Indian singer Dhvani Bhanushali recently released her latest song Mehendi that is a blatant replication of the Pakistani song Gagar, sung by Pakistani singer Alamgir.
The song has garnered more than 20 million views within two days of its release. Interestingly, the music of the Indian song is quite similar to the Pakistani iconic song Gagar.
However, Pakistani singer Umair Jaswal, who recently did a rendition of Alamgir’s song in the Velo Sound station’s season 1, pointed out the clear copying of the tune and shared the news on his Instagram account.
He questioned the Indian singer for copying the tune and tagged his fellow music artists who worked with him on Gagar’s remake. Originally made by veteran singers, the song Gagar is a famous song from the ’90s. Let’s have look at both songs:
Babar Ali has recreated a video of his first-ever song Janu sun Zara from the film Jeeva with his daughter Zainab Ali.
Taking to Instagram, the Zebaish actor wrote: “Reviving my first ever song from my first film. Lollywood was in full boom and we made several films every year! I shot this with the amazing @therealresham, what times, what films!”
He further wrote: “Made this with my little precious daughter @zainabbali. All daughters are JANUS of their fathers!”
Zeb Bangash is disappointed with Bollywood’s version of Bibi Sanam. Performed originally by Zeb and Haniya on Coke Studio, the international hit landed up in the Hindi film Cabaret, where it was sung by Usha Uthup.
In an opinion piece published on Scroll India, Bangash wrote: “From the moment my cousin Haniya and I released our version of Bibi Sanam on Coke Studio, it resonated with people from Kabul to Kolkata and beyond, becoming one of our most-loved and celebrated numbers. Its success spawned many other versions on YouTube and it was a delight to see and hear people from all over the world engaging with the song with so much love.”
She continued: “In time, many classic versions were uploaded. In 2013, inspired by Ustaad Shamsuddin Masrur’s performance of the song in the 1960s, I recorded an entirely fresh version of Bibi Sanam with my Brooklyn-based band SANDARAA. Not surprisingly, this version became a crowd-pleaser on SANDARAA tours even to predominantly Western audiences in North America.”
Zeb further wrote: “I came across a recently uploaded Bibi Sanam video from a Bollywood film. The film was completed a few years ago, but I hadn’t heard of or seen it. I was eager to see what space had been carved out for this beautiful folk classic by the multi-billion dollar industry we all follow and participate in so actively. The names attached to the project heightened my excitement. Usha Uthup, whose beautiful spirit and voice has inspired me since childhood, and Richa Chadha, an actor I respect as someone who stood up against objectification of women on the silver screen.”
However, the song left the singer disappointed.
“I finally heard the song, I was unsettled, disappointed by its re-imagining. I could not find Richa’s spirit or Usha’s voice in the song, neither could I find the soul of Qandahar, Tajqurghan, Kabul jaan, or Sisstaan — all the places the song has referenced,” wrote Zeb while expressing her thoughts on the rendition.
“Instead, the song was forcibly put in a place it was never meant for. I must admit it deeply disturbed me to see a cover of our loving tribute/rendition juxtaposed against the general ongoings of a forgettable Bollywood item song. What was infused into the innocence, the freshness, and sweetness of Sistaan is unwanted aggressive sexuality. Sadly, it felt perhaps for the first time a version has compromised the beauty of an ancient poetic, musical and spiritual tradition.”
Zeb said that the Bollywood version depicting gyrating women dancing around poles raises a stream of uncomfortable questions for her.
The singer further wrote: “The past 12 months, we saw social movements promoting inclusion and equality, we participated in them virtually and created a real global social impact. Social media provides an opportunity for authentic and discerning collaborations. In the context of this hyper-connected environment, I need to ask whether we as artists and content creators are making lazy and uninformed artistic choices?”
“When you sing a song in a new language, you acquire an intimacy not only with the music, but also its people, as you gain access to its stories and histories. You then suffuse it with your own histories and culture – if done right, it is always a process of inclusion. This is especially true for rich spiritual soundscapes. Is it too much to hope that this can culminate in evolution beyond the item number?” she questioned.
“When a dominant cultural machine imposes its careless vulgarity upon lesser-known spiritual traditions, it can undermine the culture and ultimately re-form and warp an identity from sacred to profane.”
“Bibi Sanam has always possessed a mesmerising quality, magic kept alive for centuries, by artists and audiences, meshed with their personal memory, experience, and history. For me the Bollywood version is a disservice to the song’s meaning and the culture it comes from,” she concluded.
Zebunisa Bangash is a Pakistani singer-songwriter from Lahore. Her family originally hails from Khyber Pakhtunkhwa. Given her prolific career and her ability to sing in various languages and appeal to audiences of all ages across cultures and continents, it is no wonder that Zeb has a huge international fan following around the world.
