Profile
Queen of ghazals enthralls Delhi-ites
by Harihar Swarup

Few may be knowing that Prime Minister Manmohan Singh’s wife, Gursharan Kaur was a student of Indian music and a fan of the legendary Ghazal singer Farida Khanum. This disclosure was made by the Prime Minister himself at a recent function held in Gwalior to facilitate Khanum and vocalist Malini Rajurkar. Dr Singh and his wife flew to Gwalior to present the Ustad Haafiz Ali Khan Award to two music celebrities. The late Ustad Haafiz Ali, is the father of renowned Sarod maestro, Amjad Ali Khan and became a legend in his lifetime. Trained in classical music under the tutelage of luminaries like Ustad Bade Ghulam Ali Khan and Ustad Ashique Ali Khan of the Patiala Gharana, Farida Khanum migrated to Pakistan soon after Partition where she carved a niche for herself as one of the most brilliant living performers of the ghazal. She came to be known as the Queen of Ghazals.

Born in Kolkata and brought up in Amritsar, Khanum crossed the borders soon after the division of the sub-continent. She rendered her first concert in Lahore in 1950 and made a mark. Such celebrities of that time as Zeenat Begum and Iqbal Begum applauded her and forecast that she would rise to great heights. She was married soon after and her music career suffered a setback. Her husband, a businessman, had little interest in music. He was unappreciative of her talents. She got bogged down in rigid Islamic norms practiced in contemporary Lahore’s social circle.

Subsequently, Khanum had to stop singing in public. She devoted most of her time in looking after her husband and children. In spite of the busy domestic routine, she could manage to get some time to practice in the seclusion of closed doors. Music was, after all, a part and parcel of her life. At last her love and devotion for music won and gradually her husband started responding to the nuances of her beautiful voice.

In mid sixties, Khanum’s husband allowed her to sing in government sponsored music concerts and conferences and, later, granted permission to perform in select public concerts. Tragedy struck Khanum in 1978. Her husband passed away leaving behind four daughters and a son. By that time, her name and fame had spread throughout Pakistan. In India too, she became a household name. Khanum took to signing as her avocation and regaled the audience with her exquisite rendering of ghazals and thumris.

She not only has a very good voice range but also a voice packed with sentiments that touches the heart of listeners. Owing to her expertise in ghazals, she is treated as the uncrowned Queen of music in Pakistan. People also fondly address her as the Queen of Ghazals.

Khanum has sung the choicest ghazals of many renowned poets like Faiz Ahmad Fasiz, Daagh, Agha Hasher Kashmiri and Sufi Tabassum.

If the world of ghazal music was captured by one song by any artist, then it has to be Farida Khanum. Whoever has listened to her ghazal Aaj Jaane Ki Zid Na Karo — was totally enchanted by her artistry of presentation and the literary content of the composition. If the ghazal is considered to be the conversation between two lovers, then this musical piece could be considered as one of the best representation of such expression.

Farida Khanum is, perhaps, the only singer in the subcontinent whose voice had always been able to keep the rhythm on leash. As a critic choose to tell her, Taal appki aavaaz ka peechha karta hai. She simply nodded her head.

Khanum was in New Delhi on December 14 as part of an initiative by the Indian Council for Cultural Relations to “build bridges” through culture. ICCR Director-General Pawan Varma introduced her to the audience as a “symbol of India-Pakistan friendship”. Diplomats, celebrities and journalists, who turned out in large numbers at the concert burst into applause after every number. The 70-year-old Queen of Ghazals enchanted them with the truth from the heart. “One can lie with words, not music”, she said and went on to sing the all-time favourite, Aaaj Jaane ki jid na karo…

Farida Khanum belongs to an era when our cultures were the same, our thinking was the same. She is the epitome of that age, said Sarod maestro Amjad Ali. One hopes that artists from India and Pakistan will be able to create the same place in peoples’ heart as she has done.

Farida Khanum

Farida Khanum in 2005

Farida Khanum is a renowned Pakistani Ghazal singer. Farida Khanum has been given the title "Malika-e-Ghazal" (Queen of Ghazal) in tribute to her singing talents. Farida Khanum lives in Lahore, Punjab and performs at select musical gatherings. In 2005, she was awarded the Hilal-e-Imtiaz (Pakistan's highest civilian honors) by President Pervaiz Musharraf.

Her family was from Punjab. Farida Khanum born in Calcutta and raised in Amritsar. She migrated to Pakistan after independence in 1947. Her sister Mukhtar Begum and the renowned maestro of Patiala Gharana, Ustad Ashiq Ali Khan trained her in initial years. She usually sticks to classical Raagas and minimalist accompaniment.

Profile

Today, Farida Khanum has carved a niche for herself, as one of the most brilliant living performers of the ghazal.

Born in Calcutta and brought up in Amritsar she migrated to Pakistan after partition. Her sister Muqhtar Begum and the reputed maestro of Patiala Gharana, Ustad Ashiq Ali Khan trained her in initial years.

After he marriage her career suffered because of rigid stance of an unappreciative husband and rigid islamic norms practiced in Lahore society at the time. It was only after 1964 that her husband allowed her to sing in public again.

Though honed in the Begum Akhtar style, Farida Khanum has imparted to the ghazal her own genius. She usually sticks to classical Raagas and minimalist accompaniment. She continues to record in Pakistan and is equally well known for her concerts. She is rightfully considered as the queen of Ghazals in Pakistan.

Discography

Title	Nature	Music / recording	Contents	Label	Other Artists	Year
Greatest Hits Of Vol. 1	Ghazal Collection		Main Ne Pairon Mein Payal, Es Tarah Qissa Mera, Kuchh Ishq Tha Kuchh, Uzr Aane Mein Bhi Hai, Raat Jo Tum Ne Deep, Others.	EMI Pakistan
Gulistan Vol.1	Ghazal Collection		Ghazals: Na Ganwao Nawuk-E-Neem Kash, Tum Aur Fareb Khao, Tum Naghma-E-Mah Ho, Jis Tarah Chahen Karam Farmaiyeh, Ya Rab Gham-E-Hijra Mein, Chand Nikale Kisi Janib	Music Today	Multiple Artists
Gulistan Vol.2	Ghazal Collection		Ghazals: Hasti Apni Hubab Kee See, Yeh Na Thi Hamari Qismet, Lutf Woh Ishq Mein, Woh Jo Hum Mein Tum Mein, Saaz Yeh Keena Saaz Kya Jaane, Aafat Ki Shokhiyan Hai	Music Today	Multiple Artists
Hits of	Ghazal Collection		Lutf Woh Ishq Men, Har Aan Sitam Dhae Hai, Der Lagi Aane Men Tumko, Narava Kahiye, Mer Qabu Men Na, Phool Barsaata Huva, Chaman Men Rang-E-Bahaar, Ham Par Jafa Se Tark-E-Wafa, Raah Dekhen Ge	Multitone Prestige
Khwaab Vol. 1 Live	Ghazal Live		A Re Nain Kaisay Ghar (Thumri),Toofan Badal Hi, Dayer-E-Dil Ki Raat Main, Sui Maikada, Wo Ishq Jo Ham Say, Wo Mujh Say Ho A, Jis Tarha Chaye Karam, Soni Dharti Allah Rakhay	EMP
Khwaab Vol. 2 Live	Ghazal Live		Tere Aune Ka Dhoka, Toba Toba Meri Toba, Raat Jo Tum Ne, Bhalay Bhalay (Punjabi), Lathay Di Chadar (Punjabi), Di-E-Muztar Ko Samjhaya, Mere Ham Nafas Mere Ham	EMP
Khwaab Vol. 3 Live	Ghazal Live		Bazoo Bund Khul (Thumri), Guloon Ki Baat Karo, Dil Jalane Ki Baat, Ibn-E-Marium Hoa, Phool Barasta Hoa, Jab Us Zulf Ki Baat Chalee, Menain Paroon Main Payal	EMP
The Excellance Of Farida Khanum	Ghazal Collection		Aaj Jane Ki Zid Na Karo, Sham-E-Firaq Ab Na Poochh, Mohabbat Karne Wale, Donon Jahan Teri Mohabbat, Dil Jalane Ki Baat, Tere Pyar Mein Ruswa, Suey Maikada Na Jate, Aashiq Ke Liye	EMI Pakistan
Tum Lakh Mujh Se	Ghazal Collection		Tum Lakh Mujh Se Parda Karo / Grifta Dil Hain, Maston PeUngliyan, Tum Lakh Mujh Se Parda, Hail Aisa Nahin Ke Tum, Dono Jahan Teri Nohabbat, Hum Bhi Kya Zindagi, Koun Iss Rah Se, Tumhari Anjuman Se, Rah Dekhain Gay, Etc.

Vishwa Mohan Bhatt, Farida Khanum
for Kapurthala festival
Heritage walk to be held on Friday morning
Dharmendra Joshi
Tribune News Service

Farida Khanum

Destined to be Queen

Farida Khanum wanted to be a Khayal singer, but Partition changed all that, the Ghazal Queen tells ANJANA RAJAN

PHOTO: R.V. MOORTHY

REFLECTION OF AN AURA Farida Khanum symbolises ghazal and thumri, but she calls it destiny's decision

It may be an old, old cliché, but it remains true that no matter whether the politicians blow hot or cold, the ordinary people of India and Pakistan will always manage to transcend borders with the power of music. Classical music's badshah Bade Ghulam Ali Khan, melody queen Noor Jahan, ghazal king Ghulam Ali... these are only some of the names that spring to mind as examples of artistes who lived in the hearts of their fans, no matter which side of Wagah they ended up on. That doesn't mean they didn't suffer though. Take Farida Khanum, Ghazal Queen to her fans, who is in India to open The Hindu Friday Review Music Fest that takes off this Friday in Chennai.

Meticulous

Recalling her early years of training as a youngster in Kolkata and later in Amritsar, the pain in her voice is still palpable after nearly six decades. "I started learning Khayal at the age of seven," recalls the veteran, who trained under her sister the renowned Mukhtar Begum and also the Patiala gharana stalwart, Ustad Ashiq Ali Khan. "We started with basic swara exercises. I first learnt the morning raga Bhairav. The afternoon raga I was taught was Desi Todi. It was very meticulous training. My ustad taught with great care. For two years we did only these two ragas. Then fate brought about the Partition, and we were all separated. You can imagine how it was, going to pardes. It took us so long to find our feet. I could not attain the heights I would have liked."

As she describes it one remembers the legend of Tansen. The musical genius of the 16th Century, they say, was deliberately separated from his village sweetheart by Emperor Akbar, at whose court he was a prized jewel. The emperor's justification for this injunction was that the pain of unfulfilled love would translate into exquisite music. Whether Tansen would have made his seminal contribution to the development of Hindustani music even without this punishment can be debated, but it seems certain that, had Partition not made her into a Pakistani citizen, Farida Khanum would have been not a queen of ghazal and thumri, but an eminent classical singer. If fate separated her from her motherland, it also gave her a place in the hearts of ghazal fans across the world.

"Yes," she concedes, "but in the old days I would elaborate a single raga for two-three hours at a stretch. In those days there were great singers like Roshanara Begum, Bade Ghulam Ali Khan (also her guru's disciple) and Amir Khan.

I thought I could never reach such pinnacles. So I decided to concentrate on ghazals and thumris. It is thanks to the love of my audiences, and the blessings of God that I have been this successful.

Having given her first concert in 1950, she has remained a beloved performer and recording artiste apart from a few years' break caused by marriage and domesticity.

Known for an unobtrusive use of accompanying instruments, she has seen the ghazal scenario become fancier.

Her own songs are selected from the works of celebrated poets like Faiz Ahmad Faiz, Daagh Dehlavi, Agha Hasher Kashmiri and Sufi Tabassum. Meantime, have lyrics been drowned out by musical ornamentation?

Listeners' preference

"Well, the ghazals popularly chosen are also of a lighter mode nowadays, the geetnuma ghazals. But then listeners too prefer lighter stuff. So the ghazal exponents have compromised to the extent that at least the audiences remained interested. There is indeed gayaki (musicality), even if it is in a lighter mode. Look at Jagjit ji (Jagjit Singh). When he sings, there is poetry, musical quality, and simplicity too, so ordinary folks can understand. That's a good approach. He didn't go towards, say, pop. Similarly, Ghulam Ali ji has brought his own style into the ghazal and it is much appreciated. So ghazal singers have managed to make their mark even without concentrating exclusively on sher-o-shayari (poetry)."

Adds the modest matriarch, "When I sang in Delhi and other cities last year, however, I found young people interested in the actual lyrics. It made me very happy