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Badan Pe Sitaare LapaTe Huwe

March 22nd, 2014, posted in LYRiCS

Movie: PRINCE (1969)Music: Shankar-JaikishanLyrics: Hasrat Jaipuri
Note: Hasrat Jaipuri was inspired to write these lyrics when he saw a woman dressed in a star-studded sari in Paris.
Main release in Mumbai at Super Cinema.
Peppy Songs of Mohammed Rafi: Badan pe sitaare lapaTe huwe…Roman Transliteration/English Translation of the

Urdu-Hindi Lyrics:

badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE !  WHITHER GOEST THOU ??
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye…
COME NIGH A LITTLE, THAT I MAY BE COMFORTED !
badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE!  WHITHER GOEST THOU?
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye…
COME NIGH A LITTLE, THAT I MAY BE COMFORTED !!

hameeN jab naa hoNge toh ay dil-rubaa,
O HEART-STEALER! WHEN I’ll EXIST NO MORE,

kise dekh kar haay sharmaaogee,
ALAS! WHOM WILL YOU SEE AND BLUSH ??
naa dekhogee phir tum kabhee  aainaa,
NO MORE WILL YOU LOOK IN THE MIRROR,
hamaare binaa roz ghabraaogee,
ALL NERVES, YOU’LL BE WITHOUT ME EVERYDAY !
badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE!  WHITHER GOEST THOU?
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye…
COME NIGH A LITTLE, THAT I MAY BE COMFORTED!

hai ban-ne saNvarne kaa jab hee mazaa,
IT’S FUN DECKING UP ONLY WHEN
koyee dekhne waalaa, aashiq toh ho,
THERE’S SOME LOVER TO ADMIRE IT!
naheeN toh yeh  jalwe haiN bujhte diye,
OTHERWISE, THESE LUSTRES ARE BUT FLICKERING LAMPS,
koyee miTne waalaa ik aashiq toh ho,
THERE’S TO BE A LOVER, PASSIONATELY IN LOVE !
badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE!  WHITHER GOEST THOU?
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye…
COME NIGH A LITTLE, THAT I MAY BE COMFORTED !

muhabbat kee yeh  in-tehaa ho gayee,
MY LOVE EXCEEDED ITS BOUNDS
ke mastee  meN tum ko Khudaa keh gayaa,
AS I MERRILY CALLED YOU A DEITY!
zamaanaa yeh  insaaf kartaa rahe,
LET THE WORLD ADJUDICATE
buraa keh gayaa yaa bhalaa keh gayaa,
WHETHER I SAID SOMETHING BAD OR GOOD!
badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE!  WHITHER GOEST THOU?
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye…
COME NIGH A LITTLE, THAT I MAY BE COMFORTED!
badan pe sitaare lapeTe huwe,
WITH THE BODY WRAPPED IN STARS,
o jaan-e-tamannaa kidhar jaa rahee  ho,
O LIFE’S DESIRE!  WHITHER GOEST THOU?
zaraa paas aao,  toh  chayn aa jaaye,
COME NIGH A LITTLE, THAT I MAY BE COMFORTED,
zaraa paas aao,  toh chayn aa jaaye.
COME NIGH A LITTLE, THAT I MAY BE COMFORTED !!

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Girls Grow Into Womanhood The Body

November 27th, 2013, posted in GiRLs, Ink On PAPER, Scarface'S DIARY

As girls grow into womanhood, the body becomes the central medium through which these unwritten codes of behavior are transmitted and memorized. The demure lowered gaze fixed at some point on the floor, the acquiescent nod of the head, the feminine swing of the hips, the closely held thighs and the modestly drawn-in shoulders are all written into our bodies by invisible hands and inaudible words so that we start believing that this is the way we are supposed to be.

The containment of a woman’s body is demonstrated by the very tightness with which she holds herself and moves The notion that such gendered body language is ‘natural’ is reinforced by observing other women we encounter. For example, observing men and women in public transportation and on the streets of Mumbai, one notices the tentative and watchful manner in which women occupy public space. In BEST buses, the average women will occupy the least possible space, rendering herself as inconspicuous as she can…on the other hand, the average man will spread his legs out, occupy more than half of a two-seater in a bus and appear to disregard the people around him.

—Shilpa Phadke, Sameera Khan, Shilpa Ranade,Why Loiter?: Women and Risk on Mumbai Streets

Observing the occupation of space(s) by women is critical praxis for me when I watch films, particularly because there’s always some surprise (and satisfaction) in catching glimpses of scenes where filmmakers break away from the traditionally gendered frame. The screencaps above illustrate that sentiment best. While Indian women at leisure in public spaces has never been a plausible reality for the filmmaker to pursue, this uninhibited, un-sexualized, un-victimized image of women in private, domestic spaces has usually been shied away from as well, because film has been expected to make its female protagonists hyper-aware of their bodies in the form of traditional gender roles for the benefit of a cis, heteronormative, North Indian Hindu male audience. Obviously the harrowing majority of filmmakers from parallel cinema to the so-called mainstream are male and their own sexist expectations of women have been translated into the narratives of their films along with the way they frame their female protagonists, never affording viewers with the realities (or criticisms) of women and their occupancy of private/domestic space.

The women in these films however, are able to lie faceless and thoughtless in crumpled sarees and nightgowns, no male gaze to bind their bodies to a decreed acceptable amount of space. They spill out from the frame, with hidden limbs, faces, thoughts—a luxury the traditionally gendered frame would not dream of providing.