Tag Archives: Jaan Nisar Akhtar

In 1962 Mohammed Rafi cheered troops on China border

Mumbai, MAHARASHTRA /ALL INDIA :

Mohammad Rafi and Dilip Kumar
Mohammad Rafi and Dilip Kumar

Contrary to the popular notion that wars are fought by the armies alone, the whole nation including Bollywood personalities and leading artists get involved in the national efforts to fight the enemy.

The Chinese invasion in October 1962 was a shocking moment for India. Traditionally, India had supported China at every international forum for at least half a century. The invasion was the least expected from China and India was not at all prepared for it. Prime Minister Jawaharlal Nehru urged the nation to stand united in that hour of emergency and in response Indians donated generously to the National Defence Fund.

The film industry did not lag. Film Industry’s war efforts were led by legendary filmmaker Mehboob, singer Mohammed Rafi and music composer Mohammed Zahur Khayyam Hashmi (Khayyam).

In less than a week they collaborated to produce two music videos, which were to be played in film theaters, on the radio, and on the roadsides to raise funds for the war.

One of those two songs, “Awaz do hum ek hain…”, by Jaan Nisar Akhtar is now a popular political slogan in India. On Nehru’s call to the nation, Jaan Nissar Akhtar wrote the song to which music was given by Khayyam and the voice by Mohammad Rafi. The song is an invocation to Indians to unite in the face of an invader became a national passion and remains so till today.

The song starts with:

ek hai apni zameen, ek hai apna gagan

ek hai apna jahaan, ek hai apna watan

apne sabhi sukh ek hai, apne sabhi gham ek hai

Aawaz do ham ek hai

(We have a common earth, we have a common sky

We have a common world, we have a common motherland

All our joys are common, all our sorrows are common

Say it aloud that we are one!)

The powerful lyrics were turned into a national rage by the soulful singing of Rafi. Jago watan khatre me hai, sara chaman khatre me hai (wake up our motherland is under threat, whole garden is under siege) and dushman se nafrat farz hau, ghar ki hifazat farz hai (hating your enemy is a duty, to guard your home is a duty), aroused patriotic emotions among millions of Indians. The song asks the youth to join the army and fight the aggressor.

The song was picturized on Rajendra Kumar, Sunil Dutt, Raj Kumar, and Kamal Jeet.

Another song produced along with this was written by Sahir Ludhianvi, “watan ki abroo khatre main hai…” (dignity of the nation is under threat). It was also produced by Mehboob and sung by Mohammed Rafi. The song specifically points to the Panchsheel pact and other friendly gestures made by India towards China. It says,

Wo jinko saadgi mein hamne

Aankhon par bithhaaya thha

Wo jinko bhai kehkar

Hamne seene se lagaaya thha

Wo jinki gardanon mein haar

Baahon ka pehnaaya thha

Ab unki gardanon ke waaste

Talwaar ho jaao

(The people we honoured because of our innocence

The people we embraced and called brothers

The people we received with love

Now, do become swords for their throats)

The song also points toward the internal threats at the time of war.

Khabar rakhna koi gaddaar

Saazish kar nahin paaye ae

Nazar rakhna koi zaalim

Tijori bhar nahin paaye ae

(Be vigilant that no traitor conspires against the nation

Be vigilant that nobody makes money out of our war efforts)

The song was picturized on Dilip Kumar, Rajendra Kumar, Raj Kumar, and Kamal Jeet in a video produced by Mehboob.

Lorries with speakers would roam around playing these songs and prompting people to donate generously. It is said that when one such procession reached the house of Shammi Kapoor his wife actor Geeta Bali started crying. She rushed inside her house and told Shammi that she needed to do something for the nation. Geeta took all her jewelry, even the pieces she wore, and gave it away for war.

Rafi felt that singing in the safety of Mumbai was a disgrace in the line of his national duty. He discussed with Dilip Kumar and urged PM Nehru to send them to the border. What would they do there? Rafi felt that his songs could boost the morale of Indian soldiers and the presence of Dilip Kumar would assure the troops that the whole nation is standing behind them.

It was a dangerous mission. It was unprecedented for the artists to perform at the war front. In the cold, Rafi and Dilip reached the war frontier. He sang songs, interacted with soldiers, and boosted their morale. Dilip Kumar later recalled, “needless to say he was the star attraction with the jawans and the young newly commissioned officers”.

After the war ended with a ceasefire the collected funds were used to recover the economy and modernizing the Army.

On 27 January 1963, Mehboob organized an event in Delhi where he invited.all the prominent film stars to perform in the presence of President S Radhakrishnan and PM Jawaharlal Nehru. The event is often remembered for the rendition of “Aey mere watan ke logo…” by Lata Mangeshkar and Mohammad Rafi sang two songs. One was written by Shakeel Badayuni and its music was composed by Naushad, “Apni azadi ko hum hargiz mita sakte nahi.” The song was later adapted into the film Leader and the other was “Kar chale hum fida….” written by Kaifi Azmi and composed by Madan Mohan, which was later adopted in Haqeeqat, a movie based on the India-China war.

The fact that Rafi went to the war frontier and stayed there for a few days to play what turned out to be a big morale booster for the troops remains an unprecedented manifestation of one’s sense of responsibility towards his country.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Culture / by Saquib Salim / December 24th, 2022

Majrooh Sultanpuri: The wounded heart

Nizamabad Town (Azamgarh District) UTTAR PRADESH / Mumbai, MAHARASHTRA  :

MajroohSultanpuriMPOs21feb2020

A committed communist, Majrooh Sultanpuri wrote about matters of love and freedom with equal conviction

Main akela hi chala tha janib-e-manzil magar

Log saath aate gaye aur karvan banta gaya

( I set out towards my destination all alone but people began to come along and a caravan was formed.)

With the exception of master poets like Mir Taqi ‘Mir’ or Mirza Ghalib, it seldom happens that an Urdu couplet becomes so popular and is quoted so often that it becomes part of everyday speech and people do not even remember the name of its creator. This is what happened to the above quoted couplet of Majrooh Sultanpuri whose enormous contribution to the Hindi film industry was acknowledged when he became the first lyricist to be decorated with the prestigious Dadasaheb Phalke Award in 1993. In 2013, a commemorative postal stamp was also issued on him.

Hindi literary journal Yugtevar has come out with a special number (January-March, 2020) on him to celebrate his life and work. It offers detailed information about the poet and contains critical appraisals and reminiscences written by, among others, top Urdu critics such as Prof. Shamim Hanfi, Urdu poets like Ali Sardar Jafri and Javed Akhtar, Hindi poets like Subhash Rai, and singers such as Lata Mangeshkar. A selection from his poetry has also been given in the concluding section of the journal.

Majrooh was born on the eve of Id as Asrar ul Hasan Khan in town Nizamabad that fell under police station Sarai Mir in Azamgarh district where his father Sirajul Haq Khan was posted as a police constable although his family belonged to village Ganjehdi near Sultanpur. There seems to be some confusion about the year of birth while the date is unanimously given as October 1. In his article, Akhtar Farooqui mentions 1918 as the year of Majrooh’s birth but Utkarsh Singh settles for 1919 while Rekhta website takes it back to 1915.

Asrar ul Hasan began writing poetry at an early age using the pen name ‘Naseh’ (religious preacher). As a young lad, he fell in love with a girl but failed to receive her affections. Soon, on the advice of his close friends, he became Majrooh (wounded) to the world and remained so until the end. Little wonder that his song “Jab dil hi toot gaya” in film Shahjehan remains hugely popular even now after more than 70 years. Initially, he wrote songs and lyrical song-like nazms but soon turned towards ghazal. As Prof. Shamim Hanfi recalls, in a creative life spanning nearly 60 years, he wrote only fifty odd ghazals and two notable nazms, besides penning more than two thousand film lyrics.

Traditional physician

Young Asrar ul Hasan studied Unani medicine to train as a traditional physician but he practised for only a few years as a Hakim appointed by Sultanpur District Board. He studied Arabic and Persian in Sultanpur and Tanda. While training to become a Unani hakim in Lucknow, he took admission in a music college to learn classical Hindustani music. However, his destiny was not to sing but to write songs for others to sing.

Top Urdu poet Jigar Muradabadi had noticed Majrooh’s talent and Majrooh too treated him as his ustad. He wrote that although Jigar never advised him on his ghazals, but he did shape his poetic temperament. Jigar Muradabadi was the uncrowned king of mushairas (poetic soirées) and he took Majrooh to Bombay (now Mumbai) in 1945 to take part in a mushaira where Majrooh proved to be a big hit. A R Kardar wanted Jigar to write songs for his film Shahjehan but Jigar recommended Majrooh’s name. Thus, the film lyricist was born. Perhaps, it it not common knowledge that Majrooh, whose mother tongue was Awadhi, wrote lyrics for a number of Bhojpuri films too and was a great success.

Impressive persona

It was during the Emergency when Majrooh Sultanpuri and Jaan Nisar Akhtar came to Jawaharlal Nehru University. Majrooh’s was a very impressive persona and he recited his ghazals in a tuneful but robust voice. And, fearlessly, he recited a ghazal that had shades of Kabir in it as it challenged the injustice and oppression. This couplet continues to resonate with me even today.

Sutoon-e-daar par rakhte chalo saron ke chiragh

Jahan talak ye sitam ki siyaah raat chale

(March ahead while placing the lamps of our heads on the opening of wounds till the dark night of oppression lasts.)

This was a poet who had spent two years in jail for reciting a poem at a mill union workers’ meeting in 1949 that harshly criticised the then prime minister Jawaharlal Nehru. A committed communist and member of the All India Progressive Writers’ Association (AIPWA), he followed the communist party’s line that held “Yeh aazadi jhoothi hai” (This freedom is false). The Maharashtra government slapped a case on him and asked him to seek forgiveness if he wanted to avoid jail.

Instead, Majrooh went underground and appeared in public in 1951 to attend a meeting organised to protest the arrests of Faiz Ahmed ‘Faiz’, Sajjad Zahir and others in Pakistan in the Rawalpindi Conspiracy Case. He was arrested after the meeting was over.

Majrooh breathed his last on May 24, 2000.

source: http://www.thehindu.com / The Hindu / Home> Books> Authors / by Kuldeep Kumar / February 20th, 2020