Tag Archives: Arshad Ali Khan

Nawab Shafath Ali Khan: At ease in the wild

Hyderabad, TELANGANA :

Nawab Shafath Ali Khan trains guns to save endangered species

Nawab Shafath Ali Khan Photo: K. Ramesh Babu

No arrogance, no laid back attitude or flaunting his privileged birth. This new age nawab is a quick draw. He can handle physical and mental strain; evidenced by the fact that he can sit motionless for hours at a stretch atop a 20 ft high machan in thick jungle with danger lurking close by.

Nawab Shafath Ali Khan, India’s celebrated hunter refuses to conform to the typical nawabi lifestyle. He doesn’t live in the lap of luxury, instead he loves to wallow in the lap of nature. He displays an unusual obsession for wildlife, conservation and guns.

At his villa in Hyderabad, stuffed trunks, elephant leg footstools and a bison leg pen-stand greet you. Then you are suddenly jolted when a trumpet rings from his mobile. His daily fare at Nilgiri Hills, Masinagudi village to be precise, where he usually stays, include a sighting of spotted deer, sambar, the piercing call of lapwings, chatter of macaques and the occasional roar of a tiger on the prowl. Sure, he is at ease with the sounds, sights and life in the jungles of south India where he has spent most of his 58 years.

Hunting runs into his genes. His grandfather, Nawab Sultan Ali Khan Bahadur, was an honorary elephant hunter for British India while his father, Nawab Arshad Ali Khan, was a target shooter, doyen of horse racing and secretary of Bangalore Turf Club. “I have inherited the love of wildlife and knowledge of flora and fauna from my ancestors,” says Shafath Ali.

At an age when most children love to play with toys, he played with weapons. Those days the nobility was exempted from the Arms Act, and there were 50 odd weapons at his house. No wonder he got a trophy for rifle shooting from the Governor of Madras in 1962 when he was just five years. At 10 he shot a spotted deer in Masinagudi. Since then he has been active in competitive rifle shooting. “Those days game licences were given and hunting blocks allotted. But there was strict code which hunters had to follow,” says Shafath Ali, fresh from the successful tranquillising of a man-eater tigress in Brahmapuri division of Maharashtra.

The only authorised tranquillising expert and culling officer in India, Shafath Ali is always at the beck and call of the forest departments of Bihar, Jharkhand, Madhya Pradesh, Himachal Pradesh, Karnataka and Telangana. If he is not tackling man-eating leopards, rogue elephants, stray tigers and sloth bear, he is training the frontline staff of the forest departments in the use of tranquillising dart gun on stressed tigers and leopards.

The dangerous missions he undertakes are a test of endurance. To work in close proximity of a man eater is perhaps the most dangerous sport. But for the last four decades it has been a way of life for Shafath Ali. “Tears of gratitude that I see in the eyes of poor farmers and forest dwellers give me energy and courage,” he says.

But he couldn’t have handled these death-defying feats without the support of his family. His wife, Begum Shaheen, stands by him with patience and understanding while son, Asghar Ali Khan, is ready to step into his shoes. The duo keep the fire burning at Safari Land Resorts, the family’s chain of restaurants at Ooty even as Shafath Ali is busy answering the call of the wild.

The sharp shooter often finds wildlife activists training guns at him for his trigger-happy ways. “Culling is a tool of conservation,” he explains. The Wildlife Tranqui Force set up by Hitesh Malhotra, head of Forest Force, Andhra Pradesh, of which he is a secretary, is intended to improve wildlife management through tranquillising and safe rescue of endangered animals.

Scientific management of wildlife population, he says, calls for evolving a strategy to deal with excessive wildlife. This is the only way to check the escalating man-animal conflict. It’s not whether animals will survive, it’s whether man has the will to save them. Save it to cherish or leave it to perish.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Hyderabad> Interview / by J S Ifthekhar / July 27th, 2017

Ustad and the world of gharanas

Indore, MADHYA PRADESH /  Kolkata, WEST BENGAL :

tad Amir Khan in performance. | Photo Credit: 14dfrmeena1
tad Amir Khan in performance. | Photo Credit: 14dfrmeena1

As the late Ustad Amir Khan’s magic continues to awe listeners, various musicians claim that he was from their gharana.

Ustad Amir Khan (born on August 15) was an introvert and a man of few words, yet Khan saheb had validated during an exhaustive interview for a documentary film on him by the Films Division, “Mai Indore (gharane) ke naam se gaa raha hoon.” (I am singing under the identity of Indore gharana.)

Obviously, his unique style took a tangible, modern form very gradually; turned his listeners around as gradually and became a rage, specially in Bengal. Generations of most eminent musicians came under his majestic charm.

On a more formal ground, his disciples like Pandit Amarnath, Pandit A. Kanan, Pandit Tejpal Singh and several others also had established themselves not only as performers but also as revered gurus.

Under the circumstances, the “three-generation” stipulation too was met during Amir Khan saheb’s lifetime that was crudely cut short by a horrible car accident when he was barely 62 and at the peak of his career.

Since his magic refuses to spare sensitive souls even now, several gharanedar musicians are screaming foul and claim Ustad Amir Khan as one of them.

Ironically no other gharana faces such sharp controversy; rife with appalling stories!

But a large number of musicians, in their pursuit to serve the cause of good music, do not care to indulge in such tactical claims to attest their blue blood. Moreover, the modern era is open to different ideas, irrespective of their origin or lineage. For example, I noticed a marked change in Pandit Ulhas Kashalkar’s singing around 1998. The pristine style of this top ranking khayal exponent, equally adept at handling three major styles, was suddenly steeped in soulful depths of a slower than usual Gwalior, Jaipur or Agra pace that usually floats around medium tempo.

Asked why, Kashalkar’s answer was simple, “Everybody is singing that way here (in Bengal) and it facilitates space for more emotions.” But this was actually a slow process initiated by Ustad Vilayat Khan.

For his 75th birthday celebration his ardent fan, Jayant Chatterjee had roped in Kashalkar to sing the legendary sitar maestro’s khayal and thumri compositions.

Hailed as “Amir Khan on the sitar”, the Ustad was very close to Khan saheb who was his elder sister’s husband but things soured later.

In “Komal Gandhar” (his autobiography, compiled by Shankarlal Bhattacharya; translated by me from Bengali to Hindi; published by Kanishka, Delhi), Ustad Vilayat Khan admitted to have “spent hours of riyaz together” with Khan saheb. A photograph adorning the living room of Maharaj Banerjee, a renowned but retired harmonium player, bears testimony to this fact.

Amir Khan (born 1912) and Vilayat Khan (born 1928) doing ‘riyaz together’ leaves a lot left unspoken. So does Ustad Vilayat Khan’s indelible impression on Kashalkar’s psyche. And what a wonderful result it has yielded ever since! Furthermore, Pandit Vijay Kichlu, the erudite founder-director of ITC Sangeet Research Academy, who actually was behind the phenomenal rise of the Academy’s young students, including Rashid Khan, gave a memorable introduction while presenting him during a Sangeet Ashram event on August 10th 2007. The date signifies that it was close to Khan saheb’s birthday and the introduction, abounding with audio-clips, significantly highlighted his deep imprint on Ustad Rashid Khan’s musical thoughts.

Pandit Buddhadev Dasgupta, veteran sarod maestro and an erudite analyst, also says that this extremely popular khayal singer with a golden voice is deeply influenced by Amir Khan’s music. So is young Arshad Ali Khan of Kirana gharana. They are not isolated cases. The list of Ustad Amir Khan’s followers or admirers is pretty impressive. Some greats, like Vidushi Kishori Amonkar and Ustad Shujaat Khan have openly admitted Khan saheb’s influence on their music.

Even four decades after his untimely demise, there are many such eminent musicians who avoid confessing his impact but their music reveals Khan saheb’s indelible stamp loud and clear. This style’s unmatched popularity had transcended all barriers during the short life-span of its creator. Moreover his disciples are carrying forward the legacy steeped in ‘abstract’ modernism. Eminent musicologist-author Vamanrao Deshpande saw this coming. He, therefore, acknowledged Indore as an independent Gharana in his book “Gharandaj Gayaki” (Marathi, published in 1961); and rightly so.

source: http://www.thehindu.com / The Hindu / Home> Friday Review / by Meena Banerjee / August 13th, 2015