In recent times Sufi music and poetry have moved from the shrine to the stage. Some consider this trend to be undesirable. They believe that in the attempt to make it more appealing it is being diluted and corrupted for public consumption. However the fact remains that the increasing popularity of Sufi music and poetry, in whatever form, has in no small measure contributed in revealing the compassionate, tolerant and creative aspect of Islam to the non-Muslim audience.
Like its philosophy and beliefs, the Sufi poetry performances have, over the ages, adapted to the indigenous styles of the continent as well as added some of their own. Among the most popular are Sufiana Kalaams (sacred words or compositions), Kafis (folk music from the Punjab region), K’waali (a form of devotional singing normally performed at Sufi dargahs), and Na’at (poetry recitation in the praise of Prophet Mohammad).
Amir Khusrau’s Compositions in Bollywood Films
Hindi movies were among the first to introduce compostions by Sufis to the larger public. The most popular among movie makers were the lok geets and love songs of Amir Khusro. His compositions in Hindavi (a synthesis of Brijbhasha and Urdu) were among the first to find place in Hindi movies. Some of his mystical compositions in which Hindvi and Persian couplets were seamlessly woven appeared in the later period.The movie ‘Suhag Raat,’ under the direction of Kedar Nath Sharma, produced in 1948, had a bidai geet (song sung when the bride is finally sent away with her in-laws) penned by Amir Khusro and sung by Mukesh. The music director was Snehal Bhatkar. This composition was also sung by Lata Mangeshkar in the film Heer Ranjha (1948) with some modifications, and again in the 1954 film ‘Suhagan’, under the music direction of C.Ramchandra and Vasant Desai. In this song, the young bride is appealing to her father not to marry her and send her away to foreign shores:
KAHEKO BYAAHE BIDE
Skaahe ko byaahe bides, are lakhiyan baabul mohe
kaahe ko byaahe bides ...ham to baabul tore khunthe ki gayaa
jahan kaho tyon bandhehi jaye
are lakhiyan baabul mohe ...
kaahe ko byaahe bides ...
ham to baabul tore bele ki kaliyan
are ghar-ghar maange hain jaaye
are lakhiyan baabul mohe ...
kaahe ko byaahe bides ...
Hum To Baabul Tore,
Pinjarae Ki Chidiya
Are Kuhuk-Kuhuk RaatI Jaaye
mahalan tale se dola jo nikala
are beeran mein chhaaye pachhaad
are lakhiyan baabul mohe
kaahe ko byaahe bides ...
bhaiya ko diyo baabul mahalan do mahalan
are ham ko diyo pardesh
are lakhiyan baabul mohe
kaahe ko byaahe bides
are lakhiyan baabul mohe
However the best rendition of this song was by Jagjit Kaur, under the music direction of Khayyam in the 1981 film ‘Umrao Jaan’ produced and directed by Muzaffar Ali.
Like its philosophy and beliefs, the Sufi poetry performances have, over the ages, adapted to the indigenous styles of the continent as well as added some of their own. Among the most popular are Sufiana Kalaams (sacred words or compositions), Kafis (folk music from the Punjab region), K’waali (a form of devotional singing normally performed at Sufi dargahs), and Na’at (poetry recitation in the praise of Prophet Mohammad).
Amir Khusrau’s Compositions in Bollywood Films
Hindi movies were among the first to introduce compostions by Sufis to the larger public. The most popular among movie makers were the lok geets and love songs of Amir Khusro. His compositions in Hindavi (a synthesis of Brijbhasha and Urdu) were among the first to find place in Hindi movies. Some of his mystical compositions in which Hindvi and Persian couplets were seamlessly woven appeared in the later period.The movie ‘Suhag Raat,’ under the direction of Kedar Nath Sharma, produced in 1948, had a bidai geet (song sung when the bride is finally sent away with her in-laws) penned by Amir Khusro and sung by Mukesh. The music director was Snehal Bhatkar. This composition was also sung by Lata Mangeshkar in the film Heer Ranjha (1948) with some modifications, and again in the 1954 film ‘Suhagan’, under the music direction of C.Ramchandra and Vasant Desai. In this song, the young bride is appealing to her father not to marry her and send her away to foreign shores:
KAHEKO BYAAHE BIDE
Skaahe ko byaahe bides, are lakhiyan baabul mohe
kaahe ko byaahe bides ...ham to baabul tore khunthe ki gayaa
jahan kaho tyon bandhehi jaye
are lakhiyan baabul mohe ...
kaahe ko byaahe bides ...
ham to baabul tore bele ki kaliyan
are ghar-ghar maange hain jaaye
are lakhiyan baabul mohe ...
kaahe ko byaahe bides ...
Hum To Baabul Tore,
Pinjarae Ki Chidiya
Are Kuhuk-Kuhuk RaatI Jaaye
mahalan tale se dola jo nikala
are beeran mein chhaaye pachhaad
are lakhiyan baabul mohe
kaahe ko byaahe bides ...
bhaiya ko diyo baabul mahalan do mahalan
are ham ko diyo pardesh
are lakhiyan baabul mohe
kaahe ko byaahe bides
are lakhiyan baabul mohe
However the best rendition of this song was by Jagjit Kaur, under the music direction of Khayyam in the 1981 film ‘Umrao Jaan’ produced and directed by Muzaffar Ali.
Amir Khusro q’waali style was introduced to the moive audience in the film ‘Barsat ki raat’ (1960), directed by P.L.Soni. The q’waali, ‘Ye Ishk Ishk Hai’ under the music direction of Roshan became an instant hit This movie was among the first bollywood movies to popularise the q’waali form of music, in which the legendary poet Sahir Ludhianvi took some liberties with the following composition of Amir Khusro:
Bahut Kathin hai dagar panghat ki,
Kaisay main bhar laaun madhva say matki?
Paniya bharan ko main jo gayi thi,
Daud jhapat mori matki patki.
Bahut kathin hai dagar panghat ki.
Khusrau Nijaam kay bal bal jayyiye
Laaj rakho moray ghoonghat pat ki.
Bahut kathin hai dagar panghat ki.
Kaisay main bhar laaun madhva say matki?
Paniya bharan ko main jo gayi thi,
Daud jhapat mori matki patki.
Bahut kathin hai dagar panghat ki.
Khusrau Nijaam kay bal bal jayyiye
Laaj rakho moray ghoonghat pat ki.
Bahut kathin hai dagar panghat ki.
Later in 1962, Shevan Rizvi introduced Hindi film audience to another of Khusro’s compositions in the film ‘Ek Musafir Ek Hasina’ under the music direction of O.P.Nayyar. The film was directed by Sashadhar Mukherjee. The following lines were beautifully sung by Asha Bhonsle:
Zabaan-e yaar-e mun Turkie, wa mun Turkie nami daanum,
Che khush boodi agar boodi zabaanash dar dahanay mun.
(My beloved speaks Turkish, but I do not know Turkish;
How I wish that I could speak her/his language)
The first scene of Hindi film Junoon (1978), produced by Shashi Kapoor and directed by Shayam Benegal, opens with a beautiful composition by Amir Khusro, ‘ Chchap teelak sab chcheeni re’ combined with ‘Aaj rang hai’ set to music by Vanraj Bhatia and sung by Jamil Ahmed:
ख़ुसरौ रैन सुहाग की, जो मैं जागी पी के संग,
टन मोरा मान पिया का, जो दोनो एक ही रंग.
ख़ुसरौ दरिया प्रेम का, जो उल्टी वाह की धार,
जो उभरा, सो डूब गया, जो डूबा सो पार.
अपनी छाब बनाई के, जो मैं पी के पास गयी,
छाब देखी जब पिया की, मोहे अपनी भूल गयी.
छाप तिलक सब छीनी रे, मो से नैना मिलायके.
बल बल जाउन मैं, तोरे रंग रेजावा,
ऐसी रंग दो के रंग नाहीं छूटे, धोबिया धोए चाहे सारी उमारिया
बल बल जौन मैं, तोरे रंग रेजावा,
अपनी सी रंग दीनी रे, मो से नैना मिलायके.
प्रेम भाटी का माधवा पीलायके
मटवारी कर दीनी रे, मो से नैना मिलायके.
गोरी गोरी गोरी बैयाँ, हरी हरी चूड़ियाँ,
बहियाँ पकड़ हर लीनी रे, मो से नैना मिलायके.
ख़ुसरौ निज़ाम के बाल बाल जैय्हैन …
मोहे सुहागन कीनी रे, मो से नैना मिलायकेKhusrau rain suhaag ki, jo main jaagi pi ke sang,
Tan mora man piya ka, jo dono ek hi rang.
Khusrau dariya prem ka, jo ulti waah ki dhaar,
Jo ubhra, so doob gaya, jo dooba so paar.
Apni chab banaai ke, jo main pi ke paas gayi,
Chab dekhi jab piya ki, mohey apni bhool gayi.
Chaap Tilak sab cheeni re, moh se naina milayke.
Baat agham keh deeni re moh se naina milayke.
Bal bal jaaun main, tore rang rejava,
Aisi rang do ke rang naahin chhutey,
Dhobiya dhoye chaahe saari umariya
Bal bal jaaun main, tore rang rejava,
Apni si rang deeni re, moh se naina milayke.
Prem bhati ka madhva pilayke
Matwari kar deeni re, moh se naina milayke.
Gori gori gori baiyaan, hari hari chudiyaan,
Bahiyaan pakad har leeni re, moh se naina milayke
Khusro Nizam ke bal bal janiya
Mohe suhagan ki nee re moh se naina milayke.
Aaj Rang Hai
Aaj rung hai hey maan rung hai ri
Moray mehboob kay ghar rang hai ri
Sajan milaavra, sajan milaavra,
Sajan milaavra moray aangan ko
Aaj rung hai........
Mohay pir paayo Nijamudin aulia
Nijamudin aulia mohay pir payoo
Des bades mein dhoondh phiree hoon
Toraa rung man bhayo Nizamuddin.,
Jag ujiyaaro, jagat ujiyaaro,
Main to aiso rang aur nahin dekhi sakhi
Main to jab dekhun moray sung hai ri,
Mohay Apne He Rung Mein Rung Lay Khuwaja Ji
Mohay Rung Basanti Rung Day Khuwaja Ji
Jo Tu Maangay Rung Ki Rangai
Mora Joban Girwi Rakhlay Khuwaja Ji
Aaj rung hai hey maan rung hai ri.
(There is radiance everywhere mother.
The house of my Beloved is filled with radiance
At last I have found my Beloved in my own courtyard
I have found my pir Nizamuddin Aulia.
I have roamed far and wide in the world,
and I found You to my liking;
And lo behold my entire world is filled with radiance.
I have never seen such Devine radiance before
He is forever with me now,
Oh beloved, please colour me in your radiance;
There is radiance everywhere, Divine Radiance)
Note: Khusro sang these lines in ecstasy when he came back to his mother after meeting Nizamuddin Aulia for the first time, after a long search for an ideal Sufi master. Hence the above lines are addressed to his mother
Che khush boodi agar boodi zabaanash dar dahanay mun.
(My beloved speaks Turkish, but I do not know Turkish;
How I wish that I could speak her/his language)
The first scene of Hindi film Junoon (1978), produced by Shashi Kapoor and directed by Shayam Benegal, opens with a beautiful composition by Amir Khusro, ‘ Chchap teelak sab chcheeni re’ combined with ‘Aaj rang hai’ set to music by Vanraj Bhatia and sung by Jamil Ahmed:
ख़ुसरौ रैन सुहाग की, जो मैं जागी पी के संग,
टन मोरा मान पिया का, जो दोनो एक ही रंग.
ख़ुसरौ दरिया प्रेम का, जो उल्टी वाह की धार,
जो उभरा, सो डूब गया, जो डूबा सो पार.
अपनी छाब बनाई के, जो मैं पी के पास गयी,
छाब देखी जब पिया की, मोहे अपनी भूल गयी.
छाप तिलक सब छीनी रे, मो से नैना मिलायके.
बल बल जाउन मैं, तोरे रंग रेजावा,
ऐसी रंग दो के रंग नाहीं छूटे, धोबिया धोए चाहे सारी उमारिया
बल बल जौन मैं, तोरे रंग रेजावा,
अपनी सी रंग दीनी रे, मो से नैना मिलायके.
प्रेम भाटी का माधवा पीलायके
मटवारी कर दीनी रे, मो से नैना मिलायके.
गोरी गोरी गोरी बैयाँ, हरी हरी चूड़ियाँ,
बहियाँ पकड़ हर लीनी रे, मो से नैना मिलायके.
ख़ुसरौ निज़ाम के बाल बाल जैय्हैन …
मोहे सुहागन कीनी रे, मो से नैना मिलायकेKhusrau rain suhaag ki, jo main jaagi pi ke sang,
Tan mora man piya ka, jo dono ek hi rang.
Khusrau dariya prem ka, jo ulti waah ki dhaar,
Jo ubhra, so doob gaya, jo dooba so paar.
Apni chab banaai ke, jo main pi ke paas gayi,
Chab dekhi jab piya ki, mohey apni bhool gayi.
Chaap Tilak sab cheeni re, moh se naina milayke.
Baat agham keh deeni re moh se naina milayke.
Bal bal jaaun main, tore rang rejava,
Aisi rang do ke rang naahin chhutey,
Dhobiya dhoye chaahe saari umariya
Bal bal jaaun main, tore rang rejava,
Apni si rang deeni re, moh se naina milayke.
Prem bhati ka madhva pilayke
Matwari kar deeni re, moh se naina milayke.
Gori gori gori baiyaan, hari hari chudiyaan,
Bahiyaan pakad har leeni re, moh se naina milayke
Khusro Nizam ke bal bal janiya
Mohe suhagan ki nee re moh se naina milayke.
Aaj Rang Hai
Aaj rung hai hey maan rung hai ri
Moray mehboob kay ghar rang hai ri
Sajan milaavra, sajan milaavra,
Sajan milaavra moray aangan ko
Aaj rung hai........
Mohay pir paayo Nijamudin aulia
Nijamudin aulia mohay pir payoo
Des bades mein dhoondh phiree hoon
Toraa rung man bhayo Nizamuddin.,
Jag ujiyaaro, jagat ujiyaaro,
Main to aiso rang aur nahin dekhi sakhi
Main to jab dekhun moray sung hai ri,
Mohay Apne He Rung Mein Rung Lay Khuwaja Ji
Mohay Rung Basanti Rung Day Khuwaja Ji
Jo Tu Maangay Rung Ki Rangai
Mora Joban Girwi Rakhlay Khuwaja Ji
Aaj rung hai hey maan rung hai ri.
(There is radiance everywhere mother.
The house of my Beloved is filled with radiance
At last I have found my Beloved in my own courtyard
I have found my pir Nizamuddin Aulia.
I have roamed far and wide in the world,
and I found You to my liking;
And lo behold my entire world is filled with radiance.
I have never seen such Devine radiance before
He is forever with me now,
Oh beloved, please colour me in your radiance;
There is radiance everywhere, Divine Radiance)
Note: Khusro sang these lines in ecstasy when he came back to his mother after meeting Nizamuddin Aulia for the first time, after a long search for an ideal Sufi master. Hence the above lines are addressed to his mother
Zehal-e miskin makun taghaful, duraye naina banaye batiyan;
ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.
Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.
Yakayak az dil do chashm-e jadoo basad farebam baburd taskin;
Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.
Cho sham’a sozan cho zarra hairan hamesha giryan be ishq aan meh;
Na neend naina na ang chaina na aap aaven na bhejen patiyan.
Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.
Following is my interpretation which may not be a literal translation:
Do not ignore my grief with your seductive eyes,
and sweet talk ; Your separation is past endurance, why don’t you embrace me..
Like long dark lustrous curls is the night of separation,
and our union brief like the short -lived life ;
How will I endure the dark night without my Beloved?
With sudden charm your enchanting eyes have robbed my mind of peace
No one bothers to convey my agony to my Beloved
Tossed about in bewilderment, like a flickering candle,
I writhe in the fire of love;
I lie without the Beloved, sleepless and restless,
but the Beloved neither comes nor sends any message.
I shall wait for the day I meet my Beloved
who has seduced me for so long, O Khusro;
For I have saved my heart and my love for the Beloved....
ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.
Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.
Yakayak az dil do chashm-e jadoo basad farebam baburd taskin;
Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.
Cho sham’a sozan cho zarra hairan hamesha giryan be ishq aan meh;
Na neend naina na ang chaina na aap aaven na bhejen patiyan.
Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.
Following is my interpretation which may not be a literal translation:
Do not ignore my grief with your seductive eyes,
and sweet talk ; Your separation is past endurance, why don’t you embrace me..
Like long dark lustrous curls is the night of separation,
and our union brief like the short -lived life ;
How will I endure the dark night without my Beloved?
With sudden charm your enchanting eyes have robbed my mind of peace
No one bothers to convey my agony to my Beloved
Tossed about in bewilderment, like a flickering candle,
I writhe in the fire of love;
I lie without the Beloved, sleepless and restless,
but the Beloved neither comes nor sends any message.
I shall wait for the day I meet my Beloved
who has seduced me for so long, O Khusro;
For I have saved my heart and my love for the Beloved....
Gulzar Sahab has been instrumental in popularising sufiana kalaam in Hindi film music. In 1980, the film ‘Ghulami’ directed by J.P.Dutta, had a song written by Gulzar under the music direction of Lakshmi Kant Pyarelal. This song was inspired by Amir Khusro’s composition ‘Zeehal- e Mishkeen’, which has alternate lines in Farsi and Hindavi:
Zehal-e miskin makun taghaful, duraye naina banaye batiyan;
ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.
Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.
Yakayak az dil do chashm-e jadoo basad farebam baburd taskin;
Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.
Cho sham’a sozan cho zarra hairan hamesha giryan be ishq aan meh;
Na neend naina na ang chaina na aap aaven na bhejen patiyan.
Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.
Following is my interpretation which may not be a literal translation:
Do not ignore my grief by your seductive eyes,
and sweet talk ; Your separation is past endurance, why don’t you embrace me..
Like long dark lustrous curls is the night of separation,
and our union brief like the short -lived life ;
How will I endure the dark night without my Beloved?
With sudden charm your enchanting eyes have robbed my mind of peace
No one bothers to convey my agony to my Beloved
Tossed about in bewilderment, like a flickering candle,
I writhe in the fire of love;
I lie without the Beloved, sleepless and restless,
but the Beloved neither comes nor sends any message.
I shall wait for the day I meet my Beloved
who has seduced me for so long, O Khusro;
For I have saved my heart and my love for the Beloved....
dum dara dum dar chashma chashma nam.....
Here the world dum could mean many things: breath/ life/ prana; dara again could mean in/ inside/ door/ door to the soul or Being; mast means trance/ecstasy; chashma means eyes, could also mean vision; and nam means moist. The repetition of ‘dam dar’ could imply to the breath control that Sufis indulge in to get vision or to enter into a higher state of mind or ecstasy.
Filmi versions of Sufi songs are now a norm in Bollywood films and are a big hit with the audience.
Bullhe Shah in Popular Imagination
While folk singers, qawwali singers, maniar singers and popular singers like Runa Laila have been singing Sufi compostions for the general public, Sufi music has only recently captured popular imagination. We now have solo singers as well as self-styled bands from the Indian subcontinent captivating audiences from all over the world with their various adaptations of age old Sufi compositions. A cursory scan of U-tube will display numerous forms of Sufi compositions including the ‘rock’ and the ‘pop’ versions. However the Pakistani band ‘Junoon’ deserves credit forbeing instrumental in popularsing Sufi poetry with their hit song ‘ Sayyoni’, then came the living legend Abida Parveen who took the Sufi music world by storm with a voice that was both ethereal and filled with divine passion. At present there is no dirth of popular singers on both sides of the border who are playing a significant role in popularising Sufi compostions. Kailash Kher and Rahat Fateh Ali Khan are among the most popular.
SUFI POETRY BY POPULAR SINGERS AND BANDS
In 2004, Rabbi Shergill converted the abstract metaphysical compositon of Bullhe Shah, ‘Bullah ki Jaana’ into a popular song, which became a huge sucess in India and Pakistan. Bullhe Shah’s composition again appeared in the song ‘Bandeya Ho’ in the 2007 Pakistani movie ‘Khuda ke liye’. The 2008 Indian movie ‘A Wednesday’, written and directed by Neeraj Pandey, had a song, “Bulle Shah, O yaar mere” in its soundtrack. Bullhe Shah’s composition was rewritten in this film by Irshad Kamil The music director was Sanjoy Choudhury. In the movie Raavan (2010) Gulzar used Bullhe Shah’s ‘Ranjha Ranjha’ in one of the songs. In 2009, Episode One of Pakistan’s Coke Studio Season 2 featured collaboration between Sain Zahoor and Noori, and as a result, Bullhe Shah’s ‘Aik Alif’ became immensely popular.
(Note: All translations into English are by Rupa Abdi)
No comments:
Post a Comment