For a change, Kashmir is trending for all good reasons. Thanks to Dil Tsooran’ song from `Songs of Paradise’, Kashmir’s music is reimagining itself in the era of hip hop and rap. Santoor maestro Abhay Sopori deserves all credit for rearranging music that had almost disappeared from public memory. ‘Songs of Paradise’ is not only an ode to Raj Begum’s inspiring music but also a tribute to Kashmiri art, which has retained its original flavor despite the onslaught of modernity. It was with this motive that Abhay agreed to do music without altering the basic tone and texture of the Kashmir art form. Since the young generation has different tastes, evoking interest in traditional Kashmir music was a big ask. Yet the filmmakers and musicians decided to stick to originality rather than be swayed by the popular trends. There was an underlying belief that promoting Kashmir music should be the priority, not the commercial gains. Therefore, the music was used in its original form. Only the singer was changed to recreate the music of yesteryears in a new voice. To create a fresh feel and reconnect with the masses. Masrat Un Nissa, an amateur singer from Charar-e-Sharif, was launched. It was a very big responsibility for a 24-year-old singer to fit into the shoes of Raj Begum, Shamim Dev Azad, and others. She lived up to the expectations and did justice to the role she was asked to play. Before `Songs of Paradise’, no one knew Masrat. She had not sung any professional songs. She had recited a Naat-e-Sharief during the SAMPA function when she was a kid. But she had caught the attention of the music honchos. Her voice was playing back in Sopori’s mind. When he was looking for a fresh voice for `Songs of Paradise’, Masrat’s name suddenly popped up. A few rehearsals and Masrat became a musical sensation on her debut. Aspiring to become a lawyer, she is pursuing a master’s in public administration while focusing on her musical career. Filmmakers, including Danish Renzu, also deserve praise for mainstreaming Kashmir’s forgotten music and singers. The movie has suddenly sent positive vibes across the globe. The music, which was only confined to the valley, has reached a wider audience. This movie is a genuine effort to revive our traditional roots. Using our own instruments, including sarangi, santoor, naut, and others, has evoked nostalgia. Even the younger lot cannot remain oblivious. This is just the beginning. There are many miles to go. Yet there is a hope that many more musicians will join in this journey to revive the golden era of Kashmir music. The government, too, needs to chip in and help in whatever way it can to make Kashmir music great again. This will be our small contribution to our musical legacy.
Musically yours
