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Alaap | Ali Hafeez | Labrez Afzal | Alaap | Raag | Marwa Part 1\2 2 недели назад



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Alaap | Ali Hafeez | Labrez Afzal | Alaap | Raag | Marwa Part 1\2

The practitioners of the dhrupad in Punjab who belonged to the Talwandi gharana found barely any audience in post-1947 Pakistan due to the ‘antiquity’ of their art. One such surviving musician, Ustad Hafiz Khan Talwandi, who was taught by his father Miyan Mehr Ali Khan, still practises and teaches in Lahore, although his repertoire and teaching discourse has undergone unusual transformations in order to gain legitimacy in a Muslim country. He believes that the dhrupad is not simply ancient Hindu temple music – a common assumption in India and elsewhere – but can also invoke ruhaniyat (Islamic spirituality) through its rendition. In his effort to re-interpret the dhrupad, Hafiz Khan believes that the Sanskrit word alaap (the slow opening improvization in a raga performance) is actually a compound for an Urdu phrase ‘Allah Aap’ (God Thyself). I would recommend reading the whole article which is very easy to read but highly informative and a great survey of classical/folk music development in post 1947 Pakistan.

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