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Sahela Re – Abke mile to bichud na Jayen – Tribute to GaanaSaraswati Kishori Amonkar

Kishori

All this written here was just a report of what I saw and heard there. I did not want to miss out on a single detail so I kept taking my notes throughout. One reason for this was, I have been a late starter in the field of music. Luckily I had the technology that gave me lot of information for guiding me in this journey. I wanted to be able to preserve and pass on some of these memoirs of these stalwarts through my writings for others to get inspired and keep faith and keep going on in spreading the joy of music. Today Kishori Ji is definitely rejoicing with her “Sahela”. This time she is there to stay.

This evening was very special for me. It was an evening of many firsts. For the first time I was hearing my Idol Ashwini Bhide ji live. I had an opportunity of hearing Devki Pandit ji live too. And for the first time I got a first hand narration from people very close to Kishori ji on her life and Music and her contribution to a world of which I am also a part of. Though I am a late entrant but I am definitely here to stay. And while writing I was constantly listening to Sahela Re on a loop. It was my way of seeking permission from Kishori ji to write this tribute. My Shradhhanjali!!!

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The agenda of Chaupal, Bhavan’s Cultural Association’s monthly program,  is never known till Shekhar Sen ji takes over the podium to announce. I was wondering what would be the agenda this time but while leaving my home I was hoping to hear Ashwini Bhide ji live. As I entered from the rear side of the hall, Shekhar Sen ji finished his welcome speech and Devki Pandit ji took to the stage. So I missed the information on what was today’s theme.

Devki ji introduced her first composition in Yaman “Mo Man Lagan Lagi” a composition by Kishori Amonkar ji. She said that Kishori ji as a guru had given her a lot but whatever she could gain from her guru’s teachings were never enough and would always miss her.  And just then the side door to the hall opened and I saw Ashwini Bhide ji enter. She took the front row seat for few minutes and got up and left. It took me a while to believe that Ashwini ji was seated just few rows ahead of me and also left as quickly as she entered. Since I was over 1/2 hour late I thought may be she finished singing before I came. While the Yaman coated swars of Devki ji was falling on my ears but I was constantly thinking of missing out on Ashwini Jis performance. And then suddenly Devki ji caught my attention by her swift paltas. Niranjan Lele ji beautifully accompanied her on the harmonium. Almost a 2 minute taan on the harmonium was so encapsulating. Mandar Puranik was accompanying on tabla with equal dexterity.

She melodiously transitioned to Eri Ali Piya Bin. It was very different from the ones I have heard or sung. After the khyal she sang a yaman tarana. Just as she finished, Shekhar Sen ji came up to the Podium and said, “I am very jealous that you got an opportunity to train under Kishori Amonkar ji, and I did not. Since this is a “smriti samaroh” for Kishori ji, please share with us some memories of how she would teach you as a student, how she would hone you, especially how she would scold you all if you made mistakes.”

“OH!” I almost exclaimed aloud. This was a tribute program for Gaana Saraswati Kishori Tai Amonkar, the rare old gem of Indian Classical Music, who left to the heavenly abode on the 3rd of April. I must admit here that I had never heard Kishori Ji. For someone who has learnt Indian classical from very renowned gurus, has never heard any recordings of Kishori ji is a very surprising (read shocking with exclamation marks) thing.

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A very soft spoken Devki ji had a bout of cold bothering her and was constantly clearing her throat while singing too but  shared so many incidents of Kishori Ji’ being a hard taskmaster.  Things like once when Devki ji was down with cold and fever  and wanted to skip her class, Kishori Tai insisted that she should attend as she could still hear music even if she can’t sing. When Devki ji would want to go out for a movie with friends, Kishori ji would herself take her to the movies, whereas she would want to go with her friends and not a teacher. But these gestures, reminisced Devki ji, was also the love of the Guru towards her students. Kishori ji would want to have her students always around her and do everything so that they focussed on the art. Remembering one incident, Devki ji said that even in a crowd of 2000-3000 people, if Devki ji made a mistake as her Samvadini on stage, she would be checked immediately. Kishori Ji never minced words and was very forthright with her thoughts.” She said that as learners they would keep chasing her speed of creation. It was beyond their comprehension of what Kishori ji sang and would keep trying to imitate as young learner. But Kishori ji always broke down longer phrases into pieces and explained how it works. She would always know what she was singing and would emphasise on thorough preparation before singing. Kishori ji would explain to them various shades of each note in different Ragas. Like the Kainkini Nishad which was a shade of Nishad that would be so teevra (sharp) that it would almost touch Taar shadaj. Use of Madhyam in Nanad and Bhinna Shadaj, or use of Komal Nishad in Bhimpalasi and Malkauns, the treatments were practically explained with clear distinction to her students. once Devki ji said Kishori ji met her and said I heard you are doing lots of programs and asked her what she sang in the latest one. When Devki ji said Todi, Kishori ji asked her whether she used the Moorchana she had taught. Devki ji said she had forgotten. Kishori ji said “See I teach you all so many things but you don’t remember. You should plan in advance.” Such was her thought process.

On this Shekhar ji asked Devki ji what her thought on the divine connect Kishori ji had with her music. For this Devki ji said Kishori ji always said think beyond your raag. “Raag se upar socho. Pehle khel lo suron se uske baad tumhare program ki asli shuruwat hai. Uske baad kya kehna chahte ho uspar vichar karo.” Play with all the combinations first but your performance starts after all the demonstration of ‘ragdari’. That should be the real element of your performance.

What I remembered most out of her memories was an incident in which Devki ji said that as a teenager, she would always dress up with new, different clothes every class. Once Kishori ji looked at her and said ” nice, every time something new, why doesn’t that happen with your music” Such a deep thought. As a student you may take this as hurtful to your physical appearance or take it as the biggest learning for your artistic growth.

Just as Devki ji finished, Shekhar ji invited Shashi Vyas ji to share his experiences with Kishori ji, who always treated Shashi ji like his son. Shashi ji is the son of late Pt. C R Vyas. His older siblings Suhas Vyas and Satish Vyas took over classical vocals like their father, unlike Shashi ji who practised Chartered Accountancy for 24 years and now is at the service of Music through his Pancham Nishad Creatives. Shashi ji had so many stories. It just kept flowing. Starting from his being the ‘black sheep’ of his family who from childhood had no inclination to music as opposed to his other siblings, he was drawn to Kishori Ji and Bhimsen ji’s music. Once when someone wanted to locate him for some financial advisory and Shashi ji was unreachable, they picked up the morning paper and checked the Kishori ji’s concert details and found him at that venue.

Reminiscing his initial visits to Kishori Ji’s concert (which he would always go sans his family members as he would prefer watching shows his own way) he said he always found her very restless in the first 15-20 minutes of soundcheck. She would complain about everything being not OK. But once she started, her Shadaj would be so strong that the audience would be transported to a different plateau and witness divinity through her. When he asked her she said in her style “Shasya tumhala kay. Tumhi kya gaan hote” (Shashi, why is it your concern. are you going to sing?) But on insisting further she said “That Shadaj which you are talking of makes me restless. The anxiety that whether I will be able to sing that Shadaj properly makes me check everything thoroughly.”  Shashi ji said that Kishori ji took it as her responsibility to give the audience the experience of the divine connect hence ensured everything was in perfect order. In his words “Suron ke sath ekagr hokar apna astitva kho dete hai, ye karne ki baat Kishori Ji ke paa thi”. She had the power to become one with the vibrance of the notes.

When asked about her moody nature he said “Na milta Gam to barbadi ke afsane  kahan jate. Har kirdar me achayi burayi hoti hai”. Having said that he narrated the story of Dronacharya asking for Eklavyas thumb as Gurudakshina from Mahabharata and said Dronacharya’s logic was since the Eklavya acquired the knowledge by wrong means (secretly observing and learning against guru’s wishes) he would utilise it also for wrong purpose hence the penalty. Thereby justifying the straightforwardness of Kishori ji that there was a purpose behind her being so firm.

Another instance when he had organised Kishori ji’s program, she had clearly stated that she will finish by 12. But her turn came just about midnight, due to other’s starting late. From the stage she pointed the time to Shashi ji “Just 10 min to 12”. Shashi ji said, “you just start. What happens later is between you and the audience” She started with Shankara raag and  her Shadaj (Sa) was so powerful and she went on with it till 2.30am. Such is her strength to hold the audience. Post the show when Shashi ji went to drop her she asked him to come over for dinner and asked him about the performance. He just casually said it wasn’t her best. She started explaining that it was because she had too many shows back to back and travelling back and forth had an adverse impact on her performance. Shashi ji said she completely valued constructive criticism so there was not much truth in her rumoured moodiness.

Shashi ji said that when he did his first show, he wanted Kishori Tai’s program in the lineup but when he went to ask her she said “Why do you want my program?” to which Shashi ji said “How does that matter to you. You cant question why. If you are not interested you say no”. She was taken aback by his response and said “How can you talk to me like that”. Shashi ji explained to us in his own funny way “Does any child while speaking to his mom think about logic, NO. When you have to say something to your wife you will plan it, time it, word it appropriately and still if it is not ok at the moment, avoid it. ” Everyone burst out laughing. “That was the relationship I had with Kishori ji. I never answered straight to her and she would jokingly keep saying I allow you here because you are CRVyas jis son.” Said Shashi ji. He said that it was a ritual that everytime he approached her for a show, she would say no, but very next morning call up to ask if he seriously meant that she had to sing and would check the details.

But as he said Kishori Ji always said she would want to pass away quietly without any troubles for others, in the service of Music. And that’s the way it was. She quietly passed away in her sleep after her Riyaz.

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After a short break, Ashwini ji was invited to the stage. Ashwini ji’s mother Manik Bhide ji was trained with Kishori ji and Kishori ji always insisted Manik Bhide ji to accompany her in concerts. Ashwini ji mentioned that once Kishori ji went to just listen to a late night concert and Manik ji did not go along for some reason. In the middle of the concert Kishori ji wanted to sing and organisers were more than happy to oblige. But her only condition was that Manik will have to be sent for. So at 1.30 am , Manik ji was woken from her sleep and taken to the venue. Ashwini Bhide ji said one very important thing about Kishori Ji was that she never repeated her compositions in her concerts. “She sang Mharo Pranam and left it there for others to sing and improvise. No one came closer to what she created though. She created footprints and moved to create more for others to follow.” Said Ashwini ji.

Ashwini Bhide ji presented Raag Bhupali. The first one was a compositon by Kishori ji ‘Pratham Sur Sadhe’ which she said she will not elaborate but next one in Matta Taal (9 matras) was completely meditative.

‘Prabhu Tum Data Suran Ke

Tori Kripa Se Hum Gawat hai

Nit Tero Dhyan Dharat Hu

Deho Ashish Deho’

This was followed by the Tarana- Ni ta re dare dani . She said she deliberately did not sing “Sahela Re” because it just wasn’t her time and place and calibre to attempt it. I was wondering how humble are these stalwarts.

Siddhesh Bicholkar on harmonium was in complete sync with Ashwini ji’s style. His fingers were gently gliding over the keys and

A very interesting offering she made to Kishori Ji’s memorial concert was a medley of Kishori Ji’s compositions in Ektaal beginning with Nand “Aja Re balamwa” going to Miyan Malhar “Umad Ghumad Garjat Hai” and ending with Khambavati ” ”

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The concert concluded with a duet by Ashwini Ji and Devki Ji’s  Mharo Pranam. What a beautiful composition by Kishori ji and what a beautiful rendition by the duo.

MHARO PRANAM!!!

 

 

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Dhrupad by Gundecha Brothers – Spiritual Morning – Review

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Today‘s program was so divine from the moment it started. It was dark and cold and beautifully landscaped with Gateway of India as the backdrop. Both Padmashri Umakant ji and Padmashri Ramakant ji started with ‘Jai Shiva Shankar’ a Dhruvapad in Raag Lalit. Ramakant ji deftly touching ati kharaj (mandra saptak ) notes in his powerful baritone voice in the initial alap and Umakant ji merging it with mandra and taar saptak with equal strength with nom tom and suddenly #SukhadMunde ji joining in with Pakhawaj in 3/4th rhythm cycle suddenly connected us to the divine in the very beginning even before the Dhruvapad started. The Dhruvapad was in Sooltal and sounded like lord Shiva’s tandav in the heavens. With the drut improvisations of dugun, tigun, chaugun, tihais (mathematical fractions of double, third, fourth, triplets), the audience simply couldn’t stop vowing. Wah! wah! wah! went on throughout the performance.
Next they presented a poem by Jaishankar prasad dwivedi – Ashok ki Chinta. It is a description of King Asoka’s feelings just after the Kalinga war. We did study about it in our literature and history class as kids but never thought of poetry in Dhruvapad in this way. This was again composed in Raag Lalit. With pakhawaj in 16 beats was a treat to the music lovers present in this morning who deeply could connect to lyrics

‘ जलता है यह जीवन पतंग जीवन कितना?
अति लघु क्षण,
ये शलभ पुंज-से कण-कण,
तृष्णा वह अनलशिखा बन
दिखलाती रक्तिम यौवन।
जलने की क्यों न उठे उमंग?

We were so mesmerised when suddenly Umakant ji said ‘5 aur minute aapka lenge, ek gurjari todi me choti si prastuti’. The audience was so dissapointed to hear it is about to end. With the sun rising on the horizon, this composition in drut Teevra taal Dhruvapad suddenly paced up our energies with its divine lyrics.
Katat vikar naam uchhar
Jo nar sumire naam

Jagatido pe sab sansar
Dharm adhar vidya par.

It was indeed a Spiritual Morning in every way. #ShashiVyas ji gave a vote of thanks to the artists and couldn’t stop himself in reciting these verses of a poet manish
“Suraj ki tapan asman me hoti hai
Tadapna dharti ko padta hai
Pyar ankho se hota hai
Tadapna dil ko padta hai ” leaving the audience in peals of laughter as the sun was now getting hotter. He rightly said that Gundecha brothers kept the pace very well “Dhrupad ki gati Shant se drut”, just the way it should be. “Is Behtareen mehfil ke liye shukriya”. Mangala ji and amol accompanied on tanpura.

Gundecha brothers, Padmashri Umakant Gundecha ji and Padmashri Ramakant Gundecha , are one of the leading exponents of Dagarhani Dhruvapad gharana. For those who don’t know, just like Khayal Gayaki, Dhruvapad Gayan is an ancient traditional form of Hindustani singing. It was prevalent even during the vedanta era. The Samagana system of Samaveda (verses with tunes ) evolved into Chanda-Prabandha which had verses with a specific oragnisation(taal). This later came to improvise as the Dhruvapad.

Dhrupad music is spiritual and divine while Khayal gayaki is more of demonstration of a dialogue between the notes, interval and mood of the raag. Dhruvapad is performed with Pakhawaj as percussion as opposed to tabla in Khayal gayaki. Besides this, Dhruvapad instruments are the Surbahar and Rudraveena. This renders even more depth and fuller tonality to the ambience of Dhruvpad performance. A Dhruvpad has four sections –
Sthayi- That ranges from Kharaj to Mandra Saptak ( lower octaves to the middle octave)
Antara- That ranges from Mandra to taar Saptak (Middle to higher octaves)
Sanchari- The third part (absent in Khayal Gayaki) improvises upon the first section and second section ranging from kharaj to taar saptak.
Abhog-The concluding part( absent in Khayal Gayaki) that winds up the whole presentation.

 
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Posted by on January 29, 2017 in Uncategorized

 

Raees Movie Review

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#Review #Raees
 
26th morning 2017
What a way to start … Raees, Kaabil and xXx
 
Someone recently asked me what is the biggest sacrifice as parent I have made and my answer is missing a #Shahrukh movie #firstdayfirstshow‘ because it’s always a schoolday and the kids too want to watch it so we wait for the nearest holiday. So this time it was 26th January, our 68th Republic day this year.
 
In the days of inspiring biopics like #ChakDeIndia (Negi ), #BhagMilkhaBhag, #MaryKom, #Airlift (Mathunny Mathews), #MSDhoni, #Sully, here we have Raees, the biopic on an Inglorious Liquor Mafia Don (while the disclaimers say its fiction)
Raees is a very tightly packed storyline, with shahrukh’s sharp dialogues, quick witted calculating kohl eyes and crisp storytelling.
 
While #shahrukh does promotions with full shiddat for his movies but he never talks of his physical transformation so much as other actors be it his intro sequence in #HappyNewYear as Charlie, or his derriere in #OmShantiOm body, or the very plain Gaurav in Fan, or the Blood-Matam-Moharram-intro sequence in this movie. I won’t know how much of it is CGI but it’s very well done.
 
I was especially impressed by the casting (minus Mahira) where all other actors/artists too did a very good job. #Nawazuddin is very sleek as a police inspector but mostly his role was of a bechara police officer who kept planning but losing his war against the mafia don. Even at the end when he gets his kill the don is made to look bigger than him. But that’s Indian cinema. Reminded me of #ManojBajpai in #Special26. #AtulKulkarni is very convincing as the as Jairaj seth but may be the negative shades of his character could have been accentuated with some strong memorable background score. But the movie is about Shahrukh aka Raees so no one is superior to him. #NarendraJha as Musa is also very subtle and impressive actor. I am not sure if Mahira had very little to offer as an actor or was her role cut so short to being so insignificant. In fact Shahrukh’s mother played by #SheebaChaddha had very small but very impactful role.
 
Story is gripping in the first half, but suddenly loses plot towards the end and again picks up. Mumbai Blast involvement somewhere brings in horrific memories but they are not trying to gain any sympathy for the character. It’s just a movie. The dialogue that stays is with me is “Ammi Jaan kehti hai Koi Dhandha Chota nahi hota aur Dhande se bada koi Dharm Nahi Hota”
 
Songs like Zalima, Udi Udi Jaye and Laila main Laila are already chart toppers but my personal favorite is “Sanson Ke” by KK.
 
I never reveal stories in my reviews aur aap abhi tak review padh rahe ho. Jao movie dekho bhai.
Must Watch. Even for Shahrukh Haters, because he is not playing Shahrukh.
Technical Rating – 4.5*
Fan Rating:- LeLoJitneStarsChahiye
 
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Posted by on January 26, 2017 in Amchi Mumbai, Movie, Review, Songs, Uncategorized

 

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Naad Global Music

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I started this idea called ‘Naad’ for connecting more and more people and breaking cultural and social barriers through music. There are 5 ways in which our brand Naad consolidates on these ideas
Naad in education – Naad Arambh, Naad Alankaar
Naad in Indian Classical – Naad Sadhna
Naad in World Music – Naad Bhed
Naad in Workshop and Discourses – Naad Samvaad
 
For past few years I have been taking up personal goals to grow. Initially it was outside my work. I was into softwares, telecom product training and social media so started looking at music as a subject of growth.
First I picked up the tabla as it was easier as a classical singer to understand, then the guitar because it looked so cool and added a new dimension to a solo performance. Then it was the Recorder flute, the xylophone, the drums and the violin. Besides my growth, it was also keeping my girls connected to music in various forms.
 
But now music being my full time profession for few years, I am making my 2017 bucket list. Travelling and picking up a language tops the list. Being a people’s person, I also will connect to more people. So I will be curating more workshops, shows, seminars and gigs. Indian music lacks technology integration and innovation. I being a techie and educationist too, have been working on integrating 21st century education to Indian Music. This too would be one of the top body work of my musical journey this 2K17
 
My personal goals of travels and learning languages would also be connected to my journey into ‘Naad’ and reaching out to more people through music and technology.
 
Naad is a brand promise and we are working on spreading not just education of highest order but also performances, interactions and discourses of highest quality. We will be connecting more with the veterans and inviting them over for moderated and open discussions on music, technology and other pertinent topics to keep the music alive and going in its purest form.
 
I have enjoyed every bit of my journey connecting with you all and I am looking forward to your suggestions and participation. 2K17… MORE MUSIC YOUR WAY
 
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Posted by on January 5, 2017 in Review, Songs, Uncategorized

 

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Befikre Movie Review

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Movie messages now a days
#AeDilHaiMushkil -Ek tarfa pyar ki kimat tum kya jano – Ramesh Babu abhi tak koshish kar rahe hai
#DearZindagi -Pyar Kursi Hai, aap do teen par ek sath baith sakte hai
#Befikre – Pyar Aloo Parantha Hai jo french bread se bhi ban sakta hai
Common thread between all of these Indian Masala Movies… they still plead younger generation to believe in the institution of marriage
 
Nice and fluffy movie
Watch it if u r Ranveer Singh madness fan
 
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Posted by on December 9, 2016 in Uncategorized

 

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Rock U – naad Global Music at BeHappy – Review

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In the daily hustle-bustle, Connecting Community is a huge task. Especially when the community is that of aware, conscious, educated, successful, adventurous, observant, fun loving, high-on-adrenaline citizens of one of mumbai’s suburbs – Andheri Lokhandwala
Arts and Entertainment has always been central to all social gatherings and a common thread that binds individuals but its proven fact that music helps you attain the highest level of conscience. Hence in a gathering if you are connected to ‘your music’ , you are connected to every soul on the floor with you.
Music is also very individualistic. For some it may be a groove that u play on the drum set, for some it may be a mata rani jagaran song, for some it may be a meditative sound of a drone (tanpura) or a Beethoven’s sonata or a #honeysingh rap or a #KLSaigal s ‘chah barbad karegi hame’ or #Mohdrafi s yahoo or #coldplay s viva la vida.
When I first saw a post on #BeHappy on Lokhandwala Oshiwara Citizens Association #loca ‘s page, I instantly could see myself as one of the contributors rather than being a mere participant. It just took me a line of text in #loca s fb page to jump in. Karan Jotwani of Team #Behappy instantly gave me concept brief and connected me to Vivek Golani and Dhaval Shah who helped me out with participation options. So now we had a Workshop Counter for music enthusiasts and a Stage Time for students.
While I joined in by doing what I know the best- MUSIC, my connection was not at the surface level. I connected with their philosophy. The philosophy of bringing joy to all. Ever since I made Music as my mainstream profession, I have been clear about My Mission -Connect to the Music of your Soul, every individual connected to music in some or the other form.
I sifted through my contacts and managed to speak to Raunaq Bhargava of one of India’s largest music stores #MusiciansMall. He instantly agreed to arrange for best of the equipment at the venue for a wonderful user-experience.
Our day started a night before, planning minutest details of placement, and ease of use of musical equipment. We left for set up at 5.30 in the morning and were ready to rock in a jiffy. One after the other, children, parents, grandparents, young and old, some aware some naive of musical instruments, everyone who came to the fun event #behappy , started visiting us. Many went back home and got family members and friends to explore the Indian and western instruments. We had the longest queue of visitors who wanted to try everything around. Parents wanting their kids to try the drums while the kids wanting to do the tanpura, children encouraging parents to try out guitars, moms singing mantras to their kids on harmonium, dads trying to act cool by playing drum set, mom and daughter jamming over songs, all these were the very small but significant realisations of my larger vision of “music to all” through Naad Alankaar Global Music School.
Our young learners also enjoyed jamming on the stage with few rock numbers from Rock-On, Cranberries, MJ, ABBA, Queen.
We had a great experience spreading joy of music and will be coming back again on 18th Dec. with more fun more instruments more workshops to offer.
#Neighbourhood #reporter #reviewer #observer #blogger #communityconnect #soulconnect #music #artsandentertainment #naadglobal #loca #behappy
 
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Posted by on November 20, 2016 in Uncategorized

 

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Karvachauth – Stree Ujagar Kar – Nayi Soch

#karvachauth #includeeveryone #singlemothers #comingoutofthecloset #lonelywomen #womantrappedinmansbody #divorcee #widow #solahsingar #suhagan #StreeUjagarKar #poem #katha
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#nayisoch I have my mom and daughters names on my hand”
While my girls are rejoicing the end of 1st term exams in school, they are oblivious to the fact that being born woman in itself is big exam, which they will have to appear for time and again, year on year to prove their acceptability and existence in the community.
Like today is the day for the so awaited ‘Pativrata Pariksha’ of the hindu women-‘The Karva Chauth’. I jumped into the bandwagon about 5 years ago when I saw about 50 women, adorned with ‘solah singaar’ from newly weds to old suhagan aunties, exchanging thalis in a huge circle, praying for the well being of their husbands. Our culture has always fascinated me and I have tried to follow many cultures and religions from tambrahm rituals, to observing jain paryushan to singing and reading sufi to attending church mass, to shabad gaan in gurdwaras. So Karva chauth was one more of these rituals I started. When I heard the katha my memories took me back to the ‘solah somvar’ fasts I used to observe as a teenager. The stories were very similar. I went back further in my memories and remembered the Kanjak systems in dasera.
 
Seems every community has conspired to find ways to twist mythology, to keep women below a ‘lakshman rekha(code of conduct)’, beyond which we are told the wreath of ‘Ravan(the ill fate of hardships)’ will be cast upon us, such as ‘agni pariksha(virginity test)’, ‘vanvas me prasav vedna(seclusion by society in pregnancy)’, ‘bhugarbh me sama jana (separated from family forever)’ and our beloved ‘Ram’ will be forced to watch you go and still remain ‘Maryada Purushottam’ for ages and ages.
 
I have all the love and affection for Ram and his body of work. I sing and teach all the ballads and folklore written on him. ‘Ram ka Naam’ has such strong vibrations that draws me to some high source of positive energy.
Then why is such suppression on women propagated. They were written by learned ‘Rishi Munis’ and rewritten in so many languages for its widespread impact . Women were worshipped as Durga Lakshmi Saraswati.
 
It’s time to reinterpret these stories. We have to pass on a strong ecosystem if culture and tradition to the younger generation. Religion should be inclusive evolving and empowering. Just like Kanjak is celebrating ‘Girl child’, Karva Chauth is celebrating of Womanhood, inding love, being in love – with a man, woman, child, nature and life.
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With so many Single Mothers fighting a lonely battle in this man’s world, with so many Men ‘coming out of the closet’ and fighting a lonely battle of acceptance as a woman, so many Women who love Women, let’s not make it more difficult for them. Facebook has 71 gender status and over a dozen marital status type.
A STREE-A Woman has a womb, symbolic of creation, containment, nurturing and delivering a strong, healthy and robust lifeform that takes ahead a value system for ages to come.
 
“Apne Andar Ki Stree Ujagar Kar”
 
Ek Karva mai bhi hu layi
Ek katha mujhe bhi hai sunani
 
Sadiyon se jakdi bediyon ne Sanhaar kiya Rani bankar
Dasi bani tum iss jagat me
Kab tak moond rakhogi ankhe, iss yug me bhi Gandhari bankar
Is Chandrama ki sheet kiran se aaj bedi todkar
Tu Stree Ujagar Kar, Tu Stree Ujagar Kar
 
Samman ka sringaar kar, abhimaan ka sringar kar
Gyan ka sringar kar,
Jeevandaan ka sringar kar
Tu hi Durga Parvati, tu Shakti ka sringar kar,
Tu hi Meera Rukmini, tu Bhakti ka sringar kar
Vatsalya, Karuna, Prem, Mamta, Dharm ka sringar kar
Sukh Samridhi Shanti aur Vishwas ka sringar kar
 
Sringar ka sukh har stree ko hai
Chahe tum stree ho Janm se
ya Stree hui Jeevan se
Deh ki vipada ko taj, tu srijan ka sringar kar
Maun ki vedna ko taj, abhivyakti ka sringar kar
Har Stree Ka Sringar Kar
 
Tu Stree Ujagar Kar, Tu Stree Ujagar Kar
STREE UJAGAR KAR
jayaa-karvachauth-naad-1
 
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Posted by on October 19, 2016 in Uncategorized

 

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