A very interesting description of Begum Akhtar’s ghazal singing that I found in Agha Shahid Ali’s introduction to The Rebel’s Silhouette, a book of his translations of poems by Faiz Ahmed Faiz.

What Begum Akhtar did was to place the ghazal gently on the raga until the raga opened itself to that whispered love, gave itself willingly, guiding the syllables to the prescribed resting places, until note by syllable, syllable by note, the two merged compellingly into yet another aesthetic ethos for the Urdu lovers of the South Asian subcontinent.  She, in effect, allowed the ghazal to be caressed into music…  For unlike so many other ghazal singers, who clothe their words until they can’t be seen, she stripped them to resplendent nudity.

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