Kajri 2012 Full Version Free Download
Vaniria Setser
Unlike any other music of the world, hindustani classical music is not only abundant with songs for various moods of the human mind, but also songs for every hour of the day and season of the year. Monsoon, being an unique phenomenon in this part of the world, has an important place in our music.
The possible origination of this folk genre is credited to the incidents where mostly men from small villages used to migrate to cities in search of livelihood. Often they had to leave their newly-weds behind in the village. The lament of separation from both the motherland and spouse led to the birth of Birha. The genre is extremely popular among the farmers and laborers in eastern Uttar Pradesh and Bihar.
In the mid-nineteenth century thousands of laborers from eastern Uttar Pradesh and Bihar were taken to Caribbean (West Indies) as sugar plantation laborers. In fact, the laborers and their descendents who now constitute a sizable population in the Caribbean still love this song genre. The best example of this is the growing popularity of Chutney Music, the Soca-Samba version of Birha, in the west especially in the Caribbean Islands.
Twenty centuries ago, the essential role of music of India was deemed to be purely ritualistic. Much part of Indian music is folk music. Indian classical music is said to have evolved out of the fusion of these. It is presumed that folk music existed long before the Aryans in India. Indian classical music has become unique in the world.
Winding 2,510 km across northern India, from the Himalaya Mountains to the Indian Ocean, the Ganges river is NOT just a flowing body of H2O (water), but a whole culture and way of life to India. Innumerable stories, plays, songs, movies, history is woven along the wild journey of this mighty river. From the small but wild Himalayan birth to the mighty, fast paced or silent journey into the fertile Indo Gangetic Plain, and cities of Allahabad, Benaras, Patna and Kolkata, the Ganga is a major contributor to the political history and spiritual culture of this subcontinent.
I am also very happy to tell you all, that this eSnips folder has attained Google Page Ranking of 3 within two months. This blog too has a ranking of 4 and my other blog Indian Raga at Blogger has a Google Ranking of 2. Both these were created about the same time as my eSnips folder. This just proves that hindustani classical music is becoming more popular than ever before.
In Indian music tala, tal or taal is the rhythmic cycle of a specific number of beats. A specific tala are expressed as compound nouns, sometimes split into two words. Throughout this text the convention is to give them as one word. Jhaptala consists of ten beats. Chautala is one consisting of 12 beats. Ektala is also 12 beats but the term is the one used for tabla rather than chautala which is associated with pakhawaj.
There are many, many singing styles and it is only possible to explain a little about the most frequently encountered. Classical song forms tend to be separated into classical and light classical (sometimes called semiclassical) forms. Light classical forms include ghazal, bhajan and qawwali. Classical forms include thumri and dhrupad. Folk styles are even more numerous. Many folk styles relate exclusively to particular regions, religions or musician castes
Tappa is a song genre popularly and romantically supposed to have arisen from the songs sung by the camel drivers of the arid northwestern regions of the subcontinent. The language it is most frequently sung in is Punjabi. It is typified by passages in fast tempos.
Sawani Shende is a very popular up-and-coming vocalist of her generation. She is a student of Smt. Veena Sahastrabuddhe, a well known classical vocalist of international repute. Sawani has performed in prestigious music conferences all over India and also toured U.S.A/Canada in 1998. She has received prestigious awards like Pt. Jasraj Gaurav Puraskar, Smt. Manik Varma Puraskar and Pt. Ramkrishnabua Vaze Puraskar. Sawani has several cassettes and CDs to her credit.
An Arabic dubbed-version premiered on Zee Aflam under the name "Al Banat Zinat Al Bayt" - girls are the beauty of the house/"البنات زينة البيت", the second season aired on 16 April 2014.
Suryakant Garodia is married to Savitri and has four daughters named Saraswati, Gauri, Durga, and Lakshmi. He is adamant about having a son so that he continue the family dynasty and inherit the wealth. As Savitri's body cannot bear another pregnancy due to the consistent births year after year, Suryakant marries Menka, who gives birth to Yuvraj. Suryakant abandons and neglects his daughters and first wife while spoiling Yuvraj, who grows up insolent and arrogant.
Menka wishes to have sole rights to the household and wealth and seeks to get rid of the daughters as soon as possible by arranging marriages for them. She orchestrates Saraswati's marriage to Bhavishya Kapadia, an abusive man. However, Saraswati's childhood lover, Kshitij, saves her when Bhavishya attempts to set her on fire. After a lengthy trial, the sisters win the case. Saraswati, having avenged Bhavishya's actions and revealing the truth, becomes pregnant and eventually marries Kshitij.
The youngest, lively Lakshmi is to wed Satyakam, who also helps find clues against Bhavishya, but he dies, leaving her in a state of shock. She later meets Karan, who has come to the Gadodias to avenge his mother, who was actually harassed by Menka's brother Rasik. She marries him, where after she realises his real intentions of revenge, but insists her dad's innocence to no avail. Karan completes his revenge, leaving Suryakant in mental shock who disappears by falling down a mountain. The family believes he is dead. Laxmi begins to hate Karan at this point as he did not pay need to her when she begged him not to avenge her father. Realising his mistakes, Karan sets on a conquest to find Suryakant alive. He then remarries Lakshmi after she forgives him, but soon dies thereafter due to acknowledging an ancient family secret which, when exposed, bring shockwaves to the Gadodia family. Soon this secret is revealed, disclosing the fact that Menka deceived the family and gave birth to a daughter instead of a son years before. To the family's realisation, they seek their long lost daughter only to find she has been sold to a cat-house in Mumbai and is one of the most sought for prostitute at that place. Jhumki soon begins mingling with the family after defaming them, facing her own hurdles in love and marriage due to her past. Her first encounter is unsuccessful, but she soon meets Nikhil.
Yuvraj is now trapped by another prostitute, Kajri, whom he disguises as a traditional woman, Pavitra, to fool his family and marries. He is greedy and rebukes his mother. The sisters discover his secret, and Suryakant disowns Yuvraj. After accepting Yuvraj back into the family, he devises a plan with Kajri to take all the family wealth, which becomes a reality. The property is now in his name, and he throws everyone out of Gadodia Niwas, living there peacefully with Kajri and the brothel owner, Rasili Bai. The daughters fight back to reclaim the rightful property for their father. Eventually, Suryakant pays the price for Yuvraj's mistakes through his demise. Kajri begins to blackmail Yuvraj, controlling all the family wealth while enslaving the family.
As the show ends, Gauri is married to Akash Shah, Durga marries Bhavishya's lookalike Ranbir Dhawaan, and Saraswati reluctantly accepts the alliance. Lakshmi marries a mentally disturbed man with a brutal history of violence who is later cured in Australia. Jhumki, who changed her name to Jhanvi, marries Nikhil and moves to her husband's home, facing patriarchal trouble and female oppression at her in-laws, which is eventually overcome with the daughters proving they are equal to men.
Most people know Mahendra Mishra (or Misir) as a noted folk singer from the region, credited with popularising the Poorvi genre of Bhojpuri music, which also includes Kajri, Baramasa, Jatsaar and Chait, popular in parts of Bihar and neighbouring Uttar Pradesh state.
Mishra was born on March 16, 1886, to Shivshankar Mishra and Gayatri Devi in Mishrauliya, about 10km (six miles) from the district headquarters of Chhapra, where a majority of people worked in subsistence farming.
On the one hand, Mishra was inspired by the bodybuilders at the akhada who spent hours working on their chiselled bodies, while his evenings were spent in the company of singers chanting hymns in praise of the Hindu deity, Lord Rama.
A lack of interest in conventional education resulted in Mishra being sent to a Sanskrit language school in the same village, run by Pandit Nanhu Mishra. That too never caught his interest, and he eventually dropped out of school altogether and dedicated his time to poetry.
The British ruled India with an iron fist as one of their many colonies and suppressed any uprisings. On one occasion, when Mishra was bound for a music festival near Kharia in Bihar, some elders chided him for pursuing music at a time when the country was in the shackles of colonialism.
Most left in the hope of a better future, never to return home to their families. This separation gave rise to a distinct genre of music called Birha, where songs about migration were composed by Mishra and others.
The other version, narrated by his grandson Ramnath, suggests Mishra was introduced to some leaders of the independence movement in Kolkata and was given the machinery so he could help the freedom fighters.
Mishra returned to Mishrauliya after his jail term and continued to make music. He died on September 28, 1946, less than a year before India got its independence, leaving the next generation to enjoy the fruits of his labour, the way thousands of other freedom fighters did before him.
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