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Guest dada_rocks

Hamaar piya ghar ailan hey ganagji.. This tune Nusrat khan saheb must have learnt from some bihari migrant in pakistan because this is very veryold follks tune of north bihar... Incidentally this also happens to be one of his best... Other day was watching some youtube wedding video from pakistan the folk-song was exactly what u will hear in rural bihar...That Sharda sinha tune they were singing "Aaju marwa ghumau charu barwa ke, kaisan bar ailan awadhawa se"

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Guest dada_rocks
DR' date=' how can there be Bihari migrant in Pakistan ?[/quote'] Are bhaya wo jo border cross kiye they 1947 mein most of them were from Bihar/UP.
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DR, how can there be Bihari migrant in Pakistan ?
Sriram, If you have followed Pakistan politics a little bit you would have perhaps heard the term "Mohajir". Mohajir basically means refugee. So generally it is assumed, rather wrongly, that Muslims who migrated to Pakistan around 1947 are Mohajirs. They are not. The bulk of Muslim migration to Pakistan happened around Punjab border and consisted of Punjabi speaking Muslims and Urdu/Hindi speaking Muslims that mostly hailed from UP/Bihar. So obviously they carried a lot of typical UP/Bihari culture with them. If you know some Pakistanis you would perhaps have heard that they have/had relatives in UP(mostly Merrut, Faizabad area) and Bihar. Muslims that typically spoke Punjabi found it easier to assimilate as the culture was not different on either side of modern Punjab border. On the other hand the Bihari/Muslim migrants found it a bit difficult, more so due to Urdu/Hindi being their principal language. xxx
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Hamaar piya ghar ailan hey ganagji.. This tune Nusrat khan saheb must have learnt from some bihari migrant in pakistan because this is very veryold follks tune of north bihar... Incidentally this also happens to be one of his best...
That could have happened. However I am leaning towards the fact that Pakistani classical music is essentially Hindustani classical music. Right from the days of Amir Khusro the composition had a wonderful Indian twang to it and often you can see Hinduism pervasive in music. A lot of classic musician are Muslims. In a way Muslim contribution to Indian classical scene is as good as any other religion. What is further more interesting is that these Muslim ustaads lean more towards Hinduism than Islam. For example it is not uncommon to see a Muslim ustaad start a performance by thanking Saraswati, Goddess of music and learning. It is not uncommon to see Muslim shishya touching the feet of their gurus. You can see that all the time really.
Other day was watching some youtube wedding video from pakistan the folk-song was exactly what u will hear in rural bihar...That Sharda sinha tune they were singing "Aaju marwa ghumau charu barwa ke, kaisan bar ailan awadhawa se"
Same reason, the folk music you talk about started around Amir Khusro and has a combination of Hindi & khari boli. By the way Punjabi folk songs are pretty popular in Pakistan as well. Sharda Sinha is a superme talent. Fantastic singer who kept Bhojpuri(and at times Maithili) alive for the mainstream. Great to see we have such dedicated souls. xxx
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Coming back to the topic now. My first pick is rather underrated , "Yeh Shaam phir nahin Aayegi". There is something about this song that I find insanely attractive. It is almost like you are asked to live in the moment, forget about everything else and make sure you dont miss anything Yeh pal beet gaya jo jaanam kahan jaaoge tanhai ka dard akele sah na paaoge. Second pick has to be the "Jhoole jhoole lal dam mast qalandar". Ever saw qawwals singing at a majaar going all nuts?? Well this is the song that shall do for you. Cuts right through you and you can not help but just be trasncended some place else. Love it! Third pick is the original(not the remix version) "Saanu ek pal chain na aave". This is one of the songs that makes me want to learn Punjabi. Fourth pick is "Aaja we maahi tera rasta uddik diyaan". This was used by Raj Kapoor in his Henna but ran into issues and Ravindra Jain was credited with it. Of course I was completely unaware of it at the time but I remember taking a cab from JFK to Newark Airport and the cabbie playing this song. Was the best ride I have ever had, and perhaps the only one where I didnt want to reach the destination..atleast not so fast. Last one is "Mera Piya ghar aaya o laalni". It is frankly not one of his best works but this was a rage in my college times and I would spend hours rewinding my cassette as this song played in my Sony Walkman.. xxx

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Guest dada_rocks

Left-over of bhakti movement I would say. certain muscial traditions like dhurpad gayaki are virtually carried by muslim ustads like dagar family..... These folk-tunes particularly maithiki ones I think goes back well beyond amir khusro's time.. . Forget musicians and other artists; more often than not these are bhakti/sufi tradition folks and it's perfectly understandable for them to be reverent of their past hindu tradtion; In fact mainstream contemporary hindu saint sthe conspicuous ones like Aasaram Bapu invoke Baba Farid Shakaganji ( great sufi saint) in more or less every satsang..... bhakti movements roots are deep.....

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okay.. i dont know if guys will understand what i am talking about in historic times...(couple of centuries ago i guess..) there were these "musicians".. who used to go arould with rings on all 10 of their fingers.. and used to sing/say poems etc.. while hitting the rings on an upturned "matka".. does anyone know what im talking about.. anyone know what its called? I think Sant Kabir used to do that.. im not sure.....

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no, im not sure its that.. went to wiki.. heres what i got A ghatam is a.percussion instrument, used in South Indian Carnatic music. It is an earthenware pot; the artist uses the fingers, thumbs, palms, and heels of the hands to hit the outer surface of the ghatam. An airy low-pitch bass sound, called "gumki", is created by hitting the mouth of the pot with an open hand. The artist sometimes presses the mouth of the pot against their bare belly, which deepens the tone of the bass stroke, and is another way to produce the "gumki" sound. Different tones can be produced by hitting different areas of the pot with different parts of the hands. Ghatam usually accompanies a mridangam. Although the ghatam is the same shape as an ordinary Indian domestic clay pot, it is made specifically to be played as an instrument, the tone of the pot must be good and the walls should be of even thickness all around to produce an even tone. In fact, there are two types of ghatams; Madras and Manamadurai. The Madras ghatam is a light pot which requires less force to play, thus is suited for extended fast patterns. The Manamadurai ghatam is a heavy, thick pot with tiny shards of brass mixed into the clay. This type of ghatam is harder to play but produces a sharp metallic ringing sound which is favored by some players. so , this is traditionally south indian.. what im talking about is very similar.. probably a different version.. here the guy uses bare hands... in the thing im talking about, the guy wears rings on all his fingers, to get the metallic clang. also, there are no other instruments used with it.. i learnt about it in high school.. cant remember the name...

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interesting that this should come up, cause i've been listening to almost exclusively nusrat for the past week or two. here are my favorites right now 1- yeh jo halka halka suroor hai (check out the jeff buckley version on cd2 of 'live at sin-e) 2 - Hamd -- Louange a dieu (1st song on Disc 1 of the paris concerts) -- and many others from this set. My friend gave this to me once, and this is the set that really got me hooked on Nusrat. 3 - Tum ek gorakh Dhanda ho (Golden hits, cd1) 4. Tu Karimi main kamina barda am (from 'the final studio recordings')

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