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53-475: Traditional Tamasha is influenced by many Indian art forms and draws from such diverse traditions as kaveli , ghazals , Kathak dance, dashavatara , lalit and kirtan . There are two types of Tamasha: dholki bhaari and the older form, sangeet baari which contains more dance and music than drama. In Maharashtra, the Kolhati groups are traditionally associated with the performance of Tamasha. The word "Tamasha"

106-710: A spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry. Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love ( ishq-e-haqiqi ). Others are about earthly love ( ishq-e-majazi ), but many can be interpreted in either context. Traditionally invoking melancholy, love, longing, and metaphysical questions , ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia , and gained prominence in

159-419: A distinct form in late Peshwa period of Maratha Empire , in the 18th century, and incorporated elements of older traditional forms like Dasavatar, Gondhal, Kirtan , and Waghya-murali, part of Khandoba Bhakti Geet, amongst worshippers of the local god Khandoba . In Maharashtra, there are two types of Tamasha, first is dholaki fadcha Tamasha and the other is sangeet baaricha Tamasha. Dholaki Fadcha tamasha

212-400: A ghazal's couplets do not need a common theme or continuity. Each sher is self-contained and independent from the others, containing the complete expression of an idea. However, the shers all contain a thematic or tonal connection to each other, which may be highly allusive. A common conceit that traces its history to the origins of the ghazal form is that the poem is addressed to a beloved by

265-505: A gradually accepted part of the ghazal form, and by the time of Saadi Shirazi (1210–1291 AD), the most important ghazal poet of this period, it had become de rigueur. The second marked change from Arabian ghazal form in Persian ghazals was a movement towards far greater autonomy between the couplets. The ghazal later spread throughout the Middle East and South Asia. It was famous all around

318-409: A higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman. The ghazal

371-615: A spread of the Arabic language in that country. In medieval Spain, ghazals written in Hebrew as well as Arabic have been found as far back as the 11th century . It is possible that ghazals were also written in the Mozarabic language . Ghazals in the Arabic form have also been written in a number of major West African literary languages like Hausa and Fulfulde . However, the most significant changes to

424-469: A tribe or ruler, lampoons, or moral maxims. However, the qaṣīda's opening prelude, called the nasīb , was typically nostalgic and/or romantic in theme, and highly ornamented and stylized in form. In time, the nasīb began to be written as standalone, shorter poems, which became the ghazal. The ghazal came into its own as a poetic genre during the Umayyad era (661–750) and continued to flower and develop in

477-497: A volume of "real Ghazals in English". Ghazals were also written by Moti Ram Bhatta (1866–1896), the pioneer of Nepali ghazal writing in Nepali . Ghazals were also written by Hamza Shinwari , He is known as the father of Pashto Ghazals. Enormous collections of ghazal have been created by hundreds of well-known poets over the past thousand years in Persian, Turkish, and Urdu as well as in

530-458: Is a form of amatory poem or ode, originating in Arabic poetry . Ghazals often deal with topics of spiritual and romantic love and may be understood as a poetic expression of both the pain of loss or separation from the beloved and the beauty of love in spite of that pain. The ghazal form is ancient, tracing its origins to 7th-century Arabic poetry. The ghazal spread into the Indian subcontinent in

583-440: Is a loanword from Persian , which in turn loaned it from Arabic , [3] meaning a show or theatrical entertainment of some kind. The word has spread to Armenian , Hindi , Urdu and Marathi , to mean "fun" or "play". In Armenian language "To do Tamasha" means "To follow an interesting process or entertainment". Colloquially the word has come to represent commotion, or any activity or display with bustle and excitement, sometimes in

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636-414: Is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable . Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of

689-465: Is complete art, which includes song, dance, and theater. Now in Maharashtra there are only 18 to 20 full-time tamasha parties. Each tamasha mandal performs approximately 210 days in all over Maharashtra and also some border villages of Karnataka and Gujarat. Traditional Tamasha format consisted of dancing-boys known as Nachya , who also played women's roles, a poet-composer known as Shahir , who played

742-540: Is considered the most important Persian ghazal poet of this period, and the founder of classical Persian literature. The Persian ghazal evolved into its own distinctive form between the 12th and 13th centuries. Many of those innovations created what we now recognize as the archetypical ghazal form. These changes occurred in two periods, separated by the Mongol Invasion of Persia from 1219 to 1221 AD. The 'Early Persian poetry' period spanned approximately one century, from

795-514: Is described as the " golden age of Persian literature in Bengal". Its stature is illustrated by the Sultan's own correspondence with the Persian poet Hafez . When the Sultan invited Hafez to complete an incomplete ghazal by the ruler, the renowned poet responded by acknowledging the grandeur of the king's court and the literary quality of Bengali-Persian poetry. It is said that Atul Prasad Sen pioneered

848-523: Is pronounced [ˈɣazal] . In English, the word is pronounced / ˈ ɡ ʌ z əl / or / ˈ ɡ æ z æ l / . The ghazal is a short poem consisting of rhyming couplets, called bayt or sher . Most ghazals have between seven and twelve bayts . For a poem to be considered a true ghazal, it must have no fewer than five couplets. Almost all ghazals confine themselves to less than fifteen couplets (poems that exceed this length are more accurately considered as qasidas ). Ghazal couplets end with

901-512: The Ghaznavid era (which lasted until 1187) till a little after the Mongol Invasion. Apart from the movement towards brevity, this period also saw two significant and lasting changes to the ghazal form. The first change was the adoption of the Takhallus , the practice of mentioning the poet's penname in the final couplet (called the ' maqta ' ' ). The adoption of the takhallus became

954-459: The Indian caste system . Thus, in the late 19th century, religious reformers employed tamasha to castigate the caste system of the region. During the same period, Satyashodhak Samaj founded by Jyotirao Phule started organizing Satyashodhaki jalsa , which used the tamasha tradition in its political and reformist theatre, which was an amalgamation of proscenium tamasha and street theatre . Government of Maharashtra has instituted annual award in

1007-552: The Ottoman Empire ; Mirza Ghalib and Muhammad Iqbal of North India ; and Kazi Nazrul Islam of Bengal . Through the influence of Goethe (1749–1832), the ghazal became very popular in Germany during the 19th century; the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited

1060-502: The Petrarchan sonnet . In style and content, due to its highly allusive nature, the ghazal has proved capable of an extraordinary variety of expression around its central themes of love and separation. The word ghazal originates from the Arabic word غزل ( ġazal ). This genre of Arabic poetry is derived from غَزَل (ḡazal) or غَزِلَ (ḡazila) - To sweet-talk, to flirt, to display amorous gestures. The Arabic word غزل ġazal

1113-442: The 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate , and is now most prominently a form of poetry of many Languages of South Asia and Turkey . A ghazal commonly consists of five to fifteen couplets, which are independent, but are linked – abstractly, in their theme; and more strictly in their poetic form. The structural requirements of the ghazal are similar in stringency to those of

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1166-664: The 19th century ghazals gained popularity in Germany with Goethe 's translations, as well as with Spanish ghazal writers such as Federico García Lorca . Despite often being written in strong Urdu and rendered with classical Indian Ragas along with complex terminology most usually accessible to the upper classes, in South Asia ghazals are nonetheless popular among all ages. They are most popular in Turkey and South Asia, and readings or musical renditions of ghazals—such as at mehfils and mushairas —are well attended in these countries, even by

1219-617: The Central Asian Turkic languages. Ghazal poems are performed in Uzbek-Tajik Shashmakom , Turkish Makam , Persian Dastgah and Uyghur Muqam . There are many published translations from Persian and Turkish by Annemarie Schimmel , Arthur John Arberry and many others. Ghazal "Gayaki", the art of singing or performing the ghazal in the Indian classical tradition, is very old. Singers like Ustad Barkat Ali and many other singers in

1272-473: The Indian subcontinent in the 18th and 19th centuries Vin bahs bā salāse-ye ghassāle miravad And with the three washers (cups of wine), this dispute goeth. Shekkar-shekan shavand hame tutiān-e Hind Sugar-shattering (excited), have become all the parrots (poets) of Hind , Zin qand-e Pārsi ke be Bangāle miravad. That this Persian candy [ode], that to Bengal goeth.  – Jointly penned by Azam Shah and Hafez The ghazal

1325-713: The Shahir along with his chorus, with actors improvising their lines. Popular Vag composers of the time were Patthe Bapurao and Dattoba Sali, and one of their noted vag, Gadhavache Lagna (Marriage of Donkey) was popularized by Tamasha artist, Dadu Idurikar. Soon, noted Marathi writers started written Vags for Tamasha troupes. Lokshahir Bashir Momin Kavathekar wrote extensively for the famous Tamasha Troupes like Datta Mahadik Punekar, Raghuvir Khedkar, Kalu Balu Kawalapurkar, Surekha Punekar. Bashir Momin (Kavathekar) wrote short vag-natya based on

1378-510: The development the Bollywood idiom, which is based in Mumbai. Even today, the mainstream cinema or Masala films , complete with their suggestive dance numbers, now known as item number , and humour sequences remain largely entertainment oriented. Over the years, some modern theatre practitioners have incorporated the traditional forms like tamasha and dashavatar into their plays. In the 1970s, during

1431-616: The early Abbasid era. The Arabic ghazal inherited the formal verse structure of the qaṣīda , specifically, a strict adherence to meter and the use of the qafiya , a common end rhyme on each couplet (called a bayt in Arabic and a sher in Persian). The nature of the ghazals also changed to meet the demands of musical presentation, becoming briefer in length. Lighter poetic meters, such as khafîf , ramal , and muqtarab were preferred, instead of longer, more ponderous meters favored for qaṣīdas (such as kâmil , basît , and rajaz ). Topically,

1484-499: The field of Tamasha through his prolific lavani's & Vag's. Folk artist Ms Gulab bai Sangamnerkar has been selected for this year 2019's award. The rise of modern Marathi theatre movement in the post-independence era, which was largely "literary drama" from with a Westernized idiom, tamasha like other prevalent indigenous theatre forms, like jatra in Odisha and bhavai in Gujarat ,

1537-410: The ghazal focus also changed from nostalgic reminiscences of the homeland and loved ones, towards romantic or erotic themes. These included sub-genres with themes of courtly love ( udharî ), eroticism ( hissî ), homoeroticism ( mudhakkar ), and as a highly stylized introduction to a larger poem ( tamhîdî ). During the Umayyad and early Abbasid eras, the ghazal blossomed. It inherited the structure of

1590-451: The ghazal occurred in its introduction into Iran in the 10th century. The early Persian ghazals largely imitated the themes and form of the Arabian ghazal. These "Arabo-Persian" ghazals introduced two differences compared to their Arabian poetic roots. Firstly, the Persian ghazals did not employ radical enjambment between the two halves of the couplet, and secondly, the Persian ghazals formalized

1643-694: The ghazal. Nusrat Fateh Ali Khan , Amanat Ali Khan , Begum Akhtar, Talat Mahmood , Mehdi Hassan , Abida Parveen , Jagjit Singh , Farida Khanum and Ustad Ghulam Ali , Moinuddin Ahamed, are popular classical ghazal singers. The ghazal has historically been one of the most popular poetic forms across the Middle East and South Asia. Even into the modern era the ghazal has retained its extreme popularity among South Asian royalty and nobility, among whom its education and patronisation has traditionally found shelter, especially with several Indian rulers including several Indian Emperors being profound composers of ghazals. In

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1696-514: The introduction of Bengali ghazals. Residing in Lucknow , he was inspired by Persian ghazals and experimented with a stream of Bengali music which was later enriched profusely by the contribution of Kazi Nazrul Islam and Moniruddin Yusuf . "The ghazal was initially composed to a purely religious theme". Now in this era ghazals are more likely to have romantic themes. Can usually be interpreted for

1749-489: The laity. Ghazals are popular in South Asian film music . The ragas to which ghazals are sung are usually chosen to be in consonance with their lyrical content. The ghazal's beauty goes beyond rich or poor, or where you come from. Whether it's spoken in fancy places or sung in everyday life, its powerful words touch deep inside, staying with us for a long time. Girgaum Girgaon , or Girgaum ,( Marathi : गिरगांव )

1802-608: The lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from Amir Khusro 's Persian ghazal Nemidanam che manzel būd shab : namidanam chi manzil būd shab jayi ke man būdam; be har sū raqs eh besmel būd shab jayi ke man būdam. pari paikar negar eh sarv qaad e lalhaa rokhsar; sarapa afat-e del būd shab jayi ke man būdam. I wonder what

1855-642: The memory of late Vithabai Narayangavkar Lifetime Achievement Award for those who had extensively contributed to the preservation and propagation of the Tamasha Art. The award is being conferred since 2006 and noted recipients of the awards are Kantabai Satarkar, Vasant Avsarikar, Sulochana Nalawade, Haribhau Badhe, Mangala Bansode, Sadhu Patsute, Ankush Khade, Prabha Shivanekar, Bhima Sangavikar, Gangaram Kavathekar, Radhabai Khode Nashikkar, Madhukar Nerale. For year 2018, Lokshahir Bashir Momin Kavathekar has been conferred with this award for his lifelong contribution to

1908-498: The narrator. Abdolhamid Ziaei considers the content of old Persian ghazal to include four elements: love, mysticism, education or excellence, and Qalandari. The Ghazal tradition is marked by the poetry's ambiguity and simultaneity of meaning. Learning the common tropes is key to understanding the ghazal. There are several locations a Urdu sher might take place in: hoon garmi-i-nishat-i-tasavvur se naghma sanj Main andalib-i-gulshan-i-na afridah hoon - Ghalib I sing from

1961-992: The origins of Tamasha in the Peshwa period to its contemporary form, where the form competes with modern entertainment mediums. Many books have been written in the Marathi language which dwells on the Tamasha as an art, its problem, artist & their contributions. Few notable books are 'Tamasha-Kala aani Jivan' by Dr Chandanshive, 'Vagsamradni Kantabai Satarkar' by Dr Khedlekar, 'Kalavantanchya Aathavani' by B.K. Momin Kavathekar, 'Gabhulalelya Chandrabanat' (a fictional love story) by Vishwas Patil , 'Tmashatil Songadya' by B. S. Shinde, 'Tamshatil Stree Kalavant- Jivan aani Samasya' by Dr. Sadhana Burade and 'Tamasha Lokrangabhumi' by Rustum AchalKhamb. The word tamasha has been used in book and plays titles, including, Jaipur Tamasha , and theatre company, Tamasha Theatre Company . Ghazal The ghazal

2014-416: The past used to practice it, but the lack of historical records make many names anonymous. It was with Begum Akhtar and later on Ustad Mehdi Hassan that classical rendering of ghazals became popular in the masses. The categorization of ghazal singing as a form of "light classical" music is a misconception. Classical ghazals are difficult to render because of the varying moods of the "shers" or couplets in

2067-516: The poet and musician Ameer Khusrow is not only credited as the first Urdu poet but also created Hindustani as we know today by merging braj , khadhi boli , Hindi , Urdu , Persian and other local dialects. During the reign of the Sultan of Bengal Ghiyasuddin Azam Shah , the city of Sonargaon became an important centre of Persian literature , with many publications of prose and poetry. The period

2120-498: The prevailing situations, challenges and on the topics which requires mass awareness about social issues like dowry, education. Some of his popular vag-natya's are 'Eshkane Ghetla Bali', 'Tambada Futala Raktacha', 'Bhakt Kabeer' & 'Bhangale Swapna Maharashtra'. Momin Kavathekar also wrote songs & Lavani's that enthralled the audiences, helped in sustaining popularity of the 'Tamasha' and earned him 'Vithabai Narayangavkar Lifetime Achievement Award' for his lifelong contribution. As

2173-452: The qaṣīda, focusing on meter and end rhymes. With time, it adapted for musical presentation, becoming shorter. Lighter meters were preferred, and themes shifted towards romance and eroticism. With the spread of Islam , the Arabian ghazal spread both westwards, into Africa and Spain , as well as eastwards, into Persia . The popularity of ghazals in a particular region was usually preceded by

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2226-583: The rise of modernMarathi theatre, the tamasha form was employed as narrative device and style in several notable plays like Ghashiram Kotwal by Vijay Tendulkar , Vijaya Mehta 's Marathi adaptations of Bertolt Brecht 's The Good Woman of Setzuan as Devajine Karuna Keli (1972) and Caucasian Chalk Circle as Ajab Nyaya Vartulacha (1974), P. L. Deshpande 's Teen paishacha Tamasha (1978), an adaptation of Brecht's The Threepenny Opera . The 1972, Marathi hit film, Pinjra directed by V. Shantaram , starring Shriram Lagoo and Sandhya in lead roles

2279-409: The same rhyming pattern and are expected to have the same meter. The ghazal's uniqueness arises from its rhyme and refrain rules, referred to as the ' qafiya ' and ' radif ' respectively. A ghazal's rhyming pattern may be described as AA BA CA DA, and so on. In its strictest form, a ghazal must follow a number of rules: Other optional rules include: Unlike in a nazm ,

2332-409: The sense of "a tempest in a teacup". The region of Maharashtra , has had a long theatrical tradition, one of the early references was found in the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputras Satakarni . The inscription mentions him organizing Utsava and Samaja, forms off theatrical entertainment for his subjects. Tamasha acquired

2385-606: The textile industry started developing in Mumbai (then Bombay) in the 19th century, workers migrated here from the rural areas in large numbers. Soon their theatre did too, initially rural tamasha companies were invited to the city for performances. Though later numerous local tamasha companies flourished, patronized by mill workers living in Girgaum . Traditional tamasha practitioners were from castes like Kolhati, Mahar, Mang and Bhatu from rural regions of Maharashtra, labelled low castes within

2438-494: The thirteenth and fourteenth centuries, thanks to such Persian poets as Rumi and Hafiz, and later to Indian poets such as Mirza Ghalib . In the eighteenth century, the ghazal was used by poets writing in Urdu. Among these poets, Ghalib is the recognized master . Ghazals were written by Rumi , Hafiz and Saadi Shirazi of Persia ; the Turkic poets Yunus Emre , Fuzuli and Nasimi in

2491-469: The traditional role of Sutradhar or a jester known as Songadya , who compered the show. However, with time, women started taking part in Tamasha. Marathi theatre made its beginning in 1843, and in the following years, Tamasha which was primarily constituted of singing and dancing expanded its thematic repertoire and added small dramatic and humorous skits, known as Vag Natya , to it. These were either in prose or comprised long narrative poems performed by

2544-551: The use of the common rhyme in both lines of the opening couplet ( matla' ). The imitation of Arabian forms in Persia extended to the qaṣīda , which was also popular in Persia. Because of its comparative brevity, thematic variety and suggestive richness, the ghazal soon eclipsed the qaṣīda , and became the most popular poetry form in Persia. Much like Arabian ghazals, early Persian ghazals typically employed more musical meters compared to other Persian poetry forms. Rudaki (858–941 CE)

2597-574: The warmth of the passionate joy of thought I am the bulbul of a garden not yet created mir un neem-baaz ankhon men saari masti sharab ki si hai - Mir Taqi Mir 'Mir' is in those half-closed eyes all flirtation is a bit like wine The ghazal originated in Arabia in the 7th century, evolving from the qasida , a much older pre-Islamic Arabic poetic form. Qaṣīdas were typically much longer poems, with up to 100 couplets. Thematically, qaṣīdas did not include love, and were usually panegyrics for

2650-512: Was also deemed "debased", even "corrupt", while being relegated to being only "folk" form. The turning away of urban middle class audience from traditional forms, cause a disruption in the theatrical traditions besides creating a divide between urban and rural theatre, as tamasha continued to flourish out the urban pockets. In 2002, the state had 450 tamasha troupes with approximately 10,000 artistes. Main elements of tamasha, like loud humour, suggestive lyrics and dance numbers, proved influential in

2703-467: Was set in the Tamasha musical theatre. Besides this other Marathi films made of Tamasha include, Sangte Aika (1959) directed by Anand Mane and starring Jayshree Gadkar , Sawaal Majha Aika! (1964) by Anant Mane and starring Jayshree Gadkar, Ek Hota Vidushak (1992) by Jabbar Patel , Natarang (2010) by Ravi Jadhav and Tamasha - Hach Khel Udya Punha (2011) by Milind Pednekar. A 2006 multilingual documentary film, Silent Ghungroos , traces

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2756-530: Was spread from Persia into Indian Subcontinent in the 12th century by the influence of Sufi mystics and the courts of the new Islamic sultanates . This period coincided with the early Islamic Sultanates in India, through the wave of Islamic invasions into the region in that period. The 13th century Chishti Sufi poet Hasan Sijzi is regarded as the originator of the Indo-Persian ghazal. Sijzi's contemporary,

2809-506: Was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers. Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz ), or were sympathizers with Sufi ideas. Somewhat like American soul music , but with melancholy instead of funk , most ghazals can be viewed in

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