Ghazals India, in all
humility, finds itself imbued with the purpose of:
- Reviving and rejuvenating the Ghazal
and restoring it to its pure, pristine form
- Bringing together, under one
umbrella, the various Modes and Styles that befit the Ghazal
- Removing the superfluities and
frills and all unnecessary treatment the Ghazal is being subjected
- Bringing out the difference between
Music and the Imitation of Music
- Bringing to the
masses talents that deserve a far wider audience; voices not oft-heard but that must be heard.
- Introducing to the ghazal Poetry,
both traditional and contemporary, which has not been sung before.
- Going beyond the Sameness of Voice,
Style, and Poetic content, to distinct individual voices and styles.
- Reaffirming the truth, that Talent is
not confined to those who we normally hear or associate
with the Ghazal; that there is other talent, no less abundant, which
has either not come to the forefront for one reason or another, or
has not reached the larger audiences that it needs to address. We find that different Ghazal singers
are either rendering the same poems in the same tone and mood as
some prominent Ghazal singer or the same poem composed a little
differently. There is sameness about the Poetry that is sung. One
finds, for example, the same ghazals of Ghalib or Faiz or Ahmed Faraz,
sung by a number of Ghazal singers.
- Promoting the idea that in this Art
Form, Poetry comes first, and is the starting point of the fusion of
the three forms of expression mentioned above. It is also the
catalyst, which serves to bring about a chemical reaction between
the three distinct streams of expression. What is rendered by words
beautifully is likely to be expressed with as much beauty, by the
Vocalist and the Musician. The Heart, which speaks the truth,
strikes a chord and finds beauty of expression in all Art Forms.
Ghazals India (GI) wishes to bring out new poetry, which has not been sung before and is therefore known only to those who have read it. It would endeavour to revamp the poetic content of Ghazals, as they are sung. We find that most of our Ghazal singers do not have the comprehension of poetry, that would enable them to cull out poems that can be vocally rendered, or the confidence to experiment with style. The beaten track is normally followed, leading to duplication, distortion and decadence.
We also find that many of our Ghazal
singers cannot fully understand the import of a poem and therefore
sing only with voice, not with meaning. GI intends to bring forth
Voices that have understood and assimilated the poetry, and are
therefore imbued with the poetic content. Comprehension of Verse can
add volumes to Ghazal rendering.
The voices we bring forth would be of
those who are, and have been recognized as, true exponents of the
Great poetry is not often as suitable
for a Ghaza, as good lyrical poetry. The latter may have a far
greater reach, on account of simpler diction. Not all poems of
Ghalib, Iqbal or Mir can be sung to advantage. The basic concept or
starting point of the Ghazal as Poetry was in the shape of a
dialogue between lovers. This concept has extended to form being
used as a medium of address from one to another or from one to many.
There is only a certain kind of poetry, which is suitable for
musical recitation of a Ghazal, by virtue of form, content, and
lyrical quality. It could be the general poetic style of Shakeel,
Jigar or Majrooh of selcted poems of Ghalib, Zauq, Sauda and Momin,
chosen by virtue of their appropriateness to singing.
GI wishes to select poets whose
poetry is suitable for Ghazals and to select poems of good or great
poets, which are meant to be sung.
We are of the belief that the Naghma or
Geet style is also appropriate for the Ghazal and the Ghazal can
adapt to faster beats than has been thought possible.
We are of the opinion that the Ghazal,
couched in simple language, expressing human concerns, can be
understood and appreciated by all.
Popular taste needs to
be changed. We must go beyond jingles to meaningful lyrics and Pure
Music that touches the heart, mind and soul.
Finally, we believe that our
own music has no parallel, and ultimately we would reach beyond the
prevailing Western influences, to find the purest strains of music in
our abundantly rich Cultural Heritage.