In the last touching couplet, Mohsin tells his beloved that he remains steadfast in his first promise even though ages have passed since he made it, and the beloved has moved on.
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It is as natural as the first drops of rain that cannot be stopped and its fragrance is as spontaneous as that of dry earth when it receives the first monsoon showers. Love is essentially unconditional and follows its own inner dictates.
![saraswati vandana songs for dance saraswati vandana songs for dance](https://azphoenix.files.wordpress.com/2012/07/saraswati2.jpg)
He also doesn't blame the beloved who chose to adhere to the pressures of society and/or proved fickle like a vagrant cloud, incapable of sustainedly providing shade. The shaayar says that in true love, there is no worldliness and no conditionality.
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The ghazal has the elements of truly good shaayari, in its beautiful combination of simple language evoking depth of feeling, with appropriate imagery. Based on Raag Darbaari, this ghazal has been rendered by well-known singers, notably, Munni Begum and Gulbahaar Bano. My amateur attempt at a classic ghazal by Late Mohsin Bhopali, whose birthplace I share. There is a delicate yet beautifully natural expression of her desire to merge with her beloved, just like the colours of her red 'chunari' and green blouse mix and mingle as rain drops fall on them. This composition is steeped in romance (Shringaar Ras pradhaan) and expresses the yearning of a woman to be held by her charming (absent) lover during this lovely season. The rustic Kajri with its lilting melody and catchy beat was inducted into the Purabi semi-classical music tradition over centuries. The traditional lyrics are in Purabi dialects associated with this region, particularly Bhojpuri. It describes the beauty of the Indian monsoon and the wish to enjoy this beauty with the beloved, be it Krishna swinging in the 'saawan jhoola' with Radha, or rural women who sing the Kajri to express their sadness at being separated from their men, migrant labourers forced to live long periods away from their homes, to make a living in alien cities.
![saraswati vandana songs for dance saraswati vandana songs for dance](http://www.lokvani.com/lokvani/a_images/y2012/84458021789473_7145dff1fd_c.jpg)
The Kajri is an ancient folk song sung in the villages of Eastern UP and Bihar, especially in the monsoons. The reference to 'dam' or breath is typical of Sufi devotional poetry, denoting the sacred mystic connection between life force, breath and spiritual energy/chanting the name of God.įor people who enjoy India's robust folk music traditions, here is my amateur attempt at a Saawan ki Kajri. In this song, Usman Shah, lovingly also called Shahbaz Qalandar, is also revered as one who grants the boon of children to childless women and reunites brothers with sisters. This bhajan/ dhamaal is an interesting example of the eclectic, syncretic, popular culture of medieval North-western and Western India, combining in its lyrics, devotion (bhakti) for the Sindhi Hindu deity Jhoole-Laalan (associated with the Rigvedic god of water, Varun), the Sufi saint Usman Shah Marwandi who was worshipped as a saint/divine Avatar by Hindus and Muslims alike in Sindh, and Hazrat Ali, successor of Prophet Mohammad. However, the lyrics in Saraiki (Sindhi/Multani), the refrain Damaadam Mast Qalandar and also the folksy roots of this 'Dhamaal' go back centuries. I have attempted thIs Sufi Bhajan, the current, popular, catchy version of which was composed by Pakistani film music director Master Ashiq Hussain in the 1960s.