Hindustani Classical Music

Belated Holi 2026 Thread

Kabir · March 8, 2026 · 6 comments

Since what seems like World War 3 broke out a week ago, the fact that Holi was this past Wednesday (March 4) completely slipped my mind. I’m surprised that no one else on BP mentioned it either.

I just want to briefly share this recording of Gauhar Jaan singing “Mere Huzraat ne Madeene mein manayi Holi” (My Prophet played Holi in Medina). This is an example of the syncretic culture of Hindustani music. A Muslim artist (born Armenian Christian) singing a composition that references the Prophet of God celebrating a Hindu festival. This is the syncretic culture that has sadly been lost on both sides of the Radcliffe Line.

There is an excellent book on Gauhar Jaan titled My Name is Gauhar Jaan! (2010) by Vikram Sampath.

After the jump, there is another beautiful composition sung by Venkatesh Kumar. This is a thumri in Raga Mishra Kafi entitled “Aaj Khelo Shyam Sang Hori” (Let’s Play Holi with Shayam (Krishna) today” Continue reading Belated Holi 2026 Thread

Thumri and Social Change

Kabir · February 22, 2026 · 1 comment

Since there has been some discussion about “Indian” and “Pakistani” music recently– and in the spirit of being “high signal”– I am cross posting this essay I wrote about thumri and social change. The essay was originally submitted as part of my M.Mus coursework at SOAS, University of London.

Thumri is a semi-classical genre of Hindustani vocal music, associated primarily with the emotional expression of romantic longing. It is said to have originated in the 18th century from a mixture of folk and art music. The genre reached its height in the 19th century at the court of Wajid Ali Shah, the last nawab of Avadh, who was an enthusiastic patron and even composed several thumris.

Since the 19th century, thumri repertoire and performance style have undergone several changes. These include the de-linking of the genre from the courtesan tradition, the separation of music and dance, and a re-interpretation of lyrics in a devotional, rather than erotic, framework. These changes were linked to the impact of British colonialism, particularly social reform movements such as the Anti-Nautch Campaign. In addition, the shift in patronage from royal courts to concert halls led to the emergence of non-hereditary female performers. In order for performing thumri to be considered acceptable for “respectable” women and to avoid offending the new middle-class audience, the genre was de-eroticized and reinterpreted in a spiritual fashion. This often entailed the sanitization of lyrics. Continue reading Thumri and Social Change

Some Thoughts on Pakistani Culture

Kabir · February 19, 2026 · No comments

Last week, there was a lot of discussion about Basant and its place in Pakistani culture. In that context, I’m sharing this essay I wrote while I was preparing for my panel at the Faiz festival last weekend. The panel was entitled “Faiz and the Cultural Policy of Pakistan”. My co-panelists were Asad Gilani— presently serving as Secretary National Heritage and Culture Division– and Mahtab Akbar Rashdi-– a former actress, bureaucrat, and parliamentarian.

I spoke at the 10th Faiz Festival held in Lahore last weekend (February 14-15) as part of a panel titled “Faiz and the Cultural Policy of Pakistan”. I was invited to be a part of this panel primarily because of my book A New Explanation for the Decline of Hindustani Music in Pakistan (Aks Publications 2024).1 Though my book–a republication of my M.Mus thesis in Ethnomusicology– focuses narrowly on Hindustani music, I did discuss the Faiz Cultural Report of 1968, particularly in the context of arguments that Hindustani music declined in Pakistan because it did not accord with the national identity of the newly formed Pakistani state.

I thought I’d briefly share some of my thoughts here since others might find them interesting.

What is the Faiz Report? Continue reading Some Thoughts on Pakistani Culture

Caste in America

X.T.M · October 9, 2025 · 37 comments

I’ve found myself drifting further left than I expected this year. Much of that is circumstantial, being involved in local activism in the United States naturally places one within progressive coalitions. Yet even in this frame, my ideological compass is firmly rooted in some admiration for Brahminical continuity and Bharat Mata as civilizational anchor.

At times I speculate on where Bharat truly ends. Is it the Hindu Kush? The Iranian plateau? The Persian world has always seemed to me about 20–30% Indianise; its mythology, musicality, and memory bear the imprint of the Indo-Aryan stream more than the Indo-European one, no matter how insistently modern Iranians lean toward a Westward identification.

This brings me to a provocative thesis I’ve often floated: that Brahmins are the civilisational custodians of the Indian subcontinent, and that their displacement often signals a broader cultural erasure. The tragedy of the Kashmiri Panditsis not merely a community’s trauma, but a warning. Without Brahminical continuity, Vedic frameworks falter. Hinduism in Pakistan and Bangladesh remains vulnerable precisely because it lacks the embedded authority and supervisory function of Brahmin elites to anchor Vedic traditions and calibrate resistance to incessant Islamisation. Continue reading Caste in America