Begum Akhtar

The name of Begum Akhtar has a special significance and meaning for lovers of the light classical variety like thumri and dadra, as also popular genres like ghazal and geet. As is known, each of these song-forms expresses a vital species of poetry. Each has a charm and appeal all its own. Flexible in form and lyrical in content, these song-forms afford unlimited scope for expressing the subtlest nuances of emotion. In other words, sensuous romanticism is the very essence of these songs. Their renditions call for a great deal of talent and imagination on the part of the singer to be able to depict their poetic fineries with musical sensitivity.

Admittedly, the technique involved in their depiction is both distinct and difficult. It demands long, arduous traditional training. If authentic exponents of these great heritage are getting fewer and fewer with each passing year, it is because the halcyon days of such traditional training, riyaaz and dedication have also gone with the stalwarts like Begum Akhtar. Although there was no music in the family, timbre and tone coursed through young Akhtar's veins.

She was barely seven when she was captivated by the music of Chandra Bai, an artiste attached to a touring theatre group.With initial training from Imdad Khan, a sarangi player from Patna, Faizabad-born Akhtari began her musical career. She came to be groomed as a classicist by traditional training from Ata Mohammad Khan of Patiala and Abdul Wahid Khan of Lahore in subsequent years. But her real aptitude was for light classical music, in which she was destined to emerge peerless.

In her quest, she was inspired by Jaddan Bai, a noted dispciple of the great thumri singer, Moijuddin Khan (and mother of the late celebrated film actress, Nargis), and the equally noted Barkat Ali Khan, the younger brother of Bade Ghulam Ali Khan. Begum Akhtar's music presented an uncanny fusion of technique and appeal. There was in her singing an incredible blend of all that was best in the Purabi, and Punjab genres of light classical singing. Whatever the song-form, she had evolved her own individual and inimitable style of presenting it.

Few, indeed, could equal her - much less surpass her - when it came to imparting the touching tone to a lyric clad in an equally delicate tune. Her songs revealed not only a delicate grace of spontaneous niceties of musical phrasing, but their poetic excellence. Besides, there was that hypnotic quality of her voice and the authenticity of style and approach that swayed her countless votaries. What also gripped her listeners was the kind of youthful exuberance that came so naturally through her music till her death at 60. In between, Begum Akhtar's good looks and sensitive voice brought her under the spell of the silver screen in the early years of her career.

But when she chanced to hear great singers like Gauharjaan and Malakjaan, she decided to forsake the glamour of the film world to take to music. And she never looked back. Begum Saheba's supreme artistry in light classical music had its moorings in the tradition of pure classicism. This is the secret behind her finesse for setting her repertoire to basically classical modes, which comprised a variety of simple as well as complex ragas. This she did with an ingenuity and craftsmanship difficult to come by in a blue-blooded Hindustani vocalist. And this was what made Begum Akhtar the darling of the classes and masses alike. She was always in her elements when she came to perform.

She was widely traveled and ranked high among our foremost cultural ambassadors. Official recognition came to her rather slowly and late. She was honoured the Sangeet Natak Akademi award for vocal music and a mere Padma Shri a few years before her death. Ironically, the Padma Bhushan came to be conferred on her posthumously. But to the people at large, Begum Akhtar was the "Queen of Light Classical Music", and it is this acclaim that she cherished most. She has left behind hundreds of songs in commercial discs. She has also groomed a large number of disciples. All said and done, Begum Akhtar's music is truly sui generis.

Stamp brought by Indian govt. on Begum Akhtar.

BEGUM AKHTAR Begum Akhtar was a renowned Ghazal singer who had reached legendary heights of musical excellence. She was popularly known as Malika-I-Ghazal, Queen of Ghazals. She enthralled the audience by her singing for nearly three decades from 1940.

One of the most popular musicians in the Indian subcontinent, Begum Akhtar was an eminent ghazal, thumri, dadra and bhajan singer. She had a distinctive, easily identifiable style of singing. The notes which she produced were so limpid, so hauntingly sweet, that the audience was immediately captivated. She would render it so endearingly that her every note would grip the hearts of the audience. During her recitals, whenever she reached a high note her voice would crack, considered by connoisseurs the highlight of her recital. The audience would wait eagerly for that pleasing crack in her voice!

Begum Akhtar, called the Queen of Ghazals, has also composed some ghazals. She gave her first performance at a charity show in aid of Bihar flood victims in 1921. Though only seven years old at that time, she sang continuously for six hours. Begum Akhtar possessed all the qualities that are so vital for a good ghazal singer. She had the uncanny ability of choosing the right kind of ghazal and adorning it with a befitting tune. Begum Akhtar was born in 1914 in Faizabad in Uttar Pradesh. Her musical training began under Atta Ahmed Khan of Patiala. She was not very keen on learning classical music but learnt it in order to sing the lighter forms, like ghazals, bhajans, thumris and dadras. Her art was a vivid portrayal of the pure Lucknowi traditions of the nawabs dating back to the 18th and 19th centuries. She died in August 1974. Begum Akhtar acknowledged Ramzan Khan, Ata Mohammad Khan, Abdul Wahid Khan and Barkat Ali as her gurus. She was honoured with the Sangeet Natak Academy Award in 1972.

Begum Akhtar-The Story of my Ammi
by Shanti Hiranand     

Indiaclub.com Editorial Begum Akhtar, b circa, 1914- d, 1974, a legend in her own lifetime, is one such person on whom there is no available biography. A pioneer in the field of Indian light classical music, she helped popularize the traditional form of thumari and ghazal gayaki and took it to the concert level all over India and abroad. Unfortunately, despite her talents, an entire generation of Indians has grown up listening to only gossip connected with Begum Akhtar’s life; be it the controversy surrounding the Nawab of Rampur or her other alleged affairs. This is what Shanti Hiranand has attempted in her memoirs. It is a book that will hopefully provide a salve to all those open wounds surrounding Begum Akhtar’s persona. Shantiji has examined her beloved Ammi with the objective philosophical gaze of a woman and has shown us a side of Begum Akhtar that was hitherto hidden in the dusty corridors of House No 1, Havelock Road, Lucknow. It is interesting how these two women from seemingly diverse backgrounds could come to such an exalted level of understanding between themselves, in times that were not very conducive to such social interactions. Shantiji belonged to an upper middle-class business family. She had a liberal education and was used to a certain space and freedom to pursue her own passions, while Begum Akhtar lived within the cloistered environs of a typical feudal home in those days. On the one hand Shantiji was an austere Gandhian and Begum Akhtar was a person of deep indulgences. It is amazing that even Shantiji’s parents never stood in her way; they never stopped her from being with her Ammi. On the contrary on occasions it was Shantiji’s mother who encouraged her to follow her Guru right until the end.

Begum Akhtar Live - Bombay - 1953

Makar Archives

G.N.Joshi's "Down Memory Lane"(1984) - Begum Akhtar

About 25 years ago I had arranged a mehfil of Pandit Bhimsen Joshi at my residence. A few select friends were invited, amongst whom was the late Ramubhaya Date of Indore. The mehfil was fixed for 4.30 in the afternoon but Ramubhaya arrived a little before the lunch hour. There was nothing unusual in this. Ramubhaya had often arrived thus and joined us at the table. I always appreciate such a simple and informal attitude, and so I heartily welcomed Ramubhaya to lunch with us. We did full justice to the food. After lunch Ramubhaya helped himself to paan. Normally I do not eat paan or supari but on that day, after the excellent lunch, I accepted the patti prepared by him. He also gave one each to my wife and daughter and said, 'Look, an excellent meal like this must be followed by paan, and along with it you must try this "Akhtari". Phir maja dekho!'

He produced from a small bottle a number of pills covered with silver leaf and gave one to each of us. The pills, chewed with the paan, were wonderful in flavour and taste. I said. 'Ramubhaya, this little Akhtari of yours and our Faizabadi Akhtari seem to be equally delicious in sweetness and fragrance.' 'Aare yaar,' he retorted, 'It is your Faizabadi Akhtari after whom I have named these pills. I have listened to Begum Akhtar's singing countless times, and each time she so hypnotizes me that I take this pill with paan every ten or fifteen minutes just to keep the memory and aroma of her singing fresh in my mind.'

Since I heard Begum Akhtar sing 'Koyaliya mat karo pukar, lagi kalejava katar', that 'katar' has gone so deep that I will always remember her,' I said reminiscently. Only those who were fortunate enough to see and hear Begum Akhtar in person would understand the full meaning of these words. In 1914 at Faizabad, a village in U.P., a teenaged girl made her debut as a singer and took listeners by storm. Those who heard her acknowledged her to be a singer of great promise. And from that day on she came to be known as Akhtari Faizabadi.

In due course, age brought about changes in her voice and style. Maturity and experience lend grace to an artist's presentation and make it blossom forth in its full beauty. Begum Akhtar, no wonder, very soon reached the heights of fame and popularity. The one-time Akhtari Faizabadi now came to be known as Begum Akhtar. 'Real beauty can weather any storm', turned out to be very true in her case. During recitals whenever she reached a high note her voice would crack, but strangely enough this was considered by connoisseurs as the highlight of her recital. The audience would wait eagerly for that delicious crack in her voice.

There is virtually no difference between English lyrics, Marathi bhavgeets and Urdu ghazals. Eminent Urdu poets of yesteryear such as Mirza Ghalib, Daag, Jigar Muradabadi, Phani, Behejad Lucknowi Jaukh, Shakil Badayuni and Sahir Ludhianvi, and contemporary living poets like Majrooh Sultanpuri, Faiz Ahmed Faiz, or Josh Malihabadi have written ghazals which are the hot favourites of discerning readers of Urdu poetry and knowledgeable listeners of ghazal singing. In order to become a successful bhavgeet or ghazal singer it is very necessary to select a lyric which is easy to understand, and has meaningful verses, with flashes of playful poetic imagination. Having come across such a piece of poetry the singer has to put it across musically in a suitable tune with a complete understanding of the poetry, in perfect diction and in an expressively emotional style. Begum Akhtar possessed all the qualities that are so vital for a good ghazal singer. The notes which she produced were so limpid, so hauntingly sweet, that the audience was immediately captivated. She had the uncanny knack of choosing the right kind of ghazal and adorning it in a befitting tune; she would render it so endearingly that her every note would grip the hearts of the audience.

At 15, she cut her first disc for the Megaphone Record Company - again one of the sister concerns of H.M.V. I did not have the good fortune to hear her when she was in her heyday. I first saw and met her in the year 1952. My friend Nawab Zahir Yar Jung of Hyderabad (a close relation of the late Nizam) was on a visit to Bombay and he was staying in Krishna Nivas on Marine Drive. The wealthy are famous for their vices or fads, but this artistocratic friend of mine had only one 'vice', and that was his passion for good music. Nawab Saheb was also exceptionally generous. He bestowed his wealth liberally on singers and musicians. During his two month stay jn Bombay it was my pleasant job to take a new outstanding talented artist to Nawab Saheb's residence every evening. It was part of his daily routine to enjoy the music of a newcomer for an hour or two, after which Begum Akhtar would invariably wind up the music session with a thumri, dadra or lilting ghazal. Nawab Saheb would then present each artist with Bidagi in the form of gold mohurs. Intoxicated by the sweet music the Nawab and I would then have a sumptuous Hyderabadi Nawabi style dinner at which Begum Akhtar would also join us.

The late Rai Bahadur Chunilal, one of the directors of Bombay Talkies, had a son who was passionately fond of music. One day our manager, Mr. H. C. Lal, came to me with the boy and told me to give him all possible musical guidance. I gave him a tanpura and told him to sing. He sang a ghazal and a thumri which had been broadcast by Begum Akhtar on the radio. These gave me ample indication of his musical talent. After that, for a few months, whenever we had the studio free he would come and would do his riyaz on the tanpura. Later the young boy enlisted in the army, but the rigours and discipline of military life clashed with his artistic nature, therefore he got out of the forces and accepted a job in All India Radio. While in Lucknow and Delhi he had opportunities to listen to various illustrious singers. It was in Lucknow that he met Begum Akhtar in person and developed a lasting friendship with her.

Whenever Begum Akhtar came to Bombay for programmes. she stayed at the Sea Green South Hotel on Marine Drive. It was my privilege and practice to be with her every evening during her stay. The music-mad son of Rai Bahadur Chunilal had by now turned his attention to films and had become a music director. During Begum Akhtar's stay in Bombay he also would come to the hotel to meet her. He chose many beautiful compositions sung by Begum Akhtar and gave them his own tunes in order to incorporate them in films. His artistic creativity found a new outlet in Begum Akhtar's ghazals and very soon he became a famous and popular music director. Dastan, Hakikat, Bahana, Mera Saya, Suhagan, Wo Kaun Thi, Bhai Bhai and Chirag were some of the films for which he wrote his superb music. This gifted person was none other than Madan Mohan, who passed away at an early age.

I got Begum Akhtar for recordings several times during her visits to Bombay . A very strange incident took place at one of the recording sessions. The Muslims are usually extremely fond of devotional songs - religious songs about Allah, Paigamber, Khwaja Saheb Ajmeri, Mecca, Medina or the Kaaba are always in great demand. Years ago a song, 'Deewana banana hai to deewana bana de', written by the well-known Urdu poet Behejad Lucknowi and recorded by Begum Akhtar, was a hit all over the country. She had not cut another religious record after that. Therefore, that evening, I pressed her to record a couple of naats (religious songs) and she agreed.

I always used to be under great tension during recording sessions, from the moment the artist entered the studio till the recording was successfully completed. It was always an ordeal for me, as I had to keep the artist in a pleasant mood and humour his or her whims. I had to be very observant of the likes and dislikes of these artists and arrange everything to their liking. Some loved perfumes, some liked fragrant flowers, some preferred to have maghai paans; some took delight in having knowledgeable listeners around, while others resented the presence of outsiders. One notable Gujarati singer had to be surrounded by a bevy of beautiful young girls while the recording was in progress. 'They produce electricity in me,' he said. He always brought a consignment of these 'batteries' with him. It was a very bothersome and taxing job to have to constantly cater to the demands of these artists and to keep them in a good mood. On this particular day Begum Akhtar was in excellent form. We had just completed the recording of two bewitching ghazals and were getting ready for the recording of naats, when my Punjabi boss walked in. 'Well, Begumsab, what is it you are recording now?' he asked casually. On being told that she was recording two naats, the officer said, with a knowledgeable air, 'Look here, Begumsab, we have recorded some really good naats sung by famous qawals like Ismail Azad Qawal and Usuf Azad Qawal of Bhendi Bazaar and these records sell like hot cakes. I suggest you also sing in the same style.' I was taken aback by his audacity. To suggest to an illustrious singer of national repute like Begum Akhtar that she should copy the manner and style of an ordinary qawal of Bhendi Bazaar was terribly insulting. Begum Akhtar was red and speechless with anger and indignation. She controlled herself, and pushing the harmornum away, lit a cigarette and began smoking furiously. I immediately saw that all hopes of further recording that evening had gone up in smoke. The officer went away after a while, not even aware of his blunder. Begum Akhtar was still red in the face and was puffing at her cigarette in an agitated manner. I said to her, 'Begumsab, we won't do any more recording today. I am as upset as you are. We will proceed with the recording tomorrow; please forget the incident and sing in your usual style.'

I do not know,' she said seething with anger and disgust, 'why Yeh Kudhon ke Badshah set foot inside the studio. How dare he make such silly and rude suggestions!' However, by the next morning she had regained her normal poise, and I met her at the hotel and brought her to complete the recording. Begum Akhtar recorded the naats in her usual captivating style.

My boss had absolutely no business to tender such uncalled-for advice to the great artist, but there was nothing I couId do about it. For a long time after, whenever Begum Akhtar came to our studios, she would ask me, 'Woh Kudhon ke Badshah kahan hai?' In 1970 I officially retired after 32 years of service, but the company prevailed upon me to go to Delhi on an important mission. In the archives department of the central office of All India Radio is a large collection of tapes and discs of eminent artists from all over India. I was deputed to select recordings of deceased artists to be used for commercial records.

During my absence a recording of Begum Akhtar was made in our studio. She usually had a tanpura, tabla, harmonium and sarangi to accompany her, but this time the recording was carried out with an orchestral accompaniment under the supervision of a music director from the films. When I heard the tape of the recording on my return to Bombay, my first reaction was decidedly unfavourable. I sincerely felt that Begum Akhtar had not sung with her usual abandon and free style. Her voice sounded restrained to me. After the astayee each antara was preceded by various instruments like the sitar or flute, in the style of a film song. Because of these musical interludes to which she was not at all used, her singing sounded rather artificial. The recording, therefore, was no more than ordinary. This was my reaction and I casually voiced it aloud. Someone who heard my remark repeated it to Begum Akhtar. We had been close friends for a long time and my unfavourable reaction to her recording made her miserable. So much so that she cancelled all her engagements for the day and sat in her room deep in gloom, lamenting her 'bad' performance. I came to know of this and, putting aside all work, I hurried to Sea Green South Hotel. She was lying in her room; she had not taken any food and her eyes were red and swollen with weeping. The moment she saw me she burst into tears. It was a tremendous shock to see her in this state. That a chance remark of mine should have caused her so much pain was unbearable to me. She had complete faith in my judgement and when she was told that I did not like her recording she had concluded that she had given a most wretched performance. I had thus unintentionally caused her a lot of anguish. The thought of this brought tears to my eyes also. Later, when we had both regained our composure, I explained that it was not her singing that had displeased me, but the fact that she had not been given a chance to sing in her normal unrestrained style and to display her talents. At last she was pacified; all doubts vanished from her mind and she was convinced that I had meant no offence to her. The atmosphere cleared as if by magic. Both of us then partook of food, but in spite of her regained tranquillity, she cancelled a musical sitting arranged for that night as she did not feel physically and mentally up to it. Such was the extreme sensitivity of her nature.

In the year 1971, on my return from a world tour, the company persuaded me to work for them again. I therefore had one more chance to record Begum Akhtar. This was the last recording made by her and on this occasion she excelled herself. After the recording she asked me mischievously, 'Do you think I sang well today?' In August 1974 I went to America. While there I got the sad news of her death in Ahmedabad. For days I was haunted by memories of the many recording sessions, the many mehfils we had enjoyed. Thoughts of our long association and friendship since 1951 brought tears to my eyes. I paid mute tribute to cherished memories of her which are all she left behind and offered my last salutation to her - 'Alwida...'

(Posted on RMIC by Rajan Parrikar as part of Great Masters Series )
Source :http://www.chembur.com/anecdotes/begumakhtar.htm

Interview

"Today ghazal is being sung as geet
in India"

REKHA SURYA looks more like a model than a ghazal singer. However, when she starts talking she comes across as an intelligent person, who is pretty bindaas about life. Though Rekha talked frankly about her experiences as a singer, she was a little wary that as a women staying alone she should give no wrong impressions. She is an extremely sensitive person and is a Luckhnavi to the core.

Rekha spoke passionately about her music-- her beautiful expressive eyes saying more than the words. She said that though she has achieved recognition for her art, she still has miles to go before she can relax and look back. Excerpts from an exclusive interview with Belu Maheshwari:

Do you feel that even in today’s age there are connoisseurs of traditional forms of music ?

Definitely. I am following the traditional style of ghazal gayaki in my concerts. It is not foot-tapping music. I have my fans who are very loyal, including the young. Even today, Begum Akhtar’s music commands its fair share of music aficionados. Music is not limiting, it does not have boundaries.

How did you, with no background in music, get into this field?

I have no musical pedigree, though I liked singing from childhood. When I joined Miranda House, Delhi, to do my graduation in literature, I was exposed to different styles of music. I met Begum Akhtar through an acquaintance and asked her to make me her shishya. She had stopped teaching because of some bad experiences with her disciples. But I persisted. She asked me to sing, and after hearing me said that she would not let my voice go waste. I was her sishya for a year. She died thereafter. She gave me a lot.

What was Begum Akhtar like as a person?

Till the last she was busy giving concerts. She was a wonderful person. She made my father agree to my giving concerts. Begum Saheeba taught me how to behave with fellow musicians, audiences, organisers, etc. Her dictum was: Kisi ka dil nahi dukhana chahiye. She was graciousness personified, wore only sarees and always advocated dignity as the basic virtue for a performer. I was her akhri shagird.

How have you evolved as a singer. How different are you from Begum Akhtar?

Begum Saheeba used to say that learning music was more difficult for my generation because of the many distractions. I have been open to many influences, different styles, other gharanas. She always said, try to imbibe good from all, even from film music. I have been a shishya of others also ---Bashir Khan and Girja Devi. I am a mixture of the Benaras and Patiala gharana.

What did you learn from Bashir Khan, and Girja Devi?

Bashir was basically a sarangi player-- brilliant, eccentric, a great believer in creativity. He taught me how to use my head while singing and the importance of riyaz. Girja Devi was a great believer in the physicality of music because she was a virtuoso. She believed in dazzling -- her command over Palta and Taan were unbelievable. I learnt from her on and off, never over a long period of time.

Did you have to struggle to be on your own?

My first concert was at the Prithvi theatre. It had Shabana Azmi and Kaifi Azmi in the audience. The response was warm. I did struggle for about 3-4 years initially. I have sung all over the world-- U.S.A. Canada, Sri Lanka. My first priority was to buy a flat, have a physical niche in the world. Now I am settled. I have enough work.

How do people react to a young, good looking singer?

Life has been difficult. I belong to Lucknow and Lucknavi tehzeeb teaches politeness. This tehzeeb got me into difficult situations because some people mistook it for weakness. Now I am very careful in picking and choosing private concerts. We generally have knowledgeable listeners but some can be crass also. I am a headstrong person and have lived life on my terms. I do not now take nonsense.

Isn’t your style of singing akin to the courtesan way of performing?

The word courtesan now carries negative connotations, but in those times they were great performers. Some of the greatest contributions in Hindustani music have been from Sidheshwari Devi, Rasoolan Bai, Begum Akhtar, all courtesans, basically pandering to male audiences.

In this style of singing there is an element of phampha taal, it is not necessarily negative. We have to communicate one to one with our audience-- aankhon mei aankhein dalane wala music hai. It is not a Khayal which can be sung with eyes closed; it is interactive singing.

I communicate with women also. I find them more sensitive as audiences. I play my own harmonium so there is no scope for adda.

What is the difference in classical singing and your style?

In classical singing they start with Kajri, Dadra. Thumri is sung as dessert piece at the end. Khayal singers are not trained to pour passion in their singing. Thumri singers are. Ours is specialised singing. It demands fulsomeness of voice. Bhim Sen Joshi is not a Thumri singer though in his field he is brilliant.

What genre does your singing fall into?

Ours is semi-classical, based on ghazal gayaki. What you hear is not really pure ghazal, Jagjit Singh is a very good nazm/geet singer. He is not a good ghazal singer. He has a lovely voice and has popularised the so-called ghazal singing. But he has also diminished the original standards of ghazal singing by diluting it.

Do you think Thumri will survive?

Thumri is surviving, will survive though its allied forms may not survive. I am confident of its survival because of its inherent beauty. I have a dream to build a Thumri and allied forms foundation in order to ensure its continuation in the future. Good Khayal singers will come, they have to.

Tell us about your personal self?

I hail from Lucknow, and I am a modern working woman. An artiste basically leads a lonely life, there is an emotional void. Living on your own is not easy but my family helps me not to derail. I draw my strength from music, family and friends. I feel uncentered if I am away from music for long.

What are the qualities you seek in people you want around you and who do you shun?

Sincerity, honesty. I feel artistes can be friends because they are like-minded and can interact at least at one level. Somewhere, all artists have a certain degree of estrangement from society.

I cannot stand altu-phaltu people. I am upset by peoples prejudices and biases. I cannot tolerate those people who perceive me as a light and frivolous person when they see a package of good looking singer. I am an educated, accomplished and an intelligent woman whose music is serious.

What according to you is true ghazal singing?

Today, ghazal is being sung as geet in India. Pakistani ghazal singers have another style in Khayal which has Sargam and Teehai, which are Khayal characteristics. While I am not against experimentation and innovation, I think the correct manner of rendering ghazal is by using a Thumri approach. Mehdi Hassan is a brilliant ghazal singer, he has given it a new direction and seriousness. But because he does not have strong training in Thumri singing, he tends to be sentimental rather than passionate.

What would you list as your achievements?

In spite of the commercial pulls, I am sticking to pure ghazal gayaki and holding my head high. And I do consider myself as a purist because I believe in being true to a form.

How do you choose your ghazals?

I work on choosing my songs very painstakingly. I have dug out old Jhula, Kajri, Cheti and Hori in the form of Dadra to add to my repertoire. Then I have learnt Urdu. I read a fair amount of poetry and interact with contemporary poets. While ghazal gayaki has deteriorated ghazal writing has not. Issar Ansari a poet in Bombay is my favourite. I want to sing contemporary poets who use contemporary idiom.

Does it mean you have made no compromises in your singing?

I have accepted the changing realities of time. In terms of language, I have simplified the words. I try to avoid chaste Urdu words as people are not erudite enough. I explain what I am singing to the audience. I give the text, explain the context.

Film pays tribute to the life of ‘Queen of Ghazals’, 23.8.05

Nearly 30 years after she died, the essence of Begum Akhtar, known as ‘The Queen of Ghazals’, is captured in a new film, Aye Mohabbat, a dramatic and emotional story of a woman’s empowerment and artistic achievement.

Begum Akthar fought for a place for herself as a woman and an artist, in the closed claustrophobic society of the thirties and forties. She belonged to an age of grace and leisure and her music and charm ensured a place for her in the world of the ghazal, so that even today the legend of Begum Akhtar lives on.

Now her incredible story is brought to life again by producer Juhi Sinha. "Begum Akhtar’s success story is a tribute to her grit and determination," says Sinha. "Certainly, society at the time was male dominated and while a number of men passed through her life, her success was in the face of all odds and due to her talent and single-minded passion for music, and music alone."

Surrounded by people, yet often alone, Begum Akhtar remained something of an enigma till the day she died. Begum’s story is told in her own voice with English sub-titles from archival footage, with her songs providing the music and audio tracks.

Begum Akhtar once said, how proud and happy she was to have been born in a country where her music was loved and appreciated. Her music transcended all barriers of caste, creed, age, religion and political and physical boundaries.

During the 1930s and 1940s Begum was at the peak of her success facing challenges in a male dominated industry.

Sinha says it was challenging to make the film recalling how difficult it was to present the life of the mysterious woman. Three decades after Akhtar’s death and with no close relatives and few contemporaries alive, the production crew visited numerous cities to meet with a vast cross section of people - friends, artists, family, neighbours, musicians, and disciples.

"Begum Akhtar was something of an enigma and perhaps she enjoyed the aura of mystery she created. So while the number of people she interacted with, as a performer was very large, it was really difficult to cull the details about her personal life," says Sinha.

"It took months of patient research and many interviews before we could plan the shoot. I often think that perhaps Begum Akhtar was how God meant women to be - beautiful, charming, whimsical, enigmatic - and in her case, enormously talented."

"Aye Mohabbat", is a film on Begum Akhtar by Juhi Sinha 

MALIKA-E-GHAZAL---PADAMSHRI BEGUM AKHTAR : 

Born as Akhtari on October 7th,1910 at Faizabad in a family of lovers of music and shifted to Lucknow when she was young. Her first teacher was Ustad Imdada Khan, a sarangi player. She continued her apprenticeship with Ustad Shakhawat Hussain, a reputed sarod player who recommended her to become a desciple of Ustad Ata Muhhamed Khan.Akhtari Bai now known as Begum Akhtar, an expert in Ghazal, Dadras and Thumri very soon reached the heights of fame and popularity.    During recitals whenever she reached a high note her voice would crack, but strangely enough this was considered by connoiseurs as the highlight of her recital. The audience would wait eagerly for that delicious crack in her voice.   In order to become a successful   ghazal singer it is very necessary to select a lyric which is easy to understand, and has meaningful verses, with flashes of playful poetic imagination. Having come across such a piece of poetry the singer has to put across musically in a suitable tune with a complete understanding of the poetry, in perfect diction and in an expressively emotional style. Begum Akhtar possessed all the qualities that are so vital for a good ghazal singer. The notes which she produced were so limpid, so hauntingly sweet, that the audience was immediately captivated. She had the uncanny knack of choosing the right kind of ghazal and adorning it in a befitting tune; she would render it so endearingly that her every note would grip the hearts of the audience. At 30, she cut her first disc for the Gramophone Record Company, one of the sister concerns of H.M.V.    She commenced as courtesan Akhtari Bai, and then withdrew from singing for several years after marrying a respected barrister, to be reincarnated in her later years as Begum Akhtar (d. 1974), a singer of the concert-hall rather than  private courtesan performance. Was awarded Padamshri and Sangeet Academy Award. After teaching for some time at Bhatkhande Music College she died on October22, 1974. A two rupees stamp and first cover was released by Post & Telegraph Department, Government of India in her honour.

Aaj yaad tum behisaab aaye
R.L. Pathak

MEMORIES of melody queen Begum Akhtar come alive on October 7, the day of her birth anniversary.

‘Bibi’, as she was called affectionately had deeply endeared herself to a large number of people. Begum Akhtar became a legend in her lifetime. From her early days, she ‘fell in love with music and dance’ and practised difficult khayals, thumri and dadra.

Begum’s house in Faizabad, where she was born, was not big and the family did not have resources enough to give it a facelift or rebuild it. In the words of her mother, they could not even "afford a pair of silver earrings for her". She was six years’ old then and would sing with her friends to the beats of a drum or dholak, whatever came handy. That’s when people realised her singing potential.

‘Bibi’ was very fond of doing things different from the other children of her age and looked for some opportunity or the other to surprise everyone with her funny antics. She was so naughty that one day she even succeeded in "scissoring" the flowing hair of her teacher who was sitting on a chair and proudly took the "gift" home.