan Rao

Hasrat Jaipuri

Manna Dey

Lata Mangeshkar

फूलों  की  सेज (1964) was second Hindi Movie of Music Director आदि  नारायण  राव .He again created a melodious Raagmalika in this film, reminding us of his memorable music score in the film ‘Suvarna Sundari'.The poetic lyrics were written by हसरत  जयपुरी .The whole raagmalika was picturized on a कत्थक  नृत्य नाटिका  on stage, superbly performed by our world class dancers: गोपी  कृष्ण  and वैजयंतीमाला .They presented fine ‘अभिनय’ alongwith ‘तोडा’, ‘टुकड़ा’, ‘परन’ and ‘चक्कर’. First composition “बिरहन  के  पास  बिरहा  की  आग ,
  तन मन सुलगाये,
  चमकत प्रेम ज्वाला नंदलाला ||
  जुल्मी याद आवन लागी ,
  मोहे रोज रोज तड़पावन  लागी …..
   सांवरो कहाँ? मैं  हूँ तिहारी ,
  प्रीत की मारी , आ जा मुरारी ||
  आ  भी  जा  रसिया ,
  मन  मोरा  प्यासा ||
  नैन कमल हैं निसदिन तरसे ,
  बिन बादल है झर झर बरसे ||
  बिन तोरे कछु नाही भावे ,
  आ रे आ मोरी थाम ले बैयाँ || 
  आ भी जा रसिया …।।”
  was sung by लता  मंगेशकर , in राग  अडाना , followed by a dance number:
“छुम   छुम  छुम  छुम  छुम्कत नाचत कन्हाई |
  चाल ढाल छवि न्यारी दे दे तारी ,
  तट बाजत पग नुपुर झंकारी ..” in the voice of मन्ना  डे  in राग  सारंग .
The next song is in the voice of लता :
"जा रे जा कान्हा जा रे जा |
  चलो छोडो मोरा हाथ जालिमा ,
  हटो तोसे हम न बोले जालिमाँ,
  कान्हा जा रे जा||"
  in राग  कल्याण  .
 Now मन्ना  डे  sings in राग  खम्माज  for Gopi Krishna showing कृष्ण  persuading राधा:
"हम से न रूठो राधा,जिया न जलाओ राधा|
  मुरली की तान तुम राधा |
  मोरा तुम ही राग, तुम ही रंग ,तुम ही प्राण हो,
  राधा  प्राण हो  …||".
Then happy mood is reflected by lovely कत्थक  Dance pieces and both sing a duet in राग  सोहिनी:
”मनमोहना  पिया तू जो मिला,
  मेरा खोया दिल मिल गया ||
  सुन सुन सुन मोरे सांवरिया ,
  रूंन  झुन झुन बजे पायलिया ||
  तन मन तो झूमे  प्रीत भरा,
  छुन छुन छुन नाचे तारों के साथ ||  
  मनमोहना पिया तू जो मिला ,
  मोरा खोया दिल मिल गया....... ||”
  in the voices of लता , मन्ना  डे  and chorus. Ballet comes to its end with सरगम  and dance instrumental in तीन  ताल . This composition was a confirmed proof of musical genius of  music directorआदि  नारायण  राव .

THUMRI :A STYLE OF CLASSICAL SINGING

LAKSHMI SHANKAR

GIRIJA  DEVI

NIRMALA DEVI

SHOBHA  GURTU

SIDDHESHWARI  DEVI

BEGUM  AKHTAR

USTAD BADE GHULAM ALI KHAN

Thumri is one of the most enchanting forms of musical expression in the Hindustani tradition.It expresses singer’s soul and temperament. Thumri is purely romantic or devotional in its content.In thumri singing stress is mainly on the portraiture of the mood, enshrined in the lyrics.The expressive part of the poetic theme of thumri ,depends on the singer’s musical expression.For projecting the mood of the thumri,singers employ ornamentations such as ‘खटका ’,’मुरकी ’,’मींड ’ etc.,alongwith voice modulation and delicate intonation.. The word Thumri has been derived from a combination of two terms ‘ठुमक ’ and ‘रिझाना ’.Thus it has an association with dance.ठुमरी  came in fashion in the early 19th century, in eastern उत्तर  प्रदेश  as an accompanying song of dance.But thumri got nurtured and groomed during the rein of नवाब  वाजिद  अली  शाह  of अवध , who was the greatest known patroniser of thumri and kathak dance. Nawab himself wrote thumris under the pen name of ‘अख्तर  पिया ’ and ‘बाबुल  मोरा  नैहर  छूटो  ही  जाये ..’ is one of his most popular thumris even today.The kathak maestros बिंदा  दीन  and his brother कालका  प्रसाद ,composed thumris, that were suitable for kathak dancing. Thus in लखनऊ  and बनारस  घराना ,thumri evolved into several varieties.In Lucknow style the cOntent of thumri is mostly an Urdu poem or ghazal,while in Benaras ,tappa is more popular. There are two main classes of thumri,”बोल -बाँट  की  ठुमरी ” and “बोल -बनाव  की  ठुमरी ”.The first style has stress on rhythm that is ‘thumak’ while the second style has combination of both ‘thumak’ and ‘rijhana’.Later another style of thumri singing got developed in पंजाब  , on which the influence of folk and पहाड़ी  tunes is found. The ragas most commonly suited to thumri singing are:भैरवी ,जोगिया ,देस , गारा , झिंझोटी ,खम्माज , काफी , पीलू , तिलक -कामोद ,तिलंग  .The taals employed are दीपचंदी ,चाचर ,तीनताल ,सितारखानी ,अद्धा  and पंजाबी  ठेका ,कहरवा . The credit of popularity of पूर्वी  अंग ठुमरी  goes to जानकी  बाई ,जोहरा  बाई ,रसूलन  बाई  ,सिद्धेश्वरी  देवी , बेगम  अख्तर  ,while पंजाबी  अंग  ठुमरी  got new dimensions due to उस्ताद  brothers बड़े  ग़ुलाम  अली  खान  and बरकत  अली  खान . Their traditions were inherited and further enriched with the hue and character of their own individual vocalism by गिरिजा  देवी ,निर्मला  देवी , लक्ष्मी  शंकर , सविता  देवी ,परवीन  सुल्ताना  ,शोभा  गुर्टू  and many other singers of new generation .Almost every male or female vocalist of Hindustani Classical style,have more or less shown his or her skills in Thumri singing.The Hindustani Classical Instrumentalists of ‘गायकी  अंग ’ have also presented many beautiful Thumri compositions on their सितार , सरोद , संतूर , शेहनाई  and बांसुरी  etc.Even in todays modern age , Thumri is still gracefully popular not less than a ख्याल  or ध्रुपद .It is a gem of Hindustani Classical Music.

A CLASSICAL MUSIC CONCERT TO REMEMBER

I was rushing towards Dadar in our car along with my family members, on Western Express Highway, in the early morning hours of Sunday .to attend the long awaited concert ‘PRATAH SWAR’. We were keen to reach the venue of the concert Ravindra Natya Mandir, well in time.I got the chance of listening to Pt. Kumar Gandharva and Smt. Vasundhara Komkali ,the parents of Sushri Kalapini Komkali, in a concert in October,1989 , held at Kanpur.
Today I was going to listen to their musical heritage, being preserved and groomed further by their able daughter.
 This concert was organised by 'Pancham Nishad' .First of all we did prayers and darshan of Shri Siddhi Vinayak ji , then we just crossed the open ground between the temple and the venue of concert and got into our seats exactly by 6:30 AM. To our astonishment the vocalist Sushri Kalapini  Komkali was already present on the dais and she was being introduced to the audience by Shri Shashi Vyas. This punctuality of time was being seen by us for the first time,which is almost never followed,in such type of  classical-music concerts.
She began her programme by rendering a khayal in raga Nat Bhairav then Bilawal and two Taranas, all were superb, reminding us,of the melodious voice and the singing style of her father, Late Pt. Kumar Gandharva. She concluded the concert by singing the favourite Meera Bhajan of her father 'Mhara olagia ghar aaya ji..' in Bhairavi.I cannot forget the discipline and devotion with which everyone attended the concert. 
Those two musical hours of the concert, I will remember till my whole life. Organisers were expecting a small gathering but it grew to a huge strength of about five hundred people.This shows the magnetic effect of her singing and our divine classical music!!

LIGHT CLASSICAL MUSIC IS FOR MASSES

BEGUM AKHTAR

GIRIJA DEVI

SHOBHA GURTU

Hindustani classical music in all its known vocal and instrumental forms,is composed, using the seven basic notes: सा ,रे , गा , म , प् , ध  & नि , known as the सरगम  of Music.Using these notes along with their all possible variations, in different modes and proportions, a large number of Raagas and Raaginis have been composed by the Pandits and Ustads of music,since centuries back . Making finer changes in the treatment of the ragas at different levels various Gharana traditions took birth . Thus we have a rich heritage of vocal and instrumental compositions ,which is known as our Indian Classical Music.Out of these standard compositions, the light classical form also got developed, side by side, as the simpler form of basic ragas.Thus alongwith the ख्याल  singing of ragas, टप्पा , ठुमरी , दादरा , गीत , ग़ज़ल , भजन  etc. came in light.The changing norms and moods of the society with time gets reflected in these compositions. Also the 'folk music' is deeply rooted in our day to day village life and this form of music directly expresses the influence of changing seasons and months over the life of villagers.This gave birth to vocal singings of चैती ,कजरी ,झूला ,बिरहा ,होरी , मांड ,सोहर ,बारहमासा  etc. in masses. Through these songs common people and peasants, revealed the moments of happiness and different types of miseries, prevailing in their lives. Some of these like पहाड़ी  and मांड  have been adopted as raagas in the tradition of classical music. It is observed that, may be a village life or a modern city life,we cannot seperate music from it,because our all important occasions in life and all the festivals are celebrated by singing,dancing and playing of a variety of musical instruments.Thus music is so deeply embibed in our day to day lives that one cannot seperate oneself from it.Thus music is an essence of human life. It is said that‘Classical Music Is For Classes And Not For Masses’, but I say that ‘Light classical form of music is for masses’.The Hindi films are also doing a great job of popularizing our light-classical music among the masses.Hundreds of popular Thumris,Dadras,Bhajans,Ghazals,Hori etc. have been composed in Hindi films.पंडित छन्नूलाल मिश्र  के स्वर में एक पारंपरिक सोहर प्रस्तुत है :  

SARGAM REPRESENTS HUMAN LIFE

We can very easily understand the complicated philosophy of human life in a different perspective, looking into it through the ‘SARGAM’ of music. The existence of human life since its birth till death, is through its physical body,created out of five basic elements of nature.Death symbolizes the end of life.The सरगम  of music has seven basic notes: सा ,रे ,गा ,म ,प् ,ध and नि  whereas the physical human body is also said to be made of these five natural elements:Earth(क्षिति ),Water(जल ),Fire(पावक ),Sky(गगन ) and Air(समीर ) {Ref. रामचरितमानस :क्षिति  जल  पावक  गगन  समीरा | पञ्च  तत्वा  यह  मनुज  शरीरा ||}.We can now investigate,how these seven musical notes of ‘सरगम ’, show their perfect identity, with the whole span of human life. As our body life exists between its birth and its death, similarly, five musical notes are enclosed between 'सा ' and 'नि '.The sargam begins with 'सा ' and also the birth of a child is rejoiced in the family and community by singing of folk song 'सोहर '.The last seventh note of sargam is 'नि ' and also the ultimate end of life is Death which is consoled by singing of philosophical song 'निर्गुण '.The remaining five notes exactly represent the five elements, constituting the human body.Here 'रे ' stands for'रोहिताश्वा  or fire(पावक )','गा ' stands for 'गगन  or sky','म  ' stands for'मरुत  or air(समीर ),'प् ' stands for 'पावस /पयोधि  or water(जल )', 'ध  stands for 'धरती /पृथ्वी  or earth(क्षिति ).In this way we see that music is a real representation of human life.It is an integral part of our lives.Thus how can a person dislike music at all ? Music cannot be seperated from human life,both are complimentary to each other.

RAAGMALIKA IN HINDI FILM : AALAP (1977)

KUMARI FAIYYAZ

YESUDAS

JAIDEV

A SCENE FROM THE FILM

Film आलाप  (1977) had music as its central theme and its music was composed by veteran music director जयदेव . In the story hero (अमिताभ  बच्चन ) alongwith the heroine(रेखा ) is learning music from an old lady( छाया  देवी ), who was named as Sarju Bai a state singer from Kashi(Varanasi) living in the same city.This was a proper situation for a Raagmalika. Jaidev composed very melodious bandishes in the voices of singers:मधुरानी  फैजाबादी , येसुदास  and कुमारी फैय्याज  .The First song  was composed in राग  यमन .It begins in the voice of Madhurani Faizabadi;
" नयी री लगन और मीठी बतियाँ,
   पिया जाने और जिया मोरा जाने सखी |
   किस  किस  बात  पे  धड़के छतियाँ ,
   पिया जाने और जिया मोरा जाने सखी ,
   नयी री  लगन और ..." 
 येसुदास continues learning ,singing;
 "बाल भी उलझे है ,सपने भी||
   दूजे लागे है अपने भी ||
   हो गए हम क्यों ऐसे दीवाने ||
   पिया जाने और जिया मोरा जाने सखी,
   नयी री लगन और ......". 
 The second composition was a होरी:
  'एसो  ढीठ  लंगर  करे  बरजोरी,
   और करो री,
   निबल  निडर न माने ,
   न माने,न माने ,
   ऐसो ढीठ लंगर करे बरजोरी .....'
composed in राग  विहाग ,picturised on a holi scene during    their music learning period.
The third song was:
 ‘कागा  जा , जा  जा  जा  रे |
  जा रे कागा जा ।।
  ला  दे मोरे  पिया  को संदेसवा ||
  कागा जा …’ 
in राग  भैरवी .
The music learning continues with another melody in राग  पटदीप :
 ‘ पिया  नाही आये  आये ,
   मोरी आली  कैसे करे मन समझाउं|
   पिया नहीं आये .....".
 This रागमालिका  concludes with a sweet melody:
 "बरसे  बदरिया  सावन  की ||
   सावन  में  उमग्यो  मेरो  मनवा ,
   भनक  सुनी पिया आवन  की ||
   उमड़ घुमड़ चहुँ दिसि से आयो,
   बिजुरी चमके झर लावन की ||
   बरसे बदरिया सावन की ...||"
 sung in राग  सूर  मल्हार.giving an effect of  भजन  singing. I think this is one of the last few Raagmalikas composed by any music director of Hindi films.The ending part of the raagmalika is not available in this video clip.