Wishing the readers a very happy 70th Republic Day
As you read this, the pardesis who had gathered at the Pravasi Bhartiya Divas (15th PBD celebrated from 21 to 23 January 2019 at Varanasi, instead of January 9, meant to commemorate Mahatma Gandhi’s return to India from South Africa), would have either returned home, or stayed on to indulge in some religious nostalgia at Prayagraj Kumbh Mela, followed by soaking in the patriotic pride at the Republic Day parade. In the formal function inaugurated by the Prime Minister, these pardesis talked about emerging markets, their ever willingness to contribute to India’s growth, investment opportunities, and rights and privileges of the OCI. In the evening, while enjoying the classical dance and music performance at the banquet in the five-star hotel, they went on a nostalgia trip and romance for their homeland, its music and culture. On the side, many of them would have squeezed in time to meet with their cousins left behind, shower them with gifts, who would proudly display them as trophies to their neighbours, secretly nurturing a jealousy for the pardesi and dreaming that one day they would also go to pardes.
These are the pardesis who made it good, with a suburban home having two garages, a wife, two kids and weekend getaways to the beaches. But there were another kind of pardesis – the indentured labour – who were transported by the British in the 19th century to Fiji, Guyana, Trinidad & Tobago, Surinam etc. to work on sugar plantations as bonded labour. They could never return home to the welcoming aartis and garlands. They maintained their emotional connection with the homeland by sticking to their Bhojpuri dialect, folk songs and traditions in their ghettos. And once they hit it big, even becoming Prime Ministers and Presidents, they would be inexorably drawn to searching their roots as in Alex Hailey’s Roots.
Back home, too, there were bidesiyas of Bhikhari Thakur – the rural poor – who, forced by drought, poverty and the tyrannical money-lender, left home for Calcutta, which those days was known as bides for the millions of migrant labourers from Bihar and Eastern UP, leaving behind their young brides, who would pine for their return, not knowing when their bidesiya would come back, if ever. Rahi Masoom Raza’s Adha Gaanv of Ghazipur was full of such ‘Calcutta-widows’. Charlie Chaplin in The Immigrant at least got his girlfriend; the bidesiya would be consigned to a life of hardship, not knowing for sure if his woman had not surrendered to her natural desires, for another man.
Even if not poor, the immigrant of Nirmal Verma, has a deep pain of not belonging to either of the worlds. In one of his stories, there is this guy sitting at the corner table of a pub and looking outside at the grizzly weather of London. His friend, another immigrant, walks in, and asks him, Kya baarish mein aapko apnaa mulk yaad nahi aata? Nirmal Verma was himself a pardesi for many years in Europe, and his stories had this amazing lyrical quality about them.
Baarish, pardesi, separation and pain reminds me of Bichhade hue pardesi. This pardesi of Hindi films was from the plains who would go for his annual vacation to the hills, where an innocent pahadi girl would be waiting for his return. But was he always worthy of her love? While Raj Kapoor went for love, Premnath believed in lust (Barsaat), and it would be too late before he realised his mistake.
Not all the pardesis in our films went to the hills for satiating their desires. Some genuinely fell in love which was reciprocated even more intensely. But there were major obstacles in their union. There would be the infatuated pahadi lech Pran or Jeevan, who would threaten to kill the girl’s father if he didn’t agree to give the hand of his daughter to him; or would abduct the girl and get hold of a pundit to conduct the saat pheres at gun point. If the girl somehow escaped to the city and found the hero’s home, his insensitive family would humiliate her in the party for her tattered clothes and clumsy manners. Our films maintained gender balance. Sometimes the sophisticated city girl would fall for the simple shikarawala or the taxi driver. And they would go through the same trials and tribulations until they lived happily ever after in the end. During this journey we were served with beautiful Pardesi songs of separation, longing, betrayal and hope.
Our senior member Gaddeswarupji once mentioned Pardesi songs and some theoretical reasons for the romance for the stranger. I am leaving the academic part for him to fill in. Let us now look at some outstanding Pardesi songs.
1. Naina more taras gayo aa ja balam pardesi (Jangala Bharavi) by Bade Ghulam Ali Khan
When balam has become pardesi, the monsoon rains, papiha, koel’s songs, everything sounds painful, and the birhan makes a plaintive cry for his return in this thumri. No one could do it better than Ustad Bade Ghulam Ali Khan.
I had seen a clip of this thumri used in a very delightful way in the film Veer Shivaji. That link has been removed. I would be grateful if some reader can help in locating it.
2. Pardesi kyun yaad aata hai by Sitara Kanpuri from Man Ki Jeet (1944), lyrics Josh Malihabadi, music SK Pal
Again in baarsih, koel’s songs and everything about rains, and the pardesi comes to your memories. Sung by Sitara of Kanpur (to differentiate from Sitara Devi of Banaras, the famous actor-singer-dancer-socialite of the vintage era), it is a beautiful song of longing.
3. O pardesi Raja, koel kook rahi aa ja by Amirbai Karnataki from Village Girl (1945), lyrics Wali Saheb, music Shyam Sundar
The village girls have a very romantic view of pardesis. While threshing the harvested grain they beckon an unknown Pardesi Raja in this joyous song.
4. Sajan pardesi balam pardesi man ko sataye by Noorjehan from Village Girl (1945), lyrics Wali Saheb, music Shyam Sundar
The film Village Girl had another pardesi song, now in the voice of the Malka-e-Tarannum herself. This song has a natural pathos.
5. Bichhade hue pardesi ek baar to aana tu by Lata Mangeshkar from Barsaat (1949), lyrics Shailendra, music Shankar Jaikishan
Barsaat was the quintessential movie of the city-slick men’s romance for the hills and the innocent pahadi girls. Raj Kapoor paints a contrast of the two views – he, believing in genuine love, and his friend Premnath’s sole objective being fun. After some polemics, the pure love wins, but Premnath gets realisation after great tragedy.
6. Ek pardesi mera dil le gaya by Mohammad Rafi and Asha Bhosle from Phagun (1958), lyrics Qamar Jalalabadi, music OP Nayyar
This was the kind of song which made OP Nayyar a roaring success and gave Asha Bhosle a standing in her own right.
7. Pardesi ghar aa ja by Rajkumari from Apna Paraya (1942), lyrics Pt Indra, music Anil Biswas
8. Pardesi tum kaun kahan se aye ho Mukesh and Suman Kalyanpur from Mahasati Behula (1964), lyrics Bharat Vyas, music Shivram
Here the pardesi has come from some fairyland and there is absolutely nothing to doubt his bona fides, as Do pal ki pechan mein tum man ko kitne bhaaye ho. Shivram was consigned to mythological and B grade films. Here he composes one of the sweetest Pardesi songs, befittingly in the voice of Mukesh and Suman Kalyanpur.
9. Pardesi ne lat uljhayi re by Lata Mangehskar from Teesri Gali (1958), lyrics Majrooh Sultanpuri, music Chitragupta
10. Pardesi tose laaga jiya chale aana jiya mein dheere dheere by Suraiya from Shakti (1948), music Asad Zafri, music Azam Baig and Ramprasad Sharma
11. O pardesi yaad mein teri pal pal manwa roye by Sitara Kanpuri (not Sitara Devi) from Pugree (1948), lyrics Shakeel Badayuni, music Ghulam Mohammad
A lady who fell for a pardesi was destined to cry for him every moment of her life. A pathos-filled song.
12. Panchhi aur pardesi kisi ke nahi hote by Shamshad Begum from Veena (1948), lyrics Pt Narendra Sharma, music Anil Biswas
Anil Biswas drew the melodious and melancholic side of Shamshad Begum in his songs. A bird and a pardesi cannot belong to anyone.
13. Pardesi re jate jate jiya mora liye ja by Suraiya from Afsar (1950), lyrics Pt Narendra Sharma, music SD Burman
Pardesis cast a spell which leaves the lady helpless. Therefore, she pleads with him to take her heart away, and also her sleepless nights with him. She only wants him to promise that he would come back. One of my great favourites.
14. Ghar aya mera pardesi by Lata Mangeshkar from Aawara (1951), lyrics Shailendra, music Shankar-Jaikishan
The circumstances have forced the vagabond into the world of crime. He knows this has alienated him from his beloved. His tormented soul finds expression in this classic dream sequence song in two parts – the first part, Tere bina aag ye chaandni tu aa (Lata Mangeshkar-Manna Dey), showing his anguish, followed by redemption in Ghar aya mera pardesi. A great song to end the post with.
Disclaimer: The song links have been embedded from the YouTube only for the listening pleasure of the readers. SoY acknowledges that the copyright over these songs vests with the respective owners, such as Saregama India Limited and others.
{ 166 comments… read them below or add one }
AK ji ,
Full marks for the theme .
I liked the write – up also .
Nd so many unheard , rare gems !
In song of ” Mahasati Behula ”
Suman Kalyanpur has sung so much in the style of Lata .
Thnx AK ji nd
HAPPY REPUBLIC DAY
Pramodji,
Thanks a lot for your appreciation and the Republic Day greetings.
You are right; as a matter of fact, Suman Kalyanpur is indistinguishable from Lata Mangeshkar in many songs.
Ak ji ,
Thnx for the reply .
On the contrary , sometimes Lata sounds different .
For quite a long time , I had the impression that
” आप ने अपना बनाया मेहरबानी आप की ”
Of ‘ दुल्हन एक रात की ‘ is sung by Suman Kalyanpur .
Nd about
” इस दुनिया में जीना हो तो सुन लो मेरी बात ”
Of ‘ गुमनाम ‘ , I thought that it is sung by Usha Mangeshkar .
After hearing them with keen years , I knew it was our favourite Lata only .
Sorry for posting irrelevant comment than the subject of Ur theme .
Sorry for the typo
Keen years should b keen ears.
So funny nd silly mistake .
For once I got to a post early and actually have a song to contribute! From Savera, O pardesi chhora chhaila gora-gora. I love this song, and the seeming dissonance between the banjara-villager type dancers and the somewhat Westernised music (in the interludes, especially) as well as the dancing of the extras – which looks straight off a club floor – somehow does work.
https://www.youtube.com/watch?v=VUtDFuB-dNE
That said, thank you for a great post. Several of the songs were new to me. Very especially, I liked the introduction – informative and interesting.
Hello AKji,
Enjoyed the songs, this time I discovered a few unheard gems. Liked all of them.
To add a few,
Mera pardesi na aaya by Lata mangeshkar
https://youtu.be/6DlfIcauioE
And, you missed one of the most famous from Jab Jab Phool Khile.
Or was it there in the write up?
Pardesiyon se Nain akhiyan milana
https://youtu.be/Hs9us0xln-M
I think so far, the first male solo.
And happy republic day to you and all the readers and friends on SoY
Anup
🙂
AK ji,
Thanks for an unusual theme.
Hindi films seem to be eternally in love with Pardesis.
Since the day Talkie films started, right from that decade, one finds songs either addressed to Pardesi or the Pardesi himself expressing his emotions.
Pardesi visitors falling in love with the local girls was so common in early films. Here pardesi does not mean from another country, but a place other than the home pitch of the Hero/Heroine.
There are plenty of songs addressed to or describing or blaming the Pardesi from the 30s onwards. I find that slowly this visitor became infrequent in films and nowadays, I doubt very much if it exists in modern films at all. But then we are missing the fun of his presence and indulgence in Heroine’s life.
I present here a song sung by Anil Biswas, in film Ek hi Rasta-1939. By the way this was the First film having 3 Heroes (Sheikh Mukhtar, Arun Ahuja and Harish) and 3 Heroines.
https://www.youtube.com/watch?v=leBSWZ76DNQ
I hope this song fits into today’s theme.
-AD
adding some pep. here the man has become bidesia/pardesia and Helen is narrating the travails in this ‘nautanki’ number.
https://www.youtube.com/watch?v=Zo6olkQ96pQ
(the song is in bhojpuri .but should not b difficult to follow.shailendra wrote the song and it was composed by chitragupt for the 1962 movie ‘ganga maiya tohe piyari chadhaibo’.
Madhu,
Thanks a lot for your appreciation. Coming from you it means a lot to me. O pardesi chhora I like a lot. Now that you draw pointed attention to the seeming dissonance, it is interesting how one would miss it unless told. It does not merely work, it rocks. Thanks a lot for your comments.
A grt post
Suman kalyanpur s voice s very difficult to differenciate from Lata s vouce
Anup,
Thanks a lot for your appreciation. How can one forget Pardesiyon se na ankhiyan milana? The mention of the romance for the city-slick girl for the shikarawala was a reference to this song.
Arunji,
Thanks a lot for your appreciation. Many type of songs, or for that matter, Hindi film song as we knew have become out of vogue. The main purpose of music is to get one hit item song which can have some traction in parties, dances and weddings. The Pardesi songs belong to a bygone era where communication was very poor. When the whole world is a village, and with instant WhatsApp and video chats, Pardesi songs have be come out of place.
AK,
You have timed your Romancing with Pardesi very well with Pravasi Diva.
Have few vintage songs that need some time to go through.
Thanks for reminding that we don”t belong to either of the worlds 🙂
I hope you are fixed with the word pardesi .
This song from does not have one but has all the emotions.
All Whatsapp chat and video chats cannot fill up for the presence.
Anup another male solo
phir milenge jane wale yar dasvidaniya..manna dey-pardesi-
https://www.youtube.com/watch?v=DERDHSSF-98
AK,
I meant you are “not” fixed with he word pardesi
A good song mumbaikar8,
And I think shot on the background of Mahabalipuram temple.
Anup
Arvind,
Welcome back to SoY. Long time. And the song you have added hits the nail on the hand. Though the dance and beat is dissonant (to borrow Madhu’s expression) with the words, the lyrics perfectly describe the Bidesiya lore. The bidesiya goes to, we know by now, of course, Calcutta (which is ‘Purab Des’). For those who find it difficult to follow Bhojpuri, this is what the naughty dancer says:
I was a child playing in the lap of my mother when the bidesiya came, married me and went off. Promising to come back in six months he went to Calcutta, but twelve years have gone by without any sign of him. Now I am sixteen, and people stare at me. How do I walk on the streets when the people stare at me.
My sainya went to ‘Purab Des’ and forgot all about me. In the dark nights when raindrops fall ‘tip tip’ my heart trembles. When Mahua tree blossoms, and mango trees start flowering, and papiha sings, my heart aches. How do I walk on the streets, now I am sixteen and the people ogle at me.
Mumbaikar8,
Thanks a lot for your appreciation. The mood in Phir milenge jaanewale yaar dasvidaniya is a perfect song of bidding farewell to the pardesi. The Russians remind me of the pathos-filled parting scene in Mera Naam Joker:
https://youtu.be/qRPkC2rnAVI
Harpreet,
Welcome to SoY and thanks a lot for your appreciation.
Mumbaikar8,
P.S.
“Not belonging to either of the two worlds” – I don’t think Nirmal Verma intended to remind anyone. He was not passing any judgment, he simply wove poignant stories of loneliness, of not belonging. Lucky are those who have the capability to assimilate themselves in different worlds.
AK JI
Pardesi was not to be found only in distant past. These days also you find him :
Pardesi Pardesi Jaana Nahi (Raja Hindustani)
https://www.youtube.com/watch?v=h0mlNl2gX6E
What will you say when both partners have no option but to move out to Pardes :
Hum To Chale Pardes Hum Pardesi Ho Chale (Sargam)
https://www.youtube.com/watch?v=WVKtSiWGNbw
It is not that only Hero is Pardesi. Sometimes the roles may swap and Heroine proceeds to Pardes
Jab Tum Hi Chale Pardes Laga kar Thes (Rattan)
https://www.youtube.com/watch?v=W5i6nZ_wNoI
And lastly nothing remains but only a complaint to Pardesi :
Bol Pardesia, Ye Tune Kya Kiya (Mangu)
https://www.youtube.com/watch?v=Ly5E1QzyLTM
Great Theme and Great Songs !!
AKji:
An exquisitely timed shot that races all the way to the boundary! I see two sub-themes in the write-up. The first one relating to ‘bidesia’, the struggling immigrant, has been left unexplored after a brief mention of Nirmal Verma’s stories, perhaps because it has inspired fewer songs. Personally, I thought I could relate more to Harivansh Rai Bachhan’s autobiographical account (‘Basere se Door’, part III of his autobiography) of his stay in Britain as a doctoral student. Here is ‘Ae mere pyaare watan’ (Manna Dey in Kabuliwala, MD: Salil Chowdhary), the ‘Anthem’ of all such ‘Bidesias’:
https://www.youtube.com/watch?v=oAdeqOrfzPA
The other sub-theme, the forbidden liaison with the outsider, has been one of the mainstays of Bollywood. Romantic attraction for ‘pardesi’ may have biological roots as it could provide some (theoretical) evolutionary advantage to the species. The theme recurs in arts and literature across cultures. Punjab, Gujarat, and Kerala now have several places where much of the younger male population has moved abroad. But most of the migration in India has historically been internal. Many migrants have been labourers , but traders and professionals also account for a sizeable chunk. Gypsies and tourists provide a variation to the theme. The wars during the last couple of centuries also resulted in major temporary and permanent dislocation of armies and populations giving rise to operatic pieces such as ‘Madam Butterfly’. Here is ‘Dinwa ginat mori’ (Suman Kalyanpur in Bidesia; MD: SN Tripathi):
https://www.youtube.com/watch?v=_eyr1GEc_CM
I speculated loosely based on
1) Konrad Lorenz’ theory of imprininting.
“This process suggests that attachment is innate and programmed genetically.
He took a large clutch of goose eggs and kept them until they were about to hatch out. Half of the eggs were then placed under a goose mother, while Lorenz kept the other half hatched in an incubator, with Lorenz making sure he was the first moving object the newly hatched goslings encountered
The naturally hatched baby goslings followed their mother, while the incubator hatched ones follow Lorenz.” This is supposed to in the first sixteen years of the life of goose longs. I extrapolated this to other bindings like love tend to happen during certain windows of time in our lives.
2) The Westermarck effect, or reverse sexual imprinting, is a hypothetical psychological effect through which people who live in close domestic proximity during the first few years of their lives become desensitized to sexual attraction.
So the guess is that persons tend to fall in love with strangers during certain crucial months of their lives. Starting with ‘Satavahana Gatha saptasati’ there have been songs and poems of falling in love with strangers. Anyway, it was just speculation outside the domain of my expertise ‘mathematics’.
AK ji;
Your Article wins my heart ……and I take tremendous pleasure in the goodness therein ….both worldly and social .
Those born between 40s and 50s must have nice remebrence of British India and Free India. Not refering to any Political scenerio….lot of progress and developments occured during that time . We enjoyed Tonga rides and so also Buggies ; Trains that were powered by coal based majestic engines ….and we had trams too for leisure rides ; had beautiful houses to live in and banglows too. With Luyten designing new delhi followed by Le corbusier designing Chandigarh. A dream hydro power project ….Bhakra Dam…was started and got operatinal by early 60s . …..Recalling all this being Republic day.
Pardesi is my fav. topic and as a starter……two songs of your’s and mine’s fav. music directors Naushad and Shanker Jaikishan.
Nimi saying…..pardes mein musafir loot liye jaate hain . Dilip …thore dino ki to baat hai…, I like the presence of Shephered and flute adding soothing effects , the song..
Le ja meri duwaiyen le ja pardes jaane wale….Lata…Deedar
https://www.youtube.com/watch?v=FAESE3QbzxA
Nargis…singing stenza…Raani ke sang raja doli sajaake chale jaainge pardes , and song….
Raja ki aayegi barat….Lata….Aah
https://www.youtube.com/watch?v=TLFAAYUHML4
…..to be contd.
Interesting theme, AK. I only wonder why we had to wait so long for it!
Any reason why ‘Aa ja re Pardesi’ from ‘Madhumati’ doesn’t figure in the list? Or have I missed it on repeated scans. This song figured again decades later in ‘Guddi’.
‘Na dir deem tana de re na’ form ‘Pardesi’ is on the same theme. The Pardesi in the song is a Russian and one hears ‘dasvidaniya’ if one sees the extended clip of the song.
https://youtu.be/S1IsY_-TAss
It is interesting to speculate why Pardesis should generate romantic attraction. The Westermarck effect mentioned by Gaddeswarup ji appears most logical. Nature probably programs people not to be romantically attached to those one grows up with to prevent incest and inbreeding – hence the added attraction of the outsider; despite the fact that pardesis also tend to be harjais, chhalias, dhokhebaaz etc.
The pardesi himself may be aware of the perils of this attraction, and may warn the lady against it – as in this beautiful non-film song by Hemant Kumar: ‘Aanchal se kyun bandh liya, mujh pardesi ka pyar’:
https://youtu.be/gzdDIiemhs0
Rakeshji,
You too are visiting after ages! Welcome back to SoY and thanks a lot for your appreciation. Raja Hindustani is over two decade old, and Sargam is now four decades old. Good enough to conclude that such songs have gone out of vogue. I have obliquely referred to the former film while mentioning the city-slick girl’s romance for the shikarawala or the taxi driver.
And the first two songs you have added are my great favourites. The third song was unknown to me. Thanks for adding it.
Canasya,
Thanks a lot for your appreciation and for your very erudite comments, as usual. Your analysis in distinguishing between the two type of pardesias is very insightful. While the struggling bidesiya has been the subject of literature, the Hindi film songs seem to be completely oblivious of that world. Thanks for adding the link of Dinwa ginat mori. This was the perfect bidesiya song of Bhikhari Thakur. Helen’s dance song from Ganga Maiya Tohe Piyari Chadhaibo added by Arvind was the very antithesis of the pathos of pining for the bidesia.
Taking your analysis further, may I say that there is another pardesi, of Nirmal Verma or Alex Haley’s Roots, who is economically not struggling, but carries a deep pain within himself of not belonging to either of the worlds, and has a great yearning for his ‘homeland’. This theme is too subtle and sophisticated for our run-of-the-mill films to tackle. I understand Roots has been serialised on TV, though I have no idea how it was.
Gaddeswarupji,
Thanks for adding the academic part. I must admit Konrad Lorenz’s theory went over my head, but I could understand the Westermarck effect. In a convoluted way the romance between Dev Anand and Suchitra Sen in Bambai Ka Babu seems to be an example of the Westermarck effect.
KS Bhatiaji,
Thanks a lot for your appreciation. Pardesi theme is universal. We all get displaced from a village to a town, from town to a big city, and some to another country. All these movements entail some loss and yearning for what has been left. With your sensitive heart I know this them would send you on a nostalgia trip, like the pardesis’ who assembled at the Pravasi Bharatiya Divas. Thanks a lot for adding the beautiful songs.
Subodh,
Thanks a lot for your appreciation. This theme has been embedded in my heart since long, it just came out at an opportune time. There is no particular reason for not including Aa ja re pardesi or so many other great pardesi songs, except that I do try to include some vintage songs, and I can put only so many in a post. But thanks a lot for mentioning it, a most perfect pardesi song, if ever there was one. And thanks a lot for adding Na dir deem tana de re na and Anchal se kyun bandh liya, both my great favourites, especially the second is such an obvious song fitting the theme.
Pardesi has occupied considerable space in Hindi film songs and has thoughtfully been selected for the benefit of the group. Many of the songs in the lead article as well as in the comments section I do not remember having ever heard . The number of songs as usual in any posts are so many that I hope I listen to all these eventually.
One of the contributions by Dustedoffji on 26/1/2019 from Savera (1958) reminded me of the famous song ‘ for he is a jolly good fellow …’ and prompted me to quickly gather some information on this song from the net and YouTube . What I learnt is that this melody was originated in France in connection with some war over 300 years ago . In fact Beethoven also is said to have a composition on this melody. This is said to be the second most famous English song after the song ‘ Happy Birthday to you..’. This song has so many versions like English, French, Spanish, Russian,Danish and so many others.
The YouTube has many versions of this song. I am posting the link to one such version herein…
https://youtu.be/7ieCUL0OFDw
S Joseph,
Thanks a lot for your detailed comments and the information on ‘For he is jolly good fellow’.
Good Evening
Happy Republic Day to all.
Like these Songs of the past , even the New years, Independence days, Republic days and all other festival days were more thrilling and beautiful before 65’s.
We used to celebrate them with real thrill and enjoyment, unlike in the present generation, which is very much true.
Thanks for refreshing the sweet old and beautiful memories through your Songs of Yore. This is indeed a Divine service to the music.
Regards and blessings
Uma
S Joseph ji @30;
Thanks for the links of ….He is a jolly good fellow….song which was sung by my hostel mates whenever we at I I T delhi had a good wins in matches and competetions . In 60s this song was famous during radio days and was frequently heard in ….Forces Request …and in….A Date With You ….programmes of AIR.
This song and its instrumental version I remember to have seen and heard in two or three movies of the golden period . The most likable is from AWARA …..a prelude to the main song ….Ek bewafa se pyar kiya… . I am posting a clip from the movie and the instrumental version starts at 1.00 This clip i have posted earlier also…..perhaps in Open Forum .
He is a jolly good fello…and ..ek bewafa se pyar kiya…Lata…SJ
https://www.youtube.com/watch?v=wdNa–L-lcY&t=132s
Ak ji @28;
Yes. Very true. Migration or for other reasons , village to town or city and back was a sad affair during the time around 50s. I remeber we used to garland our relatives on send off ….both at platforms and airodromes [ the word as on today is airport] . Those were the days of steam engines and Decotas .
A song on such situation…..
Pardes balam tum jaoge….Shamshad….Mela….Naushad
https://www.youtube.com/watch?v=tYwrsPqQAAw
AK ji;
Now a comic one …..
Gentleman Gentleman……MK….Gopi….KA
https://www.youtube.com/watch?v=GbO8ukUacIQ
A K ji,
Unusual theme handled well as usual. Thank you.
PRATIGYA,1975 song that was popular during my school days traces the arrival of the Pardesi from des to the girl’s Dil.
Pardesi aaya des mein
Des se mere gaaon mein
Gaaon se mere gali mein
Gali se mere ghar mein
Ghar se mere dil mein.
Lata Mangeshkar,AB,LP.
BALAM,1949.
Lata, Suraiya; Qamar Jalalabadi; Husnlal Bhagatram.
O Pardesi musafir kise karta hai Ishara.
LAXMI,1957.
? Suman Kalyanpur? Lata; QJ, Avinash Vyas
Mohe apna banakar bhoola re Pardesi balam.
https:// youtu.be/ AuxpZMDn6l
The famous Pardesiya ye sach hai Piya is enacted by Rekha on stage several times during award functions etc.
MILAN,1967.
Lata,AB,LP.
Tohe sanwariya ,
na hai khabariya
Tohre kaaran Apne des mein balam
Hum ho gaye Pardesi…
The trend setting DEV D , the modern Devdas, had the very popular
O Pardesi….
Uma Maheshwar Nakka,
I am overwhelmed by your generous praise. Thanks a lot.
KS Bhatiaji,
Pardes balam tum jaoge and Gentleman gentleman cover two ends of the spectrum. Thanks a lot for adding these songs.
Dr Shetty,
I am impressed by your capacity for recall. Thanks a lot for the songs.
KUCHCHE DAAGE,1973.
Lata,AB,LP.
Mere bachpan tu jaa
jaa Jawani ko le aa
jaa we jaa tenu Rab da wastha…
…
..
Lambi kaali raaton mein..
…
Kisi Pardesi ke saath chupke se main bhaag jaaoon.
SHABNAM,1949.
Shamshad Begum,QJ,SDB.
Ek bar tu ban jaa O Pardesi
Phir dekh majaa…
https:// YouTube.be/ 7HZYaQkNQKY
JAAN PEHCHAAN,1950.
Geeta Dutt, Shakeel Badayuni, Khemchand Prakash/Manna Dey.
Pardesi se lag gayee preet re
Chupke chupke koi dil ko le gaya Jeet re…
https:// youtu.be/ 9zegO62A3L4
One more song from moovie pardesi starring Biswjeet
Pardesi piya re pardesi piya
I don t know how yo post lonk I n the grp
BHAKT PURAN,1952
Geeta Dutt, Ramesh Chandra, Chitragupt.
Pardesi ke Preet ko mere man lalchaye…
https:// youtu.be/ q3YPMAuPqcA
Akji,
SoY, since long, has made the unusual the usual. Hence I would not say this is an unusual theme. Thank AKji for a theme which should be close to the heart for many for diverse reasons. The introductory write- up was good, and would kindle many to journey back down the memory lane.
The origin Paradesi may be traced to Persia . Par refers to Persia. In Indo-European language Desh means land or country and Desi / Deshi means people of the land. During the rapid spread of Islam around 8th to 13th century, non-Islamic believers like Zoroastrians emigrated from Persia to northern parts of India. I believe, these people were addressed as Pardesi, literally calling them as ‘people from Par/persia’ and this term later got generalized as foreigner in northern India.
In South India too, the word was originally used to refer to the foreigners of Persian origin.
During the eighth and ninth centuries, the Persian Gulf was the dominant trade route to India. On the south west coast the traders from the Arabian Peninsula, Cairo, Turkey, Iraq & Persia dominated and they were referred to as Paradesi Muslims. They were temporary residents in the area. There were Jain and Saraswat traders too, but were not referred as Paradesis.
Later this term was also used to denote the Malabari Jews. Paradesi Jews were originally immigrants to the Indian subcontinent from Spaiin and Portugal during the 15th and 16th centuries who fled from Europe to avoid conversion or persecution. The Paradesi Jews were a prosperous trading community of Kerala, and they controlled a major portion of the spice trade. In 1568, they constructed the Paradesi Synagogue adjacent to Mattancherry Palace, Cochin, now part of Ernakulam. It is believed that the original synagogue was built in the 4th century in Kodungallur.
There is one more instance to support this. During the Bahmeni reign of mid-15th century, the constant problem faced by the kingdom was the continuous conflict between the two groups of nobles, the Deccani and the Paradesis. The Paradesis had come from Iran, Turkey, Arabia and central Asia. They were looked upon as foreigners by the local nobles and were constantly scheming against one another.
In that sense all of us are Pardesis in some way or other. Madarasis, a term loosely referred to the South Indians too were Pardesis. Due to varying reasons, from pursuit of greener pastures and changing political scenario, the “Madarasis” immigrated to north, mainly Bombay, Calcutta and Howrah. As you had cited, a few of them fell for the charms of the local ladies too.
Interestingly, in some part of South India, especially in Tamil Nadu,the term Paradesi is used as an offensive word , meaning he who lost everything.
Enjoyed listening to the songs posted by you. Nice selection. The theme gives ample scope for Bhatiaji and Pradipji to post more delightful number from the vintage era, golden period and post 70s. Naina more taras gaye was the gem in the crown, and aptly selected as the opening piece. I would too follow your lead and post a few songs from this genre.
A wonder Piloo Thumri, Hum Pardesi log, by Begum Akhtar
https://www.youtube.com/watch?v=tRuwKfduJ94
Another Thumri by Ustad Bade Ghlam Ali Khan, Saiyyan Gaye pardes
https://namvideo.com/watch/h90Y_19gkCE
SANJOG,1961
Lata Mangeshkar,
Rajinder Kishen,Madan Mohan.
Badlee se nikla hai Chand
Pardesi Piya laut ke tu ghar aa jaa…
PARDESI,1970.
Asha Bhonsle, Rafi; Majrooh Sultanpuri, Chitragupt.
Pardesi Pardesi Ho Ho…
Mora Jiya leke kahin jaiyo toh na..
JADUI ANGOOTHI,1948
Miss Kalyani,Roopbani,Allah Rakha Qureshi.
Ae Chand sitaro Pardesi piya ko ik baar pukaaro..
https:// youtu.be/ tAAp2NZvoWw
MERE HUMSAFAR,1970.
Lata,AB,KA.
O o Mera Pardesi na aaya…
Has anyone mentioned the immensely popular Tum toh thehre Pardesi
Pyar kya nibhaoge…
The Altaf Raja song in 1997 sold 40 lakh units.
Harpreet ji ,
Posting a link is nt much difficult .
I will try to explain .
Play the song on you tube .
Below that screen , U will find a word ” share ”
Tap that word .
A new window will open in which U will see ” Copy link ”
Tap on it .
Then open our site of SoY nd open this post , go to reply section , press in the box given for reply , U will see the word ” paste ” tap on it nd the link will get pasted here .
Hope this will b helpful to U .
Harpreet ji ,
I hav explained how to give link of a song . Plz . scroll upwards where Ur queri is .
GUMRAH,1963
Asha Bhonsle,Sahir,Ravi.
Ek Pardesi door se aaya
Ladki pe hak apna jathaya
RATTAN,1944
Zohrabai Ambalewali,D N Madhok, Naushad.
Pardesi balma baadal aaya
N Venkatraman ji @46;
Your passions speaks about your urge to find and know more . Its a great reading nicely presented and bringing our time back .
Yes ; Trails of forests are easy for Pardesi travellers to dream about the accidentel surprises waiting to happen. One can miss many ….while on roads and airplanes ….but barefoot traveller is the one who gets many charms. …..and this could happen on roads less travelled. Some traveller looks for short cuts and escape routes …..others looks for adventure and life.
A song …..not fullfilling the criteria but the theme….
Janam Janam se Banjara hun bandhu …..HK….Rahgir…HK
https://www.youtube.com/watch?v=ZX0thA4Gk28
So many songs have been posted under this theme in a day that it requires considerable search to know if a song has yet to be posted .
I have just recollected this song from PRATIGYA, MD – LP
https://youtu.be/hi-sdfuv7G4
Best would be if there is an alert when a song is a repeat so that the post is avoided.
AK ji @17;
One of the finest clipping you have posted from Mera Naam Joker . Tourists are just like migratery birds and so also our lovely daughters . One day they have to leave their Babul’s ghar and seetle a new life . …..saada chhiriyan da chamba ye babul assan ud jjana….
Going on with the theme , here are two songs from golden period…..
Pyar ki bahar leke….Lata….Bahar….SDB
https://www.youtube.com/watch?v=A5NgaZLpV_k
Us desh mein tere pardesh mein
sone chandi ke badle mein bikte hain dil……..
Ramiya vasta vaiya…..Lata, Rafi, Mukesh…Shree 420….SJ
https://www.youtube.com/watch?v=rW72kDrJvwA
AKji,
When I saw the post the first few songs that came up in my mind were, Ghar Aaya Mera Pardesi, Ik Pardesi Mera Dil Legaya & Pardesiyon se Na akhiyan milana, all in my favourites list. I found the first two songs in your list. The third one Pardesiyon se Na akhiyan milana was posted by Anupji. Thank you Anupji. The female solos should outnumber the male solos. Panchhi aur pardesi kisi ke nahi hote & Pardesi re jate jate jiya mora liye ja and are excellent inclusions. Pardesi tose laaga jiya chale aana jiya mein dheere dheere and Pardesi ne lat uljhayi re too are worth special mention.
The mention of the Bidesiyas in your introductory note makes us realise the era of poverty when men had to leave villages leaving their newly wed wives at home and their intense pain. In the eastern part, the word Bidesi or Bidesiyas are synonymously used. The 1963 Bhojpuri film Bidesiya was dedicated to Bikhari Thakur. May be the story was based on his work, I am not sure. The following poignant song ideally depicts the scenario mentioned by you. Kudos to the song writer for bringing out the longing and sadness of those ladies.
Dinwa Ginat Mori by Suman Kalyanpur, film Bidesiya (1963), lyrics Ram Moorti Chaturvedi, music S N Tripathi
https://www.youtube.com/watch?v=bKdv2q1lxks
GOONJ UTHI SHEHNAI,1959.
Dil ka khilona haaye toot gaya……
..
Tune Pardesi kaise preeth nibhaya…
CHITCHOR,1975.
Gori tera gaaon bada pyara..
…
Pardesi Anjaan ko aise koi nahin apnata
In continuation….
Pardes Na jiyo…..Zohra, Mastan….Nishan….Rajeshwar
https://www.youtube.com/watch?v=vngn3oyYkOk
Mere ghoonger wale baal…..Shamshad…Pardes[1952]….Ghulam mohd
https://www.youtube.com/watch?v=nBQz6TXClCk
Some 70/80s popular ones of LP:
SARGAM…Hum toh chale Pardes ke hum Pardesi Ho Gaye…
PREM ROG…Ye galiyan ye chaubara…
….ab hum toh baye Pardesi…
ARPAN…Pardes jaa ke Pardesiya bhool na jaana..
Dr Shetty,
Beautiful songs you have posted, many were unknown to me. Since you are not copy/pasting the links, we have to search the songs on YT by typing the song title. I was very keen to listen to Ae chaand sitaro pardesi piya ko ek baar pukaro from Jadui Angoothi, but couldn’t search it. Could I request you again to give the YT links of the songs. If you are using a PC or laptop, you can copy the URL link directly, and ‘paste’ it in the comment box at the desired place. If you are using a mobile device, the principle is essentially the same. Pramodji has explained in detail.
Thanks Parmod ji for explainin in detail
AK Ji,
My sincere apologies for missing the previous posts, and apologies to Sangita Ji as well as I just couldn’t find time to post my comments in the previous posts, howsoever I wanted to.
The Pardesi theme is a great addition to the SOY bouquet of so many varied themes of HFM, and lovely songs have been posted by you and my favourite friends, especially dear Bhatia Ji and Dr Pradeep.
I have a few additions, and my apologies if any repeats are there, though I checked the previous posts, but still it’s human to err
Pardesi re by Zeenat Begum from Dr Kotnis Ki Amar Kahani composed by Husnlal Bhagatram
https://youtu.be/abJV8XjHjDk
Pardesi dhola by Mukesh and Mohan Tara from Prabhu Ka Ghar composed by Bulo C Rani
https://youtu.be/IBxXts7fgqg
Pardesi Raja from Gaon Ki Gori by Amirbai Karnataki composed by K Amarnath
https://youtu.be/_ih_jer7lfo
More Pardesi from Station Master by Rajkumari composed by Naushad
https://youtu.be/Zs5HqC0Q-eo
Pal bhar ki hi pehchan me pardesi sanam se from Anurag composed and sung by Mukesh
https://youtu.be/oyOTMWLPcKI
Maane na hai balam pardesiya by Lata Mangeshkar from Jagir composed by Madanmohan
https://youtu.be/BkMNQAG2QHk
Kahe naino me naina daale re, o pardesiya by Shamshad Begum from Jogan composed by Bulo C Rani
https://youtu.be/uoeUZfr_boc
Kahe pardesiya ko by Lata Mangeshkar from Badnaam composed by Basant Prakash
https://youtu.be/GWwnNlhpn8s
Aaj kal parso me phoole jab sarso
Bidesi piya aa Jana by Asha Bhonsle from Sitaron Se Aage composed by SD Burman
https://youtu.be/AKJmd8vbFTU
O pardesiya by Shamshad Begum from Bahar composed by SD Burman
https://youtu.be/oFNPMbsINA0
Will try to add more
AK Ji,
Lovely theme of songs picked up by you and so many songs which I intended to post have been already posted by you as well as dear friends, especially dear Bhatia Ji and Dr Pradeep
I am posting some near vintage era songs first, and a few more later
Coming to the songs, here is the first
Pardesi re by Zeenat Begum from Dr Kotnis Ki Amar Kahani composed by Husnlal Bhagatram
https://youtu.be/abJV8XjHjDk
Pardesi dhola by Mukesh and Mohan Tara from Prabhu Ka Ghar composed by Bulo C Rani
https://youtu.be/IBxXts7fgqg
Pardesi Raja by Amirbai Karnataki from Gaon Ki Gori composed by K Amarnath
https://youtu.be/_ih_jer7lfo
More pardesi by Rajkumari from Station Master composed by Naushad
https://youtu.be/Zs5HqC0Q-eo
Palbhar ki hi pehchan me pardesi balam se from Anurag composed and sung by Mukesh
https://youtu.be/oyOTMWLPcKI
The other favourites
Kaahe naino me naina daale re
O pardesiya by Shamshad Begum from Jogan composed by Bulo C Rani
https://youtu.be/uoeUZfr_boc
Kaahe pardesiya ko apna banaya by Lata Mangeshkar from Badnaam composed by Basant Prakash
https://youtu.be/GWwnNlhpn8s
Maane na hai balam pardesiya by Lata Mangeshkar from Jagir composed by Madanmohan
https://youtu.be/BkMNQAG2QHk
Aaj kal parso me phoole jab sarso
Bidesi piya aa Jana by Asha Bhonsle from Sitaron Se Aage composed by SD Burman
https://youtu.be/AKJmd8vbFTU
Will be back with a few more
Dr Pradeep,
In your comments above, you’ve also added a song from Laxmi, filmed on Nanda and composed by Avinash Vyas
It was this song, which I have been discussing since yesterday, since the singer’s name is unclear.
I’ve talked to our Suman Kalyanpur specialist Rakesh Shrivastava Ji, an Asha Bhonsle specialist Anand Juvekar, (A Facebook friend) and also Sudhir Kapur Ji, our music encyclopaedia.
But didn’t get a clear answer because even HFGK and atulsongsaday are silent about this.
Well my take is Madhubala Jhaveri, and I listened to her songs from the same period, and found the voice resembling.
I would request the learned music lover friends here to please comment and confirm
Regards
arvindersharma ji,
Thank you for the nice songs, good analysis.
LAXMI song,I discovered during my search for the theme related songs. Various sites and uploaders mentioned Suman Kalyanpur, Asha Bhonsle and Lata Mangeshkar. I listened multiple times and decided,on my own, to drop Asha Bhonsle!!! Madhubala Jhaveri may well be the answer . Let us wait for some expert opinions.
KS Bhatiaji @57,60,
Great additions. Pardes na jaiyo Mausam hai barsaat ka from Nishan is a terrific dance duet. The style reminds me of O jaanewale baalamwa from Rattan. I think that was the stock style of stage dance songs.
You have appreciated my posting the clipping from Mera Naam Joker. In fact you would remember, Raj Kapoor goes to the airport and sees the Russians off from the terrace. His eyes are moist under the dark glasses, and Awara hun plays in the background. Great use of self-referencing. Your mention of Saada chiriya da chamba ye babul asan ud jana reminded me of another scene. That is the credit title of Yash Chopra’s Kabhi Kabhi. He uses this song beautifully cut with Lata Mangeshkar’s Surkh jode ki ye jagmagahat. Isn’t it wonderful so many memories and thoughts coalesce at some point!
Arvinder sharma ji, Dr Pradeep ji,
About the Laxmi song.
I’m not an expert to identify voices, but still, I think we can definitely rule out, Lata didi, Ashaji and Suman ji’s name from the possible singers.
The pronounciations of the singer are quite different from all these singers.
And, I agree with Arvinder ji that the most close to it is Madhubala jhaveri’s voice. Her pronounciations and style of singing resembles the most to the singer.
So she is most likely Madhubala jhaveri.
Our Arunkumar ji Deshmukh may say about it as a final authority.
Sir, please opine.
Anup
🙂
N Venkataramanji @46,
Your scholarly exposition of the etymology of Pardesi is awesome. Congratulations and thanks for the information. It reminded me most of the stories I read in childhood had a saudagar from Baghdad or Basra who showed his fabulous wares, especially horses to the king. Since then I had fascination for these pardesis. It is so sad that these places which were the object of my childhood romance have been long ravaged, before I could plan to visit them. You are tracing the root of the word to Persia, but it is all the same, the saudagar could have very well been from Iran.
Sainya gaye pardes is wonderful, as expected.
@58,
The film Bidesiya is indeed based on Bhikhari Thakur’s play by the same name. This acquired a cult status making Bhikari Thakur a legend in his lifetime. Bidesiya is now regarded as a distinct style and NSD Repertoire have performed some plays in this style. An eminent Hindi writer Sanjeev has written a highly-acclaimed novel titled ‘Sutradhar’ based on his life.
Dinwa ginat mori is a quintessential bidesiya song showing the lady withering away counting days for his return, and always staring at the pathway with longing eyes. Her mind and body are listless, she is disoriented, the papiha’s singing and the flowering of mango trees torment her even more. Canasya posted this song earlier at @21.
Arvinder Sharmaji @64, 65,
You are returning with a bang. Kaahe naino mein naina daale re is terrific. Thanks for posting it, because we tend to miss this song amodst the famous songs by Geeta Roy (Dutt) from Jogan
Bhatiaji @54
Thank you for the encouraging words. Yourself and Pradipji are on a song riot and Arvinderji joining in with a bang, it would take some time to listen to all the songs, which should add upto 50. I would listen to them at leisure tomorrow.
Akji,
Thanks for the appreciative response. I am proceeding chronologically in the comments section. I noticed that my post Dinwa ginat mori is a repeat.
A couple of Badesi songs
A fine Thumri, Saiyyan Badesi Ghar Aa Jaa Re by Ghulam Ali
https://www.youtube.com/watch?v=GAguZfcaN0c
A nice rendition from Geeta Dutt, Aaja , Aaja Re Badesi Ho Baalma, film Padmini (1948), lyrics Wali Sahab, music Ghlam Haider
https://www.youtube.com/watch?v=Mln2WmNE-14
I have mentioned earlier that in the eastern part Bideshi/ Bideshiya is more in use.
Chameli Memsaheb was a 1975 Assamese film, a love story set in a tea estate between the Pardesi (British) tea estate owner and a local tea garden worker. At the 1975 National Awards Bhupen Hazarika got the best music director award for this film. A tribute to Bhupen Hazarika on being posthumously awarded the Bharat Ratna (2019).
O Bideshi Bandhu by Bhupen Hazarika
https://www.youtube.com/watch?v=Sq1LCxLcvVk
In 1978 the film was replicated in Bengali. The Bengali version of the same song by Hemanta Mukherjee
O Bideshi Takao
https://www.youtube.com/watch?v=OGmAsdFNQ8E
Arvinder Sharma ji ;
Welcome back . There was a quake on my table with a sound of thud…..your bulk posting made me alert . Rightly AK ji stated….you always come back with a bang . In response to your so many songs I am afraid I have only one to post.
Door se ik pardesi aya….Rafi…Suraj mukhi [1950]….HB
https://www.youtube.com/watch?v=5pfOHUx63Ak&t=28s
The song is so much close to …..Tera khiloana toota balak…both lyrics and composition wise.
The Laxmi song I am unable to locate . See if you can forward the link.
A couple more, one from the vintage era and the other a relatively recent one.
Phir Se Aaiyo Badra Bidesi by Asha Bhosle, film Namkeen (1982), lyrics Gulzar, music R D Burman
https://www.youtube.com/watch?v=s-wG3o_z_vw
Bhali nibhaayi preet re pardesi by Hamida Banu, film Moorty (1945), lyrics Indra Chandra, music Bulo C Rani
https://www.youtube.com/watch?v=HJm7Z_VVLfo
ksbhatia ji ,
Here is the link for the song of
” Laxmi ” .
Hope U will throw light on the identity of the singer .
https://youtu.be/AuxpZMZDn6I
ksbhatia ji ,
I hav given the link for the song of
” Laxmi ” .
Plz .Scroll upwards where Ur post is .
Just too add one beautiful song from “Sargam” may amongst last songs of great RAFI.
https://www.youtube.com/watch?v=WVKtSiWGNbw
N Venkatraman ji @74;
I love Aasam and their culture . At one point of the time I was posted at Guwahati … to head Flood forecasting of North East Rivers . That was between 1979 -81 . The mighty Brahamputra was a great challenge . While we used to be on our toes all the time sending flood alerts thru radios, wireless system , alerting local adminstrations for fixing relief materials and tents ….and watching close the rise and fall of river trends vis a vis IMD rainfall inputs……the non flood season was a little pretty relaxing .
I was usually invited during bihhu celebrations ….and watching live the bihhu dance itself was a great treat . Often i would go for shopping at Paan Bazar and Fancy Bazar for my ration and visit gurudwara there. Fancy Bazar street had a a complete sound system all along its street….and it was here on this street I was treated or rather introduced to the magical voice of Bhupen Hazarika. The most fav. of all was the passionate song on Brahamputra . Not going on with much more details , here is a song I used to listen[ not on theme though ]……
Moha bahu Brahmaputra – Bhupen Hazarika (Assamese Song)
https://www.youtube.com/watch?v=2_ByfPJngWQ
Guru Tegh Bahadur had gone to Aasam many times and There is a beautiful Gurudwara right on the north bank of Brahamputra at Dhubri……which is very near to Bangla Desh border .
Watch the lyrics…..they mention about Sikh Guru Tegh Bahadur ji.
AK ji @69;
Mera Naam Joker had many touches ….which only passionate follower of cinema of class could note and appreciate . Awara song…its stanza…duniya mein tere teer ka ya taqdeer ka mara hoon….was very appropriate for the departing scene.
While mentioning …chiriyan da chamba veh…I had Kabhi Kabhi song in mind….BUT you have taken the cake mentioning the slow entry cut of the song by…..Surkh Jode ki Yeh Jagmaghat…. this is simply superb poetry and what a thought and composition. I am still in Pro Happy mode . Thanks for bringing out such cuts. Your such observation on Pyar kiya to darna kya song I still remember the affect of PAUSE in a song!!
Songs less listened some time sits in a remote corner of once mind …..awaiting their turn …and when they crop up they are promoted as front runners ….getting higher status and points.!!
Hum Pardesi door hain….Rafi, Geeta Dutt…..Char Minar [1956]…Sardul Kwatra …
https://www.youtube.com/watch?v=QKQvinYpWQ4
Now , this is a unique composition …..carrying the lyrics written differently and changing the notes, beats and rhythm suddenly….and still holding the charm of the song,. Simply Bravo Sardul Kwatra ji.!
Now, this one is a non filmi thumari by non other than actor Govinda’s mother Nirmala Devi. A very nice singer and actress of the 40s thru 70s . Less sung by comparison but hear this thumari and see the range and depth she had in singing classical songs. In mid 40s she had sung quite a number of songs under Naushad Saheb too. ….and Naushad Sahib gave music to one of the Govinda’s starer movie of perhaps mid 80s .
Na ja pi pardes……Nirmala Devi…..
https://www.youtube.com/watch?v=AaFL7cphBlc
…..to be contd.
Arvinder Sharma ji , Godbole ji ;
I am not expert too …..but listening to songs [ other than those established ones] of the mid 50s…..my probable guess is Snehlata, the popular gujarati singer of those times. See if someone can endorse this.
ksbhatia ji ,
I think Snehlata was an actress in 70s , on whom a masterpiece
” हमनें देखी हैं उन आँखोंकी महकती खुशबू”
Of movie ‘खामोशी ‘ was picturised .
Kaumudi Munshi was quite popular gujarati singer in 50s nd she had sung hindi nd gujarati songs composed by Avinash Vyas.
Avinash Vyas has composed this song of ‘ Laxmi ‘ about which we r in discussion .
Godbole ji @83;
Yes, I am aware of actress Snehlata singing Khamoshi song ; but I was talking of Snehlata Amre …..popular singer of Gujurati Movies of the 50s . A song from one of her old hindi movie I am posting. See how close her voice is . The audio in the posting is of low quality….so searching more song of her just to make sure wheather she is the one singing Laxmi song.
Song from Jungle Ki Duniya…..Snehlata Amre
https://www.youtube.com/watch?v=ZMocUgoWYiQ
ksbhatia ji ,
Oh yes .The voice of Snehlata Amre seems to b very close .
Nd the song is also a nice one .
Godbole ji;
Lets see what are the views of Arvinder Sharma ji and other experts. I repeat I am not an expert but I am a good listener.
Bhatiaji @80,
Your tryst with Assam and its culture as a Pardesi 40 years back made interesting reading.
In the years since then, the Brahmaputra and its tributaries have swallowed several hundred sq km of land in Assam and created thousands of landless “Nadibhangos”. The influx of landless peasantry into reserved areas due to erosion, besides the cross border immigration, also explains the subterranean tensions.
Yes I noticed the mention about the revered Sikh Guru Tegh Bahadur ji.
@81
Hum Pardesi door hain is a delightful song. Thanks for posting it and the wonderful Thumri Na Ja Pi Pardes by Nirmala Devi.
Time for songs. Splendid rendition by two stalwarts.
Ik Pardesi Kanay – Pahari Geet by Bashir Ali Mahi ( Patial Gharana)
https://www.youtube.com/watch?v=3VueYzgF9CU
Balam Pardesa Na Jayiyo (Tilak kamod) by Faiyaz Khan (Agra Gharana)
https://www.youtube.com/watch?v=oihhI0aF8-c
Today my mother just asked me to play a song she recollected. I was listening to this when I heard the reference to ‘ Pardesi ‘ in this song from Do Aankhen barah haath ‘ , singer – Lata , MD – Vasant Desai —- ‘ Saiyan Jhooton ka bada Sartaj Nikla…’ (1957).
I searched all the posts to check if this would be a repeat in this post.
Please listen at 3’31” , ..Paradesi ki Preet badi Hoti buri …
https://youtu.be/3t4Owk1fGFg
Pardesi as a theme has been put up as ‘collectors’ item’ by the original post and the discussion thereon.
There are people who become “pardesi’s because of the occupational hazard, e.g. people seving in army/
So when they get a leave to head home it becomes an occasion at both ends.
From the forward end:
Ab Char Dino Ki Chhuti Hai
https://www.youtube.com/watch?v=KjTqX8toJ-8
and teh journey itself is matter of joy https://www.youtube.com/watch?v=7tK0B5w7kkI
And the feeling of loneliness accentuated by the deep-rooted expectancy leads to
https://www.youtube.com/watch?v=5NDCNfoi8Dw
“Rihaee” was a movie which has dealt with the subject of genesis of promiscuity in male migrants and the female left-back at home.
https://www.youtube.com/watch?v=VCqkOPG78RA
Anup ji and others,
I have read with interest the discussion about who the singer is , of the song from film Laxmi-57 .
First of all the singer being suggested is SNEHALATA NARE and not Amre.(स्नेहलता नरे).
I have heard the song and strongly feel that it is the voice of Snehalata only. Snehalata was born in Bombay, worked and sang in Marathi and Hindi films and then went over to Gujarat, where she became very famous with her songs.
Ashok Vaishnav ji would be the right person to confirm this matter.
I am open to any correction.
-AD
Thank you Arunkumar Deshmukh ji for your comments.
I hadn’t heard of snehlata nare, so it was a valuable addition to my knowledge.
Anup
Ashokji,
Thanks a lot for your appreciation. Rihaai is a very apt movie for the theme.
Mr.Joseph @88
A very good observation and you have heard it right. Saiyan Jhooton ka bada Sartaj Nikla is an excellent composition. Thanks for posting it. But the link posted does not have the antara mentioned by you. The song ends at 2:47 with first two antaras and the visuals, then the first antara chal diyaa zulmi mujhase bahaanaa banaa is repeated followed by the antara mentioned below
Maine ik din jara see jo kee maskharee
Chal diya nazare ghumake wo gusse bhari
Mera chhaila bada naraaj nikala
Mujhe chhod chala…
Saiya jhuthon ka….
Here is the antara mentioned by you and the link
Pardesi ki preet badi hoti buri
Jaise meethi zahar bhari ho teekhee chhuri
Mai to bholi si wo chaalbaaj nikala
Mujhe chhod chala…
Saiya jhuthon ka….
https://www.youtube.com/watch?v=bpYreqIKgvs
N Venkatraman ji ;
Some more songs of rare qualities . A few from pujabi films too.
Chhad Ke Pardesi Tur Chaliya….Shamshad…CHHAYI-(1950)[ punjabi]…….Hansraj Behl….
https://www.youtube.com/watch?v=_fD7myx1GzI
Gal Sun O Yaar Pardes…..Rafi…..Sherni[1976].[Punjabi]…Hansraj Behl
https://www.youtube.com/watch?v=GQ-zYWZo2ic
Mere Pardesi Mehman Kaha Mera Maan….Rafi, Shamshad….Andher Nagar Chaupat Raja (1955)……Avinash Vyas
https://www.youtube.com/watch?v=5ib4Lgw69xc
…..to be contd.
@93
the second line of the last antara should be
Jaise meethi zahar ki ho meethi chhuri
Bhatiaji @ 94
I was waiting for your posts on Punjabi songs. Gal Sun O Yaar Pardesi Jehda Likhiya O Rab Desi is a good melody. Enjoyed listening to Mere Pardesi Mehman Kaha Mera Maan too.
In the following song the singer(s) express their brotherly love towards Pardesi. Gaali (1944) was a social film, and dealt with the theme injustice to women. Sajjad Hussain and Hanuman Prasad were the music directors. The uploader of the link mentions Hanuman Prasad as the MD for this song and Pandit Indra as the lyricist. I am not sure. The the name of Ram Moorty Chaturvedi appears as the lyricist elsewhere. The song was rendered by Manju Dewan and other female singers. Nirmala and Amirbai Karnataki could be the other voices.
Pardeshi ho han han pardeshi ho, hum se rakhiya bandha, film Gaali (1944)
https://www.youtube.com/watch?v=4_EmM1kP-E8
A SJ composition, should gladden your heart.
Haaye Meri Uljhi Nazar Pardesi Ke Sang by Lata Mangeshkar, film Aas ki Panchhi (1961), lyrics Shailendra, music Shankar Jaikishan
https://www.youtube.com/watch?v=VRVZOYKAQ1Q
I would take leave tonight with this song.
Haye Mere Pardeshi Jugnu by Geet Dutt, & a male Voice (?), film Putli (1950), lyrics Wali Sahab, music Aziz Hindi
https://www.youtube.com/watch?v=UGNSvG14tZY
Good Night
A few more additions to this unique and excellent post by AK:
1. ‘Eri aali piya bina’ is probably the most well known drut bandish in Raga Yaman/Yaman Kalyan. Its antara goes as follows:
Jabse piya pardes gawan keenho
Ratiya kaTat mori taare gina gina
Here is a YouTube playlist of renditions of this cheez by different artistes:
https://www.youtube.com/playlist?list=PL8Ij3cwjK9c-1tW3HXlbwmXy7E7J9FPrS
2. A song in which the heroine beseeches a boy-cloud not to leave for foreign lands:
‘Kaare badaraa tu na jaa na jaa, bairi tu bides na jaa’ by Lata Mangeshkar (MD – SJ, Lyricisit – Shailendra), from ‘Shikast’ (1953)
https://www.youtube.com/watch?v=tf0Kjw943F4
3. A slightly different entreaty, addressed to a girl-cloud this time, all because the ‘saawariya’ has sojourned to the ‘pardes’:
‘Jaa ri jaa ri o kaari badariya’ by Lata Mangeshkar (MD – C.ramchandra, Lyricist – Rajinder Kishen), from ‘Azaad’ (1955)
https://www.youtube.com/watch?v=POg5UcQVFrc
4. Finally, the lyrics of a ‘drut bandish’ in AK’s favourite Raga – Durga. Unfortunately I could not find a rendition on the Internet:
Sthaayi:
Pardeswa sainyaan na jaiyyo
Manharwa, tumhare laagoon garawa
Antara:
Tum bin mohe kal na pare
Khaan paan mohe na kacchu bhaaye piyarawa
Ashwinji,
There is one more song from the film Shiksat (1953), by Asha Bhosle
Chamke bijuriya garje megh
Mat ja re balam pardeshwa
https://www.youtube.com/watch?v=RyoIk8qdhWw
N Venkataraman 46 January 27, 2019 at 12:34 pm
But first a little leg pulling:
You say at comment number 97:
“I would take leave tonight with this song”
I say
“Jaata Kahan Hai Diwane, Sub Kuchh Yahan Hai Sanam?”
Now answer to your comment @46
I enjoyed very much your erudite “take” on “Paradesi”. Along with AK’s wider oeuvre on “Paradesi” the picture of the” Paradesi” looks very complete!
I like your “idiom” ising of the AK style of writing posts on the selected subjects as “SoY, since long, has made the unusual the usual. Hence I would not say this is an unusual theme.” Well written Venkatramanji!”
Further on I shall be lazy and use your lines to praise the article “Romancing the Pardesi” and AK as following:
“Thank AKji for a theme which should be close to the heart for many for diverse reasons. The introductory write- up was good, and would kindle many to journey back down the memory lane.”
Thus said I too have my differing “take “on “Pardesi” as well.
Your thesis mainly based on the words “Persia” Paresis.
The words “Persia” originated from the capital town “Persepolis” in Persia in the ancient times. The Zoroastrians as they were called after their primordial priest like the Hindus “Manu” who wrote Manusmriti and codified Hindu religion. Zoroaster also composed verses and often they are called Zoroastrian “Avestha “ Ved or Gatha.
Actually the word “Zoroaster” is anglicised by the English scholars. The correct word is “Zarathustra” as in the title of the novel “Thus Spoke Zarathustra” by Friedrich Nietzsche.
The language of these verses is very close to the Aryan Vedas. Thus they are Aryan in origin as the Indian Hindus want to call themselves. Many scholars of both the ancient societies believe that they both belonged to the ancient Aryan race.
There is also a claim of the Greek Scholars that Greeks too were once upon a time Aryan. The word Iran is originated from the word Aryan.
So calling Parsees as Paradesi is on a very thin ground.
I believe that Parsees are as Indians as Hindus are Indians. It is very sad this entrepreneur, noble and very generous community now is poised to become extinct by the end of this century.
Parsee contribution in India is very rich, from Dadabhai Navoroji to Jamshedji Tata in Indian Politics and modern business.
In the film world from “Ardeshar Irani who made the first Talkie in India and also had a Theatre called “Majestic” through Soharab Modi to Wadia Borthers who made stunt films and also social films like “Vishvas, Mela etc.
In Film music “Saraswati Devi the composer of many films of the Bombay Talkies and some classical singers too were Parasee.
In gifting for social and educational work Parsees are very famous. The University of Bombay has “Rajabai Tower next to the library and in front of the Convocation Hall as Tata gave generous gift to build the building of the University. Rajabai was his wife.
I grew up in the shadow of a Parsee Agyari “Parsee Temple” next to the Metro Cinema on the Girgaon Road in Bombay and had very good Parsee friends and visited their houses which looked very much kind of Gujarati and they had their language which is Gujarati origin.
Our milk and milk produced sweets came from the Parsee Dairy.
I think the word Paradesi might have been grown out of the Sanskrit word “Parakiya”.
Here is the word “par” explained by the “Hindi Shabd-Sagar” published by “Nagari-Pracharini Sabha, Banaras, and the Edition 1971:
“Par”= “Apane ko Chhodkar, Shesh, Gair, Anya.
My translation of the above: “Par”= leaving aside the self, others, Stranger, different etc.
Further on the same dictionary explains the word “Pardesi” as a person living in another country.
In the play “Shakuntalam” of Kalidas act four scene four where Kanva Muni on his return from his “TeerthYatra” found that his adopted and underage daughter has met the King Dushyant and married him. Then he sends off Shakuntala to the House of King Dusyant her husband.
At the “Bidai” time he speaks out an iconic verse and in that verse he uses the words “Artho Hi Kanya Parkiya-eva” meaning “the daughter means she is the property of other.”
In Sanskrit the word “Par” meaning distance, far away etc. as explained above in the Hindi dictionary. In Sanskrit the word Desh means local or as you have said “land”. So the word made from “Par+Desh” can be Pardesh”. Hence the word “Pardesi”.
Incidentally the play “Shakuntalam is an iconic play a kind of handbook for the Indian film makers from thirties onwards. So there is this iconic situation that a Pardesi comes and takes away the local girl. And the girl’s yearning for her Pardesi. It cost Shakuntala her king losing his memory because when Durvas Muni visited Shankuntala was in trance of memory of the King and forgets her duty to welcome the hot headed Muni. He curses her that the man she was thinking of will not remember her.
These various scenes come in various Hindi films either in the same forms or manipulated by the writers.
So here I agree with the view of Mr Arunkumar Deshmukha @ 7 that right from the beginning of the talkies the Pardesi situation was there for the film makers and they had exploited it in many folds.
I want to add on, that though almost all the filmy decades had plenty of films to use songs without “Pardesi” as in the famous song from Jawab 1942 “Door Des Ka Rahanewala Aya Des Paraya” in the beautiful voice of Kanan Devi, they have been using the clichés of “Paradesi”.
I would like to quote one more song from the film Dr. Kotnis Ki Amar Kahani 1946 “Pardesi Re” in the voice of Zeenat Begum. All the four doctors who went to China to help the Mao’s army dying wounded. They hear the song of Zeenat when they are resting, on a gramophone record. Three of them become restless and go back to India. One stays on and did not come back. That gave a title of the biographical novel of K.A. Abbas “One that did not return” on which Shantaram’s film was based.
Your examples of “Pardesi Muslaman and Bahamani Kingdom and its origin will take some good thousand or more words.
Every Pardesi song and situation is different and explores the various meanings in the songs.
Shalan Lal now “Pardesi”
P.S. The filmy “Paradesi” is always male character. I wonder why?
N. Venkatraman ji @87;
Holy places are indeed Light House of the world but we all need to Switch It On . Remote Holy Places give more feelings of strength and contentment ……and it was a great feeling covering many such places like Kamakhya temple, Dhubri and Hojai gurudwaras and Shillong Church.
In Gurubani, there are examples where a young woman [ soul bride] waits tirelessly for his beloved [ the Purush Paramatma] who is far away in pardes and she longs for his homecoming .
Quote from Gurubani….
Avo sajana huon dekha darshan tera Ram
Ghar apne khadi takan mein man chhaho ghanera Ram
[ Translated as… Come, my beloved, so that I may behold the blessed vision of your darshan .
I stand in my doorway, waiting for you . My mind is filled with great yearning for you .]
And when finally she [ the soul] meets his beloved[ the Purush Parmatma ] She sings thus
Sakhi milo mil mangal gaao , hum kar saajan aiya
{ Translated as ….Oh Friends , come , we all sing the welcome songs , my saajan has come back home .}
There are many Shabad on this theme and sung in various ragas by many learned Hazoori Jathhas . I am posting one which was relayed live on Punjabi chhanel .
Mere Man Pardesi Ve Pyare….Bhai Lakhwinder Singh Ji
https://www.youtube.com/watch?v=99hj1XdzkuA
Ms.Shalan Lal , Ashwin Bhandarkar Ji , N. Venkatraman ji, AK ji ;
Here is one Shabad on urge and longing to meet for Darshan…..
Sagal Bhavan Kae Naeika … Raag Gauri Poorbi
https://www.youtube.com/watch?v=CPSLEWn0_qs
I thank Venkatraman ji (refer your post on 30/1/2019 ) , for his good words and for his correcting the wrong link I had posted unintentionally for the song – ‘ Saiyan Jhooton ka bada Sartaj Nikla ..’.
I had meant to post the link —
https://youtu.be/4n6nm8sBvyc
My apologies to all the learned members for this.
2)I have a feeling that this song must have been screened on more than one occasion in the film as she sang this song whenever she was out selling toys to the children.
3) Today ( after the unification of so many kingdoms and formation of India ) , a Pardesi to me is someone not holding an Indian passport. Pre-1947 everyone outside your tiny kingdom was a Pardesi. Perhaps post 1947 the word Pardesi is still being used in film songs in that sense . I also feel the word ‘ Pardesi ‘ is being used in Hindi films very casually to refer to any stranger . So many recent films like even ‘ Raja Hindustani ‘ also used the word ‘ Pardesi ‘ to refer to someone who is an Indian. Today we Indians cannot call each other a ‘ Pardesi ‘ . This type of usage of the word shows that the meaning of this word has changed and that it only refers to any stranger.
4) The lyrics of the song under discussion from ‘ Do Aankhen barah haath’ has been composed by Sh Bharat Vyas and he uses pure Hindi for his compositions , — no Urdu words at all . When he has written the line ‘ Pardesi ki Preet badi hoti buri .. ‘ in this song , then it means that he also means to refer to a stranger only.
5) In the film ‘ Do Aankhen barah haath ‘ of 1957 , the lady of around 20 years age , in this song has made a very profound statement with great authority — ‘ Pardesi ki Preet badi hoti buri..’.
This line , in the light of other words used in the song , is also not very complementary for any ‘Pardesi ‘ — sends a word of caution to any lady involved with a stranger.
6) Pardesi is used always for a male .
Shalan Lal ji,
Appreciating your ‘carrot first and stick next’ policy, I accept your criticism and compliments in the same vein.
After reading your scholarly exposition I accept your “take’ on the subject. You have a point. And a point well made.
I never meant Parsees as non-Indians. If my discussion conveyed such an inflection, it was not intentional and I do not dispute the contribution of the Parsees in various fields.
Relished your leg-pulling. The two lines you left out conveys more.
jaataa kahaan hai diwaane
sab kuchh yahaan hai sanam
baaki ke saare fasaane
jhuthe hai teri qasam
My exposition may appear to be a “fasana”, but I do not think I have made any false claim. Well, maybe that is why you left the next two lines to my imagination. It was my personal opinion on the influx and usage of the word in North India. But the three examples I have mentioned in South India’s context were not in any way my pigment of imagination. What you left unsaid is equivalent to thousand words.
Shalanji Akhir Kahan Jaun
Jaun to kaha jaun sab kuch yahi hai
SoY ke bahar to na geet na sangeet hai.
That calls for a song.
Pardesi Baalam Aayi Ghata Ghanghor by Zeenat Begum, film Pagdandi (1947), lyrics D N Madhok, music Khurshid Anwar
https://www.youtube.com/watch?v=6P6uvFR-wAk
Naghma,
Thanks lot for mentioning the Pardesisong from the film Sargam.
KS Bhatiaji,
Such a beautiful torrent of songs and thoughts @75, 80, 81, 84, 87, 94, 101 and 102. Thanks a lot for enriching the post.
N Venkataramanji,
Someone said, Hell hath no fury than a woman scorned. I don’t know whether Shalan Lal pulled your legs. But SoY hath nothing more enlightening than N Venkataraman in full form. I have read all your comments and heard the beautiful songs you have added. Phir se aiyo badra bidesi by Asha Bhosle (RD Burman), coming in 1982 takes us to the 1950s and 60s when such melodious songs were composed. She recreates the pathos she did it with Ab ke baras bhej bhiya ko babul (@76). The thumri Balam pardes na jaiyo (@87) is fabulous. Thanks for adding it.
Since you have added Bengali and Assamese songs, you must have missed the iconic song from Charulata sung by Kishore Kumar.
Ami chinigo chini tomare oge bidesini by Kishore Kumar from Charulata (1964)
Ashwin @98,
Thanks a lot for your appreciation and for adding the playlist of Ae ri aali piya bin. I was looking for renderings by my current favourites Pt. Venkatesh Kumar, Mevundi Jayteerth and Kaivalya Kumar Gurav. While the last two have been making waves as great exponents of Kirana Gharana among the new generation, I am surprised why it took me so long to discover Pt. Venkatesh Kumar. He must have been around for many years. I would be waiting for the Pardesi bandish in Raga Durga to turn up. You are, of course, most welcome to post other classical pieces on the Pardesi theme.
Shalan Lal @100,
Thanks a lot for your appreciation and your scholarly exposition. In the two meanings you have explained of the Sanskrit word ‘par’, ‘the other’ is more common, as in ‘पराधीन’, or ‘परावलम्बी’. Even in ‘परकीया’ ‘par’ is used in the sense of ‘the other’. Therefore, pardesi was a stranger; and yes he was a stranger because he came from a far off place. Therefore, the two meanings converge. Incidentally, though ‘par’ and ‘desh’ are Sanskrit roots, are you aware of use of ‘परदेश’ in Sanskrit anywhere? I can’d off-hand recall any.
Since only a man can be a Balam harjai, or a Beiman baalma, or a Zulmi (Zulmi sang aankh ladi), or a Jhoothon ka sartaj (Sainya jhoothon ka bada sartaj nikala), he had to be a male. If she were to be a female, the cultural, musical associtaions, and our conditioning have to be turned on their head. Though Satyajit Ray created a beautiful Bidesini in Charulata – I have linked the song in my response to Venkataramanji above. But this has to be treated as an exception to the rule.
P.S. Shalan Lal ‘Pardesi’ – I can picture you as a charcater from a Nirmal Verma story, sitting alone in a pub in London, and looking out of the window at the grizzly weather of London, and thinking which world you belong to. 🙂
Joseph @103,
You have gone into serious politics. In music, it would be awkward if pardesi had to be limited to the notion of modern nation-states. The pardesi songs in films have died a natural death, just as many other images and metaphors have disppeared, for various reasons. But classical musicians would continue to sing traditional bandishes in which pardes/pardesi would continue to mean the same as they have meant for generations – romanticism for a far away place/the stranger.
Pardesi is always a male: I have given my take on it in my response to Shalan Lal @109 above.
AK ji @110;
I entirely agree with you . With expanding horizon and rapid urbanisation most of such words of the likes of Pardesi have vanished. In good old days of pre partitions even the next village person was addressed as pardesi or dehati . And the distance of that village was measured by hindi word ….KOS ….a rural indian unit of distance having different values in different localities. Tonga drivers usually asked for distance in KOS to fix or bargain their charges.
In Indian cinema there has been many instances where this word KOS was used . Not going into details of the scenes , here are the names of the movies …..Aah, Devdas, Aashirwad, Mela , Teesri Kasam….etc.
Bhatiaji @101 & 102
From an intellectual interaction to spiritual sojourn, SoY has the space for everything. When the seeker merges into the sought, the thin line demarcating the two vanishes. Jiddu Krishnamoorthy or may be someone else (I do not remember exactly) once said when one becomes truly spiritual there is no place for even god. Adi Shankaracharya in Nirvana Shatakam also emphasises on this point. So did all the great Sikh Gurus and Buddha. All great Gurus initiate and guide the seekers towards the elusive atman, the ultimate Pardesi residing in the temporary abode within. To seek him and merge with him leads to the liberation of both sought and the seeker.
Listened to the wonderful Shabadh Kirtans posted by you, Mere Man Pardesi Ve Pyare & Sagal Bhavan Kae Naeika and also the ones mentioned by you, Aavo sajna ho dekha darshan tera ram & Sakhi milo mil mangal gaao. Thanks for the posts and sharing your contemplations on the subject. Your remark, “there are many Shabad on this theme and sung in various ragas by many learned Hazoori Jathhas”, reminds me of the Vaishnav Kirtans of Bengal. There are several Kirtans depicting the pangs of separation experience by Radha (the Bhakat). The agony is painful, yet they are sweet for her (pleasure in pain), since she knows that after ‘Viraha’, the doubly gratifying communion or ‘Milan’ will take place. Like the Sabadh kirtans , the Vaishanav Padavalis are composed in several Ragas and Tals unique to this genre.
And Interestingly Rabindranath Thakur was influenced by both Sikhism and Vaishnavism. Just to cite an example, his early work ‘Bhanusingher Padabali breathe out a true Vaishnav spirit to such an extent that scholar could trace in them clear influence of Vaishnav poets like Jayadev, Vidyapathi & Chandidas.
A young Rabindranath had visited the Golden Temple with his father Debendranath Thakur in 1873. Back then the Kirtans rendered by the Sikh Kirtankars left a lasting impression on him. (Shalanji wrote on this subject in an earlier post.) He wrote Veer Guru, Gobind Guru and one more poem. He also wrote about Guru Gobind Singh and a composition titled Banda Veer about Baba Banda Singh Bahadur. At the age of 21 he wrote an essay on Guru Nanak’s Sachhe Sauda for a children’s magazine called ‘Balak’.
I am providing the link to the Aarti composed by Guru Nank andI believe that Rabindranath was so enamoured by the Aarati that he translated in Bengali. Please read the note in the link provided. And I cannot vouch for the authenticity of the note, especially the part where it says that Balaraj Sahini asked Rabindranath Thakur that you have written the National Anthem for India. Can you write an International anthem for the whole world?
https://www.youtube.com/watch?v=ZhKsQQj8VMU
With this note I retire for this night.
Good Night.
Shalan Lal ji,
The influence of Parsee Theatre on the stage plays of Indian languages from the mid 18th to the early 19th century was very great and carried over to the Cinema.
Iranian Cafes were a part of Mumbai and Hyderabad culture. The bun maska,Irani Chai,Khari biscuits are part of the folklore.
IRANIAN RESTAURANT INSTRUCTIONS, the poem by Nissim Ezekiel (1924_2004) ,1972, about the instruction boards in his favourite Irani Cafe was made into a short film,too!
Please
Do not spit
Do not sit more
Pay promptly, time is invaluable
Do not write letter
Without order
refreshment
Do not comb
Hair is spoiling floor
Do not make
mischiefs in cabin
Our waiter is reporting
Come again
All are welcome
Whatever caste
If not satisfied tell us
Otherwise tell others
GOD IS GREAT
Quirky, amusing,means business, still welcoming.
And, yes.. I have also read articles saying Pardesi is derived from Parsi. To add to N Venkataraman ji’s observation, Pardesi was a derogatory term in the Coastal belt of Mangalore ( Karnataka) and Kasaragod ( Kerala) in Tulu speaking people.
ksbhatia ji has rightly observed that Pardesi is anyone not from one’s immediate neighbourhood. Need not be a Videsi.
देस से कोसों मील दूर,साथ समुंदर पार रहते हुए भी आप अपने ही हो, परदेसी नहीं।
Pradiji @113
Thanks for the response.
Listened to the songs mentioned by you. One has to search for the songs in order to listen to them. That requires some extra effort. Here is the link to songs mentioned @36.
Pardesi Aaya Des Mein by Lata Mangeshkar, film Pratigya (1975), lyrics Anand Bakshi, music Laxmikant Pyarelal
https://www.youtube.com/watch?v=hi-sdfuv7G4
O Pardesi musafir kise karta hai Ishara Balam (1949) was in the earlier post ‘Swing a song of six pence’.
Song from Laxmi (1957) posted by Pramodji @ 77
Saanvariyaa Naahi Khabariyaa Tohre kaaran Apne des mein balam Hum ho gaye Pardesi
By Lata Mageshkar, film Milan (1967), lyrics Anand Bakshi, music Laxmikant Pyarelal
https://www.dailymotion.com/video/x3885g
Here I another song from Milan (1967)
In the popular duet sung by Mukesh & Lata Mangeshkar, Saavan kaa mahinaa, pavan kare sor, the last stanza has the following lines-
Jinake balam bairi, gae hai bidesavaa
Laai hai jaise unake, pyaar kaa sadesavaa
Kaali adhiyaari, ghataae ghanaghor
Jiyaraa re jhume aise
Jaise banamaa naache mor
https://www.youtube.com/watch?v=aSqwfhYAoxs
Pradeepji
here are the links to the songs @ 40, 41 & 42
Mere Bachpan Tu Ja, Ja Jawani Ko Le Aa by Lata Mangeshkar, film Kacche Daage (1973), lyrics Anand Bakshi, music Laxmikant-Pyarelal
https://www.youtube.com/watch?v=D5G-BSPzYjY
The next two songs made good listening.
Ek Baar Tu Ban Ja Mera O Pardeshi by Shamshad Begum, film Shabnam (1949), lyrics Qamar Jalalabadi, music S D Burman
https://www.youtube.com/watch?v=7nZYaQkNQKY
Pardesi Se Lag Gayi Preet Re by Geeta Dutt, film Jaan Pehchhan (1950), lyrics Shakeel Badayuni, music Khemchand Prakash
https://www.youtube.com/watch?v=LTOuP4je1S4
Here is another good duet from Shabnam (1949)
Tumhare Liye Hue Badnam, Na Bhule Fir Bhi Tumhara Nam by Mukesh & Shamshad Begum, film Shabnam (1949), lyrics Qamar Jalalabadi, music S D Burman
https://www.youtube.com/watch?v=2QMzhNF6cmg
The third stanza
tum pardesi pardesi
tum pardesi tum harjai phir kya hamse mel
jao jakar or kisi se khelo pyar ka khel
hame auro se kya kam, tumhare bina nahi aaram
tum mano ya na mano tumhari marzi, tumhari marzi
Here is another good duet from Shabnam (1949)
Tumhare Liye Hue Badnam, Na Bhule Fir Bhi Tumhara Nam by Mukesh & Shamshad Begum, film Shabnam (1949), lyrics Qamar Jalalabadi, music S D Burman
https://www.youtube.com/watch?v=2QMzhNF6cmg
The third stanza
tum pardesi pardesi
tum pardesi tum harjai phir kya hamse mel
jao jakar or kisi se khelo pyar ka khel
hame auro se kya kam, tumhare bina nahi aaram
tum mano ya na mano tumhari marzi, tumhari marzi
N Venkataraman ji,
Thank you for the links. Believe me,my MILAN post was to accompany/ follow Sawan ka mahina… I don’t know how I did a half job!
I will soon learn to give the proper links. Some non Golden Era ones that are easy to find:
DES PARDES,1978.
Kishore Kumar,Amit Khaana, Rajesh Roshan.
Tu pee aur jee….
…
Ye Gujarati,Woh Bangali
Ye Dilwala,Woh Dilwali
Main hoon desi,tu Pardesi….
RAM TERI GANGA MAILI,1985
Suresh Wadkar,Lata; RJ
Husn pahadon ka wo Sahiba…
….
Tum Pardesi kidhar se aaye?…
….
Pahadon mein kehte hain
Pardesi jhoote hain.
The Medical College Hostel days,we would sometimes see ANY movie if there was not a good choice.
GARAM KHOON,1980 was one such movie starring Vinod Khanna and Sulakshana Pandit. Believe me,I don’t remember a thing about the movie except one song…
Pardesiya tere des mein dil is tarah
Milte hain kya?
Sulakshana Pandit,Rafi; SJ
I had almost decided I would not mention this average song. But,I remember reading somewhere that Sharda Iyengar is the lyricist. Can anyone clarify?
Pradeepji,
@119
There is no reason not to believe you. I too had lined up many links. As is my habit, I post a few at a time. In the process most of the songs in reserve get posted. And that is most welcome. It increases the participation and interaction. Will wait for you to provide the links in future. Not a tough job. Till then…….
@45
Paradesi Ki Preet Ko Mera Man Lalchaye by Geeta Dutt, film Bhakt Puran (1952), lyric Ramesh Chandra Pandey, music Chitragupt
https://www.youtube.com/watch?v=q3YPMAuPqcA
@47
Badali Se Nikalaa Hai Chaand by Lata Mangeshkar, film Sanjog (1961), lyrics Rajinder krishan, music Madan Mohan
https://www.youtube.com/watch?v=78pe3hlyRmE
@48 Thanks for the good Vintage addition
Ae chaand sitaaro pardesi piya ko ek baar by Miss Kalyani, film Jadooi Anghooti (1948), lyrics Roopbani, music Allahrakha Qureshi
https://www.youtube.com/watch?v=tQAp2NZvoWw
Pradeepji,
@49
Mera Pardesi Na Aaya by Lata Mangeshkar, film Mere Humsafar(1970)
Posted by Anupji @ 6
You missed this too. There is another song in this film which carries similar sentiments. Besides the last lines of the second stanza is as follows
ho dekha nahi gori ka mukh ek mahine se
ho mar jana behtar hai, pardesh me jine se
Mausam Hai Baharon Ka Ha Phulo Ko Khilna Hai by Mahendra Kapoor & Balbir
https://www.youtube.com/watch?v=qUPRW_utPZQ
another song from Humsafar
@52
Ek Pardesi Door Se Aaya by Asha Bhosle, film Gumrah (1963), lyrics Sahir Ludhyanvi, music Ravi
https://www.youtube.com/watch?v=KSeLDcdm7sU
Dr Pradeep, Anup Ji and Bhatia Ji,
Thanks for your consideration and time for the Laxmi song, which I still feel, has been sung by Madhubala Jhaveri.
I have great respect and regards for Arun Ji, but this is a very personal opinion.
And to add to this confusion, Sudhir Kapur Ji asked Girdhari Lal Vishwakarma Ji also, about this song, and his take was Sabita Chowdhury.
I will let it go now, because this won’t lead to an absolute conclusion.
Now coming back to the songs, here’s something very special, a female becomes a Pardesi, because she feels so
Des beech Pardesan kar gaye
Govardhan Girdhari
Suraiyya from Nayi Kahani composed by Anil Biswas
https://youtu.be/Vn9qxdwqnbc
Pardesi sainya pyar mera majboor
Lata Mangeshkar from Madari composed by Kalyan Ji Anand Ji
https://youtu.be/sOZSpLn0Gks
And lastly
Yaad rakhna,
pyar ki nishani gori yaad rakhna
Aabaad rakhna
Dil Pardesi ka aabaad rakhna
Asha Bhonsle and Hemant Kumar from Nagin composed by Hemant Kumar
https://youtu.be/OwKCvr4psAk
And terrific bouquet of vintage songs brought up by Dear Venkatraman Ji
Great to see you in full form Sir
Pradeepji,
Borrowing AKjis words, Rattan (1944) was the Jewel in the crown of Naushad. Please see the article by Akji “The Jewel in the Crown of Naushad: ‘Rattan’ (1944)”, posted on 1st January 2015.
The song you mentioned @53 is the third song. Govind (Karan Dewan) is sent off by his father to the city to open a shop there and I quote Akji
“With Govind finally in the city, Gauri now alone at their favourite place of rendezvous, sings the third gorgeous song by Zohrabai – Pardesi baalma baadal aya, tere bina na kachhu bhaaya.”
Here is the link
Pardeshi Balma Badal Aaya by Zohrabai Ambalawali , film Ratan (1944), lyrics D N Madhok, music Naushad
https://www.youtube.com/watch?v=8jnGzRQF4KE
There are more than one song that would go with theme of this post. I cannot give a better narration than that of AKji. I quote,
“Meanwhile things happen fast. Gauri’s marriage is fixed to a well-off editor in the cirty, but he is a widower and much older to her, and has a small daughter from his first wife. Hearing of her marriage from her sakhis at the panghat, Govind sends a note to Gauri at the marriage mandap in which he pours out his heart, Jab tum hi chale pardes lagakar thes O preetam pyara, duiniya mein kaun hamara. I mentioned Rajendra Kumar earlier. Readers would recall he also sent a note to his beloved – Ye mera prem patra padhkar. The difference being that there was no Rafi here, Naushad makes Karan Dewan sing it, and it is so outstanding you start liking him. A supreme example of Naushad’s greatness – this simple tune keeps on buzzing in your head. A beautiful baadal theme with its first stanza – Jab baadal ghir ghir ayenge, beete din yaad dilayenge.”
https://www.youtube.com/watch?v=7w3cwmIYrjM
AKji can this song can also be treated as an exception to the rule?
The other song that would fit into the theme of this post are long-distance duet of separation Saawan ke baadalo unse ye ja kaho by Karan Dewan and Zohrabai Ambalewali & O jaanewale baalamwa laut ke aa laut ke aa by Shyam Kumar and Amirbai Karnataki. Here again I would quote AKji
“Another trivia well known to SoY regulars is, when Guru Vidyapati (Kishore Kumar) asked Bhola (Sunil Dutt) in Padosan (1968) if he knew any film song, which song did Bhola mention? O janewale balamwa, laut ke aa laut ke aa.”
Mr Joseph @ 103
You need not be apologetic. It happens with everybody. But it gave me an opportunity to interact with on a personal plain. Thanks for the response, your observations, views and additional information.
Harpreetji
Here is the link to song mentioned @43
Pardesi Piya Pardesi Piya by Asha Bhosle & Md.Rafi, film Pardesi (1970), lyrics Majrooh Sultanpuri, music Chitragupt
https://www.youtube.com/watch?v=KvnK6SkFneA
N Venkatraman ji @112 ;
It is a good feeling to deviate from the main topic sometime ….giving rest to the mind overloaded with so many pardesi songs …… by spiritual walk thru peaceful trails . It is sometime natural when passion of inter faith in religion over takes every thing . You have this dedicated passion for Inter religion faith …..and the conversation on the topic was truly faith full of you.
Every thing you wrote about Rabindranath Tagore , his visit to Golden Temple is true . Yes; whenever you are in Delhi make it a plan to visit Banda Bahadur Gurudwara , Mehrauli . It is just half a km from Qutab Minar . The actual site where Banda Bahadur ji was executed is as it was during that day , neither repaired nor touched . It is an emotional feeling to see small structure of roughly laid brick walls with small windows . One can see the old rusted wrought iron beam spanning between the unplastered walls.
We will continue sharing such thoughts whenever break is called for rest.
Arvinder Sharma ji ;
It seems the romance of Venkatraman ji with Pardesi songs is un ending . Additional pressure is on him to find links of the songs posted by others. I salute him of this untiring passion.
Exploring the singer for Laxmi song was a good excercise. Everyone was close but missed the target.
For continuity here are some more songs…..Excuse me if they are repeat.
Kahe Pardesiya Ko Apna Banaya…..Lata…Badnaam [1952]…Basant Prakash……a melody par excellence by brother of Khemchand Prakash
https://www.youtube.com/watch?v=GWwnNlhpn8s
Aaya re pardesi sajanwa aaya re….Ramchandra Pal, Rajkumari Dubey….. Puran Milan [12942]…….Ramchandra Pal
https://www.youtube.com/watch?v=c7ZaY_sYHXY
Panchhi Aur Pardesi….Shamshad…Veena.[1948]…Anil Biswas
https://www.youtube.com/watch?v=D489rD526GY&t=54s
PIYA DESH HAI JANA-….C Ramchandra…Zaban[1943]….CR
https://www.youtube.com/watch?v=XCNlbFLfEKk&t=42s
Pardesi se preet lagaay…..Unknown singer….Pardesi Balam [1940s]….. Master Inayat Hussain
https://www.youtube.com/watch?v=BB5ircl4iWE&t=51s
……to be contd.
Arvinder Sharmaji,
You made grand rapid-fire entry @ 64, floored us with 10 songs and then no trace of you for the next four days. Enjoyed listening to the vintage numbers. The songs from Station master, I liked the most. Your selection from the golden period was splendid. Maane Naa Maane Naa Haay Balam Pardesiya from Jagir was the pick of the lot. Pal Bhar Hi Ki Pehchan Mein Pardesi Sanam Se was also a good addition. I am glad that you have made a reentry (@123) that too in style with three nice songs.
Thanks for the additions and the parting note of appreciation.
A nice vintage number
Humko Bhool Na Jaana O Pardesiya by Suraiya film Jag Biti (1946), lyrics ?, music Ghulam Haidar
https://www.youtube.com/watch?v=jxMzpdZdHsw
Lovely orchestration and rendition
Pardesi se lag gai preet re by Geeta Dutt, film Jan Pehchan (1950), lyrics Shakeel Badayuni, music Khemchand Prakash
https://www.youtube.com/watch?v=taor8AWotZo
Akji @ 107,
Thank you so much for your words of generous appreciation. It means a lot. I am also glad that you enjoyed the songs.
The only Bengali song I posted was from the Bengali version of the Assamese film Chameli Memsaheb. I would like to post a few more, but Ami chinigo chini tomare oge bidesini did not occur to me. That was a good addition, especially due to the Bideshini angle.
This song was written on 11th October 1895 during his stay in Shelaidaha (now in Bangladesh) when Rabindranath Thakur was 34 years of age. During his childhood he had heard a song “Tomay bideshini saajaye ke dile, most probably a Baul song. The tune and the first line got implanted in young Rabindranath’s mind. Fascinated, he wrote this song, “Aami chini go chini tomare, ogo bideshini”, based on the tune. The concept of Bideshini meant more in the sense of a distant and elusive woman and had appeared in Rabindranth’s poetry and songs for many decades.
Written in 1938, Udasini Beshe Bideshini Ke Se
A rough translation (not mine)
Who is that insensitive one, exotic lady from a foreign land –
I know not, alas!
In my mind I draw her with colors; A mirage in my mind is she.
When did her boat drift away, soared by the eastern breeze
And crossed this broken shore of mine.
I lost her in the far endless blue, hastening onto the waves of the sea.
In amazing languidness I gaze at the fast disappearing truant waves;
But the waves that leave, do not come back, never re-appear.
I know she is unattainable, yet my distracted thought –
In a forlorn hope dreams of finding fulfillment.
Udasini Beshe Bideshini Ke Se by Debabrata Biswas
https://www.youtube.com/watch?v=tCWnGbvSQ9g
I would cite one more song written in 1922,
Swapanloker bideshini ke jeno ele ke,
Kon bhule jaoa bashanto theke
In continuation from songs @127…..
PARDESI DHOLNA AVEN SADE KOLNA….Suman Kalyanpur…Pardesi Dholana.[ punjabi]….S.Mohinder
https://www.youtube.com/watch?v=oTBBXOMuRWE
Bas Bas Ve Dholna.[ Punjabi]……Noor Jahan , Gulam Haider….Chowdhri[1941]…Gulam Haidar
https://www.youtube.com/watch?v=SeLg6S9AWbQ
AKji,
Continuing my soliloquy on the subject,
Here are some Bengali songs. Kazi Nazrul Islam also penned and composed songs on Bideshini and Bideshi.
Just to give a few examples: Bideshini Bideshini, Ami Nohi Bideshini, Ke bideshi mon udashi, & Asli ke go Bideshi
I am posting one of my favourites, not on Bideshini but on Bideshi
Ke Bideshi Mon Udashi by Firdous Ara
https://www.youtube.com/watch?v=gvmL9OKVjKI
Here is a song where Bidedshini occurs in the lyrics. Both Alpana Bandopadhyay and Sudhin Dasgupta were respectively very successful and popular singer and composer of the golden period of Bengal.
Bideshini Kader Rani by Alpana Bandopadhyay, lyrics Bhaskar Basu, music Sudhin Dasgupta
https://www.youtube.com/watch?v=FOr-6vEaAl0
And now a song from the vintage era
Bideshire Udashire by Sachin Dev Burman, film Epar Opar (1942), lyrics Ajay Bhattacharya, music Sachin Dev Burman
https://www.youtube.com/watch?v=q9Z_CWVWSqw
Here a song from a 1934 film
Preet Kaise Karoon Pardesi Piya by Shirin Bano & Raja Pandit, film Maharani (1934), lyrics (?), music N Chaphekar
https://www.youtube.com/watch?v=AG9evSbGFwk
Our most respected Arunkumar Deshmukhji had posted a song at ASAD last year, rendered by Shirin Bano & Ranjit Roy, wherein he wrote in detail about actress-singer Shirin Bano. She was born to a Tawaif from Lucknow and a Tamil Brahmin, Ram Seshadri Iyer. She was Nanabhai Bhatt’s second wife. Mahesh Bhatt and Mukesh Bhatt are their children.
Arunji can provide more detail about her, Raja Pandit, N Chaphekar and the film.
Earlier Arunji had posted a song Bhai hum pardesi log by Anil Biswas from a 1939 film Ek hi Raasta. Till now that was oldest Pardesi song from a film to be posted here.
Pradeepji,
@120
HFGK metions the name of Singhar as the lyricist. Singhar may be the short form or pseudonym for Shardha Ranjan Iyengar.
Pardesiya Tere Des mein by Md.Rafi & Sulakshana Pandit, film Garam Khoon (1980), lyrics Singhar, music Shankar Jakishan
https://www.youtube.com/watch?v=-btum7RhMtE
@59
Dil Ka Khilona Hai Toot Gaya by Lata Mangeshkar, film Goonj Uthi Shehnai (1959), lyrics Bharat Vyas, music Vasant Desai
https://www.youtube.com/watch?v=-fUWJTCvnuA
Gori tera gaaon bada pyara by Yesudas, film Chitchor (1976), lyrics and music Ravindra Jain
https://www.youtube.com/watch?v=vejr2_PXVQo
@61
Hum To Chale Pardes Hum Pardesi Hogaye by Md. Rafi, film Sargam (1979), lyrics Anand Bakshi, music Laxmikant Pyarelal
https://www.youtube.com/watch?v=WVKtSiWGNbw
Yeh Galiyan Yeh Chaubara by Lata Mangeshkar, film Prem Rog (1982 ), lyrics Santosh Anand, music Laxmikant Pyarelal
https://www.youtube.com/watch?v=9AZbwR6152U
Pardes Jake Pardesiya Bhool Na Jana Piy by Lata Mangeshkar, film Arpan (1983), lyrics lyrics Anand Bakshi, music Laxmikant Pyarelal
https://www.youtube.com/watch?v=t52I9kkxmLs
@119
Tu Pi Aur Ji, Tu Ji He He, Aur Pi by Kishor Kumar, film Des Pardes (1978), lyrics Amit Khanna, music Rajesh Roshan
https://www.youtube.com/watch?v=F493t0AdHUg
Husn Pahadon Ka Kya Kehna by Lata Mangeshkar & Suresh Wadkar, film Ram Teri Ganga Maili (1985), lyrics & music Ravindra Jain
https://www.youtube.com/watch?v=1xTz9TA7L2s
N. Venkatraman ji;
I am in same pose ……..like a study table shade lamp …..head with bended neck hoovering around computer . The two search lights…my eyes…focusing still on the times gone by . Probably not satisfying the theme but care full listening may get a reverse node.
MAIN BAITHI THI PHULWARI MEIN- K L SAIGAL NON FILM
https://www.youtube.com/watch?v=zGKU7jL7zfU
N . Venkatraman ji;
I am observing ….how come very less songs of Kishore and Rafi ….so target such songs.
HAWAAON PE LIKH DO….Kishore….Do Dooni Chaar[1970]….HK
https://www.youtube.com/watch?v=ma3F6XIFtVk&t=133s
Venkataramanji,
I enjoyed your soliloquy and ‘bidesi’ and ‘bidesini’ songs in Bengali. The best was Bideshire udashire by SD Burman. It reminded me of his ‘Taj Mahal’ song which he had sung in both Hindi and Bengali.
Bhatiaji,
@126
Yes, Next time when I am in Delhi, I will visit Banda Bahadur Gurudwara at Mehrauli. Thank you for the advice and sharing such thoughts.
@127
You meant pleasure instead of pressure. I assume it was a typographical error or was it due to auto correction.
Kahe Pardesiya Ko Apna Banaya is truly a melody par excellence. Aaya re pardesi sajanwa aaya re and Pardesi se preet lagaay are good vintage additions. Panchhi Aur Pardesi from Veena (1948} was posted by AKji (#12). There was another beautiful song in this film, which I had earmarked to be posted in the article ‘Swing a song of Six pence’. But it also fits here.
Chadarkiran ke daal hindole jhul rahi aashaye
Meri jhul rahi aashaye
E ri sakhi
E ri sakhi pardesi balma jane kab aa jaye
By Shamshad Begum, nice lyrics Narendra Sharma
https://www.youtube.com/watch?v=ZkHay1nuEck
Bhatiaji,
@130
Both the songs from the Punjabi films made good listening. And Saigal’s (@134)songs can be listened to any number of times.
@135
Good number of Md.Rafi’s songs has been posted. Yes, Kishore kumar’s songs are fewer. Besides the one posted by you, only a couple has been posted.
Two more Kishore Songs
Hum Do Pardesi Anjaane Se by Kishor Kumar & Suman Kalyanpur, film Kashish (1980), lyrics Anjaan, music Kalyanji-Anadji
https://www.youtube.com/watch?v=F_8QrK5xrC0
Paradesiyaa Ye Sach Hai Piyaa by Kishore Kumar & Lata Mageshkar, film Mr. Natwarlal (1979), lyrics Anand bakshi, music Rajesh Roshan
https://www.youtube.com/watch?v=oq-AX2yWXdo
Arvindesr Sharmaji
65 arvindersharma January 27, 2019 at 8:29 pm
Correction to your following comment:
“Pardesi re” by Zeenat Begum from Dr Kotnis Ki Amar Kahani composed by Husnlal Bhagatram”
The composer of the Music of the film was “Vasant Desai”
Shalan Lal
Akji
107 AK January 30, 2019 at 9:45 pm
Your following comment at the beginning @ 107
“Someone said, Hell hath no fury than a woman scorned. I don’t know whether Shalan Lal pulled your legs”
This is very gratuitous! I have very deep respect for Venkatraman for his various contributions, intelligence and scholarship and his very respectful presentations either in his comments and in his posts..
I merely presented my theory that is based on the Indian etymological understanding.
Further on your comment at 109 AK January 30, 2019 at 10:10 pm:
“Incidentally, though ‘par’ and ‘desh’ are Sanskrit roots, are you aware of use of ‘परदेश’ in Sanskrit anywhere?”
The word ‘परदेश’ as it is used in the Prakrit languages and like you, I did not come across in classical Sanskrit. The word is in the long story called “Vasudev Hindi” (the “di” here is not like “Hindi language but the sound is “Di” as in ding dong.) in Ardhamagadhi languages of the Jain religion written about ninth or tenth century. The story is about the many adventures of Vasudev who goes to many countries.
But it could be in the play “Mrichhkatikam” by Shudrak the King of Andhra written in the second century A.D. in which various Prakrit languages are spoken by many characters.
I found the word “desh” evolved out of the Sanskrit word “Disha” as marking for the land in the same dictionary “Hindi Shabd-Sagar” published by “Nagari-Pracharini Sabha, Banaras, and the Edition 1971” There, it says that the word “Desh” is Sanskrit and means land.
Further on you write:
“P.S. Shalan Lal ‘Pardesi’ – I can picture you as a charcater from a Nirmal Verma story, sitting alone in a pub in London, and looking out of the window at the grizzly weather of London, and thinking which world you belong to”
Well I do not mind if you want to see me like a character or caricature in the Nirmal Verma’s stories. I did not read his book and tried to find it in the local libraries in their Hindi section but it was not there. You have mentioned this book in the introduction of your post.
To me it seems Mr Verma has drawn some sketches of Indians living in England and according to him are not so happy as they came looking for gold in the Wild West.
I am not one of them. In fact I found the gold in the British library even I was not looking for.
My gold is as following described in in Bhagvad Gita:
18.36-37
Sukhăṃ tvĭdānīṃ trĭvĭdhăṃ śhṛĭṇŭ mè Bhărătărăṣhăbhă
Ăbhyāsādrămătè yătră dŭḥkhāntăṃ chă nĭgăchchhătĭ 18.36
Yăttădăgrè vĭṣhămĭvă păriṇāmè-ămṛĭtopămăm
Tătsŭkhăṃ sāttvĭkăṃ proktămātmăbŭddhĭprăsādăjăm 18.37
There are three kinds of joys as well, hear them;
The one who gives himself to the study, frees from pain 18.36
At the start that which is poison but in the end is Elixir;
That joy is Equanimous and enlightens the inner lighting 18.37”
To tell you frankly I am not an Indian stagnated in England oron this planet. The world is my oyster and so is the Universe.
If you still want me to be a character in a bookish novel then I would like to be a female hero of the “Razor’s Edge” by W. Somerset Maugham as described: Maugham begins by characterizing his story as not really a novel but a thinly veiled true account. He includes himself as a minor character, a writer who drifts in and out of the lives of the major players. Larry Darrell’s lifestyle.
Shalan Lal
Dr Pradeep Kumar Shetty
@113 Dr Pradeep Kumar Shetty January 31, 2019 at 11:51 am
You brought out the full picture of Irani restaurants in Bombay occurred from twenties to seventies. I think they disappeared due to the political pressure in Bombay’s politicians’ hostility.
But thirty years ago when I went to Bombay I went to my favorite Irani Restaurant called Kayani exactly opposite to the Parsee Agyari on the right side of Metro Cinema I mentioned earlier. It was there still and I went to the upstairs cabinet room with one of my old school friend and we had pot of Irani tea. It was heaven.
There is something about Irani Tea and crisp Samosas one never gets any other tea houses. Irani Samosas are a delicate art. Sadly all these Iranis left. I wonder if Kyani’s place is still there.
The Iranis of Irani Restaurants were Parsees who came to India and mainly to Bombay from Iran during eighteenth century. They were different than the early Parsees who came to India after Persia was run over by Muslim invaders on the order of Khalifa who became the successor of Prophet Muhammad after the battle of Karbala.
Shalan Lal
Ms. Shalan Lal ;
Over to the thoughts…..Are Gypsies the moving vagabonds , strangers or pardesies ?….Why they have , all the time , same work to do ? Why they dont have other partners outside their bounds? Over the world…. they are always on the move but are not as….loving bhanwara kabhi is bagh mein kabhi us baag mein .
Well this is their life ….beating the cast Iron and forging utensils….and compromising with the pain.
On other hand a very contrasting life of Hippies….care free …bare foot travelling….moving and dancing , with or without music ….relying on dam maro dam . Now in diminishing mode ;….but local Gypsies still continuing from one city , town or village to other.
I have always considered Raj Kapoor of Shree 420 as a pardesi / stranger entering Bombai for his luck of getting rich his way ….falling in love….falling in wealthy and bad society too . Nargis requesting ..[mud mud ke dekhte jaana]…..and finally getting Raj rebound as a simple man .
Not letting pardesi go , here is a song which approximately touch the theme.
https://www.youtube.com/watch?v=QH5U1Akr7xc
Shalan Lal,
“Leg pulling” – I borrowed this phrase from Venkataramanji’s comment @104. Nevertheless, you seem to have been offended by my comments for which I sincerely apologise.
Shalan Lal ji,
I didn’t know that Iranis are the Parsees who came to India later. Thank you for the information.
BAHAR,1951.
Shamshad Begum, Rajinder Kishen,SDB.
O Pardesiya pyar ka bahaar leke
Dil ka qarar leke
Aajaa re aajaa Pardesiya.
Although an acceptable answer to the origin of the word ‘Pardesi’ is yet to be found and the search to identify the voice of the female singer for a particular song from the film Laxmi laid to rest, our quest to know the unknown continues. And in the process we share our knowledge and views, learn new things, let go our wrong notions and continue our healthy association. Thanks to Shalanji, Akji, Bhatiaji and all the members of the SoY fraternity.
Let us continue to keep the lock-gates open for a free flow of Pardesi songs.
Aa Pardesi Baalma More Aangnaa by Asha Bhosle, film Cham Chama Cham (1952), lyrics Pyarelal Santoshi, music O P Nayyar
https://www.youtube.com/watch?v=1Zay9wpo2K0
Pradeepji @ 144,
This song O Pardesiya pyar ka bahaar leke was posted earlier twice, by Bhatiaji @ 56 and Arvinderji @ 64. Bhatiaji had mentioned Lata as the singer instead of Shamshad. I believe there are more Pardesi songs to be posted. Just dive deep and you would find many more gems to be gathered.
One from my kitty. Among the Md. Rafi clones, Late Md. Aziz, Shabbir Kumar, and Anwar Hussain are the three known names. Here is a song well rendered by Anwar. He year was 1984, yet gives a golden period flavour.
Koi Pardesi Aaya Pardes Mein by Anwar, film Hum Hai Lajawaab (1984), lyrics Anand Bakshi, music R D Burman
https://www.youtube.com/watch?v=7z8kuFYan4w
Venkataramanji,
I have been thinking for more than a week now to join you all in the conversation, but you’ll are moving so fast while I think of replying one comment there are few more to respond I felt exhausted reading them all.
Before few more comments pour in let me respond to your latest one on Rafi clone and golden period flavor.
I personally consider Sonu Nigam as his clone clone. though now he has created his own identity.
Here is song which I had to listen more than once in 90s to be certain that it was a contemporary song and not an old song from 60s.
In this all three of them Rajesh Roshan, Javed Akhtar and Sonu Nigam have come closest to their idols Roshan Sahir and Rafi, I would clarify, in my opinion, would like other views too.
I would recommend to listen to the audio, rather than watch a video, with headphones preferably.
Mujh Se Naaraz Ho To [Full Song] | Papa Kahte Hain
https://www.youtube.com/watch?v=f-7yVDSyGT4
Coming back to the current topic.
Sonu Nigam pardesi song from Kahin pyar na ho jaye
Pardesi maine mohabbat karli
https://youtu.be/EsfEPCUsEBE
N. Venkatraman ji;
Yes, its a great feeling listening to songs which were never heard before and therefore labelled as ….Unforgettable…..now. Hence pleasure and not pressure. A few additions…..
Ghar aaja pardesi ki ….Uttam Singh….Gadar [2001]
https://www.youtube.com/watch?v=A6AsVaCpg2w&t=147s
Hum to chhale pardes [ song and film]….Lata,Vijay
https://www.youtube.com/watch?v=r51dkdeuGqA
Pardes Jaake Pardesiya….Lata….Arpan…..LP
https://www.youtube.com/watch?v=hOPjscOcHmM
O Pardesi Yaad Mein Teri….Sitara ….Pugree[1948]…G. Mohd
https://www.youtube.com/watch?v=Mw1UnyB253U
…..to be contd.
From the Telugu film Paradesi 1953. Apparently, it was a remake of a Hindi film Raj Rani 1950. I wonder whether there were any pardesi songs in the Hindi film. https://youtu.be/HmmKlr5pQqA
Shaman Lal at #141 I wonder the Iranian restaurants always had a photo of The Shaw of Iran in my Bombay days (1964-1979). I did not like them but used to frequent since they were the only cheap ones available near the Gateway of India during nights. It seems that there are some still in Bombay https://www.treebo.com/blog/irani-cafes-in-mumbai/ Regards, Swarup
Ksbhatiaji,
Rafi song that does not have “pardesi” in it but has all the element of the desh become pardes in it.
Chal ud ja re panchhi ke ab ye desh hua begana.
https://youtu.be/XH_kWzpQ8E0
Welcoming Sharmaji you stated that you felt a quake I had same feeling….. I was anticipating a second one next week with Jignesh as Australian Open was over but it did not happen hoping it to occur anytime now.
Adding one song pardesi song by Mubarak Begum from Dak Babu. Ek pardesi man bhaya.
https://youtu.be/ntwqtlkHdYc
Arvinder Sharmaji,
You should keep coming regularly, we need some after shocks too
My take on Laxmi song I agree with you on Snehlata but would not pin it down I would keep it open and would not even rule out Mubarak Begum.
AK,
I have learnt to live with the idea of alienated from both the worlds.
Have seen that one can be alienated after lived for ten or more generations.
It does not matter what others feels, but the pain I feel is of the guilt that I cannot be loyal enough to my adopted country and believe you me it is not a good feeling.
Adding one song on that point.
Des mein nikla hoga chand by Jagjit singh
https://youtu.be/cEeNRfjz7KA
Mumbaikar8,
It is natural that the first generation migrants to the US should have this dilemma. Loyalty or emotional attachment to one’s adopted country is not a matter of getting a passport, which serves more as a functional utility.
SITARON SE AAGE,1958
Asha Bhonsle, Majrooh Sultanpuri,
SDB.
Aaj kal parson mein
Phoole jab sarson
Videshi piya aa jaana
Bhool na jaana
Videshi piya aa jaana
One of the versions of ‘Jhuki aayi re badariya saawan ki’, the well known Gaud Malhar ‘bandish’, has the following line in the ‘antara’:
‘ChhaanDa chale pardesa piyarawaa’
The line makes its appearance at 6:02 in this rendition by Kumar Gandharva:
https://www.youtube.com/watch?v=y-R1FmgCvYI
Ashwin,
Thanks a lot for the Kumar Gandhrva bandish. What a poignant scene Saawan mein umage jobanwa, saanjh chale pardes sajanwa (I think the word is saanjh).
142 ksbhatia February 3, 2019 at 10:05 pm
The Indian Banjaras or wandering communities popularly known as Gipsies is very connected in our discussion about “pardesis”.
About the discussion who is Pardesi one needs to look at India as a whole country and its development or progress through the centuries from the dark period to the Aryan civilisation and Dravidian Civilisation and other groups who lived in the mountains and hills and in the deep jungles etc.
The peculiar caste system in the Indian society remained even in the Muslim groups and in the Christians and even in the Sikh religion as well.
These castes were so rigid that a person from another caste was treated as “Pardesi” to date.
Now about the Gypsies you have mentioned:
There is a very romantic idea about Gypsies among all people in the world. Among the European and English Gipsy languages there are many common words like “Pani” for drinking water, bhaat for rice, Buck for talking etc. These come from the Indian languages.
About thirty five years ago there was a conference of the Gypsies of England and well attended by the European Gypsies at the Nehru Centre. Some of them were expert in talking about themselves and their state.
One speaker told us that there are many customs and traditions of the Gypsies that are Indian origins and most of them claimed that they were originally from Rajasthan.
Some were schooled and college trained they said that their music is original and many composers of the European classical composers had used their melodies to compose their great compositions. When a classical composer is stagnated for inspiration he comes back to the Gypsy Melody.
Even in food many dishes are well known and based on the Gypsy recipes.
According to them they are born wanderer and do not like to stay in one place by their nature. Hence the phrase “being Gypsy” means going around places and not staying in one place.
The civilized people do not like them because they get frightened because the presence of the Gypsies threatens their way of life, property and the assumption that Gypsies kidnap their children.
The word “Gypsy” according to them is wrongly made from the word Egypt. As in the middle ages when some Europeans saw them very different and colourfully dressed up and had caravans of carts the Europeans thought of them coming from Egypt and the in many pronunciation of the word Egypt the E is not sounded and word Gypsy was formed by many Europeans while addressing them and also their arrival in Europe threatened them.
The word Gypsy came to India through the arrivals of Portuguese, French and English. The East India Company started classifying the communities in India and the Gypsies were classified as “pariah” and criminal communities.
The word “Pariah” needs some explanation. It is very similar to the word “Paradesi” that has some of the suspicions and the meanings of the Paradesi.
The word “pariah” according to the Oxford and Cambridge dictionaries originated. Following is their entry:
Noun: pariah; plural noun: pariahs
An outcast: “They were treated as social pariahs” Persona non grata, untouchables
Undesirables etc..
Historical origin: a member of an indigenous people of southern India originally functioning as ceremonial drummers but later having a low caste.
So the Wandering communities who rather would like to be called Banjaras i.e. the people from the woodlands.
In England the word “Gypsy” is dropped out and “Wandering People” is used. They are giving special lands to have their caravans and facilities to the fresh water, electricity toilets etc.
Also school and education facilities etc. were provided if they wanted to take.
Many Gypsies accepted these kinds of gifts and others did not but they are allowed to travel another place without chasing them or persecuting them.
The Gypsies open their Bazaars of handmade things from time to time and people buy their things.
In India similar steps should have been taken to dispel the fears of the Banjara communities.
The film “Dulari 1949” is famous for a girl being kidnapped by the evil Gypsies. It re-instates the command fears about the Banjara communities.
You have mentioned the RK Film Shri 420 in which RK was Pardesi. Yes indeed! But presently almost all people are Pardesis. The only indigenous people of Bombay are the Fishing community and they are “Pariah or outcast”.
The Pardesis in Bombay from the Portuguese times have enriched the place called Mumbapuri later named as Bombay and recently “Mumbai”.
Without the ownership of Bombay to the East India company Bombay would not have been what it is today.
Without the Pardesi capital and entrepreneur skills Bombay would not have flourished to a number one city. To date Bombay’s Stock Exchange is renowned in the world financial market as stronghold for flourishing economy.
Without Pardesi capital there would not have been a second most powerful Film Industry.
I sincerely believe that the present rulers of Bombay are also “Pardesis”. They are there to get as much as they can like the previous rulers.
Shalan Lal
Shalanji, read your erudite exposition on the Banjaras, Parihas and Pardesis. There is an element subtlety in your piece. Your write-up gently nudges us to reflect about upon what has been left unsaid.
Please read as
Your write-up gently nudges us to reflect upon what has been left unsaid.
Ms. Shalan Lal @157;
Your notes on Gypsies and Banjaras carries the sacred emotions and sentiments hidden within yourself . Gypsies , Banjaras have always been looked down upon for centuries for no reasons or faults of their’s. Probably there has been no tag attached on religious and spiritual sentiments except for god Kali which they usually prayed to.
The sight of them….. working on a discarded , uneven , small patch of land ……..and their bodies blackened by the constant slaught of heat ….seldom melts the heart of a passer by. A complete neglect …or…ignorence!
Yes . You are right about Sikh history. The banjaras ….or Vanjaras as they are known in punjabi….were there centuries ago. Being treated as low community our Gurus made them as equal [ Manas ki jaat sab ek hai pehechan lo] and assigned special work of casting swords and other weapons. At one point of time they were expert in making rifles and guns too. One can find Vanjaras and sikh Gypsies even now in various towns and cities of punjab….but what work left for them is to make or cast duplicate keys at the road crossings …..and with bicycle as their workshop.
Gurudwaras Sisganj and Rakabganj , Delhi is worth mentioning here.
The sight of the heroic martyrdom of his disciples did not disturb the Guru Tegh Bahadur’s mind in the least and he continued to refuse to convert in the face of death. Frustrated in his heinous efforts, the Emperor eventually had him beheaded on November 11th, 1675, in the presence of a large crowd under a Banyan tree adjacent the kotwali Chandni Chownk . Immediately upon the Guru’s execution, the city was shrouded in a fierce dust storm and everyone, including the Emperor and his administrators, had to return indoors. Before the body could be quartered and exposed for public view, Lakhi Shah Vanjara, one of the Guru’s disciples, stole it under the cover of darkness and took it to his home which he set alight to cremate the body – a small shrine was built at the spot to commemorate the event …..where Gurudwara Rakabganj is now. Adjascent to gurudwara is Lakhi Shah Vanjara hall ….a large one enough to accomodate more than 5000 devoties during kirtan darbar or celebrating Gurupurab .
A shabad which I frequently listen to ….is here for everyone to have spiritual bath….
Mein Banjaran Ram ki …..Bhai Harbhans Singh ji
https://www.youtube.com/watch?v=bQZccu5HEUg&t=76s
Film Dullari is a good example of life and times depicting there in . In mid 70 another movie ….Caravan….had a nice theme ….their jolly ,carefree ,musical side ….was nicely depicted.
Hum To Hain Rahi Dil Ke [HD] – Caravan (1971)…Kishore…..RDB
https://www.youtube.com/watch?v=hOa0ubKkgDI
Bhatiaji @160
Thanks for the informative follow-up note on the Sikh Banjaras and the incident relating to the martyrdom of Guru Tegh Bahadur and Lakhi Shah Vanjara. Listened to the divine song. Wish I could understand the language of the discourse that followed. Thanks once again.
Time for a song
Chhod ke mat jaao ekli re
Banjara re Banjara re
Door des ka hai maamla
Ab jaago pyaara re
You will find the full lyrics and the transaltion in the link
https://www.youtube.com/watch?v=6igYlWqhm-U
Two more vintage Pardesi songs
Pardesi Piya Re Ab Mose Na Gujre Rain by Zohrabai Ambalewali, film Bela (1947), lyrics D N Madhok, music Bulo C Rani
https://www.youtube.com/watch?v=DL7VClLFRwI
O Panchhi Pardesiya Jaa by Paro Devi, film Ghar ki Bahu (1947), lyrics Pandit Taresh, music Shanti Kumar Desai, R C Roy
https://www.youtube.com/watch?v=4OV9GrTNdWw
N Venkatraman ji @161/62;
Beautiful Marwada Banjara song you have posted…..Just carried away by its melody.
Irrespective of state , place or country Banjara music has always impressed me. You must have listened to the old …..spanish gypsy dance ….which was famous in mid 50s and its instrumental version made entry as signature tune of Binaca Geet Mala around same time . Our Producers made use of this tune as background music in many of their B and C grade films . Just for remembrence here is the tune….
https://www.youtube.com/watch?v=bP67TwGWUh4
Here is the shabad …..Main Banjaran Raam ki…..by Asha Bhonsle ….which has translation in simple english.
https://www.youtube.com/watch?v=aqnBKY1i4Is
AK @108,
Another khayal bandish, this time in Jaijaiwanti, that I remembered just now:
Deejo darasana naatha muraari
Tarasata rahi hai nainanaa hamaari
Jisa dina se paradesa gawana keenho
Hara leeno hamari sudha budha saari
Ashwin,
Thanks. I can imagine the song would be beautiful.
It is typical of me to stumble on something while searching for something else, well known as the phenomenon of serendipity. Here is a lovely paradesi song from the film Parchain (1951), lyrics Noor Lucnavi and music C Ramchandra.
Naina lagake – https://youtu.be/5Z8sxkLReD8?t=120
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