Ghazal 

Definition: The ghazal was an Arabic form of poetry that also became popular among Persian
poets. It is a form of poetry that deals with the longing and passion of the self for another. This
subject could be of all forms -- be it a lover, or the god, one's nation, nature, etc. They are
expressions of desire and longing of the self for the subject. A ghazal can be composed of 5-15
couplets.

Sher - couplet … collection of two lines

1. Matla'a: The first sher in a ghazal is called the 'matlaa'. Both lines of the matla must
contain the qaafiyaa and radif. The matlaa sets the tone of the ghazal, as well as its
rhyming and refrain pattern. .
Example: Wo jo humme tumme karar tha tumhe yaad ho ke na yaad ho
    Wohi waada yaani nibah ka TumhaiN yaad ho keh na yaad ho

2. Radif: The refrain word or phrase. Both lines of the matlaa and the second lines of all
subsequent shers must end in the same refrain word called the radif.
Example: tumhe yaad ho ki na yaad ho

3. Qaafiyaa: The rhyming pattern. The radif is immediately preceded by words or phrases
with the same end rhyme pattern, called the qaafiyaa.
Example: Wo jo humme tumme karaar tha

4. Maqta'a/Maktaa: The last couplet of the ghazal is called the maqtaa. It is common in
ghazals for the poet's nom de plume, known as takhallus to be featured in the maqtaa.
The maqtaa is typically more personal than the other couplets in a ghazal. The creativity
with which a poet incorporates homonymous meanings of their takhallus to offer
additional layers of meaning to the couplet is an indicator of their skill.
Example: jise aap ginte the āshnā jise aap kahte the bā-vafā
    maiñ vahī huuñ 'momin'-e-mubtalā tumheñ yaad ho ki na yaad ho

5. Bah'r/Behr: Each line of a ghazal must follow the same metrical pattern and syllabic (or
morae) count.

6. Misra-e-uulaa: The first line of each verse must be a statement.

 7. Misra-e-sani: The second line of each verse must be the proof of the statement given in
the first line.
Source: Wikipedia

Begum Akhtar 

Begum Akhtar was born on 7th October, 1914 in Faizabad town of Uttar Pradesh. Her name
was Akhtaribai Faizabadi though she was much popular as Begum Akhtar. While her upper-
class family was not inclined towards music, she showed interest in music at a very young age
and was sent to train under the great sarangi player, Ustad Imdad Khan. Later, she learnt
classical music from great exponents of this field like Mohammad Khan, Abdul Waheed Khan
and Ustad Jhande Khan Saheb.

At the tender age of fifteen she gave her first public performance. People were moved by her
voice and she gained instant recognition. 

Begum Akhtar married barrister Ishtiaq Ahmed Abbasi in the year 1945. Due to family
restrictions, Begum Akhtar could not sing for almost five years. She fell ill and her only medicine
was music. In the year 1949, she returned to record at the Lucknow Radio station and sang
three Ghazals and a dadra. She felt so satisfied and happy that she wept with joy. She then
continued to give public performances and sing in concerts till she passed away. 

Source: https://www.culturalindia.net/indian-music/indian-singers/begum-akhtar.html

Lyrics- Woh joh hum main tum main qarar tha 

Taal: Rupak, Written by: Momin (full name: Hakim Momin Khan Momin)

Woh jo hum maiN tum maiN qarar tha tumhaiN yaad ho keh nah yaad ho
Wohi waada yaani nibah ka TumhaiN yaad ho keh na yaad ho

That steadiness we had between us, you might remember or you might not
That promise of staying together, you might remember or you might not

Woh naay gilay woh shikaayateN Woh mazay mazay ki hikayateN

Woh har ik baat peh roothna TumhaiN yaad ho keh na yaad ho

those new resentments, those complaints, those light hearted and fun stories
that being displeased at everything, you might remember or you might not

Source and further information: https://blog.yogins.com/2010/05/01/a-mesmerizing-ghazal-woh-

jo-hum-mein-tum-mein-qaraar-thaa/
Dance script 

Sitar and Vocal aalaap..

0:00- 1.14
Candle big mirror left 
Without looking anywhere else 
Earring necklace benda (with circle on head) 
Acha nhi lag rha hai (sighing - on haaaa) and why is nothing looking good let me try kajal 
Kajal eyes and under head 
Still not working 

Sarangi - 1:15 
Find the piece of jewelery bring it closer looks at it opens the box throws it away but you can’t
handle so brings it back pulls it out bring close to face wear it and rest read on it 
Now everything makes sense I look good 

Woh Joh ad lib

Diya 
Adaab to everyone (Woh joh humme) 
Sees him (tumme) feels the jewelry and extends hand out

State more intently at him, eyebrow movements, do an aadab to the audience again

Woh joh hum main tum main… x3

Hum mein tum mein - gesture using your hands for this - show the hum and tum; ‘you and me’ -
him and yourself

Qaraar tha x4
1 - Adah Posture (one hand on head, other hand resting on the back)
2 - Balance Posture (holding the right knee up)
3 - Aangik Posture (interlocking both hands and stretching into a diagonal)
4 - Rukhsar Posture (right hand angled against the cheek)

Wo jo hum… full line x4

Seated 
1 - Bring right hand down in a diagonal and left hand up in the same line, on Qaraar - join both
hands and look away
2 - Rest head on left elbow and look down shyly and turn your back diagonally away from the
audience
3 - Hand on shoulder movement 
4 - Turn around and pretend to write, see a flower and pick it up. Smell is and put it on your hair

Wohi yaani waada x2

1- Ring finger to heart movement
2 - Show heart and mind, interlocking, separating and interlocking again

Theka x8
Chaal , followed by Aamad
Woh naye gilay … hikayatin x2
1 - Wrist movement, taking hand up into an arched posture
2 - Tap the shoulders slightly, show a ghunghat and then look through it
3 - Comb through your hair and braid it
4 - call out to someone and act like you are telling them a secret, slowly shy away while smiling

Woh har ek baat 

1 - turn around in 3 different directions and visibly show a “sigh” (Peeth ka abhinaya)
2 - stretch back
3 - turn around and look at him
4 - Shabdarth using major limbs 
5 - Shabdarth using minor limbs 

Ending with Kathak movements and tihai 

(Ghin dha Dha ghin dha Dha dha ghin dha

Takita dhikita ghin x3 Dha tit Dha ) x3

Paliji’s words

When you dance a ghazal, convey your message without the words being sung - that is the
power of a good ghazal. Your movements poetry should be so strong that the words second it

How dance and literature was archived in those centers of learning - this was the tawaif’s work
who would only sing and dance → this is what Paliji wants to portray through this
choreography. 
It is an ode to the tawaifs’ knowledge and contribution to the arts. 

A lot of people (young men in general) were sent to the tawaif’s to learn their sophisticated
etiquettes and mannerisms
These were women who were very well versed with politics, social norms, presentational skills,
literature, art, different cuisines, fine arts