Who is rahim fahimuddin dagar

It might take a couple of hours. Thank you for the foto, Bolingo. Thank you Tawfiq for adding the alternative linke to the file from esnips! Here are lot more photos of Rahim Fahimuddin and other members of the Dagar family taken by my friend Beche in Chembur Bombay !

As I know Dagar Family personally we music lovers and fans of Dhrupad all around the globe are mourning about the demise of great Ustad Rahim Fahimuddin Khan, who left us on 27th July Post a Comment.

My name is Rahim Fahimuddin Dagar. I am a Muslim, but my goal is music. I have made a study of Durga, of the shastras. Because these help me in the pursuit of my goal. If we look for the essence with a pure mind, we will find it Khayal and other musical genres, on the other hand, have their origins in Muslim traditions The goal of Indian music is to attain moksha — liberation from mortal life.

Swar the practice of musical notes is considered the shortest way to achieve this. The reason is simple. Swar cannot be seen. The atma or soul cannot be seen. Neither can Ishwar the Supreme Power. So naturally, the niraakar formless will be attained only through the niraakar. And dance is feeling itself. This is Matangi, the goddess of music. You need faith in God to pursue this kind of path. With their demise, it seems like a major chapter in Hindustani musical history has come to a close.

They both belonged to a time when life had a different pace and people were ready, for instance, to spend the entire night in so-called ''music conferences'', listening to great artists well into the morning hours. Both of them had witnessed enormous changes in society: while their own fathers had been court musicians, they had to adapt to the free-lancing artist life of post-independence India.

In spite of such major shifts of values and lifestyle, they made it possible for younger people to experience and learn music belonging to another era. Through their uncompromising dedication to the art, they had preserved a treasure which, in this very same shape, is not available to the world anymore. I first met R. Fahimuddin Dagar in in Calcutta. Every day, he would sit with them for at least two hours, exercising alap and patterns over and over again, giving priority to the quality of akar vocalizing on the sound of ''aa'' , to the purity of intonation and to rhythmic accuracy with an intensity new to me.

At once, I found his method fascinating and rewarding and I kept on studying with him for about five years. During this time with him, I have been introduced to the basics of dhrupad music and its philosophy through direct experience according to the traditional guru-shishya-parampara system of transmission.