Title
Goongi Rulaai Ka Chorus
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There Was A Long Period In Indian Life When Ordinary People From Both Hindu And Muslim Religions, Without Any Ideological Compulsion Or Conscious Effort, Lived And Flowed In The Natural Flow Of Life, Evolving Into A Common Cultural Entity. They Were Building A Common Society That, If Divisive Forces HadnT Stood In The Way, Would Have Presented Itself To The World As A Unique Social Structure. Its Remnants Can Still Be Found In Our Villages, Towns, And Small Cities. We Retain A Large Portion Of This Tradition As Historical Evidence. Hindustani Classical Music Is Also Part Of The Same Heritage That Is At The Center Of This Novel. The Musical Stream That Flowed During The Khilji Period, From The Union Of The Great Singers Gopal Nayak And Amir Khusro Of Devagiri, Flowed Through The Courts Of Akbar, Muhammad Shah Rangile, And Wajid Ali Shah, And Reached Various Musical Gharanas. Like Bado Baba Alauddin Khan Of Maihar, The NovelS Bado Nanu, Ustad Mehtabuddin Khan, Also Considers Music As Worship. ThatS Why Khurshid Jogi From Uttar Pradesh And Kamal From The Baul Tradition Of Bengal Joined Their Family As Sons-In-Law. But In Twenty-First-Century India, Partition-Love Emerges As An Addiction. What Happened In Gujarat At The Beginning Of The Century Is Now The Strongest Color Of The Socio-Cultural Mainstream Here. In This Toxic Environment, Nanu Ayub Khan, Abbu Khurshid Jogi, Baba Madan Baul, And Finally Kamal Kabir Are Wiped Out One By One. What Remains Is A Cry That Cannot Even Be Openly Expressed; It Remains Confined To The Throat. This Novel Is A Chorus Of This Cry. Highlighting The Hollowness And Bloody Aggression Of The Dominant Ideology That Considers Partition Its Holiest Goal, This Novel Attempts To Re-Establish The Inclusive Character Of Indian Culture With The Rhythms And Beats Of Hindustani Music.
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