Ghazal in the context of "Kathak"

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⭐ Core Definition: Ghazal

Ghazal is a form of amatory poem or ode, originating in Arabic poetry that often deals with topics of spiritual and romantic love. It may be understood as a poetic expression of both the pain of loss, or separation from the beloved, and the beauty of love in spite of that pain.

The ghazal form is ancient, tracing its origins to 7th-century Arabic poetry. It spread into the Indian subcontinent in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate, and is now most prominently a form of poetry of many languages of South Asia and Turkey.

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👉 Ghazal in the context of Kathak

Kathak is one of the eight major forms of Indian classical dance. Its origin is attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller"), who communicated stories from the Hindu epics through dance, songs, and music. Its name derives from the Sanskrit word katha which means "story", and kathakar which means "the one who tells a story" or "to do with stories". 'Katha kahe so kathak kahave' - Kathak is the dance of story tellers. Stories are narrated through the medium of the body, face, hands, and feet in sync with the tabla and lehra.

Kathak dancers tell various stories utilizing hand movements and extensive footwork, their body movements, and flexibility, as well as their facial expressions. Kathak often has a strong beat and can be danced in many taals. While proto-Kathak elements can be seen long before, Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu deity Krishna, as well as independently in the courts of north Indian kingdoms. During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts. Kathak performances include Urdu ghazal and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.

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Ghazal in the context of Gambus

A qanbūs (Arabic: قنبوس) is a short-necked lute that originated in Yemen and spread throughout the Arabian Peninsula. Sachs considered that it derived its name from the Turkic komuz, but it is more comparable to the oud. The instrument was related to or a descendant of the barbat, a (possibly) skin-topped lute from Central Asia. The qanbūs has 6 or 7 nylon strings that are plucked with a plectrum to generate sound. Unlike many other lute-family instruments, the gambus has no frets. Its popularity declined in Yemen during the early 20th century reign of Imam Yahya; by the beginning of the 21st century, the oud had replaced the qanbūs as the instrument of choice for Middle-Eastern lutenists.

Yemen migration saw the instrument spread to different parts of the Indian Ocean. In Muslim Southeast Asia (especially Indonesia, Malaysia and Brunei), called the gambus, it sparked a whole musical genre of its own. Nowadays it is played in the traditional dance of Zapin and other genres, such as the Malay ghazal and an ensemble known as kumpulan gambus ("gambus group"). In the Comoros it is known as gabusi, and in Zanzibar as gabbus.

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Ghazal in the context of Mir Taqi Mir

Mir Muhammad Taqi (February 1723 – 20 September 1810), known as Mir Taqi Mir (also spelled Meer Taqi Meer), was an Urdu poet of the 18th-century Mughal India and one of the pioneers who gave shape to the Urdu language itself. He was one of the principal poets of the Delhi School of the Urdu ghazal and is often remembered as one of the best poets of the Urdu language. His pen name (takhallus) was Mir. He spent the latter part of his life in the court of Asaf-ud-Daulah in Lucknow.

His father's name was Meer Muttaqi. Following his father's death, his step-brothers seized control of his inheritance. His (paternal) step-uncle took care of him after he was orphaned, and after the death of his step-uncle, his maternal step-uncle took care of him. The signature of his poetry is the grief he expresses. His poetry expresses much grief and distress over the downfall of his city, Delhi.

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Ghazal in the context of Mirza Ghalib

Mirza Asadullah Beg Khan (27 December 1797 – 15 February 1869), commonly known as Mirza Ghalib, was an Indian poet and letter writer of the Mughal Empire. Writing in Persian and Urdu during the final years of the Mughal Empire and the rise of British colonial rule, his poetry often addressed themes of love, loss, philosophy, the human condition, and socio-political disturbances with a depth and complexity that influenced the literary traditions of his time. His ghazals, noted for their intricate imagery and layered meanings, form a significant part of Urdu literature. He spent most of his life in poverty.

He wrote in both Urdu and Persian. Although his Persian Divan (body of work) is at least five times longer than his Urdu Divan, his fame rests on his poetry in Urdu. Today, Ghalib remains popular not only in South Asia, but also among the South Asian diaspora.

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Ghazal in the context of Sindhi literature

Sindhi literature (Sindhi: سنڌي ادب) is the collection of oral and written literature in the Sindhi language in prose (romantic tales and epic stories) and poetry (ghazals and nazm). The Sindhi language of the province of Sindh in Pakistan is considered one of the oldest languages of ancient India, and influenced the language of Indus Valley inhabitants. Sindhi literature has developed over a thousand years.

According to historians Nabi Bux Baloch, Rasool Bux Palijo, and G. M. Syed, Sindhi influenced Hindi in the pre-Islamic era. After the advent of Islam in the eighth century, Arabic and Persian influenced the region's inhabitants and were official languages. Shah Abdul Latif Bhittai, Shah Abdul Karim Bulri, Shaikh Ayaz and Ustad Bukhari are notable Sindhi poets.

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