Ok budding writers, an exercise for you. Try to write a
Bollywood song with Hindi equivalents of these words:-
Dil, Jigar, Nazar, Sanam, Kasam,Humsafar, Nadaan, Iqraar,
Izhaar, Eitbaar, Dilbar, Hosh, Madhosh, Dhadkan, Inkaar, Mehboob, Mohabbat,
Khat, Dua, Tanhai, Khayal, Lafz, Ishq, Ashiq, Allah, Maula, Khuda, Jazbaat,
Beqaraar, Wafa, Bewafa, Fida,Bekhudi, Dard, Junoon.....
Or atleast try remembering Bollywood songs which don’t
have them.
Tough, isn’t it?
All the above words have been used to death by Bollywood
lyricists right from Ludhiyanvis to the Akhtars. The origins of most of them ,
like the other components in Bollywood was from northern gangetic plain, or
more specifically from western Punjab. As a result of extended Islamic rule has and later on Urdu variant of Hindustani
receiving recognition and patronage under British rule ensured that most literature
that received recognition and reach came out of this language.
The use of Hindusthani/Urdu has been so extensive in
Bollywood, that its viewers cannot even imagine that songs can be written
without calling anyone “jaanejaan” or giving your “dil” to them. Bollywood
calls itself a Hindi film industry, its actually a Hindustani film industry. Hindustani
has the grammatical structure of Hindi, but it replaces most of the Sanskrit
based vocabulary with the words originating from Persian, Arabic and Chagatai
(Turkic). Before partition, the terms Hindustani, Urdu, and Hindi were synonymous; all covered what
would be called Urdu and Hindi today. The only difference between Hindustani
and Urdu were the scripts. But one cannot deny that Hindustani shed its
Sanskrit roots at every given opportunity to become distinct from khadi boli
Hindi.
While it is true that Urdu/Persian was most patronised
literature by the Islamic empires in north India, the financial dominance of
Bollywood by the Muslim underworld has a huge part to play in the Urdufication
of Bollywood. The urduization of Hindi via Bollywood is not a new
phenomenon at all. Its been going on right through the 1940s to the 90s and
beyond. Some of the songs are so persianised, that the listener feels if at all
any Hindi substitute to the lyrics exist at all. Both melodious and cacophonic songs
are privy to it.
One can write volumes upon volumes on examples, but here are a
few:-
Khuda jaane ke main fida hoon, khuda jaane main mit gaya,
Khuda jaane ye kyon hua hai, ki bann gaye ho tum mere
khuda (Would have sounded like a sermon if not for the locales )
Chaudavin ka chand ho, ya aftab ho,Jo bhi ho tum khuda ki
kasam, lajawab ho (half of the adjectives used in the song cant be understood
by most Hindi speakers)
Oh mere Shah e Khuban, o meri jaan e jaana, Tum mere paas
hote ho, koi dusra nahi hota (I wait while you woo the girl of your dreams by
calling her shah e khuban)
Wo jab yaad aaye, bahot yaad aaye,Gham e zindagi ke
andhere me humne,Chirag e mobabbat jalaye bujhaye (I mean “dukh ke andhere me
pyar ke deep jalaye” could have been worked out to a rhyme.)
Ibteda e Ishq me hum, saari raat jaage, Allah Jaane kya
hoga aage, Maula jaane kya hoga aage (What
is ibteda e ishq in Hindi? And why will a Hindu woman with a bindi sing about
Allah and Maula?)
https://www.youtube.com/watch?v=pTD7GikKNMk
Tu hi mera deen hai, Imaan hai, rab ka shukraana. Mera
kalmaa hai tu, azaan hai, rab ka shukraana (Is this a love ode or a sermon?)
Aaayiye Meherbaan, Baithiye Jaanejaan,
Shauk se lijiye, Ishq ke imtihaan
Is this Hindi?
Ehsaan tera hoga mujhpar, dil chahta hai wo kehne do,
Mujhe tumese mohabbat ho gayi hai mujhe, palkon ki chhaon
mein rehne do (taking pleading to a new level)
Or the same pair wishing each other ‘’shabba khair” (why
force this terminology of shabba khair or khudaya khair )
Huzur is kadar bhi na itra ke chaliye,
Khule aam aanchal na lehrake chaliye
Even the most mundane songs in the era of Bollywood
mediocrity that was the 1980s and 90s had their Urdu in place
“Iss tarah aashiqui ka asar chhod jaunga, tere
chehre pe apni nazar chhod jaunga”
Urduization of Hindi in Bollywood is not just limited to
unseating Hindi. It does the holy job of whitewashing tyrants by having them
sing romantic songs:-
Razia Sultan lost in romantic thoughts
Shahjahan pining after Mumtaz (we are coaxed to believe
that Shah Jehan was monogamous with Mumtaz)
Or the fictitious character of Anarkali dancing in front
of Akbar and Salim :-
Akbar is “azeem o shaan shehenshah” and the best
thing to happen to India:-
Well in Bollywood, even Bajirao I the great cant help
singing with Persian vocab (Stupid people and pop culture have reduced this
best of generals to Mastani loving romantic):-
Another thing seen in Obsession with parda, ie the veil.
One example in recent times is:-
Main agar saamne aa bhi jaaya karu,
Laazmi hai kit um mujhse parda karo
I mean, the leading lady is wearing a midriff exposing
lehenga. Parda is the last thing she has in mind!
Other old examples are :-
“Parda hai
parda, parde ke peeche parda nasheen hai,”.
“Ye parda hata do, zara mukhda dikha do, hum pyar
karne waale hain koi gair nahi”
(The heroine isn’t even wearing a veil in this one)
“Parde me rehne do, parda na uthao, parda jo utth gaya to
bhed khul jayega...allah meri tauba (what else)”.
The huge bulk of Shayari (which is promoted as
something as grand as astrophysics in Hindi cinema), consists of the poet or
protagonist fantasizing about how a woman would look once her veil is off. I
do not mean to say that there is nothing else in Shayari, quite the contrary.
But this aspect of it is taken by the Bollywood lyricists the most. Shayari
came into being from the Muslim settlers as well as converts in the
northern part of India. As in case of any Sharia ruled society, where
segregation of sexes was followed strictly, and women were seldom seen. Hence,
the biggest fantasy of the poet was to see the face of the object of his
desire. All kinds of wishes were made by him, for the wind to blow the veil
away or for the woman to be generous to push the veil aside herself to give the
thirsty person a fleeting glimpse of her face. This is sexual frustration and
desperation of a severe kind, arising from a sexually repressed society, not
very different from a horny teenager whacking off to porn in today’s time.
And we are supposed to treat this sex starved wailings as
beautiful romance!
You cant find such desperation in Sanskrit or any ancient
Indian language’s poetry, because women weren’t kept like wads of cash hidden
in houses only to be brought outside with a male relative. Infact the attire
leading upto the thirteenth century, the womens attire was skimpy by even
today’s standards. That’s why when Bollywood promotes ‘’ghoonghat’’ or veil as
‘’Bharatiya sabhyata”, it’s nothing but glorification of an ignomity heaped on
us. The veil is not Indian culture. It was a forced measure taken to shield the
women from the Islamic invaders where the problem was the worst. Why don’t
women wear a veil in south, west and east of India then?
Urdu is promoted as a rich and cultural language in
Bollywood. A sherwani wearing Khan Sahab who starts every discussion with
“barkhurdar” is always very mature and upright and with deep insight on life.
On the contrary, someone who speaks shuddh Hindi will always be shown as a
bumbling idiot.
Any profound philosophy will always be laced with
Urdu:-
Any disaster or a flop show is always in shuddh
Hindi:-
Any song which makes a life changing impact for the
protagonist has to be some kind of sufi wailing, and not bhajan:-
https://www.youtube.com/watch?v=T94PHkuydcw
Main solah baras ki tu
satrah baras ka, because lovers have to be teenagers, no matter even if they
look like they are a decade past teenage (RIP logic)
Even in real life, you’ll
see Bollywood stars visiting Ajmer amidst much publicity. Will you see them
visiting a temple with such fanfare? Because bijness eej bijness.
And then, the only thing worth in life is
pyar and mohabbat.
“Hum pyar mein jalne waalon ko, chainn kahaa, haaye,
aaram kahaan “
https://www.youtube.com/watch?v=IXQY5otyhJ8
Or wailing for lost love
like a loser:-
“Keh do koi na kare yaha
pyar, isme khushiyan hai kam , beshumar hai gamm”.
“Maine har lamha usse
chaaha, use pooja” (well you were stupid, dude)
Or best is drink away and
make a nuisance of yourself:-
The likes of this song make
us feel that pyaar is akin to carrying a hundred kilo cement sack to the
hundredth floor. The ideas that these kinds of songs produce are cringe worthy
and ridiculous .Pyar is the most important thing in the world and you should
spend your time either indulging in it
or pining for your other half when he or she isn’t there, no matter how
fleeting the romance is. Building
yourself for something higher? Thats for losers.
The damage done by this
kind of cultural conditioning has over the time, produced a weak people, who want melodrama in
everything , from entertainment, to the leaders they elect.
So is impossible to write a Bollywood song without a
barrage of Urdu/Persian ?
What about this then?
Or this?
More examples:-
(hehe, a little racy, I know)
More examples here:-
But these examples are few in comparison to Urdu laden
songs, whose lexicon is set.
- · Bowing down to love or god in song is always ‘’sajda’’.
- · Asking for a divine boon is “dua” from “rabb” or “khuda”.
- · Pining for love involves “beqarar dil” or “dil e beqarar”.
- · Noone can survive with “toota hua dil”.
- · Love at first sight aka Pehli nazar mein pyaar
- · No proclamation of love without invoking allah or maula
Urdu as it is , is nothing but a mishmash of Persian
,Turkic and Arabic vocabulary woven into the Hindustani grammar structure. But
as per seculars, this is a culturally rich language, this poor language which
doesn’t even have even its own vocabulary is better than Sanskrit or Hindi, as
far as secular values is concerned, this pidgin language which has its origin
in the tents of the mercenaries of the invading Islamic armies (Urdu is derived
from Ordu, meaning a tent, or Orda from which the word horde is derived) or the
nautch girls in brothels begging more alms from their clients is greater than
all the literature of ancient India.
Afterall, this is a secular country, where if
Ramanand Sagar makes Ramayan and Shri Krishna, he has to make an Alif Laila to
balance it out.
http://rightlog.in/2017/05/urdu-hindi-songs-bollywood/
http://rightlog.in/2017/05/urdu-hindi-songs-bollywood/
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