Chama/Dalit in Arts and Music

Anil Biswas (composer)


From Wikipedia
Anil Biswas
অনিল বিশ্বাস
BornAnil Krishna Biswas
7 July 1914
Barisal, East Bengal
Died31 May 2003 (aged 88)
New Delhi, India
Occupationmusic composer, playback singer, actor
Years active1932- 1975
Spouse(s)Ashalata, née Mehrunnissa(17/10/1917- 1992) (divorced)( -1954)
Meena Kapoor (1959-2003) (his death)
Anil Krishna Biswas (अनिल कृष्ण विश्वास / অনিল বিশ্বাস; 7 July 1914 – 31 May 2003) was an Indian film music composer from 1935 to 1965, who apart from being one of pioneers of playback singing, is also credited for the first Indian orchestra of twelve pieces and introducing orchestral music and full-blooded choral effects, into Indian cinema. A master in western symphonic music was known for the Indian classical or folk elements, especially Baul and Bhatiyali in his music. Out of his over 90 films, most memorable were, Roti (1942), Kismet (1943), Anokha Pyaar (1948), Taraana (1951), Waaris (1954), Pardesi (1957) and Char Dil Char Rahen (1959).
He was also the pioneer in using the counter melody in film scores, employing technique of western music, ‘cantala’, where one line overlaps the other in contra-melody, recitative prose songs as in Roti (1942), besides he was the first one to start extensively using the Ragmala.Another important element that he introduced was western orchestration, using indigenous instruments both in the songs as well as in their melodic interludes, a trend that soon caught on and paved way for the musicals of Indian cinema today.
He was awarded the Sangeet Natak Akademi Award in 1986, given by the Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama.

Early life

Anil Krishna Biswas was born on 7 July 1914, in Barisal in East Bengal (now in Bangladesh) in the household of J C Biswas, where at a young age he acted in a local amateur theater as a child star. He was fond of listening to music since his childhood. As he grew up, he displayed considerable musical talent, by 14 he was already accomplished in playing table while singing and composing music at local music concerts; though soon he joined the Indian Independence Movement, while still doing his matriculation, and was repeatedly jailed for his revolutionary activities, leading to repeated disruption of his studies. Eventually in 1930, after his father’s death he left for Calcutta in disguise to escape further arrest.

Career

Anil Biswas first made name in Kolkata in the early 1930s, composing music for plays, later he joined 'Rangmahal Theatre', Kolkata, as an actor, singer, and assistant music director, 1932–34, during this period he sang and acted in several commercial stage productions. By this time he had masters singing styles like, khayal, thumri and dadra, and had become an accomplished singer of devotional music, in Shyama Sangeet and Kirtan styles.
He also worked as a singer, lyricist and composer, with the 'Hindustan Recording Company', where Kundan Lal Saigal and Sachin Dev Burman, before migrating to Bombay themselves. He got assignments from renowned Bengali poet, Kazi Nazrul Islam, all this got him into the notice of music director, Hiren Bose, and at whose behest he made his way to Bombay (Mumbai) in 1934.
This was the period when playback singing was making its debut in Indian cinema, when Anil first joined Ram Daryani's, 'Eastern Art Syndicate', and was associated in composing music for 'Baal Hatya' and 'Bharat ki Beti', before making his debut as a film composer, with Dharam ki Devi (1935) for which he composed the background music, and also acted and sang the song, Kuch Bhi Nahin Bharosa.. In 1936 he joined 'Sagar Movietones' as a composer, first starting with assisting composers, Ashok Ghosh in films Manmohan and Deccan Queen and also Pransukh Nayak, and continued with Sagar Movietones, even after it merged with the Yusuf Fazalbhoy of RCA’s newly established National Studios in 1939.
In the coming two years he did eleven films, mostly stunt films, until Mehboob Khan's Jagirdar (1937), a commercially hit, established him as a musical force in the film industry. Soon many more independent assignments came his way, most notably, 300 Days and AfterGramophone SingerHum Tum Aur WohEk Hi Raasta, and Mehboob Khan's Watan (1938), Alibaba (1940), the classic, Aurat (1940), Bahen (1941), before working with him again, in Roti (1942), for which he also credited with the story and concept,and which featured many songs by film's actress, Akhtaribai Faizabadi (Begum Akhtar), though they were deleted due to a contractual conflict (the music was recorded with HMV, while she was in contract with Megaphone Gramophone Company). In following years he gave scores for Bombay Talkies films like Jwar Bhata (1944), Dilip Kumar’s debut film, and Milan (1946) also starring Dilip Kumar and directed by Nitin Bose, who made it in Bengali, as Naukadubi.
He gave break to famed playback singer, Mukesh in Pehli Nazar (1945), singing 'Dil Jalta Hai to Jalne De', and to Talat Mahmood in Arzoo (1949), singing 'Aye Dil Mujhe Aisi Jagah Ley Chal' his first song in Bombay; he was also behind the success of many singers such as Surendranath, Parul Ghosh, Amirbai Karnataki, Lata Mangeshkar and Roshan Ara Begum. It was during his period that he married Asha Lata, an actress with Sagar Movietones under her maiden name Mehrunnisa who continued to act under the name Ashalata Biswas, and had three sons and a daughter, the couple later divorced. Later it was the death of his son Pradeep in an airplane accident, in 1961, which catapulted his exit from the film industry. Lata Mangeshkar has admitted that Anil Biswas gave her tips and trained her for breathing control during recording songs.
In 1942, he joined Bombay Talkies at an offer from Devika Rani, where he got his biggest hit, Gyan Mukherjee's Kismet (1943), starring Ashok Kumar and Mumtaz Shanti, most remembered for the song, 'Papihaare', sung by his sister Parul Ghosh (wife of the renowned flautist, Pannalal Ghosh), the patriotic hit, 'Door hato ai duniyaa waalo', and 'Dheere dheere aare badal, mera bulbul so raha hai, shorgul na macha' sung by the actor, Ashok Kumar. In 1946, he left Bombay Talkies and set out as a freelancer, and later under the banner, ‘Variety Pictures’ owned by his wife, AshaLata Biswas, worked for four films, Laadli (1949), Laajawaab (1950), Badi Bahu (1951) and Humdard (1953), with KA Abbas Rahi (1952), songless Munna (1954), where he gave the background score, and Indo-Russian joint production, Nargis starrer, Pardesi (1957) and Char Dil Char Rahen (1959). By now, the kind of music perfect by Anilda, as he was now called in the industry as, was fast changing, and so he gradually grew disillusioned by the changing dynamics of the film industry. In early 1960s, he retired from the cinema, while still at the peak of his game, he shifted base to New Delhi, though he did one or two films in between like Mahesh Kaul's, Sautela Bhai (1962), his final film as a composer was, actor Motilal's directorial venture, Chhoti Chhoti Baatein (1965), starring Nadira and with Mukesh's 'Zindagi Khwab Hai Tha Hamein Bhi'. Motilal died before its release, and the film flopped at the box office, though it did get a National Film Award.
In Delhi he became director of the National Orchestra at the All India Radio (AIR) in March 1963, and remained Chief Producer -Sugam Sangeet (light Hindustani classical music) at AIR, Delhi till 1975. Though later, he composed music for Doordarshan's pioneering TV series Hum Log (1984) and a number of documentaries for the Films Division  as late as 1991, and remained the Advisor (Music) in the rank of a Professor at Jawaharlal Nehru University for 2 years. He won the Sangeet Natak Akademi Award in 1986.

Personal life

He was first married to Ashalata(initially,film name) (maiden name: Mehrunnisa)(17/10/1917-1992), an actress in 1930s and 1940s, who also owned Variety Pictures, and with whom he had three sons and a daughter. His daughter's name is Shikha Vohra and her daughter is now a well-known documentary film maker, Paromita Vohra. The couple divorced in 1954; Ashalata Biswas died in 1992. In 1959, Anil Biwas married the playback singer, Meena Kapoor, daughter of actor Bikram Kapoor. Meena Kapoor did not have any children. Meena was most noted for singing hit 1950s songs like, "Rasiya re man basiya re" in Nargis starrer Pardesi (1957) and "Kachhi hai umariya" picturised on Meena Kumari in Char Dil Char Raahein.
Film singer Parul Ghosh (approx 1915–1977) was Anil Biswas' younger sister. She was married to the noted flautist Pannalal Ghosh (1911–1960).
Anil Biswas died in New Delhi on 31 May 2003. He was survived by his wife Meena Kapoor, sons Amit Biswas and Utpal Biswas, and daughter Shikha Vohra. Utpal Biswas is also part of Amar-Uptal duo team Hindi Film Music composers of hit films such as Shahenshah (1988), Main Azaad Hoon and Aaja Meri Jaan (1993), and his daughter, Shikha Vohra. Upon his death, the then Prime Minister of India, Atal Bihari Vajpayee called him, “a doyen of film music who struck the rare balance between classical purity of music and popular pulse”, and credited him for leaving, “an enduring legacy as he introduced many talented singers and innovations to the Indian film music.”

Amar Arshi



Amar Arshi is a Punjabi singer and belongs to the prominent Ravidassia Religion. He is one of the successful Punjabi singer. His song "Kala Chashma" came with the film, Baar Baar Dekho (2016). He is based out of London.



Amar Singh Chamkila


From Wikipedia, the free encyclopedia
Amar Singh Chamkila
Birth nameDhanni Ram
Also known asAmar Singh Chamkila
Born21 July 1960
Dugri, Punjab, India
Died8 March 1988 (aged 27)
Mehsumpur, Punjab, India
GenresPunjabi duets, solos, lok-tath, lok-katha, dharmik
Occupation(s)Singer, songwriter, musician, composer
InstrumentsVocals, tumbi, harmonium, dholak
Years active1979–1988
LabelsHMV
Associated actsChamkila & Amarjot, Surinder Sonia,Usha Kiran,Harneet Neetu
Websitewww.amarsinghchamkila.com
Dhanni Ram (21 July 1960 – 8 March 1988), commonly known by his stage name Amar Singh Chamkila, was a popular Punjabi singer, songwriter, musician, and composer. Chamkila and his wife and singing partner Amarjot were killed, along with two members of their band on 8 March 1988 allegedly by a gang of unknown youths.
Chamkila is regarded as one of the best stage performers Punjab has ever produced. His music was heavily influenced by the Punjabi village life he was surrounded by growing up. He commonly wrote songs about extra-marital relationships, coming of age, drinking, drug use, and the hot tempers of Punjabi men. He earned a controversial reputation, with his detractors regarding his music obscene, and his supporters regarding it a truthful commentary on Punjabi culture and society.
His best-known hits include "Pehle Lalkare Naal" and his devotional songs "Baba Tera Nankana" and "Talwar Main Kalgidhar Di". Though he never recorded it himself, he wrote the widely popular "Jatt Di Dushmani" which has been recorded by many Punjabi artists.
Early life and career
Amar Singh Chamkila was born as Dhanni Ram on 21 July 1960 in the village of Dugri near Ludhiana, Punjab, India. He was born into a poor family. The youngest child of Kartar Kaur and Hari Singh, he was educated at Gujar Khan Primary School in Dugri. His aspirations of becoming an electrician were unfulfilled and he found work at a Ludhiana cloth mill. With a natural aptitude for music, he learned to play the harmonium and dholki. Punjabi folk musician Surinder Shinda has said that in 1979, Chamkila approached him for the first time on a bicycle. When Shinda heard the 18-year-old Chamkila sing, he had finally found the protege that he had been looking for. Chamkila would go on to play alongside Punjabi folk artists such as K. Deep, Mohammad Sadiq and Surinder Shinda. He wrote several songs for Shinda and accompanied him as a member of his entourage before deciding to pursue a solo career. It is rumoured that Chamkila was happy enough writing songs, but he wasn't earning enough money to look after his family, so had to start singing.
He was married to Gurmail Kaur with whom he had two daughters, Amandeep Kaur and Kamaldeep Kaur. Chamkila's second marriage was with his co-singer Amarjot Kaur, with whom he has a son Jaiman Chamkila.

Career in Music

Adopting the stage name Amar Singh Chamkila – Chamkila in Punjabi means one that glitters. He partnered up with the female vocalist Surinder Sonia and recorded eight duets. The record was released in 1981 and 1982 and was produced by Charanjit Ahuja. The cunningly worded lyrics, which he had written himself, became hits across Punjab.

In 1980, Chamkila left Sonia and established a short-lived stage relationship with Miss Usha. He left Miss Usha in the same year in favour of teaming up with a female folk singer named Amarjot. Not much is known about Amarjot Kaur, except for the fact that she was previously married but left the marriage to pursue her dream of singing. Amarjot herself was a renowned singer and sang with Kuldip Manak. She would become Chamkila's permanent singing partner providing the female vocals for his duets, that is, the majority of the songs that he wrote.
Chamkila, for the most part, wrote his own lyrics, the majority of which were boyish and suggestive, yet fluent, commentaries on extramarital affairs, alcohol and drug use. The couple's appeal grew not only in the Punjab, but they quickly raced to international stardom among Punjabis abroad. Around this time, Chamkila was receiving more bookings than his contemporaries such as Kuldip Manak, Gurdas Maan and Surinder Shinda. The biography "Awaz Mardi Nahin" by Gulzar Singh Shaunki found during its research that at the height of his popularity Chamkila had performed 366 shows in 365 days.
By the early 1980s, Chamkila and Amarjot had recorded hugely successful LPs on the HMV label and they toured Canada, US, Dubai and Bahrain. They were also commonly booked for wedding parties, charging a reported Rs. 4000 per performance, an unprecedented amount for the time. Chamkila sold more HMV LP records in the world then any other Punjabi singer. He was also an accomplished player of the Tumbi instrument.
Much of Chamkila's success may be attributed to the fan-base he acquired performing in free, open-air concerts (known as Akhade in Punjabi) around Punjab. Accompanying the couple would be a harmonium and dholki player and Chamkila would play the Tumbi. The concerts served as a medium for gaining exposure and testing people's response to new songs that were planned for future recordings. In addition to singing his own songs, Chamkila wrote several songs and sold them to other artists. Some of these include Main Digie Tilak Ke (Surinder Shinda), Gabroo Nu Marda (Jagmohan Kaur) and Deor Naal Nach Bhabiye (KS Kooner). Chamkila continued to work with Charanjit Ahuja but also experimented by working with SN Gulati (Deora Ve Tavitan Walia) & KS Narula (Mera Jee Karda). Starting in 1985, Chamkila and Amarjot released three devotional LPs: Baba Tera Nankana, Talwar Main Kalgidhar Di Haan and Naam Jap Le. While the LPs were highly successful, none of the songs featured on them were written by Chamkila. The profits made from these LPs were reportedly donated to charities.
Chamkila’s song Pehle Lalkare Naal was featured in the soundtrack of the 1987 Punjabi film Patola. He also recorded the song Mera Jee Karda for the Punjabi film 'Dupatta'. Both films fared averagely at the box office, but still increased Chamkila's popularity. He also recorded a music video for one of his songs for the state-owned Doordarshan channel, but after his death his video was taken off the air. Chamkila and Amarjot recorded in excess of ninety songs before they were killed in Mesumpur, Punjab in 1988. At the time of his death, he reportedly had 200 songs that had not been sung or recorded. Of these some were sung at stage shows including Dhee Mar Jai Badkar Loko, Jatt Di Dushmani and Akhiyan Di Maar Buri. Chamkila also sang another serious song on the folk hero Jeona Morh called Kaadha Soorma, which was remixed by Panjabi MC in 2007.
He also had many solo songs which have been sung in recent times by artists such as Chamak Chamkila, Nirmal Sidhu, Amar Arshi, and even his teacher Surinder Shinda. Some singers have used some of Chamkila's lyrics in their songs as part of their chorus. These include Nasha, Mere Yaar Ne (Gippy Grewal) and Shad De Vairne Yaari (Jazzy B). By shamsher singh sohi gurdaspur.

Death

Having arrived to perform in Mehsampur, Punjab, both Chamkila and Amarjot were gunned down as they exited their vehicle on 8 March 1988 at approximately 2 o'clock. A gang of motorcyclists fired several rounds, fatally wounding the couple and other members of the entourage. However, no arrests were ever made with connection to the shooting and the case was never solved.

There are many other conspiracy theories as to why Chamkila was killed. It is widely reported that he had been the victim of several death threats. The nature of those threats or the rationale behind them still remains a mystery. The high-profile murder sparked a frenzy of controversy and speculation. Some of the most prominent theories explaining the killings are:
  • The Khalistani movement is believed to be behind the killing of Chamkila as his songs might have been objectionable to the movement.
  • Due to the public’s declining interest in other Punjabi singers in favour of Chamkila, one or more of these other artists may have planned his killing.
  • Punjab police could have been behind the murder, as killings by government officials and police were very common and many high ranking Punjab police officers were outraged by Chamkila's lyrics and what they perceived as his vulgar songs.
  • Chamkila may have been murdered by an individual he might have refused to perform for due to a scheduling conflict or other reasons.
One of the possibility is honor killing, because Chamkila's wife Amarjot was belong to Tarkhan family. Her parents & relatives might be involve in Chamkila's murder.


Abhijeet Sawant

Winner of First Indian Idol : Chamar 


Abhijeet Sawant (Marathi: अभिजीत सावंत) is an Indian playback singer, television actor and anchor and the winner of Indian Idol (Season 1). He was the first runner up of Clinic All Clear – Jo Jeeta Wohi Superstar, and finished third inAsian Idol.

Singing

Abhijeet Sawant won the first season of Indian Idol, an adaptation of the Pop Idol format, in 2005. His first solo album, Aapka Abhijeet Sawant, was released on 7 April 2005. That year he also did playback singing in the movie Aashiq Banaya Aapne, performing the songMarjawaan Mitjawaan.
Sawant competed in the first edition of Asian Idol, which was held in Jakarta, Indonesia on 15 - 16 December 2007. He performed Everything I Do by Bryan Adams and his own songJunoon. Hady Mirza of Singapore Idol won the competition, with Sawant finishing third.
His second album, Junoon - Abhijeet Sawant was released on 10 July 2007. The title trackJunoon charted in India.
Abhijeet Sawant was a finalist of Clinic All Clear Jo Jeeta Wohi Superstar on Star Plus in 2008. The show was a competition between the winners and runners-up of various singing reality shows on Indian television. Sawant became the first runner up of the show.

Acting

He made his acting debut in the movie Lottery in 2009. He also made a small appearance at the end of film Tees Maar Khan.
Sawant has also acted in commercials for Spraymint.
He made a special appearance as himself in the romantic drama series Kaisa Ye Pyar Haiand thriller crime series C.I.D.

Other

Sawant and his wife Shilpa participated in the Dancing Reality Show Nach Baliye (Season 4) in (2008–2009). They were eliminated after facing public votes and could not make it to the finals.
He co-hosted Indian Idol 5 along with Hussain Kuwajerwala.
He has joined the Shiv Sena with a mandate to attract youth to the party fold.

Discography

Original Albums
  1. Aap Kaa Abhijeet Sawant-2005, Sony BMG Music India
  2. Junoon-2007, Sony BMG Music India
  3. Farida-2013,Universal Music India

Bhavatharani



Bhavatharani is an Indian Tamil singer and music director. She is the daughter of film composer Ilaiyaraaja and her brothers are the noted film composers Karthik Raja and Yuvan Shankar Raja. She has mostly sung songs under her father and her brothers' direction. She was awarded the National Film Award for Best Female Playback Singer in 2000 for her rendition of the song "Mayil Pola Ponnu Onnu" from the film Bharathi, composed by her father Ilaiyaraaja.
Bhavatharini made her debut as a singer in Raasaiya. The song was a super hit. From then onwards, she sings in albums composed by her dad and brothers. She had also lent her voice in songs composed by Deva & Sirpy.
In 2001, she won the National Award for the song Mayil Pola Ponnu Onnu in the movie Bharathi (music director - her father).
She turned music director for the 2002 film Mitr, My Friend, directed by Revathi, starring Shobhana. She then forayed into the Telugu film industry, too, with Avunaa. She has also composed music for Phir Milenge directed by Revathi again starring Shilpa Shetty, Abhishek Bachchan and Salman Khan. In June 2012 she was roped in to score the tunes for Vellachi, a village-based subject.

Personal life

She is married to an advertising executive R. Sabariraj, son of S.N. Ramachandran a former journalist who went into publishing and started Kannan Advertising. She studied in Rosary Metric school in Chennai where she was a classmate of the famous singer Bhargavi.
Bhujangy Group, Anardi Sangeet Party 

Bhangra music today is a very well known genre of music. However, it was known for its bands and live music especially in the 1980s and 1990s. DESIblitz looks at the changes and asks the question is the era of live Bhangra bands over?




Bhangra - Alaap

By 

From the days of ‘Modern Punjabi Music’ with bands Bhujangy Group, Anardi Sangeet Party and AS Kang in the 70’s, to it exploding in the 80’s with groups like Alaap, Heera, DCS, Malkit Singh and Apna Sangeet; it is now primarily led by DJ’s and music producers featuring singers.

So we ask the question, is the era of live Bhangra bands completely over now?

Because at one time especially in the 80’s and 90’s, live music and bands were the pinnacle of Bhangra music in the UK.

Bhangra mainly got recognised in the early 80’s as a music form. Prior to that, it was seen as a traditional dance from the Punjab performed by many well-known dance groups in the UK.



The emergence of London based music directors such as Kuljit Bhamra and Deepak Khazanchi introduced the pioneering sounds of mixing traditional folk style Punjabi music with western instruments.



This led to bands which were produced by them becoming household names on the scene of this new music form known as Bhangra. The groups included Alaap, Premi, Heera and Holle Holle.

In West Midlands, during the 80’s, bands such as Apna Sangeet, Malkit Singh Golden Star, DCS, Achanak, Anaamika, Sangeeta, The Sahotas, Johnny Zee (Taz), Azaad and Shaktee also became well-known acts on the Bhangra music scene.

The 90’s then went on highlight popular live Bhangra acts such as Malkit Singh, Jazzy B, The Safri Boys, Sukshinder Shinda and many more.

These were the times when bands were rampant on the live circuit. From day-time gigs to literally every wedding, these groups represented a live sound of Bhangra which was fresh, individual, entertaining and filled dance floors.






Groups were seen performing at lots of shows and functions, and the fan following of these bands was immense. Singers such as Channi Singh, Dhami and Kumar, Malkit Singh, Shin (DCS), Sardara and Bhamra and Balwinder Safri were in huge demand, not just on their own but as part of a live band.
Venues such as Hammersmith Palais, The Dome, The Corn Exchange and Alexandra Palace were very popular for gigs.

All the bands had their own identity, lead singers, stage costumes, highly recognised live musicians, and sounds and song sets which elevated them to fame. Glitter costumes, big hairstyles, white jeans and traditional instruments were all part of the make-up.
One of the top live bands was Alaap with lead singer Channi Singh, accompanied by an amazing group of very talented musicians. Their sound was tight, vocally enlightening and very professional.
Other bands which were followed for their performances included Malkit Singh, the Safri Boys, Heera, The Sahotas, Apna Sangeet and DCS. Their live acts always left fans wanting more.
Featuring the vocals of band singers, who were happy to perform for them, even without their bands.
This led to a gradual demise in bookings for bands and led to the phase of Bhangra music in the UK dominated by acts miming on stage in Personal Appearances (PA) and songs produced with a huge electronic and sampling influence.
Therefore, with bands not in demand as they were before, the Bhangra scene evolved to it being the face of music producers and DJ’s at the fore-front and artists merely being featured as vocalists on tracks, leaving live music and bands behind.
Bhangra record labels naturally supported the change because it is all about sales and numbers for the business of music. Whereas, for the bands, it’s resulted in a loss of income because of the lack of demand.
Bhangra music today very much encompasses the use of technology to produce the music and digital recordings of vocals which can be tweaked and even ‘cut and pasted’ not requiring singers to sing full songs in studios.
Videos play a major role with the advent of YouTube along with official music charts to support and promote Bhangra music. But this is not providing a living for many artists compared to bands from the past, who made money from performing live, touring, as well as releasing records.
The change has led to an insurgence of tracks from India with artists such as Miss Pooja and Satinder Sartaaj releasing albums and songs, which they follow up with live performances on tours to the UK.
But this is not the case so much with UK based artists as it once was. Although there are many news artists and performers, these acts tend to perform at seasonal melas and club nights but not in the way live Bhangra bands once ruled the stage.
Although, there are still acts like Jazzy B, Shin, Sukshinder Shinda, Jaz Dhami, JK, The Legends Band, Bhujahangy Group and Malkit Singh who do still perform live in the UK, it is no where near to what the live band scene was like in the past decades.
So, unless, something dramatically changes in the way Bhangra music is represented in its live format, where the demand for Bhangra singers singing with live musicians on stage returns; it’s likely that the era of Bhangra bands could be well and truly over.

Daler Mehndi


From Wikipedia, the free encyclopedia
Daler Mehndi
Daler Mehndi on Stage.jpg
Daler Mehndi in live performance at Madrid, Spain
Background information
Birth nameDaler Singh
Born18 August 1967 (age 49)
Patna, Bihar, India
Occupation(s)Singer, songwriter, record producer
Years active1995–present
Labels
  • D Records
Associated actsMika Singh, Hans Raj Hans
Website
Daler Singh, known by his stage name, "Daler Mehndi" (born 18 August 1967) is an Indian recording artist, musician, songwriter, author, record producer, performer and environmentalist. He is credited with making Bhangra popular worldwide, and setting up a parallel non-film music industry to the pre-Daler era’s then existent Bollywood music. He is best known for his energetic dance songs, his distinctive voice,turban and long flowing robes.

Early life

Daler Singh was born in Patna, Bihar on 18 August 1967. In 1991, he formed his own group. A.J Jaspal of IPCA gave Daler a professional set up and promoted him. In 1994, Jaspal sent Daler to compete at the annual Voice of Asia International Ethnic and Pop Music Contest at Azia Dynasys in Almaty, Kazakhstan. He represented India and was judged second amongst other two hundred contestants.

Music career

Song recording for the 2012 Bollywood film Chaalis Chauraasi.
Magnasound signed Daler Mehndi for a three-album contract for three years. Bolo Ta Ra Ra, Mehndi's debut album, sold over 20 million copies. The album established Daler as a pop star, which also won him the Channel V's Best Indian Male Pop Artist Award. A year later, his second album under Magnasound, Dardi Rab Rab, was launched. This album surpassed the sales of Bolo Ta Ra Ra. He was nominated in three categories at Channel V Music awards and won the Channel V Best Indian Male Artist Award. In 1997 he released his third album Balle Balle. This album got him Channel V Awards in six categories.Mehndi composed the popular track "Na Na Na Re" for the Bollywood film Mrityudata where he featured on the big screen with Amitabh Bachchan.
In 2000, Mehndi released his album Ek Dana with music label TIPS Music. The album had a mix of genres ranging from Folk, Rock and Pop. One of the more popular songs of the album Sajan Mere Satrangiya featured the Indian actress Priyanka Chopra in the video.This video was released in the year that Priyanka Chopra won the Miss World title. Subsequently, Daler signed up with Universal Music in 2001 and released a new track "Kala Kauwa Kaat Khayega". In 2003 Daler forayed into playback singing for films. He started with the song "Ru-Ba-Ru" for the film Maqbool. The same year Daler and A.R Rahman came together to give another track "Nach Le" for Lakeer – Forbidden Lines. He fused Rock with Bhangra with his next album titled Mojaan Laen Do and in 2004 he self-produced Shaa Ra Ra.
In March 2014, Deadmau5 stated on Twitter that he was eager to have Mehndi perform on his forthcoming show in India at the Sunburn Festival. And the outcome of bonding over social media and on the Coffee Run was a remix of Mehndi's 1998 hit "Tunak Tunak Tun" performed by the duo.
On Navratri 2014, Mehndi composed and recorded his rendition of the 'Hanuman Chalisa' overnight while working at his studio in Delhi. Daler Mehndi, feeling inspired during the festival of Navratri, composed and record his rendition of the 'Hanuman Chalisa' in the DM Folk Studio.
In September,2014, Mehndi released his new song Aaja Mere Twitter Te to encourage users to visit his Twitter account and Facebook page.
On 6 November 2014, Mehndi released his album Best of Gurbani on the occasion of Guru Nanak Jayanti.

Tours

In 1998, Mehndi was signed by Coca-Cola for product endorsement and was featured in 30 concerts across India.He has performed worldwide including the US, Canada, Australia, New Zealand, UK, UAE, South Africa, East Africa, Oman, Kuwait, Bahrain, Malaysia, Pakistan, Hong Kong, Singapore, West Indies, Belgium, and the Netherlands.
On 29 September 2013, Daler performed at the YouFest festival in Spain.He has had an advent with Canadian Electronic Dance Music (EDM) artist Deadmau5 in a Lamborghini Murciélago LP670-4 SuperVeloce, Daler featured on his tour in India and together they produced an EDM remixed version of "Tunak Tunak Tun".
In August 2014, Daler Mehndi was invited as the guest of honour along with U.S Congressman Pete Sessions for the closing bell ceremony at NASDAQ Stock Exchange at New York, after which he performed at the National Indian American Public Policy Institute Azadi Diwas (NIAPPI)celebrations on the occasion of the 65th Independence Day.
Daler Mehndi delivered his first ever performance in Kuwait on 5 September. Welcomed by a packed audience at the Al Daiya Indoor Stadium, he broke his own record for the longest live performance without a break by performing for four and a half hours non-stop.
The concert organised by the Indian Cultural Society (ICS) has been named 'Bolo Ta Ra Ra Ra' in honour of Daler Mehndi's globally popular track by the same name.
On the eve of Guru Nanak Jayanti Daler Mehndi was invited to Ulhas Nagar to perform at the world's largest Prabhat Pheri.
In November 2014 the singer visited Mandsaur, Madhya Pradesh for a performance.
In November 2014 Daler Mehndi was invited to Nigeria for a performance to celebrate Diwali. This was the second time the musician has performed in the country.

Vocal style and instruments

Daler Mehndi is credited for creating a genre called "Rabbabi", which is a combination of Thumri, Sufi and rock and creating an instrument called "Swar Mandir" which is an instrument that combines influences from the Rabab, Swarmandal and Tanpura. The instrument was crafted by Sanjay Rikhi Ram from Delhi and was launched on 10 February 2012 by the Indian classical music maestro, Bharat Ratna awarded Pandit Ravi Shankar.

Business ventures

Daler Mehndi launched his maiden Record Label 'DRecords' in the year 2000. The record label has several artists under its banner including Hussain Baksh and Safri Boys.

Foreign pop culture

Daler Mehndi's "Tunak Tunak Tun" has found popularity on the internet as a viral video. The video game company Blizzard Entertainment incorporated the Tunak Tunak Tun dance as a character animation in their multiplayer role playing game World of Warcraft.

Personal life

Daler Mehndi is married to Taranpreet Kaur.He has four children – Gurdeep Mehndi, Ajit Kaur Mehndi, Prabhjot Kaur Mehndi and Rabaab Kaur Mehndi. His daughter Ajit Kaur Mehndi is married to Navraj Hans, son of Punjabi singer Hans Raj Hans. Gurdeep Mehndi got engaged to his fellow actress from Delhi 1984, Jessica Singh in 2014.

Philanthropy

In 1998 Mehndi launched the "Daler Mehndi Green Drive", inducted in the Special Task Force of the Delhi Government.The drive has planted over 1.2 million saplings in and around Delhi.
He has performed for charity for Imran Khan's Shaukat Khanum Memorial Trust in Pakistan and helped raise $5 million.
Mehndi supports charitable causes such as cancer, thalassemia and AIDS, and has helped to bring up the homeless children of Kenya as well as famine-stricken families in Kalahandi in Orissa, India. He financially supported the families of Kargil martyrs by donating to the Indian government's Kargil Victims' Relief Fund.
Mehndi was one of the first celebrities to go and visit the soldiers at Kargil. Mehndi has constructed earthquake resistant houses for the Gujarat earthquake victims; he donated money and performed to raise money for Gujarat cyclone and quake victims, and for police welfare funds. He has donated rupees 10 million in Vadodra for the victims of the cyclone in the government aid fund. He has taken upon himself the reconstruction of a block devastated in the Gujarat quake in Doodhiya village.
Mehndi has set up a Daler Mehndi Food for Life Society in Chander Vihar, Delhi, where a 24-hour kitchen provides food to the destitute and the underprivileged. Mehndi has constructed a Gurudwara Dukh Bhanjani Sahib where every morning people from all castes and religions join together and offer service in the name of god. Mehndi is the only known Indian artist to be invited by the President of Pakistan as a state guest. He gifted his album Bismillah to the President Zardari of Pakistan and the funds generated from its sale were given to the President's charitable fund.
Mehndi voiced his protest against International Basketball Federation's (FIBA) controversial ruling on the use of turbans while playing. The singer made a video to raise awareness about the issue and to have the policy changed.
In 2013, Mehndi was appointed as the brand ambassador of NIAPPI Business Council by Shalabh Kumar.

Filmography

  • Mrityudatta – Na Na Na Na Na Re, 1997
  • Arjun Pandit – Kudiyan Shehar Diyan, 1999
  • Khauff – Ankh Ladti Hai, 2000
  • Maqbool – Ru Ba Ru, 2003
  • Chupke Se – Kajrare Kajrare Naino Wale, 2003
  • Bullet Ek Dhmaka – Ishq Aasaan Hai, 2003
  • Lakeer – Nach Le, 2003
  • Wajah – Agar Zindagi Se, 2004
  • Ramji London Waley – Bhool Na Jaying, 2005
  • Rang De Basanti – Rang De Basanti, 2006
  • Shadi Se Pehle – Tuteya Ve Tuteya, 2006
  • Chodo Na Yaar – Talwar Re, 2007
  • Hanuman Returns – Aasma Ko Chukar, 2007
  • Goal – Halla Bol, 2007
  • Just Married – Doha, 2007
  • Kafila – Hum Raks, 2007
  • No Smoking – Kash Laga, 2007
  • Yamadonga – Rabbaru Gajulu Rabbaru Gajulu, 2007
  • Singh Is King – Bhootni Ke, 2008
  • Ghatothkach – Maya Bazaar, 2008
  • Sunday – Loot Liya, 2008
  • Victory – Balla Utha Chhakka Laga, 2008
  • Mr. Black Mr. White – Tu Makke Di Roti Meri, 2008
  • Money Hai To Honey Hai – Rangeeli Raat, 2008
  • Kuselan – Om Zaarare, 2008
  • Hello – karle Baby Dance Wance, 2008
  • Dhoom Dhadaka – Dhoom Dhadaka, 2008
  • Kissan – Mere Desh Ki Dharti, 2009
  • Ek Se Bure Do – Ishq Ke Zaat, 2009
  • Magadheera – Chapana Chaptu, 2009
  • Lahore – Musafir, 2010
  • Dulha Mil Gaya – Dulha Mil Gaya, 2010
  • Khatta Meetha – Aila Re Aila, 2010
  • Action Replay – Zor Ka Jhatka, 2010
  • Yamla Pagla Deewana – Chamki Jawani, 2011
  • Teen Thay Bhai – Teen Thay Bhai, 2011
  • Dear Friend Hitler – Hara Shwet Kesariya, 2011
  • Miley Naa Miley Hum – Katto Gilheri, 2011
  • Rascal – Tik Tuk, 2011
  • Love Kiya Aur Lag Gayi – Love Kiya Aur Lag Gayi, 2011
  • I Am Singh – 2 songs: Dukalaang Praanasi and I Am Singh, 2011
  • Life Ki Toh Lag Gayi – Haryana Ka Sher, 2012
  • Srimannarayana – Chalaaki Choopultho, 2012
  • Joker – Sing Raja, 2012
  • Chaalis Chauraasi – Badmast, 2012
  • Kyaa Super Kool Hain Hum – Hum Toh Hain Cappucino, 2012
  • Sarsa – UNRELEASED, 2012
  • Baadshah – Banti Poola Janki, 2013
  • Commando – Lena Dena, 2013
  • Sardaar – Ruk Ja Tham Ja, 2013
  • Bhaag Milkha Bhaag – Gurbani, 2013
  • War Chhod Na Yaar – Phat Gaya, 2013
  • Besharam – Chal Hand Utha Ke Nach Le, 2013
  • Namo Boothatma – Paisa Paisa, 2014
  • 47 to 84 – Beriyane Teriyane, 2014
  • Yamaleela 2 – O Thayaru, 2014
  • Janiva – Moriya Moriya, 2014
  • Goreyanu Dafa Karo – Dishkayon, 2014
  • Kabab Mein Haddi – Kabab Mein Haddi, 2014
  • Yoddha – Yoddha, 2014
  • ABCD 2 – Vande Mataram, 2015
  • A Flying Jatt – Raj Karega Khalsa, 2016
  • Mirzya – Title song, 2016
  • Saadey CM Saab – Dharti De Puttar Hain Ge Gabhru, 2016
  • Dangal – Title song, 2016
  • Baahubali 2: The Conclusion - Jiyo Re Bahubali , 2017

Ginni Mahi
JALANDHAR: For young Indians from disadvantaged, low-caste backgrounds, singer Ginni Mahi was an inspiration, one of their own defying ancient prejudices through her infectious brand of "Dalit-pride" pop anthems. 

But it wasn't until an outbreak of horrific violence against Dalits last year that Mahi emerged as an icon, her music the soundtrack for protesters demanding a better life for their long-persecuted community, formerly known as "untouchables". 


"What is there to hide?" the 18-year-old told AFP from her one-room studio on the outskirts of the town of Jalandhar in northern Punjab state. 

"I am a Chamar, and proud of it," she added, referring to a caste once stigmatised for doing so-called "unclean" work with animal skins. 

Her songs -- rebellious lyrics set against Punjabi dance beats -- exhort pride in her Dalit roots, her community's history of struggle and hope for the future. 

In one of her most popular hits Mahi seizes the phrase "Dangar Chamar", an insult hurled at her people for centuries, and turns it into a rallying cry. 

Mahi grew up listening to harrowing tales from her grandmother, a Chamar raised at a time when low-caste villagers were treated worse than animals, and vowed never to forget where she came from. 

"I want to be the voice of these people who were exploited, but could do nothing about it," Mahi said. 

She got her chance last year when huge protests erupted in response to a spate of Dalit hate crimes that harked back to the worst days of caste violence. 


Four young Dalits were stripped naked and publicly flogged after being falsely accused of killing a cow, an animal considered sacred in Hindu-majority India. 

Outrage compounded later over a savage beating meted out to a pregnant woman and her husband by stick-wielding thugs after they refused to allow a group of  higher-caste men to graze cattle on their land. 


As anger grew Mahi's songs went viral, spreading from her small corner of Punjab across the country, a battle cry for low-caste Indians fed up with being mistreated. 

Her stand has also shone a rare spotlight on other low-caste artists, and empowered a generation of young Dalits using talent and technology to rise above the oppressive caste system. 

Raj Dadral, a veteran Dalit musician, said online platforms like YouTube were helping musicians gain unprecedented exposure in places where caste poses no boundary to success. 

"We've been able to reach newer markets and audiences including Indian expatriate communities abroad," he told AFP at his home in Punjab. 

"Our community has always been very supportive and proud from the start, but there was a time when I received death threats for singing." 

"What is there to hide?" the 18-year-old told AFP from her one-room studio on the outskirts of the town of Jalandhar in northern Punjab state.


The proliferation of small digital recording studios across Punjab has also given artists a low-cost means of kickstarting their careers, New Delhi-based editor Hartosh Singh Bal told AFP. 

"As they become successful and popular,market forces take over and they want to transcend caste barriers and cut across communities," said Bal, who spent nearly a decade in Punjab. 

Mahi has her sights set on the silver screen. Her film clips -- slick productions heavy on pyrotechnics and special effects -- would not be out of place on MTV, and the young singer dreams of cracking India's booming movie scene. 

""I'd love that," she said of working in Bollywood, the Mumbai-based film industry pumping out flicks rich in Indian music, dance and glamour. 

"I will work hard, and hopefully someday get to sing for Bollywood, maybe even Hollywood."

Jassi Gill

From Wikipedia
Jassi Gill
Jassi Gill.JPG
Jassi Gill in February 2015
Background information
Birth nameJasdeep Singh Gill
BornJandali, Khanna, Ludhiana, Punjab, India
Occupation(s)Singer, actor,
Years active2011-present
Websitewww.jassigill.in
Jasdeep Singh Gill, best knows as Jassi Gill, is an Punjabi singer and actor of Punjabi origin.

Biography

Born Jasdeep Singh in Punjab. He belongs to Sikh family. He had no inclination to become a singer. He was trained and pushed Jassi for youth festivals where he came second 4 times in a row.

Music career

He made his debut in 2011 with the album Batchmate which went on to become an instant success with the hit song "Chudiyan". In 2012 he followed up this up by releasing the single "Vigre Sharabi. In January 2013 he released his second album Batchmate 2 which went on to become an even bigger hit than the previous album and his song Lancer. He then followed this up with the hit song "Classmate" that featured in the movie Daddy Cool Munde Fool. In September 2013 he came out with another single Pyar Mera .

Film career

He made his acting debut on the big screen in Mr & Mrs 420. He followed this up in Dil Vil Pyar Vyar. He also paired up with Roshan Prince and Simran Kaur Mundi in the romantic comedy Mundeyan Ton Bachke Rahin.
Gill signed to make a film with Gauhar Khan in February 2015, titled, " Oh Yaara Ainvayi Ainvayi Lut Gaya" which marked Khan's debut in Punjabi films.


Kailash Kher

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Kailash Kher
Kher at Ishq Anokha launch.jpg
Kher performing at Ishq Anokha launch program, 2016
Background information
Native nameKashmiri: کیلاش کھیر
Hindi: कैलाश खेर
Born7 July 1973 (age 43)
Meerut, Uttarpradesh,  India
GenresIndie, Bollywood, Pop Rock, playback singing, Sufi, folk
Occupation(s)Singer, songwriter, music composer
InstrumentsVocalist, harmonium
Years active2003–present
LabelsSony BMG, Sony Music
Associated actsParesh Kamath
Naresh Kamath
Kailash Kher is an Indian pop-rock and bollywood playback singer with a music style influenced by Indian folk music and Sufi music. He is a prominent singer in Hindi, Punjabi, Tamil, Telugu, Kannada, Urdu and Rajasthani languages. Though his professional prowess encompasses most of the Indian languages, his contribution to Indian music lies way beyond that. He is a prime candidate amongst the contemporary Sufi singers. He has sung more than 70 songs for Bollywood. He was inspired by the classical musicianPandit Kumar Gandharva, Pandit Hridaynath Mangeshkar, Pandit Bhimsen Joshi, and the Qawwali singer Nusrat Fateh Ali Khan.
He is the recipient of two trophies of Filmfare Award for Best Male Playback Singer from the bollywood movie Fanaa (2007), and Filmfare Award for Best Male Playback Singer - Telugu from the Telugu film Mirchi, with several other nominations.
Kher is known for his unique and powerful voice, style and music. He has established himself as one of the most successful and popular playback singers of India.

Early life and struggle

Kher was born in Meerut, Uttar Pradesh on 7 July 1973. His father Mehar Singh and his mother Chandrakanta were from Meerut. Kher's father was an amateur musician whose performances of traditional folk songs were a regular household event. Kher's first brush with music hence, came in his childhood Brought up in a musical atmosphere, from his school days, he was chanted and fascinated by music and used to listen to his father's Indian folks songs all day. Even as a four-year-old, Kher revealed a natural musical talent and he would often impress friends and family by belting out songs with his prematurely powerful voice.
At the age of 7-8, Kher left home in search of a guru or an institution to further his musical training, and he embarked on years of classical and folk music study. According to him, "It was because I wanted to pursue my passion for music. It required me to stay in isolation". He also attended music classes and would teach the same to students for just Rs. 150 per session to maintain himself, taking care of all his personal expenses from lodging to food, plus his education and music expenses.
Although he couldn’t find the right guru or a school, he started learning music by listening to it. He listened to Indian classical singers like Pandit Kumar Gandharv, Pandit Bhimsen Joshi, Pandit Gokulotsav Maharaj and later even Nusrat Fateh Ali Khan, Lata Mangeshkar and their contemporarie
He then experimented with a family friend's Indian handicraft export business till 1999. His depression phase started and he even attempted to suicide once, in the beginning of the year 1999, when his business collapsed. He went to Singapore and Thailand, and stayed there for six months.
Later, after he relocated to Delhi with his family, he graduated from Delhi University through the correspondence program
In 2001, Kher left New Delhi for Mumbai, the epicenter of India's highly competitive music industry, to seek his fortunes as a professional singer. For a while, Kher struggled, living in cheap residence, hostels and eking out whatever musical work he could find to make ends meet.

Career beginnings

Jingles

He moved to Mumbai in the year 2001, where he began his foray into the music industry.
When he moved to Mumbai, he already had a few friends in Mumbai who were connected to the film industry. His name was recommended to musician Ram Sampath, who was then looking for a different voice for a jingle for Nakshatra diamonds. Kher later reminisced the jingle as an one which did not bring instant recognition but fetched him Rs.5000 ($100) which he needed desperately at that time "just to survive”.
His foray continued by singing jingles for TV and radio commercials, receiving critical acclaim for his unique style of singing. Some of the brands that he sang commercials for are Coca Cola, Citibank, Pepsi, IPL and Honda Motor Cycles

Playback singing and regional singing

Kailash Kher performing at the stage


I remember how I first heard of him. I had asked Mehboob, our lyricist, for a new voice that is earthy and strong, and he said, I have just the person for you. That voice can only be that of Kailash!' And he sent Kailash to meet me. The moment I heard him, I knew that here was a voice that was so wonderful, and which had its own unique space.... I want to say that Kailash Kher's voice has something that had been lacking a lot – it had pure soul! Allah Ke Bande is one of my all time favorite songs.Kailash had to struggle to get a chance in Bollywood. He got opportunity to sing a song for the movie Andaaz. In this movie his song "Rabba Ishq Na Hove" became much popular. His song "Allah ke Bande" from the obscure movie Waisa Bhi Hota Hai Part II became very popular and this song made him a popular singing star in Bollywood.
He sang a number of the songs in the Bollywood film Mangal Pandey: The Rising, in which he had a cameo appearance. His another famous song is "O Sikander" from Corporate. The song "Teri Deewani" from the album of the same name by his band Kailasa and the song "Ya Rabba" from the movie Salaam-e-Ishq: A Tribute to Love had record sales.
A. R. Rahman commented-

Vocals and music style

Kher has a rarely raw, soulful, fresh, high-pitched and sharp voice. Unlike others, he mainly sings Ghazal, Sufi, Qawwali, folk and other devotional songs. He has been greatly influenced by the classical singers including Nusrat Fateh Ali Khan, Lata Mangeshkar, Pandit Kumar Gandharva, Hridaynath Mangeshkar and Pandit Bhimsen Joshi etc.
He can sing from high-pitched songs to even low-pitched songs, being breathless and comfortable. His most of the songs has been famous for its unique, soulful music and classical lyrics. Kher is the only singer in india, who often includes a classical lyrics and folk language in his solo albums and films. His most of the filmy or non-filmy albums includes a romantic tracks with the classical music, lyrics and traditional languages.

Commercial Music

He has given music score's for numerous movies like Chandni Chowk To ChinaDasvidaniyaSacred EvilSangini, Desi Kattey etc. He has also penned lyrics in few movies like Chandni Chowk To ChinaDasvidaniyaKaal and Traffic signal 
By 2014, he had sung in more than 20 Indian languages including Malayalam, Tamil, Telugu, Kannada, Oriya, Bengali, Sindhi, Bhojpuri, Gujarati, Marathi, Punjabi, Konkani, Rajasthani etc. for Indian films and more than 500 songs for the Hindi film industry and recorded more than one thousand radio and television advertising jingles.
He has also ventured into the Kannada film industry. His hits from Kannada films include the songs "Hale Patre" from the movie Junglee and "Ekka Raaja Raani" from the movie Jackie.
He has composed and sung the title track of Star Plus's serial Diya Aur Baati Hum along with Shubha Mudgal. He has also sung the title track of Colors serial "Udaan" along with the anthem for Swachh Bharat Abhiyan, the national campaign for cleaning India.

Non Film Work

Kailasa

He formed Kailasa in Mumbai in 2004, with Mumbai-based musician brothers, Paresh Kamath and Naresh Kamath, whom he met in Mumbai.

Kher launching his latest album "Ishq Anokha" at Kolkata, 2016
The band's first album ‘Kailasa’, released in March 2006, went on to revive the Indian pop music market. The album was an immediate smash hit.
Their second album, Jhoomo Re released in May 2007, went on to be an equally smash hit. With songs like "Saiyaan" and "Agad Bamm" touching the right chords with Indian as well as international audiences.
Kailasa's third album Chaandan mein released in June 2009, was yet another smash hit! He made his first international album on the acclaimed independent record label Cumbancha.
He released his fourth album Rangeele, which was released by his owned company Kailasa Records in January 2012. This album was widely acclaimed amongst the fans of Kailasa, and was critically acclaimed worldwide.
Kher has also sung a non-filmy Nepali pop song such as "Phool Ko Thunga" and "Bolnai parcha bhanne K cha ra" from the album called Only Love in 2011.
2016 marks the return of Kailash Kher with his brand-new melodies, Ishq Anokha. This album, sel-produced and distributed by SaReGaMa was a chart buster shortly after its launch. Ishq Anokha comprises eight fresh numbers as 'Ishq Anokha', 'O Jogi', 'Meharbani Teri', 'Berukhiyaan', 'Vaari Vaari', 'Guru Ghantal', 'Turiya Turiya' and an electro version of the track 'Vaari Vaari'. The album had to be launched thrice, in 3 different metropolitan cities, Delhi, Mumbai and Kolkata.

Performances and international concerts

Kailash Kher with other Bollywood singers

Kher with other Bollywood playback singers
Kailash Kher and his band Kailasa has performed over 1000 concerts across the globe.
He has not only performed for the south east Asian diaspora, but also for international audiences in festivals and venues such as GlobalFest at New York's Webster Hall, Kennedy Center (Washington D.C.), Stern Grove Festival (San Francisco), Celebrate Brooklyn, Santa Monica Pier Festival (LA), Fillmore Center (San Francisco), Hollywood Bowl (LA), Hammersmith Apollo (London), Symphony Hall (Birmingham), Massey Hall (Toronto).
In 2007, he participated in a concert tour in North America entitled "The Incredibles", also starring Asha Bhosle, Sonu Nigam and Kunal Ganjawala. In March 2011, Kailasa performed at the Kennedy Center in Washington, D.C., as part of the Maximum India festival Kailash Kher performed at the closing ceremony of the 2010 Commonwealth Games in Delhi.
In 2012, as part of Kailasa's third Nepal tour, Kher performed at Dhaka in Bangladesh, Nairobi in Kenya, Zimbabwe and Congo, Karachi in Pakistan and Muscat in Oman.

Television and reality shows

He has appeared in various television shows, including Saregamapa Li'l Champs (Zee TV), Mission Ustaad (9X), Indian Idol 4 (Sony), IPL Rockstar (Colors) and Rock On (MTV). In 2009, Kher appeared in Indian Idol 4 as a judge along with Javed Akhtar, Sonali Bendre and Anu Malik.
In 2013, Kher collaborated with singer Shreya Ghoshal for the first time for a mission titled 'The Project Resound: Upgrade your Ears', in which Kher wrote, composed, and invited Shreya to sing along a song named "Naina Chaar". This online initiative by Sony Music India, aimed to make people aware of the rising technological advancement in the field of music, which may make it difficult to distinguish between noise and music. The project also promoted the use of Sony headphones.
In 15 March 2014, Kher appeared in the celebrity talk show Comedy Nights with Kapil, at the special occasion of holi celebrations.

Personal life

Kher got married to Mumbai-based film student Sheetal, a Kashmiri Pandit, on 14 February 2009, and they have a 6-year-old son Kabir. According to Kher, the marriage was arranged.

Music for social causes

He lend his voice to the Clean India Mission theme song, ' Swachha Bharat Ka Irada Kar Liya Humne',[36] which is lyriced Prasoon Joshi. Taking forward the Clean India Mission, Mr. Kher visited several places in PM's parliamentary constituency drawing praise from Narendra Modi.
"Bravo @kailashkher! I congratulate you for joining Swachh Bharat Mission in Varanasi. Admirable effort," the Prime Minister tweeted."
Kailash was also invited by the PM to accompany him in his first USA tour, where they performed in the SAP center community reception at San Jose, California on 27 September'15.
He also composed the song "Ambar Tak Yehi Naam Gunjega" for Anna Hazare anti corruption movement, and sang it in Ramlila Maidan during Anna Hazare protest.
Lakhwinder Lucky
Musical Artist
Image result for Lakhwinder Lucky image
Albums: Sohniye Heeriye, Ilzaam, Janam Diharha-Shri Guru Ravidas Ji
Record labels: T-Series, Kizmet Records UK Limited, Audio Touch, Kamlee Records Limited
Lehmber Hussainpuri

Born
July 17, 1977
OriginPunjab
GenresBhangra, Punjabi Hip hop
Years active2001–present
LabelsEnvy Entertainment (2004-2005)
Serious Records (2005-Present)


Lehmber Hussainpuri (Punjabi: ਲਹਿੰਬਰ ਹੁਸੈਨਪੁਰੀ, lahimbar husainpurī ; born 17 July 1977 in Punjab). He is a popular bhangra singer in India, UK, US, and Canada.

Career

Hussainpuri first appeared onto the mainstream bhangra scene in 2001 through Mukthar Sahota on a track titled Sanu Sohni Lagdi. His next song was the all-time classic Das Ja on the album Hype by DJ Sanj. Lehmber then moved onto a collaboration with Dr. Zeus in 2003, on the album Unda The Influence. This album was a success with both traditional and modern bhangra fans with such hits as Ah Ni Kuriye, Mil De Yaar, Mele Vich Jatt and Tin Cheejha. This album put Hussainpuri in the limelight and made him the most sought-after singer in the Bhangra industry at the time. He then did other notable tracks including Mela, Gabru Shakeen, Daru, Kich Ke Legeya and notable appearance on the worldwide smash-hit Desi Rock by Swami. Even after working with so many notable artists on many record labels, Lehmber was still unsigned and had not released his debut album.

Things quickly changed in early 2004, as Lehmber signed a one album deal with Envy Records in UK. He then began work on his debut album, produced entirely by Dr. Zeus, which was supposed to be released in 2004 on Envy Records. However in 2005, after numerous delays, Hussainpuri released his solo debut album called Folk Attack in India under BaseLine Records even though he was signed to Envy Records in UK. This led to huge controversy and eventually Lehmber being dropped from Envy Records without ever officially releasing a solo album with Envy. But that was not going to stop Lehmber. He quickly signed a deal in late 2005 with Serious Records, headed by his good friend Jeeti, based in UK.

Later, A compilation The Best of Lehmber Hussainpuri was also released in late 2005 by Jatt Records. An album containing Lehmber's previous material, from before he made it into mainstream, was released by VPearl Records entitled The Great Bhangra King. None of these were official albums, rather just unofficial albums/ compilations by various companies in India to which Lehmber branched off.

Hussainpuri, from 2005 to 2006, became one of the greatest Punjabi singers of recent times having hit songs such as Sadi Gali, Seetiyan, Ne Baliyeh, Tokh Tokh Ke, Panj Bindiyan, Tere Ote Dil Ageya, and Ishq Brandy. He worked with Aman Hayer, Simon Nandhra, RDB, DJ S-Bolina (FAKE DJ), DJ Sanj, Lil Sach and many others.His first album on Serious Records, Chalakiyan, was released in October 2006 and contained tracks produced by Jeeti, Kam Frantic and Aman Hayer. The album was a massive success not only in UK but also in India and North America. Chalakiyan won ALBUM OF THE YEAR for 2006 at the UK Asian Music Awards. The title song Chalakiyan and the song Hauli Nach were both nominated for Song of the Year but did not win.

In March 2007 Envy Records, the former label which Hussainpuri was signed to, released a new album entitled 21st Century King of Bhangra featuring 3 new tracks and all of Hussainpuri's hit tracks from his Envy days. In response to this Hussainpuri released a video asking people not to buy the album and to only buy his albums which have been released by Serious Records. It has been stated that this is an attempt by Envy Records to get money back from Hussainpuri after he released Folk Attack early in India while being signed to Envy Records.

On September 19, 2007 Hussainpuri's compilation "Phuchal" was released in India. It contained previously released songs produced by Simon Nadhara, DJ VIX, Popsy, and Metz n Trix. This album was just a compilation of songs that previously appeared on other producers' albums. This album was not an official release, rather a compilation released in India. The North American version was released as "Bhuchal" by Planet Recordz.

In 2008 he made appearances on 2 CDs, XS-BASS' July 2008 release, "Amplified", and DJ H & DJ Rags' August 2008 release, "Reloaded", on the songs "Mitran Da Dhol" and "Gulaab". In a 2008 interview, Lehmber stated that he began work on his new album and it would be releasing soon from Serious Records.

In February 2009, Lehmber appeared on 2 songs on Jeeti's Serious Duets. One was titled Mera Mahi Tu Pateya, which is actually just the re-worked Boliyan (this one featuring Miss Pooja) from Lehmber's album Chalakiyan. The other song, also from Chalakiyan, titled Dil De Hoor, contained somewhat similar lyrics from the smash hit Ah Ni Kuriye

In January 2010, Lehmber appeared on many song such as Kudi from Hardcore Desi 2; Giddhe Wich from Sher Punjabi; Ik Peg from Mohabttan 2010; & Akh Teri from Velley Boyz. In March 2010, Lehmber Hussainpuri appeared on the songs Dil Lagee (Desi Version) and Dil Lagee (Hip Hop Version) on the album Absolut Bhangra 4: The Double Shot by North American group Dhol Beat International. The Desi Version of Dil Lagee became an instant hit and definitely a dance floor shaker.

On April 28, 2010, it was announced that MovieBox Records, based out of UK, had acquired Serious Records. As part of the deal, Moviebox received Serious Records' music catalogue as well as their current lineup of artists. Thus Lehmber Hussainpuri is now officially signed to MovieBox Records (Serious Records Label). In the press release, MovieBox also announced that Lehmber's album will be released in July 2010 with production coming from Jeeti, Kam Frantic, and Panjabi By Nature. Lehmber's signing with MovieBox is a huge benefit for Lehmber, because now he can work with MovieBox's ever-expanding lineup of top class producers.

In a July 2010 interview, Lehmber gave insight into his upcoming projects. Hussainpuri said, "Besides my solo album, I have a devotional album also coming out this year." Lehmber also stated that for his next solo project he was trying his hand singing qawwalis and songs which address a social cause, quite a different approach then his usual fast-beat party tunes. Lastly, he mentioned that he was heading towards Bollywood. Lehmber said, "Akshay Kumar has expressed his desire to work with me and we shall come out together with a project soon."

In November 2010, Lehmber Hussainpuri appeared on Panjabi MC's album, The Raj on the song Akh Da Eshara. In January and February 2011, Lehmber Hussainpuri appeared on the songs Mittro Ki Kariye by Tejwant Kittu, Hawavan by Jassi Bros, and Nakharah by MidLand DJs

In Feb 2011, his single "Sadi Gali (RDB)" reached number one on various Bollywood charts. The single was initially released on RDB (Rhythm Dhol Bass)'s album 'Three' in 2005, but then due to its huge success in the Bhangra scene, it was re-released on the soundtrack of the movie 'Tanu Weds Manu' (2011). Lehmber also featured on the soundtrack of the Hindi film Mausam (2011 film) on the song Mallo Malli with Hard Kaur.

On 13 May 2011 Lehmber was featured on Bups Saggu's debut album 'Redefined' with the smash hit 'Matha Tekhiya', with the official music video releasing on September 23, 2011. Also released on October 7, 2011 was Lehmber's Jukebox Boli, the sequel to his all-time smash hit Chalakiyan Boliyan. This song was featured on Jeeti's new album, Jukebox.

On October 21, 2011 Lehmber Hussainpuri's new album Folk Attack 2 released on Serious Records and it featured production from Jeeti, Kam Frantic, Bhinda Aujla, Sukhi Chand, and Panjabi By Nature. The much awaited and highly anticipated album finally ended the long hiatus Lehmber took from the UK Bhangra scene. Folk Attack 2 released exactly 5 years since Lehmber's last solo effort, Chalakiyan. The first single from the album, Jatt Pagal Karte (produced by Jeeti) was released October 14, 2011 and was followed by the second single Pulli Phirdi (produced by Kam Frantic) on November 4, 2011.
Lehmber and Dr. Zeus made one of the best collaborations bhangra had seen since the likes of Jazzy B & S.Shinda. Together these two had various hits. But an incident around an album caused their breakup leaving yet another potentially greatest bhangra producer & singer duo lost. The last big breakup in the bhangra industry was of the band B21.

After working on Unda da Influence with Dr. Zeus, Lehmber wanted his own solo debut album. Zeus agreed to produce an album for Lehmber for free because he felt Lehmber should get credit and not producers. Zeus agreed only as long as Envy Records got to release the album in the UK. Zeus also agreed that Lehmber could release the Indian version of the album himself. Therefore Lehmber signed a one album contract with Envy Records in early 2004. Zeus agreed to finish production and have the album set for release in mid 2004. However, Dr. Zeus kept delaying the album numerous times for various reasons. Thus, Lehmber took the uncompleted tracks to India behind Zeus' back. He released the songs in 2005 on an album "Folk Attack" under BaseLine Records even though he was signed to Envy Records in UK. Zeus was unhappy about how the tracks were released without his permission and therefore dropped Lehmber from Envy Records. Zeus put the finishing touches on the songs (adding raps, backup singers, and skits) and released it as "The Original Edit" under his own name in UK. Both versions of the albums were well received by listeners

Official albums

YearNameRecord LabelProducersSingles Released
2005Folk AttackBaseline RecordsDr. ZeusSachiyaan Suniyaan
Je Jatt
2006ChalakiyanSerious RecordsAman Hayer, Jeeti, & Kam FranticChalakiyan
Manke
2011Folk Attack 2Serious RecordsJeeti, Kam Frantic, PBN
Bhinda Aujla, & Sukhi Chand
Jatt Pagal Karte
Pulli Phirdi

Manjit Rupowalia
Singer
Manjit Rupowalia In Formal Dress
Manjit Singh, popularly known as Manjit Rupowalia is a Punjabi Singer and actor from Punjab, India.
Born: Punjab
Genre: World
Albums: Bajan Wale De Choj Ne Niyare, Baazi, Husan, more
Record labels: Vvanjhali Records, SMI, Anand Cassettes Industries, Simran Music IndustrY.

Master Saleem

From Wikipedia, the free encyclopedia
Image result for master saleem image
Master Saleem (born 13 July 1980 as Saleem Shahzada), sometimes referred as Saleem Shahzada (Salim Shahzada), is an Indian singer from Punjab, known for his work as a devotional singer & playback singer in Bollywood films, like Heyy Babyy (2007), Dostana and Love Aaj Kal (2009). He has also released private albums, of Punjabi Music, Religious and Sufi music.

Early life and training

He was born as Saleem  (Saleem Shahzada), in Shahkot, near Jalandhar, Punjab He is the son of the famous Sufi singer Ustad Puran Shah Koti, who was also the guru of folk singers, Hans Raj Hans, Jasbir Jassi and Sabar Koti , Diljaan At the age of six Saleem also became his disciple and started learning singing.

Career

At the age of eight, he gave his first public performance at the opening ceremony of Bathinda Doordarshan (TV station), with his song, Charkhe Di Ghook, and thus earned the name Master Saleem. Soon he started appearing on TV shows like, Jhilmil Taare.
Saleem's first album, Charkhe Di Ghook, was released when he was 10 years old. It was released on the label Sur Taal, created by his father's friend, Majnider Singh Goli, and went on to become a hit.[5] This led to several Punjabi music and religious albums and live shows. His song Dhol Jagiro Da also became a huge hit and giving him wide popularity. In the late 1990s, however as he was growing his voice started changing, which lessened his popularity.He made his comeback in 2000, with the Sufi number Aj Hona Deedar Mahi da, which he sang at a New Year's programme at Doordarshan channel, and later released albums dedicated to Goddess Durga including, Mela Maiya Da (2004), Aj Hai JagrataMeri Maiya and Darshan Kar Lao.
Around 2005, singer Jasbir Jassi introduced him to music director Sandeep Chowta, who subsequently called him to Delhi to record single Sajni in Sony Music album Teri Sajni.
Eventually Shankar Mahadevan, of the music trio Shankar-Ehsaan-Loy, heard his performances at a jagaran at the Devi Talaab Mandir, Jalandhar, being aired at a religious TV channel, and thus Saleem made his debut as playback singer with single "Mast Kalandar" from the film Heyy Babyy (2007) under their music direction. The song was a hit and launched his Bollywood career. This was followed by most well-known singles including "Tashan Mein" from the film Tashan and Maa Da Ladla from the film Dostana (2008), and Aahun Aahun in Love Aaj Kal (2009). and in 2010 some of his hit songs have been "Humka Peeni Hai" from "Dabangg and "Shakira" in "No Problem and "Chamki Jawani" in Yamla Pagla Deewana. In 2011 one of his first hits was "Rola Pe Gaya" in Patiala House
Mika Singh
Singer

Mika Singh is an Indian singer, songwriter composer and performer. Amongst a wide catalogue of songs, the prominent ones are "Bas Ek King", "Mauja Hi Mauja", "Ibn-e-Batuta", and "Dhanno". Wikipedia
Born: 10 June 1977 (age 39 years), Patna
Siblings: Daler Mehndi
Albums: Gabru, Something Something, Dunalli, more

Nusrat Fateh Ali Khan

From Wikipedia, the free encyclopedia
Nusrat Fateh Ali Khan
Nusrat Fateh Ali Khan 03 1987 Royal Albert Hall.jpg
Khan performing at Royal Albert Hall in 1987
Background information
Native nameنصرت فتح علی خان
Birth nameParvez Fateh Ali Khan
Also known asShahenshah-e-Qawwali
Born13 October 1948
Faisalabad, Punjab, Pakistan
Died16 August 1997 (aged 48)
London, England, UK
Genres
  • Qawwali
  • ghazal
  • classical
  • folk
  • world
Occupation(s)Musician, singer, qawwal, songwriter, composer
Instruments
  • Vocals
  • harmonium
  • tabla
Years active1965–1997
Labels
  • Real World
  • OSA
  • EMI
  • Virgin Records
Nusrat Fateh Ali Khan (Urdu/Punjabi: نصرت فتح علی خان‎; 13 October 1948 – 16 August 1997) was a Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis. Considered one of the greatest voices ever recorded, he possessed an extraordinary range of vocal abilities and could perform at a high level of intensity for several hours. Extending the 600-year old Qawwali tradition of his family, Khan is widely credited with introducing Qawwali music to international audiences. He is popularly known as "Shahenshah-e-Qawwali", meaning "The King of Kings of Qawwali".
Born in Faisalabad, Khan had his first public performance at the age of 16, at his father's chelum. He became the head of the family qawwali party in 1971. He was signed by Oriental Star Agencies, Birmingham, England, in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan, and the US. He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist. He toured extensively, performing in over 40 countries.
Early life and career
Khan was born in a Punjabi Muslim family in Faisalabad in 1948, shortly after the partition of India in 1947 during which his family had migrated to Pakistan from their native city of Jalandhar in East Punjab, British India (now in Punjab, India). Before partition, his family lived in their ancestral house at Basti Sheikh, Jalandhar. He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and qawwal. Khan's family, which included four older sisters and a younger brother, Farrukh Fateh Ali Khan, grew up in central Faisalabad. The tradition of qawwali in the family had passed down through successive generations for almost 600 years. Initially, his father did not want Khan to follow the family's vocation. He had his heart set on Nusrat choosing a much more respectable career path and becoming a doctor or engineer, because he felt Qawwali artists had low social status. However, Khan showed such an aptitude for and interest in Qawwali, that his father finally relented. He began by learning the tabla before moving on to vocals. In 1964, Khan's father died, leaving his musical education under the supervision of his paternal uncles, Mubarak Ali Khan and Salamat Ali Khan. He is the uncle of singer Rahat Fateh Ali Khan.
In 1971, after the death of his uncle Mubarak Ali Khan, Khan became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Khan's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Braj Bhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Khan's sargam improvisations.

Later career

In the summer of 1985, Khan performed at the World of Music, Arts and Dance (WOMAD) festival in London. He performed in Paris in 1985 and 1988. He first visited Japan in 1987, at the invitation of the Japan Foundation. He performed at the 5th Asian Traditional Performing Art Festival in Japan.He also performed at Brooklyn Academy, New York in 1989, earning him admiration from the American audience.
In the 1992–93 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle, Washington, United States.
Khan teamed with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1988, with Canadian musician Michael Brook on the albums Mustt Mustt (1990) and Night Song (1996). The team up with Peter Gabriel gave Khan the opportunity to stylise his songs by blending his qawwaliss with the Western music. Khan also grouped with Pearl Jam's lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking.
Peter Gabriel's Real World label later released five albums of Khan's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Khan provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the tracks could be completed. Alanis Morissette was brought in to sing with his unfinished vocals.
His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album. Same year his album Night Song was also nominated for a Grammy Award for Best World Music Album, but lost out to The Chieftains' album Santiago.
Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he composed music for three Bollywood films, which includes the film Aur Pyaar Ho Gaya, in which he also sang for "Koi Jaane Koi Na Jaane" onscreen with the lead pair, and "Zindagi Jhoom Kar"; He also composed music for Kartoos, where he sang for "Ishq Da Rutba", and "Bahaa Na Aansoo", alongside Udit Narayan. He died very shortly prior to the movie's release. His final music composition for Bollywood was for the movie, Kachche Dhaage, where he sang in "Iss Shaan-E-Karam Ka Kya Kehna". The movie was released in 1999, two years after his death. It is notable that the two legendary singing sisters of Bollywood, Asha Bhosle and Lata Mangeshkar sang for the songs he composed in his brief stint in Bollywood. He sang "Saya Bhi Saath Jab Chhod Jaye" for Sunny Deol's movie Dillagi. The song was released in 1999, two years after Khan's death. He also sang "Dulhe Ka Sehra" from the Bollywood movie Dhadkan which was released in 2000.
Khan contributed the song "Gurus of Peace" to the album Vande Mataram, composed by A. R. Rahman, and released to celebrate the 50th anniversary of India's independence. Rahman, who was a big fan of Khan could not compose further songs with him. As a tribute, Rahman later released an album titled Gurus of Peace, which featured "Allah Hoo" by Khan. Rahman's 2007 song "Tere Bina" was also composed as a tribute to Khan.

Death

Nusrat Fateh Ali Khan was taken ill with kidney and liver failure on 11 August 1997 in London, while on the way to Los Angeles to receive a kidney transplant. He died of a sudden cardiac arrest at Cromwell Hospital, London on 16 August 1997, aged 48. His body was repatriated to Faisalabad, and his funeral was a public affair.
His wife, Naheed Nusrat, died on 13 September 2013 in Credit Valley Hospital in Mississauga, Ontario, Canada. Naheed had moved to Canada after the death of her husband. She is survived by their daughter. Khan's musical legacy is now carried forward by his nephew, Rahat Fateh Ali Khan.

Awards and titles

Khan is widely considered to be the most important qawwal in history. In 1987, he received the President of Pakistan's Award for Pride of Performance for his contribution to Pakistani music. In 1995, he received the UNESCO Music Prize. In 1996 he was awarded Grand Prix des Amériques at Montreal World Film Festival for exceptional contribution to the art of cinema. In the same year, Khan received the Arts and Culture Prize of the Fukuoka Asian Culture Prizes. In Japan, he was also remembered as the "Singing Buddha".  In 2005, Khan received the "Legends" award at the UK Asian Music Awards. Time magazine's issue of 6 November 2006, "60 Years of Asian Heroes", lists him as one of the top 12 artists and thinkers in the last 60 years. He also appeared on NPR's 50 great voices list in 2010. In August 2010 he was included in CNN's list of the twenty most iconic musicians from the past fifty years. In 2008, Khan was listed in 14th position in UGO's list of the best singers of all time.
Many honorary titles were bestowed upon Khan during his 25-year music career. He was given the title of Ustad after performing classical music at a function in Lahore on his father's death anniversary.

Ranjit Mani – Singer- Ravidas

Musical artist
Record labels: T-Series, Kismet Records, VITAL RECORDS, Audio Touch, Goyal Music, Hi-Tech Music Ltd, DMC RECORDS
Ranjhe Da Principal
Churhe Wali Bahn · 2015
Putt Pardeson
Mithi Jahi Yaad · 1997
Tere Bina
Tere Bina · 2005

Sahotas

From Wikipedia, the free encyclopedia
Sahotas
Also known asKings of Bhangra
OriginUK
GenresBhangra, fusion
Occupation(s)Band
Years active1987-Present
LabelsInternalmusic, IRS Records, Multitone records, Rough Trade Records
Website

Sahotas were a U.K. based Bhangra/Rock/World music band. The band, started in Wolverhampton in the mid-1980s, had a line-up of five brothers. They have released music in both English and Punjabi. The lead singer was Surj Sahota, and the music director/producer was Mukhtar Sahota.
The band's music is very different from conventional Punjabi music, combining the Bhangra genre with pop, house, reggae and rock, focusing on vocal styles and sounds. This transfusion occurred during the apex of Bhangra Music in the 1980s and 1990s when there was an abundance of Live British Asian Music across the United Kingdom; and when British Asian Music sought to be recognised by the mainstream music industry. The Sahotas were at the forefront of seeking this recognition, performing live on Cilla Black's Surprise, SurpriseBlue Peter8:15 from Manchester and Eggs 'n' Baker. The Sahotas also joined Apache Indian on Carton TV's Soul Music and performed the soulful spiritual song "Urdaas" (Prayer).
The band were signed by Miles Copeland III's EMI Records, who at the time was Sting's Manager. The single "Out of Reach"and the album Right Time reached the UK Top 100, the first for a British Asian artist. This was closely followed by a nationwide tour with reggae band Aswad.
Sahotas toured in Africa, India, Pakistan, the US, Canada and Europe. Their hit songs include "Sahota Show Te Jake", "Hass Hogia", "Mahi Di Udeek", "Gal Bangaee" "Akhian Samaal", "Dang Ditha", "Sach", "Ajaa Ajaa Ajaa" and "Heerie".
The Sahotas' accolades include 'Best Band', 'Best Live Band' and 'Band of the Millennium' in the UK Bhangra Music industry.They were awarded platinum and gold discs for album sales.
The band's last release was their 7th bhangra album, Revolution in 2001; this album was a compilation of old hits released purely for the Indian and Pakistani music market.
Subsequently, the music producer from the band Mukhtar Sahota released a number of solo albums. Surj Sahota has worked with the band B21, Swedish Reggae band Urban Tribe, and Basil Gabbidon, the founder of Steel Pulse.

Albums
YearTitleRecord Label
1987Gidha PaoMultitone Records
1988Sahota BeatMultitone Records
1989AajaMultitone Records
1991IshkMultitone Records
1995The Right TimeIRS Records/EMI
1997DecadeKamlee Records
1997Maa da PyarKamlee Records
1999Brotherhood
Teri Meri Gal Ban Gayee
Envy
Times Music (India)
2001Revolution
Dil Vich Tu Vasdi
Envy
Tips Music (India)
Extended plays
YearTitleRecord Label
1990Are You FeelingRough Trade
1995SuniyeRoma Music
Singles
YearTitleRecord Label
1994"Out of Reach"IRS Records/EMI
2014"Holi Holi"Moviebox Records
2014"Tu Mil Gayi"Moviebox Records

• Pali Detwalia

Image result for Pali Detwalia
Albums: Dheeyan Jiyon Joggiyan, Charhat Khalsa Raaj Di, 
Record labels: T-Series, Anand Cassettes Industries, VITAL RECORDS, DMC RECORDS
Bhena Mangan Duavan
Mapiyan Di Seva · 2013
Bol Mitti Deya Baweya
Uche Tere Mehal · 2015



Shailendra (lyricist)


From Wikipedia, the free encyclopedia
Shailendra
Background information
Birth nameShankardas Kesarilal
Born30 August 1923
Rawalpindi, Punjab, British India (now in Pakistan)
Died14 December 1966 (aged 45)
Occupation(s)Lyricist
Years active1949–1966
Shankardas Kesarilal (30 August 1921 – 14 December 1966), popularly known by his pen name Shailendra, was a popular Indian Hindi lyricist. Noted for his association with the filmmaker Raj Kapoor and the composers Shankar-Jaikishan, he wrote lyrics for several successful Hindi film songs in the 1950s and the 1960s.

Biography

Shailendra was born in Rawalpindi, and brought up in Mathura.The native place of his ancestors is located in the Akhtiyarpur, Ara district of Bihar.
He came in contact with Indra Bahadur Khare at the Kishori Raman School. Both started composing poems, sitting on the rock located on the bank of a pond in between railway 27 quarters and railway line near to Mathura station. Afterwards Shailendra moved to Bombay for films and Indra Bahadur Khare got fame in Raashtreey Kavita.

Career as a lyricist

Shailendra started his career as an apprentice with Indian Railways in Matunga workshop, Mumbai (then Bombay) in 1947. He started writing poetry during these days.
The filmmaker Raj Kapoor noticed Shailendra, when the latter was reading out his poem Jalta hai Punjab at a mushaira (poetic symposium). Kapoor offered to buy the poem Jalta Hai Punjab written by Shailendra and for his movie Aag (1948). Shailendra, a member of the left wing IPTA, was wary of mainstream Indian cinema and refused. However, after his wife became pregnant, Shailendra himself approached Raj Kapoor in need of money. At this time, Raj Kapoor was filming Barsaat (1949), and two of the film songs had not yet been written. For  500, Shailendra wrote these two songs: Patli kamar hai and Barsaat mein. The music for Barsaat was composed by Shankar-Jaikishan. 
The team of Raj Kapoor, Shailendra and Shankar-Jaikishan went on to produce many other hit songs. The song "Awara Hoon" from the 1951 film Awaara, written by Shailendra, became the most appreciated Hindustani film song outside India at the time.
In the days when composers would recommend lyricists to producers, Shankar-Jaikishan once promised Shailendra that they would recommend him around, but didn't keep their promise. Shailendra sent them a note with the lines, Chhoti Si Yeh Duniya, Pehchaane Raaste Hain. Kahin To Miloge, toh Poochhenge Haal ("The world is small, the roads are known. We'll meet sometime, and ask 'How do you do?'"). Shankar-Jaikishan realised what the message meant and having said sorry, turned the lines into a popular song. The song was featured in the film Rangoli (1962), for which the producer Rajendra Singh Bedi wanted to sign up Majrooh Sultanpuri as the lyricist. However, Shankar-Jaikishen insisted on Shailendra and the producer had to oblige.
Apart from Shankar-Jaikishan, Shailendra also shared a rapport with composers such as Salil Chowdhary (Madhumati), Sachin Dev Burman (GuideBandiniKala Bazar), and Ravi Shankar (Anuradha). Apart from Raj Kapoor, he shared a rapport with filmmakers such as Bimal Roy (Do Bigha ZameenMadhumatiBandini) and Dev Anand (Guide and Kala Bazar).

Last years

In 1961 Shailendra invested heavily in the production of the movie Teesri Kasam (1966), directed by Basu Bhattacharya and starring Raj Kapoor and Waheeda Rehman. The film won the National Film Award for Best Feature Film. However, the film was a commercial failure.The falling health resulting from tensions associated with film production and anxiety due to financial loss, coupled with alcohol abuse, ultimately led to his death.

Legacy

Shailendra's son Shaily Shailendra also became a lyricist. At the age of 17, Raj Kapoor asked him to complete his father's song Jeena yahan, marna yahan for the film Mera Naam Joker. Lyricist, writer, and director Gulzar has stated on many occasions that Shailendra was the best lyricist produced by the Hindi film industry.

Awards

Shailendra won the Filmfare Best Lyricist Award three times.
  • 1958: "Yeh Mera Deewanapan Hai" (Yahudi)
  • 1959: "Sab Kuch Seekha Hamne" (Anari)
  • 1968: "Main Gaoon Tum So Jao" (Brahmchari)

Popular songs

Some of the popular songs written by Shailendra include:
  • "Awara Hoon" – Awaara
  • "Ramaiya Vastavaiya" – Shri 420
  • "Mud Mud Ke Na Dekh" – Shri 420
  • "Mera Joota Hai Japani" – Shri 420
  • "Aaj Phir Jeene Ki" – Guide
  • "Gata Rahe Mera Dil" – Guide
  • "Piya Tose Naina Laage Re" – Guide
  • "Kya Se Kya Ho Gaya" – Guide
  • "Har Dil Jo Pyar Karega" – Sangam
  • "Dost Dost Na Raha" – Sangam
  • "Sab Kuchh Seekha" – Anari
  • "Kisi Ki Muskurahaton Pe" – Anari
  • "Dil Ki Nazar Se" – Anari
  • "Khoya Khoya Chand" – Kala Bazar
  • "Pyaar Hua Ikraar Hua" – Shri 420
  • "Ajeeb Dastan Hai Yeh" – Dil Apna Aur Preet Parayi
  • "Jhoomti Chali Hawa" - Sangeet Samrat Tansen

Sukhwinder Singh

From Wikipedia
Sukhwinder Singh
Sukhwinder Singh at Asha Bhosle's 80 glorious years' celebrations.jpg
Singh in 2012
Background information
Also known asSukhi,Bablu
Born18 July 1974 (age 42)
GenresPlayback singing
Occupation(s)Singer, composer, actor, lyricist
Years active1991–present
Sukhwinder Singh (born 18 July 1974) is an Indian Bollywood playback singer. Singh is famous for singing "Chaiyya Chaiyya" for which he won the Best Male Playback Award at the 1999 Filmfare Awards. The song, from Mani Ratnam's 1998 film Dil Se.., was composed by A. R. Rahman, written by Gulzar, and sung in duet with Sapna Awasthi. It was also featured in the musical Bombay Dreams and, in remixed arrangements, in the titles and credits segments of Spike Lee's 2006 film, Inside Man. Singh later gained more international fame for singing "Jai Ho" from the film Slumdog Millionaire, which won an Academy Award for Best Original Songand a Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media. His rendition for the 2014 released film Haider fetched him the National Film Award for Best Male Playback Singer.
Singh originally comes from Amritsar, Punjab. He first performed on stage at the age of 8, singing the Kishore Kumar and Lata Mangeshkar number "Sa re ga ma pa, pa, pa, ga ma re, ga re mere sang mere saajna", from the 1970 movie Abhinetri. He also released a Punjabi album called Munda Southhall Da with T. Singh joined Laxmikant-Pyarelal’s troupe and quickly became a music arranger, before heading to the south of India to look for work. At this time he did a film called Rakshakudu.
Singh got his break in the movie Karma, in which he sang a few lines; then he did a Madhuri Dixit film called Khilaaf, in which he sang the hit song "Aa ja Sanam". But the singer realised that something was missing in his voice, took a sabbatical and left Mumbai to tour England and America to see, hear and understand various forms of music. After this broadening of his musical horizons, he returned to Mumbai to kick-start his musical career.
His first effort in Hindi films, Aaja Sanam, went largely unnoticed, even though the music carried the names of Laxmikant-Pyarelal. Then for Dil Se... A. R. Rahman used Sukhwinder for "Chaiyya Chaiyya". The other films that followed – including TaalBiwi No. 11947 EarthDaagJaanwarDillagiMokshaThakshakTere NaamApna Sapna Money MoneyShadi Se PehleShabdChak de! IndiaOm Shanti Om and Black and White- that have made him a household name.
He has been well received for providing playback singing for Bollywood actor Shahrukh Khan in a total of 7 songs. Of these, "Chaiyya Chaiyya" from Dil Se.., "Dard-E-Disco" from Om Shanti Om, "Chak De India" from Chak De! India, "Haule Haule" from Rab Ne Bana Di Jodi, "Marjaani" from Billu and "Satakali" from Happy New Year have become certified hits.
Singh has provided playback for many notable Bollywood heroes including Salman Khan, Shahrukh Khan, Arjun Rampal, Anil Kapoor, Akshay Kumar, Saif Ali Khan, Ajay Devgan, Abhishek Bachchan, Riteish Deshmukh, Tushar Kapoor, Vivek Oberoi, Sanjay Dutt, Bobby Deol Ranbir Kapoor, Kunal Kapoor, Shabbir Ahluwalia, Farhan Akhtar and Sunny Deol.
In June 2014, he participated in the 7th season of Jhalak Dikhhla Jaa.

Awards

Sukhwinder Singh won the Filmfare Best Male Playback Award for the song "Chaiyya Chaiyya" from the movie Dil Se.. whose music was by A. R. Rahman and for the song "Haule Haule" from the movie Rab Ne Bana Di Jodi whose music was by Salim–Sulaiman
The song "Jai Ho", sung by Singh, composed by A. R. Rahman, and written by Gulzar, was nominated Critics' Choice Award for Best Song and won an Oscar: Academy Award for Best Original Song. It also won the Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media in 2010.
He has been awarded the National Film Award for Best Male Playback Singer at the 62nd National Film Awards for his rendition in the 2014 film Haider composed by Vishal Bhardwaj.

  Savindra  Sawarkar

Modern Indian art has always been very hybrid in its development. The term modernity, when questioned in the contemporary Indian context, is loaded with numerous problems. Often, breaking away from tradition indicated modernity whereas modernistic principles are operated on two premises, namely - formal language of work of art and changes in the value systems. The first principle in India was followed very diligently whereas the second principle remained a very problematic paradigm. India being a caste society and operating on its hegemonic agenda found it uncomfortable to change and follow the second principle. During colonial rule, the issue of Swaraj (self-rule) was often given prime importance. The notion of self-rule was opposed to the imperial power but it hardly had any agenda to bring about any systemic changes in the Indian society as this concept of self-rule meant rule of the feudal dominations and caste hierarchy. On the other hand, the concept of Swaraj (good governance) hardly existed in the minds of caste Hindus. Nationalism was initiated during the colonial rule and had a systemic Hinduistic agenda i.e. to regroup the society so as to oppose the British rule without affecting the nature and structure of Indian society. Thus, nationalism had a dominating component in the form of Brahmnic rules and principles where articulation of a self against any oppression and inequality, civic liberties etc. had no place because the power of dominance remained in the hands of the native imperialists. Against such a situation, many who had gone to study in art-schools under the colonial rule and after independence could hardly think beyond their caste formulations and therefore, romanticisation and exoticism was added to the pictorial expressions while painting the natives and their nature of existence. 

However, nature paintings/themes of paintings could never become a critic of equality and other issues as artistic creativity knew no such criteria and was functional in the larger realm of Brahmnical values. The high modernism was translated more in the themes related to the mythologies rather than in the actual society. The under-current agenda in the newly emerged industrial society where gallery space was dominated by caste preferences had become order of the day. Therefore, there was no scope for anybody to invent and articulate any high modernism that is related to, and centered around, the issues of existing situations. The overt playfulness in the abstract rendering of forms, though having a pure visual function, was practiced more in terms of an interaction with international trends. Nevertheless, metaphysical attachments to the high abstraction as a strong theoretical defense, operated in the realm of the Brahmnical aesthetics. For example, the contribution of the Janiva (conscious) mind and Neniva (subconscious mind) as part of the Indriyadnyana is an important contribution by the Buddhist philosophers Asang and Vasubandhu but never became part of the pedagogy in art schools, as there is a danger in decontrolling the power in the knowledge system. Mahatma Phule therefore said, "The shudras became vulnerable for lack of knowledge that resulted in poverty." Phule was one of the first ones to talk about power of knowledge. Such interventions could never become the part of aesthetic judgments in the hegemony of Brahmnical system of thoughts. Thus, the gallery space in a new industrial society could only think for those who could adhere to this hegemonic agenda of the Bramhnical aesthetics. Ambedkar, while presenting critique of Imperial, Brahmanical and Marxian discourses, maintained that such discourses can never allow one to think differently as they never allow one to escape of the age-old thinking, ritual practices and traditions that are grounded in inequalities and caste-hegemony. With the rise of Phule-Ambedkar movement in India, not only nationalism but the whole system was challenged on the many counts and aesthetic formulations that are being operated in the realm of Brahmnical thought process. This is being challenged by volatile imageries that address the issues of caste and gender.

Often, gender issue gets reduced to aspects of class and sex discrimination. In the Indian society, gender is more of a caste-centric issue. No painter, so far, has managed to articulate and address these twin issues of caste and gender on the canvas paintings of the gallery space. Even otherwise, as and when the pedagogic conventions in the field of social sciences are challenged by the followers of Dr. Ambedkar, the academic community in the country had to co-opt the issues in their academic training programme. 

Coming back to the aesthetic formulations, it may be observed that in the realm of popular culture, the traditional Brahmnical practices are legitimized by the modern scientific principles thus making it sacred and superior. Perception, even in the 'Gallery' space in India, is defined by the caste-hegemony and it strived to maintain the Puranic-mythical traditions by innovating different modes of pictorial codes. What is shocking is that no pictorial codes are invented to problematise the issues of caste and hierarchy. 'Dalit', as known today, are the downtrodden community and they remain indebted to Phule and Ambedkar in modern India. Their pain and suffering is considerably different from others. The so-called high modernistic principle never provided any space for their existence but Dr. Ambedkar managed to create a decisive space for such a social group by his sheer intellectual power. Some managed to challenge mainstream aesthetics but Savi challenged and problematic caste and gender through his powerful pictorial signifiers that were never ever previously represented pictorially. He challenged the mainstream aesthetic practices and singularly created a space for his own language of expression. The single most important factor that made it possible for him was Ambedkarism. This was an alternative ideology to caste, religious, and cultural hegemony. 

In the history of Modern Indian Art, Savindra Sawarkar is the first Dalit painter to aesthetics the Dalit pictorial signifiers and is a poignant pioneer of projecting the Dalit pain and anguish in the visual culture by using various techniques, which are unique in the Indian context. Fundamentally, his pictorial expressions are a philosophical critique of the Brahmnical tradition of caste and Chaturvarna. He is the first Indian artist to visualize the Chaturvarna through pictorial signs as a critique of caste and inequality. His exhibition, to be held in the Lalit Kala Academy Gallery, explores the range of pictorial signifiers that are volatile, sensitive, and looks beyond the traditional Brahmnical domain.

Savi, as he is popularly known, had to face the mainstream modern Indian Art and struggled to evolve a space for Dalit art and imagery in the realm of the art gallery exhibiting space. But his grit and determination meant that successfully carved out a niche for Dalit art. He helped the genre rise and this led to its recognition throughout the world especially in the continents of Europe, North America and South America. 

He is the first artist in independent India to address issues of unsociability and tradition of Devadasi through the medium of painting, having highly communicative figures narrating their own existence in the Brahmnical social order. Savi's ideas emerged through the legacy of social struggle of Mahatma Phuley and Dr. Ambedkar.

Savi explored the vile tradition of Devdasi as a subject of his pictorial expression. This is a very unique achievement in the contemporary art practices. The image of Devdasi is not addressed as a sexual object to be viewed by the spectators but as a human in the pathetic caste social hierarchy.

Savi has numerous solo shows to his credits held in India and abroad. He is the only Indian painter whose painting exhibition was held through out the year in 2005-6 at various cities and art-galleries in Germany by prestigious human right organization 'Bread for World'. In the Iowa State University of USA, an exclusive painting show of his paintings and graphics was organized titled 'Savi Sawarkar and the Annihilation of Caste' in 2006. He has participated in several national and international exhibitions including National Art Exhibition by Lalit Kala Academy, New Delhi in 1982, 1985, 2004, Eighth Triennial International Art Exhibition, New Delhi 1991, Exhibition of Indian Painters by Casa Borda, Taxco, Mexico 2002, Exhibition of Painting organized by Mittal Steel in Lazaro Cardenaz, Mexico, Asian Social Forum Hyderabad 2003, World Social Forum, Mumbai 2004, 100 Years of Indian Art by National Gallery of Modern Art, New Delhi 1994 and many more. His work is the guiding spirit for eradicating the unequal social order and he will continue to be an inspiration for the generations to come. 

My real source material stems from my own experience, unsung and yet to be documented, let alone understood. Hence I choose this medium. My pictorial idiom draws its energy from the anguish of untouchables, from the plight of Devdasi and her kin-people i.e. the Jogtins, Jogtas, Zhulvas, Potrajs. My idiom also draws upon the tribulations of minorities in Indian society. I stand firmly by social justice and a just attitude towards the first settlers of this land.

My thematic concern in plastic art is Non-Brahmnical Aesthetics, which has been interrogated in the literature of the down-trodden but is obscured in other privileged art forms. Thus in plastic art, the medium is different but the subject is the same. I wish to portray a social reality which is different from that of Varna system fabricated by Manu and Chanakya and sanctioned by the Vedas and Puranas. I consider the Mauryan period, and not the Gupta period, as the 'golden age' of Indian history. The Mauryan period has its own aesthetics and concept of beauty shaped by a social structure when untouchability was not yet rampant. Gupta period, on the other hand, was stifled by Brahmnical aesthetics.

There has been much din and bustle about class struggle among leftists and rightists, but few talk about caste struggle. There are important questions on this subject - who created the minorities? Was Partition fruitful? What have the upper castes done for untouchables and the Devdasis? Only that art which lends voice to the devoiced and speech to the muted needs to be inscribed in the collective mind.

For the last 15 years I have been working in the field of plastic arts. My personal experience as a downtrodden painter is that there are few takers among Brahmnical intelligentsia for my kind of art. I am creating my own visual grammar which will bring a new dimension to pictorial language. I love Buddhist art, philosophy and spirituality which, to me, is appealing and healing to both head and heart. In Buddha, I see a great teacher unsurpassed by any other. The images of Buddha erected in the slums bring healing, understanding and enlightenment to backward classes and castes. My perception of Buddha is not Buddha with closed eyes, in a seated posture. Instead, I see Buddha as open-eyed, moving from door-to-door, spreading wisdom and compassion and bringing enlightenment once again to everyone.

My language demands guts and gumption. That is why my subject sources and source materials are excavated from within my society's womb. My personal experience of Brahmin society also provides the matrix for my paintings.

Despite several years of cultural transformation, it has been very difficult to remove the casteist point of view, especially from Brahmin eyes. Dr. Ambedkar said that, to have self-respect, one must change one's religion because according to him, "Man is not for religion, religion is for man." He also said, "Mere physical freedom is of no use. Freedom of mind, is of prime importance." Conversion was the only path left to the deprived society to liberate themselves from social oppression over the centuries and create a castless society. The untouchables, both during Buddha's period and the modern period, have taken to Buddhism because it has a great capacity to dispel caste system from India. Buddhism is once again returning to its birthplace after Dr. Ambedkar embraced Buddhism. The untouchable mother is giving birth to Neo-Buddhists.

The social matrix which gives birth to the artist is very important. I have been influenced by the environmental aesthetics of the society to which I belong. For instance, wherever you find statues of Buddha and Dr. Ambedkar you shall realise that both statues depict the identity of the untouchable society and these statues underline the significance of these two great social reformers as teachers of the society. Their posture is often that of a walking man and, on the pedestal, one finds Ashoka-Chakra, which has a symbolic significance. This kind of environment has its own identity as well as an environment of aesthetics.

My art and ideas constitute a different collective Dalit-specific approach to religion in Indian society. It is tempting for me to launch a revolution against Brahmnical aesthetics. I paint common subjects: walking on the road in the dark, footprints on the road, untouchable embracing Buddhism, Devdasis in a red light area and the like.

I am trying to make sense of the angst of my community in the contemporary world of immense uncertainties and discredited hopes. My inner eye blazes as it sees the glowing foot steps of practitioners of art imbued with the unique Buddhist vision of Great Compassion – the foot steps of  great Buddhist artists like Ashwaghosha, Sri Harsha, Issa, Seshu and philosophers like Nagarjuna, Shantideva, Vasubandhu,  Vimalkirti, and Milarepa.

Vidu Prathap



  • Play back singer.
SAVI SAWARKAR


PROTEST-IDENTITY POLE OF DALIT ART  

Savi Sawarkar is neither the only Dalit who paints nor the only one who paints Dalit subjects, but he is unquestionably the most powerful visual artist dealing with Dalit themes anywhere in the world today. The fact that he is a Dalit himself and vulnerable to severe harassment for speaking out, is only one indication of the difficulty he has faced and continues to face. The more significant fact is that his work speaks out so passionately and eloquently in defense of all downtrodden and in condemnation of all those who continue to degrade the humanity of their human brothers and sisters. Where the limit of most other Dalit artists has been portrayal of Dr. Ambedkar, Savi's strength has been to stand with Ambedkar and proclaim the truth of continuing pogroms against Dalits in a manner so systematic that they cannot be overlooked.Savi Sawarkar represents the protest-identity pole of Dalit art in contrast to the more common decorative-integrationist pole seen in most other artists dealing with India's contemporary social reality. His intention is not only to achieve acceptance into the celebrated precinct of high art display, but to do so while denouncing the identities of the very social and economic elite upon whom this art world depends. Among other artists in the high art world, we may identify both reformist and revolutionary approaches to the situation of Dalit artists in a caste society. We should be thankful for the rare reformists we have. We must be doubly appreciative of Savi, the model revolutionary, who shows us that it can be done. In his works on glass of 1990-1991 and subsequent works on canvas, we can see one and then another strident assertion of anger at the historic and continuing oppression of the low caste, and of women. Untitled, and so often ambiguous as most of the specific works are, the general series titled 'Expression of the Untouchables' is shrilly distinct enough to establish the essential meaning. Savi is a Dalit whose art speaks fearlessly about the Dalit condition, and almost exclusively about the Dalit condition. And as such he is in the bourgeois gallery and exhibition world, an anomaly of a sort we need to think about.From the way I have been taught the history of art, and I have read the various popular surveys found in today's university courses and comfortable living rooms, I could gather the idea that many, if not most, artists are revolutionaries both in terms of their formal development and their social attitudes. Serious space is devoted to the political and social protest found in Goya, Delacroix, Manet, Picasso and others. But, as anyone who looks through the bodies of their work will quickly notice, these artists actually produced very little social interest or impact. Whoever it was that Delacroix sought to serve with his Liberty Guiding the People, he never turned in their direction again. For all his enthralling colourism and figurative form, Delacroix was an anti-democratic reactionary in his politics and his art. Picasso's Guernica is similarly unusual within his vast production. And this is our conundrum visible here and useful as a reminder of our own situation. How can one create revolutionary art in a medium institutionally dominated by the reigning elite? Contrary to the accepted wisdom, it is not only difficult, but relatively impossible to convince the elite to willingly sponsor their own indictment. For these reasons we must salute him.

  
Prof. Gary Michael Tartakov
History of Art and Design at IOWA State University, USA

Art and Paintings of Savindra Sawarkar

http://www.savisawarkahttp://www.savisawarkar.arttimes.in/savi%20images/Colour%20Drawing/Savi%20Sawarkar%20colour%20drawing.htmlr.arttimes.in/savi%20images/Colour%20Drawing/Savi%20Sawarkar%20colour%20drawing.html



Dalit Arts & Culture

Mithila paintings first came into focus in 1934 when William G Archer, a British official, stumbled upon them while inspecting the damage caused by an earthquake discovered wall and floor paintings in the interiors of houses.

From 1936 to 1940 he photographed some of these paintings, some of which are at display at the British Library in London. In 1946 Archer published an article on these paintings and later in 1977, his wife Mildred Archer provided further information and some interpretations of the paintings.

A major turning point however came in 1966 when following a massive draught, the All India Handicrafts Board, in an attempt to rebuild the draught stricken economy encouraged the women of Mithila to transfer their wall and floor paintings (of gods from the Hindu pantheon, floral and geometric designs known as aripan and large colorful images of lotuses surrounded by paired fish, turtles snakes and love birds indicating fertility known as kohbar) onto paper so that they can sell them and generate income for their families. Most commonly these paintings at that time were done by the wealthy Brahmin and Kayastha women. Ganga Devi from the Kayastha caste and Sita Devi from the Brahmin Caste were the two pioneers of Mithila paintings on paper and their art was received enthusiastically by the public. They evolved two distinctive styles of painting. Ganga Devi did extremely detailed kanchi or line paintings using fine nib pens and only black and red ink, producing a kind of painting that came to be associated with the Kayastha community. Sita Devi developed the bharni style or filled associate with the Brahmin community. This style depicts large, colorful figures made using a straw or a bamboo stick either frayed at the end, or with a rag or wad of cotton at the tip, to serve as a reservoir for the paint. Through the 80s and 90s many other women of their caste followed their lead.
Between 1972 and 78 Erika Moser, a German anthropologist, made several visits to Sita Devis village, Jitwarpur to study and film the crafts and rituals of the Dusadhs, a Dalit community. Moser urged the Dusadh women to also start painting on paper to generate additional income for the house. Unfamiliar with the complex imagery used by the Kayastha and Brahmin women, the Dusadh women encouraged by Moser, began to take inspiration from their own oral, cosmological and aesthetic traditions and created their own three distinctive styles and techniques. The first, initiated by Chano Devi derived from the tattoo images many of them had on their arms and legs. This style came to be known as godna (tattoo) paintings. These paintings largely composed of rows and concentric circles of flowers, fields, animals, figures and spirits drawn with a pointed bamboo pen and lampblack ink. This style was adopted my many Dusadh women and soon was further innovated to include the use of bamboo brushes and a range of colors made from flowers, leaves, barks, berries, etc. The themes of the paintings also expanded and they came to include complex scenes from their daily village life and ritual practices. The tree of life, images of Hindu Gods and the 27 legendry hero of the Dusadhs Raja Salhesh have also started appearing commonly in the paintings of Chano Devi and other artists using the godna technique.
           (Ref: The Dalit Foundation- http://www.dalitfoundation.org/godna.htm)


  1. Dalit Art Show @ Hurly Headquarters Costa Mesa, CA on Vimeo

    vimeo.com/17131127
    Nov 23, 2010
    http://resurfaceart.com burlap-wrapped RESURFACE surfboard painted for Dalit Art Show

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