OROP – WAADA TERA WAADA!

Okay, ladies and gentlemen, this is the last one before I sign off on the eve of the OROP Rally, Azad Maidan, Mumbai, Saturday, 31 Oct 15, from 11 AM to 1 PM. This one brings out how we cannot take their promises at the face value.

The original, from where I have made the parody, is from the 1971 movie Dushman (What a name? The faujis are quite used to facing him across the border and within the country!) The beautiful lyrics were written by Anand Bakshi and the music was composed by Laxmikant Pyarelal. The voice was that of Kishore Kumar.

Please enjoy the parody: Waada tera waada….

सचाई छुप नहीं सकती, बनावट के असूलों से
की खुश्बू आ नहीं सकती कभी कागज़ के फूलों से

मैं इंतेज़्ज़ार करूँ, ये दिल निसार करूँ
तेरी OROP स्वीकार करूँ, मगर कैसे ऐतबार करूँ
झूठा है तेरा वाद
वादा तेरा वादा, वादा तेरा वादा
वादे पे तेरे मारा गया
फौजी मैं सीधा साधा
वादा तेरा वादा, वादा तेरा वादा

1973 में तुम ने, OROP छीन ली थी
अपनी खुद की life, मगर रंगीन की थी
युद्ध हमने लड़े थे, तुम्हें कुछ याद नहीं
तुम्हारे सामने थे, तुम्हारे बाद नहीं
OROP की कित्ताबों में तो फौजी का नाम नहीं
Service में मरता रहा वह, बाद में आराम नहीं – (2)
बढे खडूस हो तुम, फौजियों के लिए मनहूस हो तुम – (2)
मगर नेताओं के लिए, yes yes चापलूस हो तुम
Pension घटा के सोचा कोई नुक्सान नहीं
फौजी के पास चाहे रोटी, कपड़ा मकान नहीं
दामन में तेरे फूल हैं काम, और कांटे हैं ज़्यादा
वादा तेरा वादा, वादा तेरा वादा – (2)
वादे पे तेरे मारा गया, फौजी में सीधा साधा
वादा तेरा वादा, वादा तेरा वादा – (2)

जब कभी भी तुमको, मिलता रहा है मौका,
बेचारे फौजी को तुम, देते रहे हो धोका,
अच्छी खासी है तुमने, उसकी हालत बनायी,
बेचारा सड़क पे आके, देने लगा है दुहाई
तुम में अब भी ना जाने, भरी है चतुराई
सरकार के तुम जो ठहरे, बढे चेहते जमाई – (2)
बढे चालाक हो तुम, महज़ नापाक हो तुम – (2)
फौजियों के लिए तो, कड़वी खुराक हो तुम
देश की सुरक्षा का, तुम्हें कुछ ख़याल नहीं
OROP अभी हम लेंगे, अगले साल नहीं
और नहीं हम देंगे, इसमें से हिस्सा आधा
वादा तेरा वादा, वादा तेरा वादा – (2)
वादे पे तेरे मारा गया, फौजी में सीधा साधा
वादा तेरा वादा, वादा तेरा वादा – (2)

False Promises

 

 

Sachaai chhup nahin sakati, banaavat ke asuulon se
Ki khushbuu aa nahin sakati kabhi kaagaz ke phuulon se

Main intezzaar karun, ye dil nisaar karun
Teri OROP sweekaar karun, magar kaise aitbaar karun
Jhoota hai tera waada
Waada tera waada, waada tera waada
Waade pe tere maara gaya
Fauji main seedha saadha
Waada tera waada, waada tera waada

1973 mein tum ne, OROP chheen li thi
Apani khud ki life, magar rangeen ki thi
Yudh hamane ladhe the, tumhen kuchh yaad nahin
Tumhaare saamne tha, tumhaare baad nahin
OROP ki kittabon mein to fauji ka naam nahin
Service mein marta raha woh, baad mein aaraam nahin – (2)
Badhe khadoos ho tum, faujiyon ke liye manhoos ho tum – (2)
Magar netaayon ke liye, yes yes chaaploos ho tum
Pension ghata ke socha koi nuksaan nahin
Fauji ke paas chaahe roti, kapada makaan nahin.
Daaman mein tere phool hain kam, aur kaante hain zyaada
Waada tera waada, waada tera waada – (2)
Waade pe tere maara gaya, Fauji mein seedha saadha
Waada tera waada, waada tera waada – (2)

Jab kabhi bhi tumako, milta raha hai mauka,
Bechaare fauji ko tum, dete rahe ho dhoka,
Achhi khaasi hai tumane, usaki haalat banaayi,
Bechaara sadak pe aake, dene laga hai duhaayi
Tum mein ab bhi na jaane, bhari hai chaturayi
Sarkaar ke tum jo thehare, badhe chehte jamaayi – (2)
Badhe chaalaak ho tum, mehaz naapak ho tum – (2)
Faujiyon ke liye to, kadawi khuraaq ho tum
Desh ki suraksha ka, tumhen kuchh khayaal nahin
OROP abhi hum lenge, agle saal nahin
Aur nahin hum denge, ismein se hissa aadha
Waada tera waada, waada tera waada – (2)
Waade pet ere maara gaya, Fauji mein seedha saadha
Waada tera waada, waada tera waada – (2)

OROP – YAARA DILDARA MERA DIL KARTA

We have pledged to restore the OROP that was denied to the veteran faujis in 1973 by an ex-parte order of the government of India. I cannot do better than to put up the parody of the famous song that was shot in the National Defence Academy (NDA) for the 1970 movie Aadmi Aur Insaan. If you recall it has Sahir Ludhianvi’s lyrics and a very catchy and fauji tune given by my namesake Ravi. The singers were S Balbir, Joginder and Mahendra Kapoor.

Please enjoy the parody of Yaara dildara mera dil karta….

दिल करता, ओ यारा दिलदारा मेरा दिल करता
ओ, यारा दिलदारा मेरा दिल करता
ऐसा कुछ कर पाएं
OROP ले आएं
दिल करता, ओ यारा दिलदारा मेरा दिल करता
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता

आ गए अब तक हम बाबुओं की बातों में
बाबुओं की बातों में
होय होय
काम करते रहे हम आधी आधी रातों में
आधी आधी रातों में
होय होय
हँसते रहे ये बाबू हमारे हालातों पे
हमारे हालातों पे
होय होय
लातों के भूत हैं यह, माने नहीं बातों से
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता

हमारे जैसा फौजी कभी मिले न हज़ारों में
मिले न हज़ारों में
होय होय
पैदल हम मार्च करें यह घूमे हैं कारों में
घूमे हैं कारों में
होय होय
अपनी तो गिनती हो किस्मत के मारों में
किस्मत के मारों में
होय होय
लेकिन ये संग बैठें फ़िल्मी सितारों के
फ़िल्मी सितारों के
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, यारा दिलदारा मेरा दिल करता

तिरंगे की शान हैं हम देश के सैनानी
देश के सैनानी
होय होय
देश की आज़ादी है हम वीरों की कुर्बानी
वीरों की कुर्बानी
होय होय
OROP ले के रहेंगे यह हमने है ठानी
हमने है ठानी
होय होय
याद आएगी इन बाबुओं को अपनी ही नानी
अपनी ही नानी
हो सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता

Dil Karta 2

Dil karta, O yaara dildara mera dil karta
O, yaara dildara mera dil karta
Aisa kuchh kar paayen
OROP le aayen
Dil karta, O yaara dildara mera dil karta
Ho, sadiyon jahaan mein ho charch hamaara
Dil karta, O yaara dildara mera dil karta.

Aa gaye ab taq hum baabuyon ki baton mein
Baabuyon ki baton mein
Hoy hoy
Kaam karte rahe hum aadhi aadhi raaton mein
Aadhi aadhi raaton mein
Hoy hoy
Hansate rahe ye babu hamaare haalaton pe
Hamaare haalaton pe
Hoy hoy
Laaton ke bhoot hain yeh, mane nahin baton se
Ho, sadiyon jahaan mein ho charcha hamaara
Dil karta, O yaara dildaara mera dil karta.

Hamaare jaisa fauji kabhi mile na hazaaron mein
Mile na hazaaron mein
Hoy hoy
Paidal hum march Karen yeh ghoome hain kaaron mein
Ghoome hain kaaron mein
Hoy hoy
Apani to ginati hai kismet ke maaron mein
Kismet ke maaron mein
Hoy hoy
Lekin ye sang baithen filmi sitaron ke
Filmi sitaron ke
Ho, sadiyon jahaan mein ho charcha hamaara
Dil karta, yaara dildara mera dil karta

Tirange ki shaan hain hum desh ke sainani
Desh ke sainani
Hoy hoy
Desh ki azaadi hai hum veeron ki kurbaani
Veeron ki kurbaani
Hoy hoy
OROP le ke rahenge yeh hamane hai thaani
Hamane hai thaani
Hoy hoy
Yaad aayegi in baabuyon ko apani hi naani
Apani hi naani
Hosadiyon jahaan mein ho charcha hamaara
Dil karta, O yaara dildara mera dil karta

“GHAZAB KIYA TERE WAADE PE AITBAAR KIYA” AN OROP SONG BY VETERANS TO NETAS AND BABUS

Yesterday, I put up an article titled OROP Rally, Azad Maidan, Mumbai, Saturday, 31st October explaining the history of the OROP agitation and the reasons for its continuation even after the government’s announcement on 05 Sep 15.

OROP has been a history of un-kept and broken promises by the governments. It started off in 1973 when the OROP was withdrawn unilaterally by the government in 1973 with a promise that it would be restored in the then forthcoming 3rd Central Pay Commission.

The latest of these have been by the present Prime Minister Narendra Modi in his election campaign in Rewari, Haryana in Sep 2013 that OROP would be implemented within 100 days of his government coming to power. Then he made a promise at the heights of the Siachin on the occasion of Diwali last year that OROP would be implemented shortly. Yet another Diwali is around the corner. Lord Rama went on 14 years of exile. The veterans have done 14 multiplied by three, that is, 42 years of exile. And now the latest buzz is that the government intends making the notification before next Diwali.

Promises galore.

I am reminded of this Daag Dehlavi ghazal sung so beautifully by Mohammad Rafi on Khaiyyam’s music: Ghazab kiya tere waade pe intezaar kiya…

https://youtube.com/watch?v=wWSBDsEtQ0Y%3F

Here is my parody on it, to be sung on the same tune:

ग़ज़ब किया तेरे वादे पे ऐतबार किया
तमाम लाइफ OROP का इंतज़ार किया

घटा घटा के मेरी पेंशन को शर्मसार किया
तसलियाँ मुझे दे दे के बेक़रार किया

हम ऐसे चालाक ना थे के होश आ जाता
मगर तेरी दग़ाबाज़ी ने होशियार किया

कमेटियां आप ने बनायी कमीशन आप ने बिठाए
कुछ ऐतबार किया और कुछ ना ऐतबार किया

वह दिन भी आएगा बाबू जब तुम भी जागोगे
अभी तो पैसे और ताक़त ने तुम्हें खराब किया

ग़ज़ब किया तेरे वादे पे ऐतबार किया
तमाम लाइफ OROP का इंतज़ार किया

OROP

Ghazab kiya tere waade pe aitbaar kiya,
Tamaam life OROP ka intezaar kiya.

Ghata ghata ke meri pension ko sharamsaar kiya,
Tasaliyaan mujhe de de ke beqraar kiya.

Hum aise chaalak na the jo hosh aa jaata,
Magar tumahaari dagaabaazi ne hoshiyaar kiya.

Kametiyan aap ne banaayi, commission aap ne bithaaye,
Kuchh aitbaar kiya aur kuchh na aitbaar kiya.

Woh din bhi aayega baabu jab tum bhi jaagoge
Abhi to paise aur taaqat ne tumhen kharaab kiya.

Ghazab kiya tere waade pe aitbaar kiya
Tamaam life OROP kaa intezaar kiya.

OROP RALLY, AZAD MAIDAN, MUMBAI, SATURDAY, 31ST OCTOBER

Brief History

By an ex-parte order of the GoI, the OROP that the veterans enjoyed since independence was withdrawn in 1973. Because of their peculiar service conditions and short lengths of service (most men retire between 35 to 37 years so as to have them as jawans (young men) in the armed forces), they were at that time given 70 % of last pay drawn as pension and civil service personnel 33 %. By the same order, it was raised to 50 % for civil services and reduced to 50 % for officers and 37 % for men.

Several representations by armed forces followed. Typically, the government appointed committees and commissions such as 3rd CPC in 1973, Estimates Committee, 1980-81, KP Singh Deo Committee of 1984, 4th CPC in 1987, Jafa Committee of 1989, Sharad Pawar Committee of 1990-91, 5th CPC, GoM Committee of 2005, and 6th CPC in 2006. Instead of restoring OROP, the government in 2008 provided OROP to civil and police services in 2008 at highest pay grades and they made sure, by an internal memo, that 100 % of them became eligible to do so because of NFU (Non-functional Financial Upgradation; which meant that if one in a batch was promoted, the others automatically became eligible to draw the increased pay).

This was betrayal of the worst kind. Agitations followed and veterans returned medals to the President at Jantar Mantar, New Delhi. Govt appointed a Ten Member committee under BJP MP Bhagat Singh Koshiyari. In Dec 2011, the committee gave report strongly favouring OROP and gave a definition of OROP accepted by all parties including the parliament. Since then, two parliaments have passed the OROP but is yet to be implemented.

Shri Narendra Modi declared in election campaign at Rewari, Haryana, on 15th Sep 2013, that his government would implement OROP within 100 days of coming to power. Again, on 2014 Diwali day at Siachin, the PM announced OROP to soldiers. However, the RM’s announcement of OROP on 5th Sep 2015 (after 16 months of being in power) was an apology for OROP. It has seven distinct shortcomings and if implemented in the present form it would totally kill the very definition of OROP. The UFESM (United Front of Ex-Servicemen) decided to, therefore, continue with the renewed agitation that started on 14th June 15 at Jantar Mantar including Relay Hunger Strikes from 15th June 15. Rallies are being held across the country to make people aware of the machinations of the babus-netas who have relentlessly denied OROP to veterans after withdrawing it in 1973 within 18 months of the 1971 War victory.

Koshiyari Committee Report and the Flaws in GoI Announcement on 05 Sep 15

Post 2008 agitations, a ten member committee was appointed under the BJP MP Bhagat Singh Koshiyari. It gave its report in Dec 2011 and not just strongly recommended OROP to be implemented but gave a definition of OROP as follows:

OROP “implies that uniform pension be paid to the Armed Forces Personnel retiring in the same rank with the same length of service irrespective of their date of retirement and any future enhancement in the rates of pension to be automatically passed on to the past pensioners.” The concept includes “bridging the gap between the rate of pension of the current pensioners and the past pensioners, and also future enhancements in the rate of pension to be automatically passed on to the past pensioners. In armed forces, equality in service has two components, namely, rank and length of service. The importance of rank is inherent in armed forces as it has been granted by the President of India and signifies command, control and responsibility in consonance with ethos of service. These ranks are even allowed to be retained by the individual concerned after his/her retirement. Hence, two armed personnel in the same rank and equal length of service should get same pension irrespective of date of retirement and any future enhancement in rates of pension be automatically passed on to the past pensioners.”

The Koshiyari Committee definition of OROP was accepted by the government, endorsed by the parliament and by the ex-servicemen organisations. Since then two parliaments approved OROP. But, the government’s announcement on OROP on 05 Sep 15 fell much short of the approved definition of OROP. It has the following serious flaws:

  1. It brought out that those who seek VRS (Voluntary Retirement Scheme) would be kept out of the OROP. This shocked all those engaged in the agitation. It appears that this particular clause has been added at the last minute at the behest of the bureaucracy who is hell-bent to deny the complete OROP to the veterans. Armed forces, unlike some corporates and public sector units, do not have the concept of VRS. They have Pre-Mature Retirement (PMR). Now, if a person has completed his pensionable service and then sought PMR, why should he or she be denied OROP?
  2. The government has declared that a review of the pensions would be done every five years. This means that in this period of five years pensioners would have five different pensions and not one as envisaged in Koshiyari definition of OROP.
  3. The base year for calculation of OROP has been selected as calendar year 2013 and not financial year 2013-14 as is normally the basis of all salary and pension related matters. Again, there is an attempt to deny the increments that would have been due in a financial year.
  4. The government has been petty-minded even for the date of award. They had agreed to the date of 01 Apr 14 in all talks with ESMs. But, at the last minute changed it to 01 Sep 14.
  5. Whilst earlier the government had agreed to provide pension at the highest point of pay band for a rank, the government has done a volte-face and now conceived to provide it at mean average of lowest and highest points.
  6. Government plans to appoint a one man judicial council to decide the matter in six months time against the suggested constitution of five members: one each veterans from each service, one serving armed forces member and one bureaucrat. The ESM have also questioned that six months shouldn’t be required after 42 years and the report should be ready in one month’s time.
  7. OROP should have been awarded in perpetuity and not linked to pay commission as the government has done.

Sense of Betrayal and the Agitation Continues

Many of our countrymen initially, after the GoI announcement on 05 Sep 15, felt that whereas the government seems to have gone out of its way to announce OROP, the ex-servicemen appear to be fussy in continuing with the agitation. Gradually, it has dawned on our people that the chasm between the neta-babu nexus before the announcement seem to have deepened with the announcement. There has been a deep-rooted sense of betrayal that several governments played into the hands of the babus to deny the full and accepted definition of OROP and that, even after 42 years, the BJP government keen to take credit for finally announcing OROP, has taken refuge in petty-mindedness rather than large-heartedness. The government should have also known that the government is not authorised to tinker with OROP after it has been approved twice by two parliaments.

It was, therefore, decided by United Front of ESM (UFESM) to continue with the agitation until full implementation of OROP. There have been promises galore in the last several decades. The latest ones have been by Prime Minister Narendra Modi’s goverment that it would be implemented within 100 days of NDA government coming into power (it did in May 2014 and the OROP is still to be implemented). There are latest ones going around that it would be implemented after Bihar elections, and by Diwali. These really sound hollow after so many betrayals.

Mumbai Rally at Historic Azad Maidan, Saturday, 31st Oct 15

The UFESM under Major General Satbir Singh, SM, Retd., therefore, decided to continue with the agitations and spread awareness amongst the citizens of India by holding rallies in various parts of the country such as Ambala, Dharamshala, and Chennai. The last rally was in Jalandhar, Punjab, and the next is in the historic Azad Maidan in Mumbai on 31st Oct 15. It is the same venue where the Father of the Nation, Mahatma Gandhi held a rally against the British in Dec 1931.

OROP Rally14

A video of the issues of the forthcoming rally has been prepared by Navi Mumbai TV (NMTV) under the guidance of Commander SH Kalawat, Retd., Convener of ESM in Mumbai, Colonel Harbhajnik Singh, Retd., our point-man for dealing with the press, and self:

https://youtube.com/watch?v=ej2uRX92s9k%3F

There has been concerted media and social media campaign. We addressed a press-conference on 26 Oct 15:

DSC_6381Some glimpses of the social-media campaign besides articles and stories:

OROP Rally4

OROP Rally8OROP Rally13OROP RallyOROP Rally5OROP Rally6The issues are, therefore, in public domain. We request all veterans and families and citizens of this great city of Mumbai to join us in our fight for the just cause.

In the end, as Major General Satbir and other veterans have often said, it is not an issue of money; it is an issue of dignity and izzat of the veterans.

Jai Hind
Jai Hind ki Sena

THE BEST RAAGA BASED SONGS IN HINDI MOVIES – RAAGA BHAIRAVI – PART-I

I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.

The word Raga or Raaga actually means colour or hue but is associated with melody in Indian classical music. A raga uses a series of four or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raaga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.

I am going to take Raagas at random and associate them with time of the day and with Hindi songs.

We start with Raag Bhairavi. It is a Hindustani music raaga of Bhairavi Thaat. A thaat is a mode in northern Indian or Hindustani music. Thaats always have seven different pitches (called swara) and are a basis for the organization and classification of raagas in North Indian classical music.

Ragmala Painting of Rag Bhairavi (circa A.D. 1725) (Pic courtesy: chandrakantha.com)
Ragmala Painting of Rag Bhairavi (circa A.D. 1725) (Pic courtesy: chandrakantha.com)

There are many Hindi films music directors who used Raag Bhairavi to base their songs. The most ardent of them were Shankar Jaikishen; so much so that when Jaikishen’s daughter was born she was named Bhairavi after their favourite Raag.

Song #1 Awaara hoon….

We start our journey into the Best Raaga based songs in Hindi movies with this song from the 1951 Raj Kapoor and Nargis starrer movie Awara that was also produced and directed by Raj Kapoor.

This song in Raag Bhairavi became an international hit. The song was written by Shailendra and sung by Mukesh.

Please enjoy: Awara hoon….

(aavaaraa huu.N, aavaaraa huu.N
yaa gardish me.n huu.N aasamaan kaa taaraa huu.N ) – 2
aavaaraa huu.N, aavaaraa huu.N

gharabaar nahii.n, sa.nsaar nahii.n
mujhase kisIko pyaar nahii.n – 2
usapaar kisiise milane kaa iqaraar nahii.n
mujhase kisIko pyaar nahii.n – 2
sunasaan nagar anjaan Dagar kaa pyaaraa huu.N
aavaaraa huu.N, aavaaraa huu.N

aabaad nahii.n barabaad sahii
gaataa huu.N khushiike gIt magar – 2
zakhmo.n se bharaa siinaa hai meraa
ha.nsatii hai magar ye mast nazar
duniyaa .a.a.a
duniyaa me.n tere tiir kaa yaa takadiir kaa maaraa huu.N
aavaaraa huu.N, aavaaraa huu.N
yaa gardish me.n huu.N aasamaan kaa taaraa huu.N
aavaaraa huu.N, aavaaraa huu.N

https://youtube.com/watch?v=VY1pWTek2sY%3F

Song #2 Naache man moraa, magan, dhiigadhaa dhiigii dhiigiiIn this song, I have taken the same Lyricist Shailendra as in Awaara hoon song, but with a different music director: SD Burman. The 1963 movie Meri Soorat Teri Aankhen was a classic as far as its songs were concerned. In addition to this song there were: Tere bin soone nayan hamaare and Puuchho na kaise maine rain bitaayi.

These songs came about in the following story line:

Raj Kumar (Ishwarlal) is a wealthy businessman and dislikes everything ugly. When his wife, Kamla (Achla Sachdev), becomes pregnant and gives birth to an ugly son, he asks the attending Dr. Mathur (Tarun Bose) to inform his wife that their child was still-born. Dr. Mathur places the child in the hands of Rahmat (Kanhaiyalal Chaturvedi) and his wife, Naseeban (Paro), who welcome him with open arms. But misfortune follows them, as the child, who is named Pyare (Ashok Kumar), accidentally burns their dwelling down, killing Naseeban. Rahmat then re-locates to his village when he teaches Pyare the skills required to play musical instruments and sing. Years later, Rahmat passes away, and informs Pyare that he is really a Hindu. Dr. Mathur fills the rest of the blanks for Pyare, and arranges a song and dance play and hopes that Raj will overcome his dislike for his now-grown son. But that does not happen, instead, Raj offers to pay some compensation so that Pyare can look after himself. When Pyare goes to Raj to return the money, Kamla sees him and asks him not to leave and ……

The tragedy of this song is that Pyare (Ashok Kumar) gets the impression that Kavita (Asha Parekh) is probably in love with him and his inner beauty. She loves his inner beauty but is actually in love with Sudhir Kumar (Pradeep Kumar). Pyare (Ashok Kumar) at the end of the movie sacrifices his own life in order to safeguard theirs.

Please enjoy in Raag Bhairavi, Tal: Tintal/Kaherava the most beautiful composition by SD Burman: Naache man mora….

aa aa aa…

naache man moraa, magan, dhiigadhaa dhiigii dhiigii -2
badaraa ghir aaye, rut hai bhiigii bhiigii
naache man moraa magan, dhiigadhaa dhiigii dhiigii -2
dhiigadhaa dhiigii dhiigii, dhiigadhaa

bansuri: tana~~N … tan tan tan tuu~~~~N tuu
sitar: tain tain tain, tataNtaN, tataNtaN, tataNtaN, tataNtaN

kuhuke koyaliyaa, kuhuke koyaliyaa, kahii.n duur papiihaa pukaare
daNaNaNaNaNaN
jhuulaa jhuule.n sakhiyaa.N, jhuulaa jhuule.n sakhiyaa.N, ke ghar aajaa baalam hamaare
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache man moraa, magan, dhiigadhaa dhiigii dhiigii
naache re man moraa re
naache man moraa, magan…

tan ta tan taNa tanatu tan~~ tanatu
tainta taiN, tainta taiN

yahii.n ruk jaaye, yahii.n ruk jaaye, ye shaam aaj Dhalane na paaye
daNaNaNaNaNaN
TuuTe na ye sapanaa, TuuTe na ye sapanaa, ko_ii ab mujhe na jagaaye
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache re man moraa, dhiigadhaa dhiigii dhiigii
e, naache man moraa re
naache man moraa, magan…

bansuri and sitar duet
tain tain tain, tataNtaN, tataNtaN, tataNtaN, tataNtaN
daNandaNandaNang DHUNg

chhup chhup aise me.n, chhup chhup aise me.n, ko_ii madhur giit gaaye
chhanchhanchhanchhan chhananchhan
giito.n ke bahaane, giito.n ke bahaane, chhupii baat ho.nTho.n pe aaye
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache re man moraa, dhiigadhaa dhiigii dhiigii
e, naache man moraa, aa aa
naache man moraa, magan…

https://youtube.com/watch?v=CI0QTW4_iBc%3F

Song #3 Do hanson kaa joda bichhud gayo re…

I have given you many a bolg-post by the greats of the Hindi movie industry: Shakeel Badayuni as lyricist and Naushad Ali as the music director. Some of the finest songs in Hindi movies have been courtesy this pair. Naushad Ali’s larger family didn’t like his delving into music and he had to hide the fact of his composing music from them. And yet, he emerged as one of the greatest music directors in Hindi films. His compositions were often based on Raagas. Indeed, in his movie Baiju Bawra, the only movie in which he received the Filmfare Best Music Director award, each one of the 12 songs and a sargam is based on a Raaga. He was also adept in Western instruments such as accordion, clarinet and mandolin in his compositions and he has been credited with bringing Western musical notations into Indian Raagas.

This song from the 1961 movie Ganga Jamuna starring Dilip Kumar and Vyjaynthimala is a classic in Raag Bhairavi. It is penned by Shakeel Badayuni and sung by Lata Mangeshkar.

Please enjoy in Raag Bhairavi: Do hanson kaa jodaa bichhud gayo re….

Do hanso kaa joda bichhad gayo re
Gajab bhayo rama, julam bhayo re
Gajab bhayo rama, julam bhayo re
Do hanso kaa joda bichhad gayo re
Gajab bhayo rama, julam bhayo re

Mora sukh chain bhee, jivan bhee mora chhin liya
Papee sansar ne sajan bhee mora chhin liya
Piya bin tadape jiya, ratiya bitau kaise
Biraha kee aganee ko asuan se bujau kaise
Jiya mora mushkil me pad gayo re
Gajab bhayo rama, julam bhayo re
Gajab bhayo rama, julam bhayo re

Rat kee aas gayee, din kaa sahara bhee gaya
Mora suraj bhee gaya, mora sitara bhee gaya
Parit kar ke kabhee paritam se naa bichhade koyee
Jaisee ujadee hoo mai, ayese bhee naa ujade koyee
Bana khel mora bigad gayo re
Gajab bhayo rama, julam bhayo re
Gajab bhayo rama, julam bhayo re

Jite jee chhodungee saiyya naa dagariya toree
Bit jayegee yuhee saree umariya moree
Naino se hotee rahegee yuhee barsat balam
Yad me rotee rahungee teree dinarat balam

Nagar more man kaa ujad gayo re
Gajab bhayo rama, julam bhayo re
Gajab bhayo rama, julam bhayo re

Do hanso kaa joda bichhad gayo re
Gajab bhayo rama, julam bhayo re
Gajab bhayo rama, julam bhayo re.

https://youtube.com/watch?v=qSbMdrP5xbI%3F

Song #4 Gareeb jaan ke hamako na tum….

In our new series yesterday: ‘The Best Raaga Based Songs in Hindi Movies’, we started with one of the most popular Raagas in Hindi movies: Bhairavi or Sindh Bhairavi or Sindhu Bhiaravi.

In the first song, I told you that it was the favourite Raaga of the most accomplished duo of Shankar – Jaikishen. However, in addition to their song Awaara hoon as an example, I gave you songs of SD Burman (Naache man mora) and Naushad (Do hanson ka joda).

Lets now take up other music directors composing in Raag Bhairavi.

The first of these is OP Nayyar. Even though Raag Pilu and Pahadi were his favourites, he did delve in Bhairavi too.

I love this song of his from the 1956 movie Chhoo Mantar penned by Jaan Nisar Akhtar. OP Nayyar was one director who made some excellent songs for the comedian Johnny Walker. Here, though, he is the hero as Baiju or Baijnath singing to Anita Guha as Ratnavali.

Please enjoy Mohammad Rafi singing in Raag Bhairavi: Gharib jaan ke hamako na tum daga dena….

gariib jaan ke ham ko na tum daGaa denaa
tumhii.n ne dad.r diyaa hai tumhii.n davaa denaa
gariib jaan ke …

lagii hai choT kaleje pe umr bhar ke liye
ta.Dap rahe hai.n muhabbat me.n ik nazar ke liye
nazar milaake
nazar milaake nazaro.n se na tum giraa denaa
tumhii.n ne dad.r diyaa hai …

tumhaarii yaad ham.en har gha.Dii sataayegii
tumhaare bin to hame.n maut bhii na aayegii
tumhaarii yaad ko
tumhaarii yaad ko mushakil hai ab bhulaa denaa
tumhii.n ne dad.r diyaa hai …

https://youtube.com/watch?v=v_0Umxyv7o0%3F

Song #5 Laaga chunri mein daag…..

In the last series, I introduced Roshan (Roshanlal Nagrath) to you quite late in the 1960 movie Barsaat Ki Raat. Here I am re-introducing him quite early by giving you one of the best songs composed in Raag Bhairavi.

Roshan was born on 14th Jul 1917 and lived only for little more than 50 years. He died on 16th Nov 1967, much before many of his modern day fans were even born. And yet, such is his legacy that we listen to his compositions with the same gusto even today. He was the father of actor Rakesh Roshan and music director Rajesh Roshan and the paternal grandfather of actor Hrithik Roshan.

As with most Roshan’s songs, this song’s lyrics were penned by Sahir Ludhianvi. The voice is that of Manna Dey singing for Raj Kapoor in disguise as an old man. The name of the movie is the 1963 movie Dil Hi To Hai wherein Raj Kapoor acts opposite Nutan.

Please enjoy: Laaga chunari mein dag chhupayun kaise….

laagaa, chunarii me.n daag, chhupaaU.N kaise
laagaa, chunarii me.n daag
chunarii me.n daag, chhupaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …

(ho ga_ii mailii morii chunariyaa
kore badan sii korii chunariyaa ) – 2
aa … jaake baabul se, nazare.n milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …

bhuul ga_ii sab bachan bidaa ke
kho ga_ii mai.n sasuraal me.n aake
aa … jaake baabul se, nazare milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …

(korii chunariyaa aatmaa morii
mail hai maayaa jaal ) – 2
vo duniyaa more bAbul kaa ghar
ye duniyaa sasuraal
haa.N jaake, baabul se, nazare milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …

aa aa~
dhiim ta na na na dir dir taanum
taa na dere na
dhiim ta na na na dir dir taan, dhiim ta dere na …
sapt suran tiin graam ba.nsii baajii
dir dir taanii, taa nii nii da, nii da pa ma, pa ma ma ga
ma dha ga ma ma ga re sa
dha dha keTe dha dha dha keTe dha dha keTa dha keTa
dharat paag pa.Dat nayii paraN
jhaa.Njhar jhanake jhana nana jhana nana
dir dir ta tuum ta da nii, ta na na na ta na na na
dhiim ta na na na na dir dir taam …

Song #6 Hamein tumase pyaar kitana ye ham nahin jaanate….

You are bound to ask me if RD Burman ever composed in Raag Bhairavi. Of course he did; all Hindi music directors did.

RD Burman was as strong in Raagas as his father SD Burman. His very first Lata Mangeshkar song in the Hindi movies was for Chhote Nawab composed in a little known Raag Malgunji. And, what a song it was: Ghar aaja ghir aaye badra saanwariya…

Here is a song close to my heart both for its lyrical excellence by Majrooh Sultanpuri and its composition in Raag Bhairavi by Rahul Dev Burman. It is from the 1981 movie Kudrat starring Rajesh Khanna and Hema Malini. Kishore Kumar and Parveen Sultana have sung it.

Please enjoy: Hamen tumase pyaar kitana ye ham nahin jaanate…

hame.n tum se pyaar kitanaa, ye ham nahii.n jaanate
magar jii nahii.n sakate tumhaare binaa
hame.n tum se pyaar …

sunaa gam judaaI kaa, uThaate hai.n log
jaane zi.ndagii kaise, bitaate hai.n log
din bhii yahaa.N to lage, baras ke samaan
hame.n i.ntazaar kitanaa, ye ham nahii.n jaanate
magar jii nahii.n sakate tumhaare binaa
hame.n tum se pyaar …

tumhe.n koI aur dekhe, to jalataa hai dil
ba.Dii mushkilo.n se phir, sambhalataa hai dil
kyaa kyaa jatan karate.n hai.n, tumhe.n kyaa pataa
ye dil beqaraar kitanaa, ye ham nahii.n jaanate
magar jii nahii.n sakate tumhaare binaa
hame.n tum se pyaar …

#‎Parveen‬ Sultana version

hame.n tum se pyaar kitanaa, yah ham nahii.n jaanate
magar jii nahii.n sakate tumhaare binaa
hame.n tum se pyaar kitanaa …

mai.n to sadaa kii tumharii diivaanii
bhuul gaye sai.nyaa.N priit puraanii
kadar naa jaanii, kadar na jaanii
hame.n tum se pyaar kitanaa …

koii jo Daare tumape nayanavaa
dekhaa naa jaaye mose sajanavaa
jale moraa manavaa, jale moraa manavaa
hame.n tum se pyaar kitanaa …

https://youtube.com/watch?v=iJllh7l-D3g%3F

Song #7 Dil ka khilauna haay toot gaya….

Lets now move on to music director Vasant Desai. As you already know, he composed most of his songs on the lyrics of Bharat Vyas. This one too has been penned by him. It is from the 1956 movie Goonj Uthi Shehnai starring Rajendra Kumar, Anita Guha and Ameeta.

Here is Lata Mangeshkar singing this heart-rending song in Raag Bhairavi: Dil ka khilauna haye toot gaya…..

TuuT gayaa -2
dil kaa khilaunaa haay TuuT gayaa -2
ko_ii luTeraa aa ke luuT gayaa
haay ko_ii luTeraa aa ke luuT gayaa
dil kaa khilaunaa haay TuuT gayaa -2

hu_aa kyaa qusuur aisaa sai.nyaa.N hamaaraa -2
jaate huye jo tuune hame.n naa pukaaraa -2
ulfat kaa taar to.Daa
hame.n majhadhaar chho.Daa
ham to chale the le ke teraa hii sahaaraa
saathii hamaaraa hamase chhuuT gayaa

dil kaa khilaunaa haay TuuT gayaa -2
ko_ii luTeraa aa ke luuT gayaa
haay ko_ii luTeraa aa ke luuT gayaa
haay dil kaa khilaunaa haay TuuT gayaa
dil kaa khilaunaa haay TuuT gayaa

aa
kaisii paradesii tuune priit lagaa_ii -2
chain bhii khoyaa hamane nii.nd ga.Nwaa_ii -2
teraa aitabaar kar ke
haay i.ntazaar kar ke
Kushiyo.n ke badale Gam kii duniyaa basaa_ii
zaalim zamaanaa hamase ruuTh gayaa

dil kaa khilaunaa haay TuuT gayaa
ko_ii luTeraa aa ke luuT gayaa
haay ko_ii luTeraa aa ke luuT gayaa
haay dil kaa khilaunaa haay TuuT gayaa
dil kaa khilaunaa haay TuuT gayaa

https://youtube.com/watch?v=NVm6nzbQRsY%3F

Song #8 Mujhako is raat ki tanhaayi mein awaaz naa do….

You must have been stunned by the musical excellence of the last song composed by Vasant Desai and you must be thinking that nothing can be better than Dil Ka Khilauna haye toot gaya.

Okay, now taste this composed by Kalyanji Anandji and you would change your opinion. First of all its lyrics by Shamim Jaipuri are out of this world. On top of that Mukesh has sung it with matching passion. And lastly it is picturised on Dharmendra who acted on such songs rather well.

By this time you must have guessed the name of the movie. Yes, it is the 1960 movie Dil Bhi Tera Hum Bhi Tere, the debut film of Dharmendra made by Arjun Hingorani.

Please enjoy: Mujhako is raat ki tanhaayi mein awaaz na do….

mujh ko is raat kii tanahaaii me.n aavaaz na do
jisakii aavaaz rulaa de mujhe vo saaz na do
aavaaz na do…

mai.nne ab tum se na milane kii kasam khaaii hai
kyaa khabar tumako merii jaan pe ban aaii hai
mai.n bahak jaauu.N kasam khaake tum aisaa na karo
aavaaz na do…

dil meraa Duub gayaa aas merii TuuT ga_ii
mere haatho.n hii se patavaar merii chhuuT ga_ii
ab mai.n tuufaan me.n huu.N saahil se ishaaraa na karo
aavaaz na do…

raushanii ho na sakii laakh jalaayaa hamane
tujhako bhuulaa hii nahii.n laakh bhulaayaa hamane
mai.n pareshaa.n huu.N mujhe aur pareshaa.n na karo
aavaaz na do…

kis kadar roz kiyaa mujhase kinaaraa tumane
koii bhaTakegaa akelaa ye na sochaa tumane
chhup gae ho to kabhii yaad hii aayaa na karo
aavaaz na do…

https://youtube.com/watch?v=pcr1Hh9OFd0%3F

Song #9 Mori chham chham baaje paayaliya……

I have given you two sad songs tonight composed in Raag Bhairavi by Vasant Desai (Dil ka khilauna haye toot gaya) and Kalyanji Anandji (Mujhko is raat ki tanhaayi mein). It is time to give you a happy swinging one now, composed by our ninth music director: Ravi.

If you have noticed a tendency in me to get back to Shakeel Badayuni, then you have noticed correctly; because he is my favourite lyricist. This time though, he is not with Naushad but with Ravi. The name of this 1960 movie is Ghunghat and the song has been sung by Lata Mangeshkar.

Please enjoy in Raag Bhairavi: Mori chham chaa, baaje payaliya….

morii chham-chham baaje paayaliyaa -2
aaj mile hai.n more saa.Nvariyaa -2
morii chham-chham …

( ba.Dii muddat me.n dil ke sahaare mile
aaj Duube hu_o.n ko kinaare mile ) -2
kabhii muskraa_e man kabhii sharamaa_e man
kabhii naino.n kii chhalake gaagariyaa
morii chham-chham …

( chaa.Nd-taaro.n ke gahane pahanaa do mujhe
ko_ii aa ke dulhaniyaa banaa do mujhe ) -2
nahii.n bas me.n jiyaa kaisaa jaaduu kiyaa
piyaa aaj hu_ii re mai.n to baavariyaa
morii chham-chham …

Song #10 Ab tere siwa kaun meraa Krishan kanhaiyya….

Lets take up compositions of some older music directors now. The first of these is Anil Biswas who introduced Western notations for Indian Films music for the first time. He was born on 7th Jul 1914 and we lost him on 31st May 2003. He had the first orchestra to his credit, albeit only 12 pieces. He is renowned as one of the pioneers of playback singing in Hindi films

I have taken this from his 1943 movie Kismat. The lyrics are by Kavi Pradeep, Anil Biswas’s contemporary and much recognised for his Ai mere watan ke logo. And the singer is Amirbai Karanataki. Amirbai preceded them by about 9 years and died in Mar 1965. She was a singer and actress of repute those days and her most popular piece was the favourite of Mahatama Gandhi: Vaishanav jan to…

Please enjoy: Ab tere siwa kaun mera, Krishan Kanhaiyya….

( ab tere siwaa
ab tere siwaa kaun meraa kR^iShN kanhaiyaa
bhagawaan kinaare se lagaa de merii naiyaa ) -2
ab tere siwaa

( merii Kushii kii duniyaa baabul ne chhiin lii
mere sukho.n kii kaliyaa.N qismat ne biin lii ) -2
ab tuu hii bachaa laaj merii bansii-bajaiyaa
bhagawaan kinaare se lagaa de merii naiyaa
ab tere siwaa

puujaa nahii.n hai puurii adhuurii hai aaratii -2
o shyaam salone tujhe miiraa pukaaratii -2
tujhe miiraa pukaaratii
kahatii hai baar-baar wo le-le ke balaiyaa -2
bhagawaan
bhagawaan
bhagawaan kinaare se lagaa de merii naiyaa
ab tere siwaa
ab tere siwaa kaun meraa kR^iShN kanhaiyaa
bhagawaan kinaare se lagaa de merii naiyaa
ab tere siwaa

https://youtube.com/watch?v=0r38temWGzw%3F

Song #11 Baabul mora naihar chhooto hi jaye…

We are now taking our earliest music directors who composed Hindi songs in Raag Bhairavi. RC Boral was one of them and composed music for some of KL Saigal‘s songs.

This one is from Saigal’s 1938 super hit movie Street Singer in which he starred in the title role and as was usual for him, sang for himself. Wajid Ali Shah penned the lyrics. RC Boral was an even older music director than Anil Biswas. Rai Chand Boral was born on 19 Oct 1903 and died on 25 Nov 1981. Three years before dying the highest film award, the Dadasaheb Phalke award was conferred on him for his contribution to Hindi cinema. He is credited with being the first one who introduced playback singing in Hindi films with the 1935 movie Dhoop Chhaon.

It also happens to be the most popular of KL Saigal’s songs. KL Saigal was the first singing – superstar of the Hindi movies

Please enjoy in Raag Bhairavi: Baabul mora naihar chhuuto hi jaaye….

baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

chaar kahaar mil, morii Doliyaa sajaave.n – 4
moraa apanaa begaanaa chhuTo jaae
baabul moraa …

aa.Nganaa to parbat bhayo aur deharii bhayii bidesh
je baabul ghar aapanaa mai.n piiyaa ke desh
baabul moraa …

baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

https://youtube.com/watch?v=ouheLTzfeBc%3F

Song #12 Ai quatib-e-taqdeer mujhe itana bata de…..

Now, lets take up Pankaj Mullick. This is from KL Saigal’s 1944 movie Meri Behan (My Sister). Please forgive me that the only video that I could find has the remaining part of another song before this song starts. Pankaj Mullick was born on 10th May 1905 in Kolkatta and like Anil Biswas and RC Boral, he was peioneer in playback singing in India. He was conferred with the Padma Shri in 1970 and two years later the highest award in films: the Dadasaheb Phalke award. The first Hindi movie that he worked for was the 1933 Yahudi Ki Ladaki.

Pt Bhushan penned the lyrics and KL Saigal sang for himself.

Please enjoy: Ai qaatib-e-taqadiir mujhe itana bataa de…

ai qaatib-e-taqadiir mujhe itanaa bataa de -2
kyo.n mujhase Kafaa hai tuu, kyaa mai.nne kiyaa hai

auro.n ko khushii mujhako fakat dard-o-ra.nj-o-Gam
duniyaa ko ha.Nsii aur mujhe ronaa diyaa hai
kyaa mai.nne kiyaa hai -2
kyo.n mujhase Kafaa hai tuu, kyaa mai.nne kiyaa hai

hisse me.n sabake aa_ii hai.n…
hisse me.n sabake aa_ii hai.n ra.Ngiin bahaare.n
bad-faqtiyaa.N lekin mujhe shiishe me.n utaare.n
piite hai.n
piite hai.n rog roz-o-shab muzzarrato.n kii may
mai.n huu.N ke sataa khuun-e-jigar mai.nne piyaa hai

kyaa mai.nne piyaa hai
kyaa mai.nne piyaa hai

thaa jinake dumak dam se ye aabaad aashiyaa.n
ho chahachahaatii
ho chahachahaatii bulabule.n jaane ga_ii kahaa.N
juganuu kii chamak hai na sitaaro.n kii roshanii
is ghup a.ndhere me.n hai merii jaan par banii
kyaa thii
kyaa thii
kyaa thii bataa ke jisakii sazaa tuune mujhako dii

kyaa thaa
kyaa thaa gunah ke jisakaa badalaa mujhase liyaa hai

kyaa mai.nne kiyaa hai
kyaa mai.nne kiyaa hai
kyo.n mujhase Kafaa hai tuu, kyaa mai.nne kiyaa hai

https://youtube.com/watch?v=nXSNJnB5Rfw%3F

That brings us to the end of the First Part of Raag Bhairavi based songs. We have another two parts that I shall be putting up shortly. I hope you enjoyed the songs I put together for you so far. Please await the next part.

POLITICISATION OF RELIGION AND IDOL-WORSHIP IN INDIA

 

After US President Barrack Obama’s last visit to India in Jan 2015, when he was the chief guest at our Republic day parade, I wrote an article titled ‘Is Communal Disharmony A Challenge To India’s March To Greatness?’ Talking to Delhi University students, he brought out that “No society is immune from the darkest impulses of men,” said Obama. “India will succeed so long as it is not splintered along the lines of religious faith.” I had traced the history of exploitation of religion and religious disharmony in India and had concluded that five diverse reasons existed for latent religious disharmony in India manifesting into large-scale unrest and violence that would undermine India taking its rightful place as an emerging economic and political power.

It has been eight months since I wrote the article. Lets take stock of how far have we reached in the politicisation of religion and secularism. Lets start in the news item of 22 Sep 15, in Hindustan Times:

‘The Rashtriya Swayamsevak Sangh (RSS) believes the concept of being secular was “irrelevant” in the Indian context and the “artificial injection of secularism” was not needed in a social order as hospitable and assimilative as Hindu society.

Sangh publicity chief Manmohan Vaidya said at an event in Chennai that Bharatiya or Indian tradition has from time immemorial regarded all faiths and sects as one.

“Secularism evolved along the themes of separation of the church and state in Europe and since India doesn’t have a history of theocratic states, the concept of secularism is irrelevant in the Indian context,” he said addressing more than 80 columnists from the southern states at an RSS-organised seminar last weekend.

Vaidya’s remarks closely follow RSS chief Mohan Bhagwat’s suggestion to set up a committee to review reservation system. This remark has already evoked sharp political reactions.

“Perversion of the concept of secularism in India has resulted in the terming of nationalists as communal and people with communal thinking being hailed as secular,” Vaidya said in the presence of RSS general secretary Suresh Bhaiyaji Joshi, the second-most powerful man in the outfit which is the BJP’s ideological mentor.’

One would like to believe these proclamations at face value; more so if one belongs to what once was the most benign, inclusive and reasonable religion in the world: Hinduism. However, in the past few decades of Congress rule, and in the more recent BJP rule, the divisive forces are being constantly fanned over what should be non-issues. The result is that over the electronic media, the minorities have openly started saying that they feel uncomfortable and insecure.

Take a look at the following illustrative diagram:

Secularism explained (Pic courtesy: yourarticlelibrary.com)
Secularism explained (Pic courtesy: yourarticlelibrary.com)

Despite the obvious spelling mistakes in the diagram, I found it illustrative of how the state must keep clear of religion and individual choices. Yes, as Manmohan Vaidya said, we don’t have a history of theocratic states. But, the state’s interference  in matters of religion and individual choices has been on the increase. All political parties in India exploit religions as possible vote-banks. That’s precisely the reason why pooja-pandals have smaller pictures of the gods for whose collective worship the pandals have been made but much larger pictures of the political leaders sponsoring the pandals. One would want to hear from Manmohan Vaidya why wouldn’t the political parties in India leave religion to the people? Why would a BJP MLA make open and publicized remarks against the High Court’s curbs on noise during religious festivals by saying that the courts should respect people’s freedom of religious practices? Why does a political leader feel compelled to be a spokesperson for a particular religion if, as Vaidya said, we do not have, like the Europeans, the merging of the church and the state? Talking about the church, a government functionary in south India preaching the teachings of Christ in his official duties is as bad as the state getting involved in what is euphemistically called respecting the religious sentiments of the people (Please also read ‘State Sponsored Noise’ and ‘Who Are The People Whose Sentiments Need To Be Respected?‘)

I have read any number of articles on the net and otherwise extolling the virtues of idol-worship in India. The virtues range from child like innocence and purity of approach when a person stands reverently in front of an idol in total submission to how the idols help us to concentrate and stay focused. All very well and I would have been for it. However, when the same idol-worship, that should have been a private and personal affair becomes politically exploited communal affair, there are great challenges and dangers. Some of these are:

1. Keeping People From Scholarly Pursuits. Hinduism, the religion that I respect most, is all about scholarly pursuits. I wrote in my ‘A Quieter Mumbai – Is It A Pipedream?‘ that the name of the country Bharat is a combination of two Sanskrit words Bha (Knowledge) and Rat (Absorbed in); and that Bharat literally means a country whose people are absorbed in knowledge. People collectively always seek the easy way out and hence most rituals in religion abound in which people can be easily swayed to join. For example, our priests openly exhort us to offer to an idol thinking of the idol as the real God. Scholars are supposed to reason out things; our religion is perhaps the only religion that has encouraged reasoning (Arjuna did it with our Lord Krishna even in the battlefield). So, if you reason out such offerings to the idols, you would conclude, as I did on my page ‘Make Your Own Quotes’:

Offering

When the Chinese pilgrims Fa-Hein and Huien-Tsang visited India in the 5th and 7th centuries AD (during the Gupta dynasty), they were impressed by the scholarly pursuits of our people and Brahmins. Indeed, Baidyanath Saraswati has brought out in ‘Swaraj in Education’ how Kashi (now Varanasi or Benaras) grew into a great seat of learning surpassing other civilisational centres of the world including Rome and Mecca. Except for Bihar, they didn’t find a single place in the entire route of their pilgrimage in India where idol worship was being performed. Whenever, people deviated from the scholarly religious pursuits our religious leaders tried to bring us back such as Swami Vivekananda and Guru Nanak.

Take the latter, Guru Nanak, for example. The incident at Jagannath Puri, just before the annual rath yatra has Guru Nanak being invited for the Aarti at the temple has been recorded in our history.

The Guru visited the temple not to offer Aarti to Lord Krishna but to teach the people that the worship of God is superior to the worship of the deity. It was the evening time and the priests brought a salver full of many lighted lamps, flowers, incense and pearls and then all stood to offer the salver to their enshrined idol-god. The ceremony was called ‘Aarti’, a song of dedication. The high-priest invited the Guru to join in the god’s worship. The Guru did not join their service which enraged the priests. On being asked the reason the Guru explained that a wonderful serenade was being sung by nature before the invisible altar of God. The sun and the moon were the lamps, placed in the salver of the firmament and the fragrance wafted from the Malayan mountains was serving as incense. The Guru, therefore, instead of accepting the invitation of the high-priest to adore the idol, raised his eyes to the heaven and exhorted people to worship God directly rather than through the idol of God.

The sad part is that a small percentage of Hindus chose to become Sikh (learned or taught) and chose the easy way out to form a separate religion rather than to seek religious reforms from within.

2. Environmental and Other Damages. There is a great deal of debate, for example, on the environmental degradation due to visarjan of the huge idols, for example, particularly of our water bodies. In congested cities and towns (and we have only that variety), traffic problems get multiplied during such public idol-worship due to both: the pandals coming up on the roads and the almost everyday processions. Noise that affects us all aurally and adding to hygiene and medical problems is now too large to be ignored. Many of our people are now becoming gradually deaf.

3. Dangerous Trend of Intolerance. Most right-minded and sane minded people feel that such public show of idol worship is as far from religion as we can get and is only with vested commercial and political interests. However, such is the demonstrated intolerance of the mobs that are exploited for these that most of these people have to now cower in fear of violence. Imagine religion leading to violence! However, when mobs do such things that should be individual and personal and private choices, reason is often the victim. Such competitive intolerance amongst communities does no good to people but is the bread and butter of politicians and those who have to gain by dividing people along religious lines.

4. Keeping Us From Our Obligation towards Humanitarian Issues and Causes. Yes, idol-worship does provide focus to us. However, now a stage has reached when we can do without such focus. Recently, we have found out through the audits of the four largest temples in India that the offerings in these temples are enough to feed our country for the next 200 years. And yet, we have the largest number of poor in the world in India. In Human Growth Indices our country ranks a lowly 140 or so. The conclusion to be drawn is that our people would do anything to save their own souls by offering to the idols in the temples rather than giving directly to people in need. That’s utterly selfish use of idol-worship, diametrically opposite of the virtues that are extolled in all the articles that I have read.

5. Not in Keeping with the Times. There are other religions which opposed reforms and tried to become as medieval as possible. A flagrant example of these is Jihad in the name of God. We, on the other hand, were much better off with assimilation of modernity in our thoughts whilst doing away with anti-social traditions such as Sati, Untouchability, and Child-marriage. The open idol-worship (as opposed to personal and private) is taking us backwards to medieval times. As I wrote in my ‘Whose God Is It Anyway?’:

‘God is within us and all around us. We neither have to go to mountains, nor churches, mosques and temples to worship Him or Her. Collective worshipping of God or gods helps no one except to divide communities (who are also the same God’s creations and hence related to us) and only helps the politicians or so called custodians of faith who thrive from such polarization.’

If you read the full article, you will agree with me that the reasons to have collective worship of God or gods no longer exist. Religion and such devotion should increasingly become private and personal, if at all.

The need of the hour is for us individually and collectively engage ourselves in poverty-alleviation programmes, education of the deprived and infrastructure building rather than dissipating time, energy and effort in telling God to save us and our should or our community or our nation.

Goodness is another name for God and is the most relevant in the modern times.

 

 

 

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