In Hindi cinema, the custom of ‘hori’, celebrating the love of Radha and Krishna, has all the time been large
It is difficult to think about Indian festivals with out music. As most festivals are related to the change of seasons and the arrival of a brand new crop, tune and dance present a possibility to cherish the previous and embrace the brand new. Holi assumes a particular place in music as a complete style referred to as Hori is devoted to the pageant. In the classical format, it’s nearer to Dhrupad, whereas in semi-classical it’s embellished with parts of Thumri. Sung throughout the Gangetic belt, Horis, set to Dhamar taal, have a good time the divine romance between Radha and Krishna.
Over the years, Hindi cinema has drawn extensively from semi-classical and folks music, and Holi songs present a terrific alternative not simply to tease the beloved but additionally to make an announcement.
V. Shantaram not solely captured the colourful nature of the pageant in ‘Arey ja re hat natkhat’ (Navrang, 1959) but additionally how the day encompasses gender equality. More than seven-minute lengthy, lyricist Bharat Vyas imbues the tune with fascinating wordplay the place the woman says, ‘Arey ja re natkhat, na chhoo mera ghoonghat, palat ke doongi tujhe aaj gaari re, mujhko na samjho tum bholi bhali re’ (don’t contact my veil, I’ll give again in the identical language; don’t contemplate me docile) and the boy responds: ‘Meethi lage aaj teri gaari re’ (your abuses sound candy at the moment).
Some of the most effective Holi songs mirror the composite tradition of the Hindi movie trade. Mehboob Khan, Naushad and Shakeel Budayuni had a knack for creating Holi songs to depict the stream of time. In Mehboob Khan’s Mother India (1957), Shamshad Begum sings ‘Holi aayi re kanhai rang chhalke’ as Naushad brings Western music-model orchestration into play.
Naushad and Shakeel mixed once more to create ‘Tan rang lo ji aaj man rang lo’ for S.U. Sunny’s Kohinoor. But earlier than that, the duo had already hit the best chord with ‘Khelo rang hamare sang aaj din rang rangeela aaya’ in Aan (1952). Picturised on Dilip Kumar, Nimmi, Nadira and Premnath, it’s once more used as a story gadget by director Mehboob Khan and brings out the egalitarian thought behind the pageant with traces like ‘aaj koi raja na koi rani hai.’
A Holi tune that very simply involves thoughts is “Rang barse bheege chunar wali’ from Yash Chopra’s Silsila. Sung by Amitabh Bachchan and composed by Shiv-Hari (Pt. Shiv Kumar Sharma and Pt. Hariprasad Chaurasia), the tune has outlived the movie.
They wished a Hori and it was Yash Chopra who got here up with the concept that they need to method Harivansh Rai Bachchan, who was in Bombay these days, to write down the tune. He got here up with the lyrics, primarily based on a rural folks tune.
Holi songs have additionally been used to underline or mitigate social evils. In Kati Patang’s ‘Aaj na chhodenge… khelenge hum Holi,’ Shakti Samanta used the tune to painting the sorrow of widows who’re anticipated to steer clear of colors. In a radical transfer, the tune ends with the heroine’s (Asha Parekh) white sari doused in gulal.
Anand Bakshi and R.D. Burman mixed once more in Sholay the place the pageant performed an important half within the narrative to create ‘Holi ke din dil mil jaate hain, rangon fundamental rang mil jaate hain’.
As Hindi movie music grew to become much less lyrical and the pageant extra bodily, Holi songs have been more and more diminished to poor variations of ‘Rang barse’ or grew to become simply an excuse to drench our bodies. But not too long ago, sanity was restored with Sanjay Leela Bhansali’s Bajirao Mastani, the place Birju Maharaj and Shreya Ghoshal mixed to create the lyricism of yore with ‘Mujhe rang do laal nand ke lal’.