Category Archives: Sadho dekho jag baurana vyakhya

Sadho dekho jag baurana vyakhya

Kabira khadaa bazaar mein, liye lukaathi haath Jo ghar baare aapna, chale hamaare saath!

sadho dekho jag baurana vyakhya

Kabir stands in the market, flaming torch in hand. Burn down your home, then come walk with me! Lovely couplets like this awaken the mind as Shabnam Virmani and her co-singer Namrata render them in folk style on a serene summer evening in an open air theatre.

I was living in Ahmedabad when Godhra happened and I witnessed the anti-Muslim pogrom which unfolded in Gujarat. Shabnam had begun her career in journalism in The Times of India in Jaipur in However, she decided to quit journalism. Later, she won a scholarship to do a Masters degree in Development Communication at the Cornell University, United States, where she tried her hand in film-making.

sadho dekho jag baurana vyakhya

InShabnam set out with her camera, venturing into diverse socio-cultural, religious and musical landscapes, meeting with the people who sing, love, quote, and revere Kabir. The result of her six-year old quest into the interiors of Rajasthan, Gujarat, Madhya Pradesh and even Pakistan have been four beautiful documentaries, a number of music CDs and books of poetry translated into English on Kabir.

Each region has adopted Kabir in its own way, added its flavor of the dialect and accent to the thousands of couplets orally rendered by Kabir.

sadho dekho jag baurana vyakhya

In Her documentaries we discover how even ordinary people like the fruit-vendors, bus passengers and village folk singers have imbibed the highly abstract philosophies contained in the Kabir Dohas couplets. Now the Artist in Residence at the Shrishti School of Art, Design and Technology in Bangalore, who is a mother of a teenage son, is studying more such Sufi and mystic poets. But where does she belong to?

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I am a Punjabi and my ancestors are from Pakistan. Follow Us :. Soulful singing : From journalist to film-maker to folk singer, Shabnam Virmani has come a long way. How three brothers grew a humble ice-cream shop in a small town into a Rs crore turnover FMCG company.

The poetry of resistance

How a small town girl built a Rs 3, crore GMV business through a cashback portal along with her husband. Childhood sweethearts study abroad after marriage and return to India to build Rs 5.

From driving a tonga in New Delhi to building a Rs crore turnover spices brand. Arrest Arnab for 'treason', demands Maha Congress. River Ganga could send 3 bn microplastics a day into Bay of Bengal.

Emaar accuses MGF of trying to illegally transfer land parcels.Shabnam Virmani is a documentary filmmaker, former journalist, and singer of Kabir folk songs. Infollowing six years of journey, Shabnam and the Kabir Project team offered to the world a set of 4 musical documentary films, and several music CDs and books of translated poetry, for reflection and healing.

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The journey in search of Kabir in present-day India See full. The journey in search of Kabir in present-day India and Pakistan had a few unexpected and intangible twists for Shabnam. Oh seekers, see the world has gone mad! Into that now loosely-held space, however -- where there was once a certainty of truth and a strong judgment of the outside world -- there came the gift of music and of a guru, neither of which she expected to find on this journey.

Prahlad Tipanya-jithe wise village school teacher and Kabir folk singer from Malwa, Madhya Pradesh was an ideal guru for Shabnam, with her wariness of the hallowed Indian guru tradition, because he never set himself up as anything other than a seeker on the same path. And so, now encouraged and guided by Tipanya-ji and inspired by the inclusive spirit of folk music, Shabnam took up playing the 5-stringed tambura herself and now performs a wide repertoire of folk songs of Kabir and other mystic poets.

The release of the Kabir Project documentaries also resulted in a wave of other events that celebrated the tongue-in-cheek, pithy wisdom of Kabir and the folk singers who serve as channels for this wisdom.

Shabnam is currently also working on ideas for taking mystic poetry and folk music to school classrooms and continues to perform music in public. Perhaps, fittingly, for someone who is a feminist, Shabnam ensures that when she sings Kabir songs, she edits out lines and metaphors that are disrespectful of women.

She then quit her journalism desk-job and, after studying mass communication in Cornell, co-founded the Drishti Media Collective at Ahmedabad ina non-profit group of media professionals "to support, document and strengthen grassroots struggles for gender justice, human rights and development.

Join us in conversation with this singer of Kabir and fierce love-warrior! I think this is what has driven me to explore different modes of expression - filmmaking, singing, story-telling, writing - in reaching out to and touching the lives of very diverse peoples.

I think the communal riots of Ahmedabad in after the Godhra event marked a pivotal turning point in my life. It became a tipping point for me to start my journeys in quest of Kabir, though my life for several years before that had been preparing me for this moment. It was the moment when my quest for answers to the social turmoil around me turned inward and I began to see the connections between baahar outside and bheetar inside.

It was the moment when my practice - both professionally and personally - came to rest in music as my primary locus of inquiry and expression. It was the moment when poetry took centre stage, and the vast universe of meanings in mysticism began to beckon and unfold The poet Hafiz tells us of an act of kindness that I am working on not ever forgetting. He says, "Even after all this time, the sun never says to the earth, 'you owe me'.In the boldness of this verse it appears that the poet announces he will not cater to the whims of the critics, that he will define his work, his poetry, which in turn, will define his philosophy and ideology.

This, in fact, even plays out stereotypically in the visuals.

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So, you see in most Urdu television channels the Mehraab archesthe dripping candle, and so on. This, perhaps, is not surprising given that Partition and now communalisation of languages have only further created this absurd and linear association — an unfortunate turn of development given that languages in our cultural history have never been victimized so.

Even Tulsidas — Vajpeyi says — has used more than a 1, Arabic and Persian words in the Ramcharitmanas. But the same events in history have also created the perfect opportunity to use the lyric as a powerful tool in the articulation of anger, inequality, and also peace and love. Music and lyric have reflected on issues of displacement and uprooting. These ideas, even if expressed centuries ago, still continue to be relevant.

This tradition continues to be part of our conscious cultural inheritance, our carefully evolved culture of existence and co-existence. This, despite however much we forget to acknowledge its presence.

These stand as important iterations of our shared cultural achievement in the subcontinent as attempts to induce and to inject feelings of a gentler, humane society — ones which should not be trapped in violence alone. This movement, this cultural expression of resistance in fact, has historically been a refrain in our part of the world.

Dekho Re Jag Baurana! And, of course, more recently several of the progressive poets were committed outright to this cause.

The voice of the progressive poets, especially when it resonated against the anti-colonial struggle attempting to forge a togetherness, has become a thing of the faint past. Sahir Ludhianvi is only a film lyricist. The passion and anger of Josh, Majaz, Kaifi and the others about equality and justice are largely forgotten.

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But what attracts me even more is the sheer beauty and power of the language to articulate an idea, a philosophy, an ideology, succinctly. When Iqbal Bano sang her Hum Dekhenge and the Inquilaab Zindabaad that emanated from the audience in the recording still made listening to it a thrilling experience; or her rendition of his dua prayer — perhaps the most radical prayer ever written.

As I became more drawn to the poetry of Faiz, I also saw a distinct musical style in which several singers sang his work. There is always scope to bring in Raagdari — a classicism.

I do enjoy composing some of his work and the fact that he loved classical music encourages me to explore various raagas — including Shahana, Khamaj, Malhar, several of which lend themselves beautifully to his poetry. Every time I perform in Pakistan, the love and appreciation from the audience that I receive seem ironical, especially when I sing Faiz. And that I should come across the border to sing remembering a man who fought these boundaries all his life.

Singing Faiz gives me an opportunity to address a void that has come to be linked to the understanding of cultural protest, of raising a concern, of being angry or anxious, within the context of my own musical framework.

Culture has always been an important tool defining the socio-political framework of society. Perhaps this kind of soft peddling will only ensure collective dumbing down, and general dilution of cultural sensibilities. Hopefully, we will not do the same to Urdu.Moond mundaye Hari mile, toh kar koyi liye mundaye Baar baar ke moondte bhedh na Baikunth jaaye.

Only Kabir could, in two crisp lines, 15 everyday words and with a terrific dose of humour and wordplay, lay open the hypocrisy of an entire religious establishment, its rituals and markers of piety.

Man na rangaye jogi, kapda rangaye, he said famously laughing at the saffron-sporting sadhu whose mind is not strictly on matters of the spirit. In this town where the 15th-century poet is believed to be buried, the foundation of a Kabir Academy was laid by Prime Minister Narendra Modi with a much-publicised rally and political speech.

The woman who broke the story of Roop Kanwar’s sati is now a folk singer

Some of his best-known works tear into the tyranny of caste and bigotry. Kabir remained contemptuous of both topi and tilak, the brahmin and the mullah.

Sadho Dekho Jag Baurana - Kabir Bhajan - Prahlad Singh Tipaniya

Why then has he become an icon for the BJP? Kabir is nothing if not radically egalitarian in an age when marginalised communities are having to fight to be heard. He routinely punctured the egos of those who claimed to be wise:. No one got wise. Kabir propagated what is referred to as nirgun bhakti, the idea of a formless and benign divinity, a friend figure.

Moko kahan dhoonde re bande, went one of his most loved songs. Kabir wrote of mortality, love and the search for self, playful and introspective at the same time. His ulat bansi or upside-down poetry was seemingly illogical but hit where it hurts. His poetry acquired local musical forms which were passed on orally across generations. In the folk music of the Malwa region of Madhya Pradesh, for example, Kabir is a living idea. His appeal transcended religion, he was loved by Hindus, Sikhs and Muslims alike.

The poor and repressed owned him. Like the other marginal caste Bhagats such as Ravidas, Ramanand and Namdev — who preached equality, questioned the priestly classes and the authority of vedas and puranas, drawing the ire of the Brahmanical order — the only enemies he made were the Brahmanical orders he ridiculed. The earliest known profile of Kabir was written by Sant Nabhadas in Bhaktamal, a poem in the Braja language, between and As it says:.

There are thousands of dohas, or couplets, and shabads, or song poems, attributed to him that most Indians have heard and absorbed in some manner, through school textbooks, music and popular references.

It is even more valid today, in a world where authoritarian regimes and hate crimes are multiplying, says Linda Hess, an eminent Kabir scholar and author of The Bijak of Kabir and Bodies of Song. We have leaders, who exploit division, prejudice, hatred, twisted forms of nationalism and nativism, for the sake of their own power. Hess is not surprised that Kabir is being used as a political tool, pointing out that history is full of leaders who appropriated religious texts and spiritual heroes to strengthen their agendas.

We need to see through it, call it out, reclaim our beloved poets, rescue them from those who would hijack their power for cruel and self-serving ends. The Bible was used to justify slavery and ongoing racism. Just recently a high-ranking American cabinet member, serving a terrible regime, tried to use the Bible to justify the horrendous policy of taking small children away from their parents as they tried to enter this country. Fortunately, many people called him out. And all bodies are equal — all the same in their nature and dignity.Subscribe for Newsletters and Discounts.

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Share our website with your friends. Jag Baurana Collection of Hindi Poems. Pages from the book. Item Code:.

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Rajkamal Prakashan Pvt. Look Inside the Book. Be the first to rate this product. Viewed times since 5th Nov, For privacy concerns, please view our Privacy Policy. Based on your browsing history.But it is important to concentrate on the four words of the title first, because they remind us that, in our country where so many social ages and artistic practices live together side-by-side, much of the singing we hear is not about the dark times at all.

The loudest songs we hear are often about how bright the times are. Shubha Mudgal, who thinks the times are dark, has signed an open letter to the PM to say so. Consequently she, along with her 48 co-signatories, is likely to be charged with sedition.

To underline how divisive the times are in which we live, let me return to One of her three lyricists for the album was Prasoon Joshi, screenwriter, poet, advertising man and the chairperson of the Central Board of Film Certification. So what was like that these two artists could make music together quite happily? It was a time when the shock of December 6, had settled into a grudging resignation to a future in which the RSS and the BJP would have a loud say in national matters.

It was a moderate, reasonable, conciliatory face. Nor had the word sedition entered the lexicon of public discourse. The social media revolution that allowed vicious trolls to roam free under assumed names was still 11 years away and private satellite TV news channels, were only six years old, and neither partisan nor viciously belligerent, at least partly because Vajpayee was not interested in deepening existing social fault lines and ideological differences into poison-filled chasms of hatred and division.

Sadho , dekho jag baurana

This was the time when Mudgal and Joshi created music together. The content of the lyrics Mudgal sang fell neatly into the traditional mould.

They were about the rain, the wet chunariya, the drenched tann, mann, the gathering ghata and the pehli barkha of the pehla pyaar. This was familiar ground for Joshi. But it was something of a rebellion for Mudgal. It had taken courage and a strong belief in pluralism to make that foray. Through the album Mudgal had said loudly and clearly, that music was music. No form was high and none low. Her lyricist on the other hand had made no such statement in composing a song about the monsoon rain.

Inthe year in which Habib Tanvir had been attacked in Madhya Pradesh, and four years after Mudgal had cocked a snook at Hindustani music pundits, I attended the launch of a book of new bandishes, composed by one of our most loved and respected Hindustani classical vocalists. I bought the book eagerly and flipped through its pages only to find the usual suspects there — the blue god, Radha, gopis filling water by the Yamuna, the evil mother-in-law and sister-in-law, and the pardesi who neither returns home nor writes a single chitthi to his lovelorn beloved.

Different raagas and different beats maybe, but the same language and the same themes. Around the time when this book of new compositions was launched with much fanfare in the hermetic world of Hindustani music, elsewhere in the city, Shubha Mudgal and Neela Bhagwat had sung the same song, on different platforms and on different days.

For the author of the new bandishes, the world had not gone mad. And if it had, it was not her business to sing about it. That would be defiling the sacred performance space she occupied. Her listeners would have been shocked too if she had dared disturb their peace with news of the outside world. They were the paying majority, invested with the power to dictate terms to the artist.Varanasi, 11 November After a magical reception at Brij Rama Palace yesterday, the Mahindra Kabira Festival opened early morning on Saturday at the Darbhanga Ghat with the meditative sound of Santoor by the young Kumar Sarang, complementing the serenity of the early morning as the sun rose on the river Ganga.

He played two brandishes in jhaptaal beat cycle and teen taal beat cycle. He was accompanied on the tabla by Shrutisheel Uddhav. The songs included Sadho dekho re jag baurana, Naiharawa unka na bhave, Jheeni jheeni beeni chadariya and many more. Her emotive, expressive and soulful singing was an absolute delight to the auditory senses of the crowd. As the audiences enjoyed the regaling of the musicians, a Panditji crafted unique mixes of ittar to complement the ragas being sung, dabbing them onto a phaa a bud of cotton and presenting to each guest a whiff of this magical potion which formed a striking accompaniment to the performance.

Special Benarasi kullhad chai and chewra puffed rice snack were served followed by the delicately delicious malaiyyo or nimish cloudy milk froth desert sprinkled with kesar and pistachio to end the morning session on a sweet note. His narrative was based on historical research and folk lore around the 14th century Bhakti poet and interspersed with his khadi boli poetry featuring popular references and brutally honest descriptions. The dastan took the listeners on a journey in search of finding Kabir within oneself.

This was followed by a conversation between Sanjoy Roy, M. D of Teamwork Arts and Abha Dalmia who has been working to revive the weaving industry.

He wove his thoughts truthfully into life. It was while weaving that he would sing his now famous couplets. The walk traversed through the Panchganga ghat, where five sacred rivers, Ganges, Saraswati, Yamuna, Kirana and Dhupapapa converge to form an overwhelming spectacle of beauty and holiness, and onto the Alamgir Mosque followed by the Mangala Gauri temple where Bismillah Khan sahab would often serve the goddess with his Shehnai and then to the Jain temple in Bhelupur dedicated to Shri Parsavnath.

Another exploratory walk took participants to places of significance to Kabir including the Kabir Mat and a visit to the weavers of the city. The evening began with Rajasthani musician Nathoolal Solanki playing the shank followed by a performance by Vishnu Mishra from the Benaras Gharana. Post this, vocalist Mahesh Ram presented the poetry of many mystic poets in the folk style of the Meghwal community.

The day ended on a high note with veteran Shubha Mudgal performing songs based on Kabir dohas in her dense and graceful voice, leaving the audiences wanting for more. On Sunday, the festival will begin with morning music at am at the Darbhanga Ghat where Harpreet Singh will perform followed by Sucharita Gupta. The afternoon will have a second round of the City Walk and Kabir Walk followed by the aarti and Vedic Chants at Assi Ghat at pm which will also mark the beginning of the Evening Music.

The Evening Music performances set against the backdrop of the setting sun on the river Ganga at the Assi Ghat will include Nathoolal Solanki on Nagadas, folk and contemporary fusion duo Maati Baani followed Harpreet Trio and will culminate in a headline performance by Kailash Kher. Ten News Network envisions to position tennews.

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