Posts Tagged ‘Mudgal’

साँवरिया राधा , और राधा बन जाए सांवरिया होली में

Friday, March 1st, 2013

Radha Krishna

As the festival of colors and love Holi is approaching and In my home town Karauli and all parts the ‘Daandaa’ kind of a flage of Holi is at The place and the month long Faag Singing and listening sessions are on so we thought to celebrate this Faag month here with the connoisseurs of music.

Here comes the first post of the Faag series with an ultimate beauty of a non film song rendered by Geeta Dutt and Krishna Goyal.

This is a beauty of a Faag song in all respects be it the festive and colorful ambiance of the Holi or the devotional romantic flavor of the thought and also the philosophical aspect where the eternal wish and yearning of the beloved to become one with the loved one. All these flavors are there in the song.

The song in the first stanza at one point deals with the all inclusive nature of the holi ‘ koi bhee mukhda chhupane paaye , koi bhee aanchal chhudane na paaye…’ as the wish is to assimilate all the beings in the spirit of holi so no one can remain untouched by the rang of Holi and by the Gop and Shyam because then only all become the equal. And then the third stanza deals with this feature of love and equality for all is more evident in ‘mukh par malo raag ki roli, bolo meethee pyaar ki boli …’ and ‘ Vair bhaav ki unvh neech ki aaj jala dalo Holi….’ so that a new world set-up full of love and goodness can be achieved.

But the ultimate aim and philosophical intent of the song comes in the second stanza, though At the very beginning the stage is set to the colorfulness and the thoughtfulness of the idea with the opening lyrics ‘ Kori na rahe koi bhee chunariya Holi mein…Gori na rahe koi Gujariya Holi mein…’ the ultimate aim of every Gopi is to be Krishamay by merging her identity into that of the Krishna so how can remain any chunariya kori and any Gujariya Gori in Holi , they all have to be or wish to be in Shyam Rang.

And to achieve this ultimate what better way can be than ‘ ek rang mein wo tan rang jaaye ..ek rang mein wo man rang jaaye ‘ and then ‘ barase rang baraabar donon ye Jag ye Jeevan rang jaaye…’ so that the identity of Jag and Jeeva becomes one with the all pervasive ,through the ultimate action ‘ Sanwariya Radha aur Radha Ban Jaaye Sanwariya Holi Mein….’ to make the Jag and Jeevan become ek rang with Shyam !

‘ Sanwariya Radha aur Radha Ban Jaaye Sanwariya Holi Mein….’ is the ultimate state where

मृण्मय से चिन्मय की यात्रा पूरी होती है और चिन्मय मृण्मय को अपने अन्दर आत्मसात कर उसे भी चिन्मय में समाहित कर लेता है .

Also this roopak of ‘ Sanwariya Radha aur Radha Ban Jaaye Sanwariya Holi Mein….’ is an imagery which you find recurring in Radha Krishna lore where the Gopis will do shringaar of Krisna as Radha and , Raadha will be given the roop and shringaar of Krishna and then roles will be reversed just to denote the inseparability of each from the other or in deeper sense to depict the ultimate unity of Purush ans Prakriti.

Rarely you come across such profound thought and philosophy in popular songs. The way Geeta Dutt and Krishna Goyal has rendered the song is any music lovers delight.

Acknowledgements:
We are grateful to our dear friend Shri Arun Mudgal ji for coming up with this great post on the occasion of the festival of Holi.

A fan’s tribute: Vol.3

Wednesday, November 21st, 2012

Geeta Dutt

Why one likes or remembers a song is a question which can have multiple answers. One can remember or like a song for its melody, for its composition or for the voice or for the lyrics and the thought it may project and convey to the listener. All these are valid and important reasons to remember ,like and appreciate a song but the most important reason and requisite of a song for which one likes and remember a song is the emotional content of the song. In my personal view, if a singer’s voice is able to communicate, express and emote the inbuilt thought in the lyrics in a manner that the listener can connect and visualise the thought of the song at emotional level without any visual prop , the song becomes immortal.

Geeta Dutt’s is such a voice which gives the complete emotional graph of the song in the most vivid manner that the listener does not need any visual prop to live the song with the singer. If I may use the expression ‘ Bhaav Gayaki’ as the yardstick then Geeta Dutt’s voice is without a parallel in Indian film songs.

Her’s is certainly not a voice that has gone broad or heavy on account of continuous and rigorous practice of classical music. It carries a slight or minute trembling effect in such an accurate proportion that it makes her singing sweet, lilting, full of emotion and it also helps in creating that complete emotional graph of the song covering the widest spectrum of emotions.
Geeta Dutt’s voice certainly covers the widest emotional spectrum in her singing. Be it the shade of resigned in ‘thehero zara si der…’ in Savera 1958, plaintive and accepting in ‘Waqt ne kiya kya haseeen sitam…’ in Kagaz ke phool, soft and tender in ‘ hawa dheere aanna…’ in Sujata, Buoyant and enthusiastic in ‘ do camakti aankhon mein…’ in Detective, light-hearted and coquettish in ‘ kaisa jaadu balam tune ….’ in 12 o’clock , childlike with a sense of wonder and love in ‘ phulwa ban mehake…’ . I can go on and on to illustrate the various emotional shades which Geeta Dutt’s voice has covered as the variety of emotions her voice gave shape to is countless.

But let me specially mention two emotional shade of Geeta Dutt’s voice which are specially close to my heart and which I personally feel she excelled beyond words in bringing these shaded live through her voice. The first one is ‘Shringaar’ the way Geeta Dutt created a complete and one of the best and most melodious graph of this emotion in ‘Piya aiso jeeya mein samay gayo re …’ in Sahib Bibi Ghulam is just matchless. I am yet to come across a musical rendering which can surpass this song as far as depicting and expressing ‘Shringaar’ through the voice and melody is concerned.

The second emotional shade which Geeta Dutt’s voice gave shape to is the feeling or emotion is Divine, sublime or the emotion to express the wish to merge once soule with the ultimate sublime through Shrinagaar and Bhakti at the same time. Now this is a very difficult feat to achieve. Because this is rather one unusual emotive state and singing tone which is required to sing Indian non- ritualistic or devotional music. Compositions of this class described loosely as Bhajans are melodically simple but complex at the expression level as content wise these compositions are not directed at anybody in particular and hence become relevant to all. Such songs are inevitably addressed to a power or a force which is outside and beyond confines of human world. The consequence is that such compositions require an involved singing that is not ’emotional’ in the usual sense of the world. Through her renderings, Geeta Dutt is very often, and successfully able to evoke this mercurial psychological state. And ‘Aaj sajan mohe ang lagale…’ from Pyasa is the finest example of this expression.

I salute to this voice who always lived the song she rendered in its totality , Geeta Dutt Ji we really miss you !

Acknowledgements:

1) We are extremely grateful to our dear friend Arun Mudgal ji for writing this article on our special request.

2) Certain inputs for this article were from Shri Ashok Da Ranade ji’s book and the rest is Arun ji’s listening analysis.