{"id":4160,"date":"2018-04-02T12:37:23","date_gmt":"2018-04-02T07:07:23","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=4160"},"modified":"2024-12-24T22:55:03","modified_gmt":"2024-12-24T17:25:03","slug":"jaane-kya-dhoondti-rehti-hai","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/jaane-kya-dhoondti-rehti-hai\/","title":{"rendered":"Jaane Kya Dhoondti Rehti Hai: Of a World Where Love Is Incinerated"},"content":{"rendered":"<h2>Film: <em>Shola Aur Shabnam<\/em> (1961)<\/h2>\n<p>Director: <strong>Ramesh Saigal<\/strong><br \/>\nMusic: <strong>Khayyam<\/strong><br \/>\nLyrics: <strong>Kaifi Azmi<\/strong><br \/>\nSinger: <strong>Mohd Rafi<\/strong><\/p>\n<p>Raag: <strong>Mishr Pahadi<\/strong><br \/>\nTaal: <strong>Dadra<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/sZo8fha19BI\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><em>Jaane kya dhoondti rehti hai yeh aankhein mujhme<\/em><br \/>\n<em>Raakh ke dher mein shola hai na chingari hai<\/em><\/p>\n<p><span style=\"color: #c2150a;\">Khayyam starts the song with a single brush of the Toca Chimes and a Santoor and then a Sarangi\u00a0takes over briefly for 14 seconds. The <em>asthyaee<\/em> is almost an ad-lib[<sup>1<\/sup>] and then\u00a0a Flute breaks the monotony slithering into a bridge in the cross line between 0.43 and 0.46. The Flute continues playing this musical mischief all through the song.<\/span><\/p>\n<div id=\"attachment_4162\" style=\"width: 404px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-4162\" class=\"size-full wp-image-4162\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya.jpg\" alt=\"\" width=\"394\" height=\"457\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya.jpg 394w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya-345x400.jpg 345w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya-129x150.jpg 129w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya-300x348.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya-150x174.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-jaane-kya-259x300.jpg 259w\" sizes=\"(max-width: 394px) 100vw, 394px\" \/><p id=\"caption-attachment-4162\" class=\"wp-caption-text\">Jaane kya dhoondti rehti hai begins as a cry of a despondent heart who finds his love reduced to nothing but ashes<\/p><\/div>\n<p><span style=\"color: #c2150a;\">There is a <em>Komal Ga<\/em> and <em>Komal Ni<\/em> in the <em>antara<\/em>, straying into the realms of Kafi or Bageshree. Check the last music interlude <em>ga ma pa&#8230; dha pa ma&#8230; ga ma ma&#8230; sa ni sa<\/em> with both the <em>ma&#8217;<\/em>s <em>tivra<\/em> and <em>shuddh<\/em>.[<sup>2<\/sup>]<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Khayyam&#8217;s magic is visible on the Guitar too. Notice the otherwise monotonous sounding strums &#8211; the basic scale is F, the dominant chord is F with a smooth transition to Gm and a Grace Dm \/ [ C] also in transition. The Guitar strums form the main rhythm all through the song.<\/span><\/p>\n<p>Songs of a broken heart have many hues \u2013 anguish of separation, agony of betrayal, the pain of a doomed relationship \u2013 the expressions always touch a chord as simply put, the world loves a lover.<\/p>\n<p>But sometimes, the song elevates itself from an individual\u2019s world and encompasses a larger social context, broadening its canvas and enveloping into its folds larger truths. <em>Jaane kya dhoondti rehti hai yeh aankhein mujhme<\/em>, written by Kaifi Azmi and composed by Khayyam in one of his earliest films as music director is a shining example of songs of this genre.<\/p>\n<p><em>Jaane kya dhoondti rehti hai <\/em>begins as a cry of a despondent heart who finds his love reduced to nothing but ashes with no embers or flames left in it. He wonders what his beloved is still searching for in the remains that are now cold.<\/p>\n<div id=\"attachment_4161\" style=\"width: 710px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-4161\" class=\"size-full wp-image-4161\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/jaanekya.jpg\" alt=\"\" width=\"700\" height=\"233\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/jaanekya.jpg 700w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/jaanekya-400x133.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/jaanekya-150x50.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/jaanekya-300x100.jpg 300w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><p id=\"caption-attachment-4161\" class=\"wp-caption-text\">The team: Mohd Rafi, Kaifi Azmi, Khayyam<\/p><\/div>\n<p>If you are wondering about the context of the song, it is the eternal rich-vs-poor divide. Ravi, a poor boy (played by a young, strapping Dharmendra) and Sandhya (Tarla Mehta), daughter of a Railway officer, are childhood sweethearts who get separated and lose contact when Sandhya\u2019s father is posted to another city. When Ravi grows up and is looking for a job, he is hired by his friend Prakash (M Rajan) who is a rich but generous younger son of a prosperous timber merchant.<\/p>\n<div id=\"attachment_4164\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-4164\" class=\"wp-image-4164\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/tarla-mehta.jpg\" alt=\"\" width=\"400\" height=\"307\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/tarla-mehta.jpg 457w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/tarla-mehta-400x307.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/tarla-mehta-150x115.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/tarla-mehta-300x230.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-4164\" class=\"wp-caption-text\">Unaffected by Ravi&#8217;s adversities, Sandhya (Tarla Mehta) dreams of a life together<\/p><\/div>\n<p>Prakash is engaged to Sandhya, the daughter of his father\u2019s friend and adores her. Initially Ravi does not recognize Sandhya, until a recall of their childhood song (<em>Jeet hi lenge baazi hum tum<\/em> \u2013 Rafi \/ Lata Mangeshkar) connects them again and rekindles their love. However, they do not reveal this to others.<\/p>\n<p>Oblivious to this, Prakash seeks Ravi\u2019s help to woo Sandhya. Indebted to Prakash for giving him a job in his factory, Ravi is forced to sacrifice his feelings to make his friend happy and pleads his beloved to stop stoking the dying embers of his love and leave him alone with his memories.<\/p>\n<p><em>ab na wo pyaar na us pyaar ki yaadein baaki <\/em><br \/>\n<em>aag yoon dil mein lagi kuchh na rahaa kuchh na bachaa <\/em><br \/>\n<em>jiski tasveer nigaahon mein liye baithi ho <\/em><br \/>\n<em>main wo dildaar nahin uski hoon khaamosh chitaah<\/em><\/p>\n<p>Kaifi Azmi paints a stark imagery of a cremation ground where dreams go up in flames, leaving nothing, nowhere. Equating himself to a silent pyre, he warns his love to stop holding on to her aspirations of a life together.<\/p>\n<p><em><span style=\"color: #c2150a;\">zindagi hans ke guzarti to bahut achchhaa thaa<br \/>\nkhair hans ke na sahi ro ke guzar jaayegi<br \/>\nraakh barbad mohabbat ki bachaa rakhi hai<br \/>\nbaar baar isko johchheda toh bikhar jaayegi<\/span><\/em><\/p>\n<p><span style=\"color: #c2150a;\">Rafi gently escalates the pitch as if trying to voice the complaint loudly. Krishan Saigal\u2019s camera catches the sensitive black and white hues, specially the effect of the lapping waves on Dharmendra&#8217;s face from counter 2.35. <\/span><\/p>\n<p><span style=\"color: #c2150a;\">The M1[<sup>3<\/sup>] is possibly the shortest I have heard, and again on a Flute. Catch a 7-seconds Sanchari from counter 2.53. A different approach by Khayyam to use the asthayee and the cross line 4 times in the song and close it with the same. The cross line in this one is <em>raakh ke dher mein shola hai na chingari hai<\/em>.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Kaifi finishes with a flair that only he could.<\/span><\/p>\n<p><em><span style=\"color: #c2150a;\">arzoo jurm, wafaa jurm, tamanna hai gunaah<br \/>\nyeh woh duniya hai jahaan pyaar nahi ho sakta&#8230;<br \/>\nkaise baazar ka dastoor tumhe samjhaoon<br \/>\nbik gaya johwoh khariddaar nahinho sakta<\/span><\/em><\/p>\n<div id=\"attachment_4163\" style=\"width: 410px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-4163\" class=\"wp-image-4163\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra.jpg 720w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-400x400.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-150x150.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-300x300.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-32x32.jpg 32w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-50x50.jpg 50w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-64x64.jpg 64w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-96x96.jpg 96w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/04\/dharmendra-128x128.jpg 128w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-4163\" class=\"wp-caption-text\">Krishan Saigal\u2019s camera catches the sensitive black and white hues, specially the effect of the lapping waves on Dharmendra&#8217;s face<\/p><\/div>\n<p>At this point, Kaifi lifts the song up from an individual\u2019s anguish, and takes it to a broader social phenomenon, with a stinging cry. Love is not for those who have to struggle to earn their daily bread. It\u2019s a crime for the poor to nurse aspirations, commitments and dreams as the material world has its rules cut out sharply for the haves and the have-nots. In this market, the poor is never a buyer. His dreams and love have long been sold off on the weighing scale of survival and emotions. (Kaifi Azmi was\u00a0an active member of the Progressive Writers Association (PWA) and the All India President of the Indian People Theatre Association (IPTA). His poetry, even what he wrote for films, reflected his convictions and beliefs many a time).<\/p>\n<p>Kaifi\u2019s stinging indictment of growing chasm between the rich and the poor reminds us of Sahir\u2019s iconic \u2018<em>Yeh duniya agar mil bhi jaaye to kya hai\u2019<\/em>. The two songs and their situations are vastly different but the cry out has an echo. Love is not a poor man\u2019s world. As <a href=\"https:\/\/learningandcreativity.com\/silhouette\/khayyam-the-poets-musician\/\">Vijay Kumar<\/a> puts it, \u201cIn\u00a0<em>bik gaya jo vo kharidar nahi ho sakata<\/em>, Khayyam sounds so near to\u00a0<em>mere saamne se hata lo ye duniya<\/em>\u2026 is so Burmanesque! The reason perhaps is that Khayyam is one music composer who thought that his music ought to facilitate a melodious unfolding of the verses in their truest meaning and sentiments \u2013 a music that also connected to the relevant period\/milieu\u2026 <em>Jaane kya dhoondhti rahati hain<\/em>\u00a0moves with the assumption that there is no fire left in the relationship, but soon discovers a hibernating ember that becomes a blazing fire of emotions as the poem concludes. The music\/singing accordingly mounts, becomes furious with an impact that gives goose bumps \u2013\u00a0<em>bik gaya jo vo kharidar nahi ho sakata<\/em>!\u201d<\/p>\n<p>The song reaches a crescendo, as Rafi\u2019s raised pitch shatters the quietness of the night. And then it drops ever so gently again, and this time Rafi picks up \u201c<em>jaane kya<\/em>\u201d with a slightly different note, more affectionately, as if he has moved ahead of his catharsis.\u00a0\u00a0<span style=\"color: #c2150a;\">Khayyam has been very economical in the arrangement giving full play to Kaifi&#8217;s pen and Rafi\u2019s voice to create the pathos.<\/span><\/p>\n<p><em>Jaane kya dhoondti rehti hai<\/em> became one of the biggest hits in the repertoire of the trio who worked on it \u2013 Khayyam, Rafi and Kaifi Azmi. Khayyam went on to score music to some of the best poetry written in Hindi films. But this\u00a0introspective nazm remains one of the most heart-touching songs of love ever.<\/p>\n<p><strong>Glossary<\/strong><br \/>\n<span style=\"color: #c2150a;\">1. Ad-lib: singing freely without any music accompaniment.<\/span><br \/>\n<span style=\"color: #c2150a;\">2. Amongst the 7 notes in the <em>Sargam, Sa<\/em> and <em>Pa<\/em> are static notes. The other notes namely <em>Re Ga Dha<\/em> and <em>Ni<\/em> would be either <em>Shuddh<\/em> or <em>Komal<\/em> and only <em>Ma<\/em> could be <em>Shuddh<\/em> or <em>Tivra<\/em>. As regards <em>Shuddh Madhyam<\/em> that is the normal <em>Ma<\/em>, when its Tivra Madhyam then it is closer to <em>Yaman<\/em>.<\/span><br \/>\n<span style=\"color: #c2150a;\">3. M1 \u2013 M1 and M2, etc., are the musicians\u2019 terms for Interlude 1 or 2 etc meaning Music 1 or Music 2 or 3. However, currently during stage shows they refer to as M1 or M2, etc.<\/span><\/p>\n<p><strong>More to read<\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/khayyam-the-poets-musician\/\">Khayyam: The Poets\u2019 Musician<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/waqt-ne-kiya-songs-kaifi-azmi\/\">Waqt Ne Kiya \u2013 The Introspective Songs of Kaifi Azmi<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/unko-yeh-shikayat-hai\/\">Unko Yeh Shikayat Hai Ke Hum Kuch Nahin Kehte \u2013 When Silence Speaks Volumes<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/jaane-kya-tune-kahi-pyaasa\/\">The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa)<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/sd-burman-manzil-song\/\">The Tender Musical T\u00eate-\u00e0-t\u00eate in Chupke Se Mile (Genius of SD Burman)<\/a><\/strong> <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>Among the most introspective nazms in Hindi films, <em>Jaane kya dhoondti rehti hai<\/em> from <em>Shola Aur Shabnam<\/em> (1961) rises high above the apparent, inflicting a stinging comment on the rich-poor divide in society. <span style=\"color: #c2150a;\">Anand Desai (in maroon font)<\/span> and Antara explore the finer nuances of this smoldering song of catharsis, written by Kaifi Azmi, composed by Khayyam and sung by Mohd Rafi.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":838,"featured_media":4166,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2603,1759],"tags":[929,2012,1900,980,1242],"class_list":["post-4160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mohd-rafi-centenary","category-the-song-story","tag-dharmendra","tag-jaane-kya-dhoondti-rehti-hai","tag-kaifi-azmi","tag-khayyam","tag-mohd-rafi"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/4160","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/838"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=4160"}],"version-history":[{"count":1,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/4160\/revisions"}],"predecessor-version":[{"id":9490,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/4160\/revisions\/9490"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/4166"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=4160"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=4160"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=4160"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}