Aaj jyotsnaa raatey (38)

Pakistaniaat a Journal of Pakistan Studies, 2012

CERN European Organization for Nuclear Research - Zenodo, 2014

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Upjanbhui Publishers, ISSN 23217340, 2023

In this study, lullabies, word songs of sleep, rhymes of mother love in Rajbanshi will be considered for analysis.The word nursery rhymes or children rhymes in Rajbanshi can be translated as Chhora ছড়া or Chhaoyali Chhora ছাওয়ািল ছড়া. Chhora indicates traditional, unpolished, usually rustic or rural naïve verse with a focus on household things, sleep, play, festivity, and personified animals that is recited by mothers, caregivers, elders and siblings to very little children, and by the children themselves. The study of nursery rhymes tends to fall midway between the study of folklore and of children’s literature proper (Sircar:1997). Lullabies are a special kind of song. Across centuries and across cultures, caregivers have created these cradle songs and melodies to calm children and to soothe babies into slumber (Honig 1985). Rabindra Nath Tagore, Abanindranath Tagore, Upendra Kishore Roy Chaudhary, Sukumar Ray, Dakshina Ranjan Mitra created tremendous children literature in this area in Bengali and Sukumar Ray’s Bengali nonsense verses (Chaudhuri 1985), Jogindranth Sarkar’s child rhymes (Chakravarti 1971), Abanindranath Tagore’s comic parody verses (Chakravarti 1971) were translated into English. In this study, we will be looking at the Rajbanshi lullabies which are sung at the time of sleeping the child and massaging the child.

Nobel Prize winner Rabindranath Tagore is widely appreciated and loved for his numerous art, literature, and music works. This paper analyzes some selected songs (live lyrics) of Tagore, imagining them as a single unit with variouscomponents in between. However, these Tagore songs are independent and not interconnected but somehow interrelated. These songs reflect love, sacrifice, innocence, maturity, fantasy, and vulnerability. They all portray different but similar stories (themes) with an ending that feels complete but sometimes doesnot. Considering someselected Tagore songsin the love multiverse, this paper exploresand examines the layers of love and emotions through critical interpretation and content analysis of a selection from the Gītabitāna, a collection of Tagore songs containing multiple themes.

GSAS Workshop on Historical Linguistics and …, 2003

Pakistaniaat a Journal of Pakistan Studies, 2012

The article is based purely on the personal views of the author as it is difficult rather impossible to fully grasp and convey the essence of the multidimensional spiritual experience. Therefore, references are given wherever possible to substantiate the comments. Give me wine to drink and tell me it is wine. Do not give it to me in secret, when it can be given openly… 1 (Let my eye see it and my hand touch it and my palate taste it and my nose smell it: and yet there remains one sense to be gratified, i.e., my hearing: tell me, therefore, this is wine, that my ear may feel the same delight as my other senses do.) 2 I should properly introduce Pathanay to the readers before highlighting the dimensions that inspire me in his adaptations of the mystical soul-elevating singing. Ghulam Muhammad, a Seraiki (an ethnic group of Southern Punjab) folk singer who became popular with the name of 'Pathanay Khan' 3 was born in 1926 in a small village situated in the heart of Thal Desert near Kot Addu, Muzaffargarh, Punjab. The name, 'Pathana' (in the Thal region 'Pathana' symbolizes love and valor) was given to him by his mother, which is now written as 'Pathanay.' He sang mostly Kafis (a classical form of Sufi poetry) and ghazals (a popular poetic form in Indo-Pak sub-continent consisting of rhymic couplets and a refrain, with each line sharing the same meter). He is called the 'Flower of Rohi' 4 and his singing style symbolizes a 'whirlwind.' 5 During his singing career he won a total of 79 awards including the Preseidential Pride of Performance Award (1979), PTV Millennium Award, Khawaja Ghulam Farid Award, Rohi Award, Thal Award. 6 His reverence for Baba Ghulam Farid is widely acknowledged. 4 He died at the age of 74 and was laid to rest in his native town Kot Addu in the year 2000. Even though Pathanay sang many a classic Kafi, but among general public in Pakistan his arguably most popular hit is Baba Ghulam Farid's 'Mehnda Ishq Vi

Project Muse, 2017

2012

2012

During the last five decades, interest in Hindi song has revived and indeed expanded. Not since the days of Mohd Rafi and Lata Mageshkar has so much energy and critical acumen been devoted to this most intriguing and challenging of musically disciplines. Controversy has raged concerning the interest of Malays in Hindi song even though they do not master and understand the Hindi language. Many questions are yet unanswered but the future is full of promise. We slowly brave ourself to briefly examine this phenomenon, the popular Hindi song “ KuchkuchHota Hai” via our perspective.