http://hindurashtra.org/songs.htm

This link was posted to the newsgroup RIMC a while ago by some joker calling himself “Hindu Mahasabha”. He also added this accompanying note, which I cherish for its sheer chutzpah value:

“Finally,we have a released a music cd conating bhakti songs on Bhagwaan shri
Raam.These songs have been sung by world famous classical and devotional
singer Pandit Jasraj.All of these devotional songs are based on classical
ragas such as darbari,malkauns,brindavani sarang,kamod etc.Only indigenous
instruments have been used for the recording.”

I cordially invite you to verify these claims by checking out a couple of songs. My favourite is this one:

http://hindurashtra.org/songs/Hey_Ram_Tera_Mandir.mp3

Abhik

My point is that within the shared musical tradition we have never been able to “copy-right” the ‘original’ because the original has lost itself through the course of transmission within the traditions.

Then, within musical tradition of Dhrupad/Khayal/Thumri there has been a sharing of compositions and musical-form. We have always been into the “re-mixing” business- “re-mixing” Dhrupad compositions into Khayal compositions and Khayal into Thumris and Look-Geet into Thumris and Gats into Taranas and so on. So, some one “re-mixing” the filmi or sufi-pop into maata-ki-bheente is understandable.

When I first Chanchal ji’s bheete I could see that it was following the tradition of mixing musical-forms- until I came to know that the “original” was a “raunchy and bawdy” item number complete with pelvic thrusts. But till the time the ‘original’ was hidden – the copy had it’s distinct and perfect existence of its own. And maybe we should appreciate the effort of these jaagran singers of trying to sublimate that “raunchy” song that evoked kama into more sublime bhakti rasa.

I am all for protecting the copyrights of the original composer in the modern times- but if some one gets ‘inspired’ by a well known composition of Sadarang or a known thumri of Binda-din or Dhrupad of Dagar parampara or of a well known Quawwal or any other traditional composer – then can that claim to originality be sustainable??

I don’t know the answer, perhaps you can give us?

I beg to disagree and cite the following reasons:

1. Khayal, dhrupad or thumri compositions in a particular raag would of necessity have some melodic similarities because they must adhere to a raag structure. Therefore, compositions in Raag Yaman, for instance, would all have to adhere to the basic melodic structure and raag niyam. And yet, if you study a large number of compositions, you will note that composers have been able to highlight different aspects of a raag through different compositions. To equate them with parodies or copies of film songs used for bhajans or mata ke bhent songs would be rather short sighted.

2. Sometimes, a composer will make a “joda” or a pair to match an existing bandish, but just the fact that it is called a “joda” acknowledges the source of inspiration.

3. I have not brought up the issue of copyright in my piece, because for all I know, the copyright of the original song may well be with the same music company that is producing and publishing the copy. I agree with you that it would be almost impossible to claim originality, but surely you would agree that basing a bhajan or an offering to the Goddess on an explicitly raunchy, bawdy film song would be a market driven strategy more than a creative effort inspired by devout intention.

I have your album which features Kyon Suttee Rahiyan……. It is really excellent. But it has not been given wide publicity. At least in Delhi I donot find any material on this album. Maybe in other parts of the country it may have catched attention of more music lovers. Kindly comment.

Couple of years back in Delhi in a programme, you had mentioned that you were in the process of recording music for the children or the material which could be helpful for children to learn indian classical music. What is the status. I shall be grateful if you could inform me.

By the way I was a student learning Flute from Shri Prakash Narain Saxena at the Gandharva Mahavidyalaya Delhi, many years ago. I still remember once I came to practise in the room meant for the flute class. You were immersed in ‘riaaz’. Having noticed me you immediately stopped and wanted to leave the room so that I could sit and practice. But I requested you to continue and I left immediately. But with a strong feeling that you were destined to move very far in the horizon of Indian classical music. By that time, you had not started giving public concerts. I am happy to say now that in a short time, you have made for yourself the place which even after a lifetime, many artistes are not able to achieve. Apart from music, your concern for other social causes, makes you dear to every one.

I have heard your recitals at the NEHRU PARK under SPIC-MACAY and each concert was a memorable one.

Definitely you have made classical music more popular amongst the younger generation, who throng in large numbers just to see you. And it is commendable that in the concerts of Indian classical music, you have never compromised to sing any pop number from your other albums.

I pray to God to give you strength and wisdom to continue to work in this field with continued zeal and dedication so that the Indian music gets more enriched in the coming years.

With all the best wishes,
sincerely,
vishan lal

Hawa mein udta jaaye,
mera hanumaan bajrang bali
jai ho jai ho (note ho jee changed to jai ho)

Idhar udhar lehraaye
mera hanumaan bajrang bali
jai ho jai ho!!

but now I am a Pardesi, I think it’s time I acquired ‘Main Pardesi Hoon’
Jai Ho…!!!!

Cheers
Ritu

The only question I have in mind is How an artist feels when his own song is punctured and twisted to something else like this?
The essence of Bhakti seems lost these days, I left going to temples because even at those places you can’t expect peace and quiet. You are never away from loudspeakers blaring such examples.

I was really speechless to listen to your album, “Haman hain Ishq” with those age old compositions, which still seem so near to life. I loved listening to “Tum Khelhun Phag” and “Rhee man Baithya Jaaga”,

I live at Bhopal, I heard u in a concert here 1 year back, and it was an amazing experience.
Please keep updating your blog for upcoming concerts too.

I remember people telling me then that a song is truly a hit only if it is played by bands (brass bands) at weddings, or if it is turned into a bhent!