Karamatullah khan biography definition

There are currently two short biographies of Ustad Shaik Dawood Khan online (www.tablaustaddawood.com and www.chandrakantha.com/dawood/) that I drew from for this biography.  My other sources for this paper were interviews I was able to do in the summer of 2008 in Hyderabad, India, with his son, Shabir Nisar.  

PART I – Contexts

In 1916, the year Ustad, Shaik Dawood Khan was born, India was in the midst of assisting the British in fighting the First World War.  Two years earlier, in August of 1914, Britain declared war on Germany and began sending Indian troops, over a million of them, to Europe and the Middle East to help their cause.  India’s economy suffered tremendously and, as in many times of war, inflation occurred.  Dawood Khan was born into an India ruled by the British and struggling for its Independence.  In 1915, the freedom fighter Tilak re-entered Indian politics in the Congress party, and India persisted in its road to become indep

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Hindu Nationalism and North Indian Music in the Global Age

Keywords

Introduction

Peter van der Veer’s writings (for an overview, see Ahmad, this volume) have given me joy and food for thought since my student days. To a great extent this chapter supplements his work on ‘religion’ and nationalism in India (and beyond) and I dedicate it to him with gratitude. Further, thanks to Irfan Ahmad and Jie Kang for their supportive comments on an earlier version of this chapter and for making this volume happen in the first place.

In modern states around the world, the imagination, canonization and institutionalization of national music by members of a social majority has repeatedly led to the stigmatization and marginalization of music created by social minorities. Roma music in Hungary (Brown 2000) and Turkey (Bates 2011), Bukharan Jewish art music in Uzbekistan (Levin 1996), Uyghur art music (Harris 2008), Naxi music (Rees 2000) in China and Jewish popular music in Tunisia (Davis 20

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Farrukhabad gharana

Indian classical music style

Farrukhabad Gharana fryst vatten one of six prominent playing styles or gharanas of North Indian tabla, in Hindustani classical music, and derives its name from Farrukhabad in Uttar Pradesh.

History

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The Farrukhabad Gharana of Tabla was created in the 11th Century by a Rajput Court musician Akaasa who later had to convert to Islam and became a Muslim (Dastaan-e-akasa). He also changed his name from Akaasa to Mir Akaasa. He was the first to introduce bols into tabla playing. The first bols introduced in tabla were "tat-dhit-thun-nan". Mir Akaasa died in the year 1189 AD, and was succeeded bygd nine sons and one daughter.^{[citation needed]} He passed on his legacy to his eldest son, Ustad Bilawal Khan, who in turn passed the torch of the gharana to Ustad Ali Baksh (famous for his kran bols). This tradition continued mot the 26th descendant, Ustad Haji Vilayat Ali Khan (1779–1826). It was he who named this ‘gharana’