Spiritual Morning with Amjad Ali Khan and Zakir Hussain

Aman ki asha at Ajmer Sharief

Sufi qawwals from India and Pakistan set to perform at Dargah Sharief on February 12
Chandna Arora


The members of Fareed Ayaz Abu Mohammad Qawwal and Brothers from Pakistan have spent the past few days in great excitement. It’s not just that they’re doing a concert for Indo-Pak unity, but also that they’re performing at the famed Dargah Sharief in Ajmer! This February 12 concert, organised by Aman Ki Asha, a joint initiative of the Times of India and the Jang Group of Pakistan, is particularly exciting to the two performers because of the venue.
Sabse badi cheez hai ki aman ka paigam hi wahan se shuru hua hai,” says qawwali singer Munawwar Masoom, who is to perform with the qawwal group from Pakistan at the Dargah Sharief in Ajmer the day after for a concert organised by Aman Ki Asha. “Jis cheez ko hum pesh karne ja rahe hain, woh
Khwaja Moinuddin Hassan Chishti Rehmatullah Alai ke darbar se hamare liye zariya bana hai.” Masoom is a wellknown qawwali singer from the Mewati gharana of Bhopal. The gharana includes mostly renowned classical singers, and Masoom is among the few to have taken up qawwali. And he says that this form is the perfect and time-honoured vehicle for the message of aman, or peace. “Khwaja sahib ne jo ekta ka paigam diya – aman ki asha hi kahiye usse – woh logon tak pahuchaya gaya hai, chahe Hindu ho, Muslim, Sikh ya Isai. Qawwali woh paigam hai jiske zariye log ek chhat ke neeche baith kar ek rang mein rang jaate hain aur ek ho jaate hain,” says Masoom.
He says people often ask him why qawwali is not being able to go further ahead in popularity. “Main toh kehta hoon, woh kabhi peechhe gayi hi nahin. All these pop songs these days, they’re only copies of qawwalis. They’ve simply upped the tempo, and the way children dance to these songs has changed,” laughs Masoom.
He says he can testify that not only can music help narrow the gulf between the peoples of the two countries, it can heal pretty much anything. “Qawwali hi nahin, music har cheez ko jodne ka kaam hai. Sur mein hi qawwali hai, bhajan hai, azaan hai… Sur mein bolne se koi bhi baat samajh mein aati hai. Sur hi hai jo sabko ek maqam pe khada kar deta hai,” he says.
Masoom says he wants to present a song of unity at the concert, to be held on February 12, from 10am to 12noon, but adds that that’ll be decided as things go. We say it’s a great idea!
Says Abu Mohammad of Fareed Ayaz Abu Mohammad Qawwal and Brothers, “Bilkul kamaal ka venue hai! Dargah Sharief bahut hi ruhani jagah hai, aur main dua karunga ki hamara program wahan kamyab ho, aur hum zyada kareeb aayein.”
The group traces its roots to a qawwal group instituted by Amir Khusru about 750 years ago, which, incidentally, was formed in Delhi and was called Qawwal Bachhe. “Aman Ki Asha is a crucial undertaking, aur maine pichle ek saal mein hi isme bahut developments dekhi hain,” says Abu Mohammad. “When we performed with the Wadali Brothers in Ahmedabad, there were at least 20,000 people there, and they wouldn’t let us go back. This is the message that we want to give… In every religion, from Meerabai and Bulle Shah to Kabir, the message is the same – aman. We are very close to each other. Artistes
ko toh sarhad waise hi nahin hoti hai na!”
Has he seen music make a difference to people-to-people ties between the two countries? “Yes, yes!” says Abu emphatically. “In Ahmedabad, people said, we don’t know whether what you’re singing is from India or Pakistan, we only know that it’s from the subcontinent. Then we performed something that’s a great favourite in Pakistan and even abroad – “Padharo Mhare Des”. It’s a very famous song that we sing, and the public simply wouldn’t let us go! When we performed at Dilli Haat in Delhi during the Commonwealth Games, itna rush ho gaya ki logon ko apni dukaan sambhalna mushkil ho gaya. We say proudly ki humein Hindustan mein bahut mohabbat milti hai.”





WE ARE VERY CLOSE TO EACH OTHER... WE SAY PROUDLY KI HUMEIN HINDUSTAN MEIN BAHUT MOHABBAT MILTI HAI
– FAREED AYAZ ABU MOHAMMAD QAWWAL AND BROTHERS, PAKISTAN





QAWWALI HI NAHIN, MUSIC HAR CHEEZ KO JODNE KA KAAM HAI. SUR MEIN HI QAWWALI HAI, BHAJAN HAI, AZAAN HAI…
– MUNAWWAR MASOOM, INDIA – FAREED AYAZ ABU
MOHAMMAD QAWWAL AND BROTHERS, PAKISTAN

Kala Ghoda Festival

The Kala Ghoda Arts Festival is an annual festival, usually around nine days long, held in late January or early February, in the Kala Ghoda area of South Mumbai, India.

From its inception in 1999, the Festival has grown in stature and popularity, attracting visitors and participants from other parts of the country, and the world.

The Festival is organised by the Kala Ghoda Association (a non-profit organisation that states its objectives as "physically upgrading the Kala Ghoda sub-precinct and making it the Art District of Mumbai") and curated by teams handling each of the sub-festivals.

The sub-festivals feature the visual arts, dance, music, theatre, cinema, literature, lectures, seminars and workshops, heritage walks, special events for children, and a vibrant street festival. Entry to all events is free to all (only restricted by the size of the venues) and costs are met through corporate sponsorship. Venues include The Jehangir Art Gallery, The National Gallery of Modern Art, the David Sassoon Library, Max Mueller Bhavan, Elphinstone College, the K R Cama Institute, the M C Ghia Hall, and the street area of Rampart Row. Rampart Row is closed off to vehicular traffic for the duration of the festival, with the entire area becoming a street mela, with food stalls, artisans selling their creations, artists who sketch instant portraits, street art installations and the like. In recent years, the Festival has expanded beyond the Kala Ghoda crescent, with events being held in Azad Maidan and Horniman Circle as well.

The success of the Kala Ghoda Arts Festival has, arguably, encouraged the setting up of several other arts and cultural festivals at that time of the year, when the weather in Mumbai is cool and the sun sets early. These include the Mumbai Festival, the Celebrate Bandra Festival, and in 2007, the Kitab Festival.

However in recent times, local residents have gathered up in arms to complain about the noise, and left over mess that is left at the end of the festival. If some reports are to be believed, the festival is slated to be moved to nearby Horniman circle. However, this change of venue has not been confirmed by the organizers.

Shubha Mudgal

Shubha Mudgal (born 1959) is a well-known Indian singer of Hindustani classical music, Khayal, Thumri, Dadra, and popular Indian Pop music.

She has been awarded the 1996 National Film Award for Best Non-Feature Film Music Direction for 'Amrit Beej', the 1998 Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, for her music in the film Dance of the Wind (1997), and the Padma Shri in 2000. She is also close to progressive movements like ANHAD and SAHMAT.

Early life

Born in an academic family to Skand and Jaya Gupta in Allahabad, Uttar Pradesh. Both her parents were professors of English literature at Allahabad University, with deep interest in classical Hindustani music and Kathak. Her paternal grandfather, Prof. P. C. Gupta was also a professor at Allahabad University.

She attended St. Mary's Convent Inter College. As a young girl she started learning Kathak in Allahabad following the foot steps of her sister. She replied once to a dance examiner's routine query of "Aap kis gharaane ka naachti hain (what gharana (house/style) do you dance from?)" with the retort "Hum apne gharaane ka naachti hain (I dance from my own gharana)". She later switched to Hindustani classical music as her vocation of choice while maintaining the same individualistic attitude. Her first traditional teacher (guru) was Pandit Ramashreya Jha in Allahabad.

Mudgal moved to New Delhi and enrolled at the Delhi University. She continued her musical education under Pandit Vinaya Chandra Mudgalya at the urging of her first guru. After graduating from the university, her training continued under Pandit Vasant Thakar in Delhi, and more informally with other established singer as Pandit Jitendra Abhisheki, Naina Devi and Pt. Kumar Gandharva.

Performing career

Shubha Mudgal started performing as a classical singer in the 80s and gained a certain reputation as a talented singer. In the 90's, she started experimenting with other forms of music, including pop and fusion varieties. She says, "I believe in music. Khayal and thumari are my favourites, but that doesn’t mean I should not experiment with other forms, Why should I curtail my musical urges?" asks the singer and adds, "I want to allow the artist in me to come through. If you are a musician, how can you say, 'this one is from devotional poetry, so I'm not going to sing it. In addition to her recordings and concerts, she also briefly ran a website called raagsangeet.com aimed at lovers of traditional Indian music.

International Performances

On october 24, 2008, The kickstart of Deepawali festival by the melodious Shubha Mudgal. She sang great songs from her latest album "Pyar Ke Geet". Packed auditorium of Sunnyvale Hindu Temple and Community Center, community, visitors, devotees enjoyed the performance. Everyone danced to touching songs. Event started with Huna Huna, a song from the depth of heart.

Personal life

After graduating from University Shubha married Pt. Mudgalaya's son Mukul Mudgal who was a promising lawyer. Shubha Mudgal got divorced from her first husband, and got married to Aneesh Pradhan. Her only son from her previous marriage, Dhawal, is a member of a Delhi-based band.

Discography

* Ali More Angana (1996)
* Classically Yours (1999) ISBN: D4HV2718
* Ab ke Sawan
* Pyaar Ke Geet
* Mann Ki Manjeree
* Kisson Ki Chadar (2003)
* Shubh Deepavali (2005)
* Anand Mangal
* The Awakening (2006)
* Jahan-E-Khusrau (2007)


Shubha Mudgal ( Classical Singer )





Shubha Mudgal Dholna

MEERA PRASAD

A seasoned, well renowed artist, Meera Prasad has received appreciation for her pure rendition of the ragas and commendable control over the techniques of the sitar. Meera is a regular artiste with All India Radio and has performed at prestigious music festival all over India and abroad.

She is a disciple of Pt. Umashankar Mishra. Performed at the Pandit Chatur Lal Memorial in mumbai.

Sitar Recital by Meera Prasad, disciple of Ustad Ahmad Raza Khan. 27th January 2012

Ajay Pohankar

Ajay Pohankar (born 1948) is an Indian classical vocalist.

Early life

Ajay Pohankar was born in Jabalpur, Madhya Pradesh. He had his initial tutelage under his mother Sushilabai Pohankar, a classical vocalist and a musicologist of Kirana gharana.

Career

Ajay Pohankar is quite popular for his classical concerts. He is known for the musical video, Piya Bawari. He also interacted with legendary vocalist, Ustad Amir Khan, who use to frequent his house when he was young.

Personal life

Ajay Pohankar is married to Anjali Pohankar, a vocalist and musicologist. They have a son, Abhijit Pohankar, a classical instrumentalist.

Discography

* Sangeet Sartaj
* Faces Of Raga - Ajay Pohankar
* Raag Sindhu Bhairavi
* Raag Mishra Kafi
* Brij Mein Khelat Nandkishori
* Barjori Kar Rang Daari

About

Maestro Pandit Ajay Pohankar-Pt Ajay pohankar is one of the great Indian classical artist this country has produced. Ajayji was born in 1947 in a educated family that breathed and lived music.He has been singing the Kirana, patiala and Gwalior gharana gayakis and was trained by his mother, musicologist Dr Susheela Pohankar who is a double MA like Ajayji himself who has a Masters degree in English and Music.

Ajayji was a child prodigy and was introduced to Classical music scene by none other than Ustad Amir khan saheb in 1958 at the age of 10 at the Calcutta music conference. At the same age he was the youngest artist to be featured in the Mecca of Classical music conferences The Sawai gandharva festival wherin he sang with the likes of Ustad Salamat nazakat, Hirabai badodekar, Pt Omkarnath thakur, Begum akhtar and Pt Bhimsenji.A feat, which is extreamly rare in today’s generation of artists. Ajayji has since then been receiving love and affection from all these great artists who have heard him as a miracle in his younger years and as a living legend now.

Pandit Ajay pohankar has been in the Indian music scene since last 50 years now, has done innumerable concerts in India and around the world and has been a trendsetter in his own right. His singing impresses primarily for its aesthetic beauty and then for its impeccable technique. His voice has reached and touched the hearts of millions of listeners around the world.

Ajayjis has performed in almost all conferences and major festivals in India in his long career of 5 decades like Harvallabh festival-Jalandhar, Punes Sawai gandharva fest, Tansen Festival-Gwalior, Sankatmochan-Benares, Saptak and many more besides the prestigious tourism festivals and innumerable International concerts in some of the most prestigious venues of Africa, U.k and America.

Ajayji is one of the finest Thumri singers of the country. Being a Maharashtrian it was very difficult to imbibe the art but he has contributed to this genre unconditionally.

Ajayji has to his credit many awards given to him by various organizations .The quality of his voice is considered one of the best in the country and has been used for many international c.d compilations as well. His voice not only is traditional but has immense capability to sing numerous genres of music, his latest milestone being PIYA BAWARI, India’s most famous fusion album along with his son Indian classical keyboardist Abhijit pohankar wherin his singing reached even the common man and left a mark in there minds for many years to come

Ajayji is extreamly adaptable to new music styles and is always open about experimenting with new musicicans and new genre of music, His gayaki has crossed the geographical and cultural boundaries since many years and his voice is liked by people and artists from around the world, making him one of the great artists of India. This is his 60th anniversary year and Ajayji is performing some special concerts around the world to mesmerize the audience that loves him. Truly a simple but most glittering gems of INDIAN CLASSICAL MUSIC-Maestro Pt Ajay.pohankar


More about Ajay Pohankar

Pandit Ulhas Kashalkar

Pandit Ulhas N Kashalkar (born 14 January 1955) is a noted Hindustani classical vocalist. He has received training in the Gwalior, Jaipur and Agra gharanas, and is considered a legitimate representative of all three schools.


Early life

Pandit Ulhas Kashalkar was born in Nagpur. He received his first lessons in music from his father N D Kashalkar, a lawyer by profession and a noted amateur vocalist and musicologist. He went on to study music at Nagpur University, topping his post-graduate class. Around that time, he trained under Rajabhau Kogje and P N Khardenavis.


Tutelage

Indian music is contoured heavily by its pedagogic tradition of Guru Shishya parampara. An examination of an artiste's musical lineage often yields rich insights into his musical style and personality. Kashalkar studied principally under Pandit Ram Marathe and Pandit Gajananrao Joshi.

Ram (Ramchandra Purshottam) Marathe (1924–1989), popularly referred to as "Rambhau", was a vocalist in the Gwalior tradition. He was a disciple of Mirashibuwa, who in turn studied under the legendary Balakrishnabuwa Ichalkaranjikar, a key figure in the history of the Gwalior Gharana. Pandit Marathe also trained in the Agra style for fifteen years under Jagannathbua Purohit. That apart, he was a prominent actor and music director in the Marathi stage. Kashalkar undertook a long period of tutelage under him. Indeed, most characteristic features of his style can be traced to Gajananrao's vocalism.

Career

Ulhas Kashalkar initially worked as a programme executive at the Thane station of All India Radio. In 1993 he became a Guru at the ITC Sangeet Research Academy, where he remains today.

As a Musician

Both Rambhau and Gajananrao were uncompromising traditionalists despite their eclecticism and diversity of tutelage. This finds ample reflection in Kashalkar's vocalism as well. He possesses the rare ability to switch between three distinct styles (namely Gwalior, Jaipur and Agra), at times even in the course of a single performance. At the same time, he adheres strictly to the aesthetic contours of each individual style, and also to the formal and aesthetic demands of the raga being presented. He is noted for his authentic presentations of obscure traditional ragas. In an uncharacteristically expansive passage, the veteran music critic Prakash Wadhera once noted:

Ulhas is a fabulous vocalist, still in his middle years and young, who has an old musical head stuffed with innumerable current and rare ragas and compositions. Like a computer he never errs in any raga or composition howsoever intertwined or tricky it may be. He, just seems to press one key and out comes a raga in the true Jaipur colours, another to obtain a melody attired in the Agra style and still another to get a raga in the Gwalior habiliments. One can only imagine Kashalkar's questionless loyalty to his various gurus, and his own prodigious capacity to assimilate and consolidate the incoming knowledge.

As a Teacher

Indian music today is witness to a disquieting trend, where senior musicians fail to produce disciples of adequate merit. Ulhas Kashalkar is a noted exception to this phenomenon. As resident Guru at the ITC Sangeet Research Academy, he has mentored several excellent students (the Academy website lists him as one of their "most sought-after gurus")

Awards

* Sangeet Natak Akademi Award, 2008 awarded in 2009
* Padma Shri in 2010