Awards of Pathaney Khan to be auctioned
Iqbal Pathaney Khan braves a scorching day going about from one office to another, one person to another, to give cards for the April 28 death anniversary of his father Pathaney Khan.
Iqbal Pathaney Khan has arranged a folk music programme in his home town, Kot Addu, in which local singers will sing kafis and song of Pathaney Khan to pay homage to the great Seraiki singer.
“This time at the music function, I will announce a date for auction of the awards because my family is facing poverty and we never know what we will eat tomorrow.”
“A few people give me some money for the programme and think they are giving me a charity,” Iqbal told Dawn in an exclusive interview.
“I never demand any money from the fans of Pathaney Khan. This is what I have learned from my father.
“Actually my father died a pauper and left nothing for his four sons and three daughters except this six-marla house, fame as 79 awards.”
“Every year I hold kafi programme to mark his death anniversary, but no MNA, MPA, senator or senior bureaucrat has ever attended the programme,” the son laments.
Iqbal accused the PTV and Radio Pakistan of doling out laughable sums to his father. He had harsh words for firms marketing CDs and cassettes as well.
The awards include the Pride of Performance President Award (1979), PTV Millennium Award, Khawaja Ghulam Farid Award, Rohi Award, Thal Award, etc.
Saturday, September 5, 2009
Pathanay Khan Kot Addu Pakistan
Pathanay Khan
Name
"Ghulam Muhammad"
But known as "Pathaney Khan".
Place of Birth
1920 at a Village called "Basti Tambu wali",
Situated in the Heart of "Thal" Desert,
A few miles from "Kot Addu in
"Muzaffargarh".
Career
Pathaney was introduced to the media when Malik Ghulam Mustafa Khar was the governor of
Punjab.
The artiste belonged to his constituency.
On November 21,1970,Radio Multan was inaugurated (open)
and "Pathaney Khan" found a way out of wilderness. He was brought to
the newly set up studio by it's first station Director, "Shamsuddin Butt",
Who requested "Pathaney Khan" to sing "khwaja Freed's (Kafi) "Meda
Ishq vee Toon".Radio Multan eventually fixed a monthly stipend of Rs:20,430 for him, which he had to
perform for half an Hour every month.
While his appearance at Radio Multan made him a household name in South Punjab,"Pathaney Khan"
had been singing for 20 years by the tome the media in the rest of Pakistan discovered him,
In the late '60's he was called to Lahore first by the Arts council and then by the Punjab language
faculty of the Shah Hussain College.
On March 9,2000.
the day he died. His funeral prayers were largely attended by poets, intellectuals, lawyers, district
administration officials and educationists. He was laid to rest at his native graveyard on Thursday
afternoon.
Photos of Pathaney Khan
Pathaney Khan passes away
MULTAN, March 9: Renowned folk singer Pathanay Khan, 74, died after a protracted illness at his native town of Kot Addu (Muzaffargarh district) on Thursday. He had been rendering the poetry of great spiritual saint Khwaja Ghulam Fareed on radio and television for the last 26 years. He had received pride of performance. Pathanay was introduced to the media when Malik Ghulam Mustafa Khar was the governor of Punjab. The artiste belonged to his constituency. Family sources told this correspondent on phone that he led a miserable life as he was unable to earn for his family due to his illness. The Pakistan Seraiki Party announced 3-day mourning.
His funeral prayers were largely attended by poets, intellectuals, lawyers, district administration officials and educationists. He was laid to rest at his native graveyard on Thursday afternoon.
(Pathaney Khan passes away) DAWN - Top Stories; 10 March, 2000
The flower of Rohi (Desert)
Dr. Manzur Ejaz Remembers Pathaney Khan and His Times
I don't remember if it was spring, summer, fall or winter when I first heard Pathanay Khan's rare recording in late Mian Aslam Ranjha's music library. That was the best collection of rare music in Lahore and I don't think anyone has matched it even today.
Sense of time and space vanished when I was half way through Pathanay's first kafi Bay rang ranwal deketey. I had gone to Mian Sahib's residence with the poet Najm Hussain Shah, widely known as 'Shahji'. After that day, Shahji and I were frequent visitors to Mian Sahib's house in Pakki Thathi, behind Samanabad. Then Pathanay Khan of Kot Addu was unknown outside the Saraiki belt and had earned some fame for singing Bulleh Shah's kafi Cheena inj sharinda yar on radio in Multan. It was Mian Aslam Ranjha who introduced Pathanay Khan to our group -- and to Lahore -- and then through Mushtaq Sufi's programme on PTV he was on his way to fame in Pakistan.
Mian Aslam Ranjha, a prosperous farmer from Sargodha, was a very handsome man (a rare incarnation of legendary Ranjha), extremely generous and the most committed music collector I have come across in Punjab. He was known for offering any or everything for a rare piece of music. He would travel long distances to remote towns and villages to get these pieces. Whenever we met him he would mention his new pieces of collections and tell us what he had to offer for a particular piece of music. Sometimes it was money and at others it was a buffalo or a cow.
In the process, Mian Aslam Ranjha had collected a rare library of music which was comprised of all kinds of music along with azans and naats sung in different ragas and in different regional tones. I don't know what happened to his music library after his untimely tragic death.
Before his death Mian Aslam Ranjha had moved to a bungalow near F.C. College and we did not visit him as frequently as before partly due to the lack of time and partly because Pathana Khan had started visiting us in the university on a regular basis and we were able to listen to his ecstatic music in person. But Mian Aslam Ranjha was an unforgettable and celebrated person in this field. Unfortunately he was not given a proper recognition after his death. I hope one day his successors will share his treasure with the rest of Punjab.
Mian was very articulate and an acute observer of human character but lonely at heart. Therefore, whenever we visited his home, he knew that we had come to listen to Pathana Khan. However, to keep us longer Mian would play everything else but Pathana Khan. But, when he felt our patience screeched to the limit he would smile and put Pathana Khan on.
While immersed in Pathana Khan's taans Shah ji said one day "legends about Tan Sen might not be untrue." I don't remember how Pathan Khan entered our "Rut Lekha" group which was named after a Punjabi journal that we had started publishing in those days. It brought a new crop of Punjabi writers that included Dr. Akmal Hussain and Izzat Majeed. Mr. Hussain Naqi use to print it at his press free of cost. Rut Lekha did not continue but the group members would always gather when Pathana Khan was in town. He, along with his permanent companion Yaseen, would stay with me for weeks in my small abode in hostel no 4 of the New Campus which was allotted to me because I was teaching Philosophy at the Punjab University. Pathana Khan was apolitical but he felt completely at home with our group which was mostly comprised of left-wing activists and idealists of all sorts.
At that time Pathana Khan use to sing mostly Kafian Khawaja Ghulam Farid and a few things from Bulleh Shah. Since the group was mostly fascinated with the great poet Shah Hussain, Pathana Khan picked some Kafian and included them in his singing. Maila Charaghan used to be Lahore's major annual event but Shah Hussain had been forgotten as a major poet of classical Punjabi tradition. Only a couple of his kafis sung by Hamid Ali Baila like "Mai ni kehnoon akhan" were popular. The rehabilitation of Shah Hussain's poetical stature was initiated by Majlis Shah Hussain, a group formed by all the major Punjabi writers of that period. The Rut Lekha group played its small role in this regard and was greatly helped when Pathana Khan started singing Kafian Shah Hussain. I must add that a member of our group, Tahir Yasoob was a singer who also played a great role in popularizing Shah Hussain. As a result of Pathana Khan's interaction with our group, he started including many items of poetry in his singing which were mostly sung in central Punjab.
Pathana Khan was invited to sing for PTV frequently but he was not invited by most music patrons of Lahore or elsewhere in central Punjab. It was much latter that Raza Kazim did some beautiful recordings of Pathana Khan. Anyhow, once introduced by Mushtaque Soofi on TV, Pathana Khan's fame spread quickly. I don't know if it was true or not but it was widely rumored late Z.A. Bhutto was very fond of his kafi "Mera Ishq vi toon te Iman bhi toon" and used to invite him to hear it. Pathana Khan never spoke much about it. As a matter of fact Pathana Khan was never in the habit of throwing out names of his rich patrons and was always happy and content with groups like ours which was or chose to be penniless. It is another matter that Pathana Khan would still demand his quota of Gold Leaf and offer it to the whole sangat around him. By the time he would leave Lahore, I would have withdrawn my salary of coming several months. But, a few months salary of a lecturer were nothing in comparison to what Pathana Khan was giving to our group.
Pathana Khan's reverence for Khawaja Ghulam Farid was absolute. Khawaja Faird was everything for him and he derived all his spiritual strength from him. I have rarely seen a singer who can understand and render poetry as good as Pathana Khan rendered Khawaja's poetry for the audience. His reading style was so clear and properly punctuated that even a non-Saraiki speaking could follow the text and meanings of most words otherwise unfamiliar to central Punjabi ears.
It remains the best kept secret that Pathana Khan sung much better when he was unaccompanied by tabla. His earlier recordings at Aslam Ranjha's place were recorded only with the harmonium. In my opinion Pathana Khan was at his best in those recordings. Najm Shah ji also did some recordings of Pathana Khan in those early days and these are also the best of Pathana Khan.
Unfortunately, most people have heard commercial recordings in which Pathana Khan is hampered by the intrusion and humble jumble of all kinds of instruments. The only exception and acceptable recording with instruments was done by Raza Kazim. Depending on his mood, Pathana Khan would sing same kafi in different ragas. However, unlike other famous singers he would never brag or mention that he was changing the raga for a particular kafi. It naturally flew from his heart and he always remained oblivious to the technicalities, perfection of his own techniques notwithstanding. Pathana Khan learned music from Amir Khan, a local musician who was a descendent (a nephew perhaps) of Ustad Ashiq Ali Khan. He was not trained as a classical musician and learned musical techniques during his singing at maila gatherings. His singing had absorbed the essence of masses, their aspirations and miseries. Nonetheless, Pathana Khan had a great desire to sing a classical raga and tried to convince Ustad Chote Ghulam Ali Khan to teach him.
Ustad Chote Ghulam Ali Khan used to come daily to teach Samina Hussain Syed (Najm Hussain Syed's wife). Samina was one of the best emerging voices in classical singing in those days. Pathana Khan met Chote Ghulam Ali Khan several times at Najm Shah's house and eventually asked him to teach him classical singing. Chote Ghulam Khan would smile at his request and changed the subject. However, when Pathana Khan persisted late Ustad told him that he [Pathana Khan] was an ustad in his own right, in his own style, and need not to get into a new venture.
Probably, ustad knew that it was too late to initiate someone into pure classical singing at Pathana Khan's age who was probably in his late forties or early fifties at that time. Pathana Khan introduced many great but unknown poets of Saraiki belt through their dohras that appeared as a preamble to kafis. For example the following dohra by Khair Shah --a poet from Kot Uddu-- was Pathana Khan's favorite and reminds one of Ghalib's great verses:
Nah hasey tan khusj hasey, hun hsay mar mukai be-deed hasay nit aid hasay, hun deed khrabat lai be-gosh hasay nit hoosh hasay hun halat hoosh wanjai. Khaie dukh sukh sab dunia dey wah bazi yar wchai [We were in a bliss when we were in state of nothingness It was like Eid when we could not see. Seeing has brought destruction to our being.
When we could not hear we knew all, but hearing has driven us to senslessness Khair, the game of this life is made up of happiness and sorrow]. Another dohra sung frequently by Pathana Khan was not written by Khawaja Farid but was sung in his name. The first lines of this dohra are as follows:
A mahi mat lag asadi toon tan waich majhain ghin gain Majhian mildian kahin kahin walay, gain mildian sanjh sabhahin (O my love, follow my advice. Sell all the buffalos and buy cows one can milk buffalos rarely while cows are can be milked more often).
The diction never appeared even close to Khawaja Farid's. Therefore, I asked Pathana Khan who would have been the author of this dohra? Pathan Khan tried to wriggle out of this questioning but on my pressing he smilingly conceded that it was his own poetry. There are some other dohras sung by him which were his own creation but he sung them in Khawaja Farid's name.
Pathana Khan was totally devoted to Khawaja Farid. He gave his own deeper meanings to Khawaja Sahib's poetry in his typical style and spirt of singing. For example, Khawaja Farid's kafi "Piloo Pakian ni way" has been sung by Surriya Mulanikar, Hussain Bakhs Dhadhi and many others. However, Surriya Multinakar's composition presents it as a beautiful light folk song while Hussain Bakhsh Dhadhi presents it as a unique classical piece decorated by his unique taans in a typical Ashiq Ali Khan school style. However, it is Pathana Khan's singing of the same kafi that gives a deeper cosmic meaning to it Pathana Khan elevated singing of kafi to a much higher level then his predecessors. He embodied his own unique style in singing and in personal relationship. Many of us will always treasure our association with him. Whenever Rohi will blosom, Pathana Khan will smile through those desert flowers--He himself was the greatest flower of Rohi.
Songs
Song 1: Shah Ranjha Albela Jadoogar - Khwaja Ghulam Farid
Song 2: Ban Dialber Sakal Jahan Aaya - Khwaja Ghulam Farid
Song 3: Hik De Dum Dum Hik He - Khwaja Ghulam Farid
Song 4: Ek War Lung Aa TooN Saadi Jaa Te - Khwaja Ghulam Farid
Song 5: Aa Mil Aj Kal Sohna SaeeN - Khwaja Ghulam Farid
Song 6: Mai Ni Main KinooN AakhaN Dard WachoRe Da Hal - Shah Hussain
Song 7: Mendha Ishq We TooN - Khwaja Ghulam Farid
Song 8: Main Bhi Jana Jhok Ranjhan Dee - Shah Hussain
Song 9: Mera Ranjhan Koi Hor - Bulleh Shah
Song 10: Ghoom CharakhReya - Shah Hussain
Song 11: Kian Haal SunawaaN Dil Da - Shah Hussain
Song 12: Kina EeN Chareenda Yaar
Name
"Ghulam Muhammad"
But known as "Pathaney Khan".
Place of Birth
1920 at a Village called "Basti Tambu wali",
Situated in the Heart of "Thal" Desert,
A few miles from "Kot Addu in
"Muzaffargarh".
Career
Pathaney was introduced to the media when Malik Ghulam Mustafa Khar was the governor of
Punjab.
The artiste belonged to his constituency.
On November 21,1970,Radio Multan was inaugurated (open)
and "Pathaney Khan" found a way out of wilderness. He was brought to
the newly set up studio by it's first station Director, "Shamsuddin Butt",
Who requested "Pathaney Khan" to sing "khwaja Freed's (Kafi) "Meda
Ishq vee Toon".Radio Multan eventually fixed a monthly stipend of Rs:20,430 for him, which he had to
perform for half an Hour every month.
While his appearance at Radio Multan made him a household name in South Punjab,"Pathaney Khan"
had been singing for 20 years by the tome the media in the rest of Pakistan discovered him,
In the late '60's he was called to Lahore first by the Arts council and then by the Punjab language
faculty of the Shah Hussain College.
On March 9,2000.
the day he died. His funeral prayers were largely attended by poets, intellectuals, lawyers, district
administration officials and educationists. He was laid to rest at his native graveyard on Thursday
afternoon.
Photos of Pathaney Khan
Pathaney Khan passes away
MULTAN, March 9: Renowned folk singer Pathanay Khan, 74, died after a protracted illness at his native town of Kot Addu (Muzaffargarh district) on Thursday. He had been rendering the poetry of great spiritual saint Khwaja Ghulam Fareed on radio and television for the last 26 years. He had received pride of performance. Pathanay was introduced to the media when Malik Ghulam Mustafa Khar was the governor of Punjab. The artiste belonged to his constituency. Family sources told this correspondent on phone that he led a miserable life as he was unable to earn for his family due to his illness. The Pakistan Seraiki Party announced 3-day mourning.
His funeral prayers were largely attended by poets, intellectuals, lawyers, district administration officials and educationists. He was laid to rest at his native graveyard on Thursday afternoon.
(Pathaney Khan passes away) DAWN - Top Stories; 10 March, 2000
The flower of Rohi (Desert)
Dr. Manzur Ejaz Remembers Pathaney Khan and His Times
I don't remember if it was spring, summer, fall or winter when I first heard Pathanay Khan's rare recording in late Mian Aslam Ranjha's music library. That was the best collection of rare music in Lahore and I don't think anyone has matched it even today.
Sense of time and space vanished when I was half way through Pathanay's first kafi Bay rang ranwal deketey. I had gone to Mian Sahib's residence with the poet Najm Hussain Shah, widely known as 'Shahji'. After that day, Shahji and I were frequent visitors to Mian Sahib's house in Pakki Thathi, behind Samanabad. Then Pathanay Khan of Kot Addu was unknown outside the Saraiki belt and had earned some fame for singing Bulleh Shah's kafi Cheena inj sharinda yar on radio in Multan. It was Mian Aslam Ranjha who introduced Pathanay Khan to our group -- and to Lahore -- and then through Mushtaq Sufi's programme on PTV he was on his way to fame in Pakistan.
Mian Aslam Ranjha, a prosperous farmer from Sargodha, was a very handsome man (a rare incarnation of legendary Ranjha), extremely generous and the most committed music collector I have come across in Punjab. He was known for offering any or everything for a rare piece of music. He would travel long distances to remote towns and villages to get these pieces. Whenever we met him he would mention his new pieces of collections and tell us what he had to offer for a particular piece of music. Sometimes it was money and at others it was a buffalo or a cow.
In the process, Mian Aslam Ranjha had collected a rare library of music which was comprised of all kinds of music along with azans and naats sung in different ragas and in different regional tones. I don't know what happened to his music library after his untimely tragic death.
Before his death Mian Aslam Ranjha had moved to a bungalow near F.C. College and we did not visit him as frequently as before partly due to the lack of time and partly because Pathana Khan had started visiting us in the university on a regular basis and we were able to listen to his ecstatic music in person. But Mian Aslam Ranjha was an unforgettable and celebrated person in this field. Unfortunately he was not given a proper recognition after his death. I hope one day his successors will share his treasure with the rest of Punjab.
Mian was very articulate and an acute observer of human character but lonely at heart. Therefore, whenever we visited his home, he knew that we had come to listen to Pathana Khan. However, to keep us longer Mian would play everything else but Pathana Khan. But, when he felt our patience screeched to the limit he would smile and put Pathana Khan on.
While immersed in Pathana Khan's taans Shah ji said one day "legends about Tan Sen might not be untrue." I don't remember how Pathan Khan entered our "Rut Lekha" group which was named after a Punjabi journal that we had started publishing in those days. It brought a new crop of Punjabi writers that included Dr. Akmal Hussain and Izzat Majeed. Mr. Hussain Naqi use to print it at his press free of cost. Rut Lekha did not continue but the group members would always gather when Pathana Khan was in town. He, along with his permanent companion Yaseen, would stay with me for weeks in my small abode in hostel no 4 of the New Campus which was allotted to me because I was teaching Philosophy at the Punjab University. Pathana Khan was apolitical but he felt completely at home with our group which was mostly comprised of left-wing activists and idealists of all sorts.
At that time Pathana Khan use to sing mostly Kafian Khawaja Ghulam Farid and a few things from Bulleh Shah. Since the group was mostly fascinated with the great poet Shah Hussain, Pathana Khan picked some Kafian and included them in his singing. Maila Charaghan used to be Lahore's major annual event but Shah Hussain had been forgotten as a major poet of classical Punjabi tradition. Only a couple of his kafis sung by Hamid Ali Baila like "Mai ni kehnoon akhan" were popular. The rehabilitation of Shah Hussain's poetical stature was initiated by Majlis Shah Hussain, a group formed by all the major Punjabi writers of that period. The Rut Lekha group played its small role in this regard and was greatly helped when Pathana Khan started singing Kafian Shah Hussain. I must add that a member of our group, Tahir Yasoob was a singer who also played a great role in popularizing Shah Hussain. As a result of Pathana Khan's interaction with our group, he started including many items of poetry in his singing which were mostly sung in central Punjab.
Pathana Khan was invited to sing for PTV frequently but he was not invited by most music patrons of Lahore or elsewhere in central Punjab. It was much latter that Raza Kazim did some beautiful recordings of Pathana Khan. Anyhow, once introduced by Mushtaque Soofi on TV, Pathana Khan's fame spread quickly. I don't know if it was true or not but it was widely rumored late Z.A. Bhutto was very fond of his kafi "Mera Ishq vi toon te Iman bhi toon" and used to invite him to hear it. Pathana Khan never spoke much about it. As a matter of fact Pathana Khan was never in the habit of throwing out names of his rich patrons and was always happy and content with groups like ours which was or chose to be penniless. It is another matter that Pathana Khan would still demand his quota of Gold Leaf and offer it to the whole sangat around him. By the time he would leave Lahore, I would have withdrawn my salary of coming several months. But, a few months salary of a lecturer were nothing in comparison to what Pathana Khan was giving to our group.
Pathana Khan's reverence for Khawaja Ghulam Farid was absolute. Khawaja Faird was everything for him and he derived all his spiritual strength from him. I have rarely seen a singer who can understand and render poetry as good as Pathana Khan rendered Khawaja's poetry for the audience. His reading style was so clear and properly punctuated that even a non-Saraiki speaking could follow the text and meanings of most words otherwise unfamiliar to central Punjabi ears.
It remains the best kept secret that Pathana Khan sung much better when he was unaccompanied by tabla. His earlier recordings at Aslam Ranjha's place were recorded only with the harmonium. In my opinion Pathana Khan was at his best in those recordings. Najm Shah ji also did some recordings of Pathana Khan in those early days and these are also the best of Pathana Khan.
Unfortunately, most people have heard commercial recordings in which Pathana Khan is hampered by the intrusion and humble jumble of all kinds of instruments. The only exception and acceptable recording with instruments was done by Raza Kazim. Depending on his mood, Pathana Khan would sing same kafi in different ragas. However, unlike other famous singers he would never brag or mention that he was changing the raga for a particular kafi. It naturally flew from his heart and he always remained oblivious to the technicalities, perfection of his own techniques notwithstanding. Pathana Khan learned music from Amir Khan, a local musician who was a descendent (a nephew perhaps) of Ustad Ashiq Ali Khan. He was not trained as a classical musician and learned musical techniques during his singing at maila gatherings. His singing had absorbed the essence of masses, their aspirations and miseries. Nonetheless, Pathana Khan had a great desire to sing a classical raga and tried to convince Ustad Chote Ghulam Ali Khan to teach him.
Ustad Chote Ghulam Ali Khan used to come daily to teach Samina Hussain Syed (Najm Hussain Syed's wife). Samina was one of the best emerging voices in classical singing in those days. Pathana Khan met Chote Ghulam Ali Khan several times at Najm Shah's house and eventually asked him to teach him classical singing. Chote Ghulam Khan would smile at his request and changed the subject. However, when Pathana Khan persisted late Ustad told him that he [Pathana Khan] was an ustad in his own right, in his own style, and need not to get into a new venture.
Probably, ustad knew that it was too late to initiate someone into pure classical singing at Pathana Khan's age who was probably in his late forties or early fifties at that time. Pathana Khan introduced many great but unknown poets of Saraiki belt through their dohras that appeared as a preamble to kafis. For example the following dohra by Khair Shah --a poet from Kot Uddu-- was Pathana Khan's favorite and reminds one of Ghalib's great verses:
Nah hasey tan khusj hasey, hun hsay mar mukai be-deed hasay nit aid hasay, hun deed khrabat lai be-gosh hasay nit hoosh hasay hun halat hoosh wanjai. Khaie dukh sukh sab dunia dey wah bazi yar wchai [We were in a bliss when we were in state of nothingness It was like Eid when we could not see. Seeing has brought destruction to our being.
When we could not hear we knew all, but hearing has driven us to senslessness Khair, the game of this life is made up of happiness and sorrow]. Another dohra sung frequently by Pathana Khan was not written by Khawaja Farid but was sung in his name. The first lines of this dohra are as follows:
A mahi mat lag asadi toon tan waich majhain ghin gain Majhian mildian kahin kahin walay, gain mildian sanjh sabhahin (O my love, follow my advice. Sell all the buffalos and buy cows one can milk buffalos rarely while cows are can be milked more often).
The diction never appeared even close to Khawaja Farid's. Therefore, I asked Pathana Khan who would have been the author of this dohra? Pathan Khan tried to wriggle out of this questioning but on my pressing he smilingly conceded that it was his own poetry. There are some other dohras sung by him which were his own creation but he sung them in Khawaja Farid's name.
Pathana Khan was totally devoted to Khawaja Farid. He gave his own deeper meanings to Khawaja Sahib's poetry in his typical style and spirt of singing. For example, Khawaja Farid's kafi "Piloo Pakian ni way" has been sung by Surriya Mulanikar, Hussain Bakhs Dhadhi and many others. However, Surriya Multinakar's composition presents it as a beautiful light folk song while Hussain Bakhsh Dhadhi presents it as a unique classical piece decorated by his unique taans in a typical Ashiq Ali Khan school style. However, it is Pathana Khan's singing of the same kafi that gives a deeper cosmic meaning to it Pathana Khan elevated singing of kafi to a much higher level then his predecessors. He embodied his own unique style in singing and in personal relationship. Many of us will always treasure our association with him. Whenever Rohi will blosom, Pathana Khan will smile through those desert flowers--He himself was the greatest flower of Rohi.
Songs
Song 1: Shah Ranjha Albela Jadoogar - Khwaja Ghulam Farid
Song 2: Ban Dialber Sakal Jahan Aaya - Khwaja Ghulam Farid
Song 3: Hik De Dum Dum Hik He - Khwaja Ghulam Farid
Song 4: Ek War Lung Aa TooN Saadi Jaa Te - Khwaja Ghulam Farid
Song 5: Aa Mil Aj Kal Sohna SaeeN - Khwaja Ghulam Farid
Song 6: Mai Ni Main KinooN AakhaN Dard WachoRe Da Hal - Shah Hussain
Song 7: Mendha Ishq We TooN - Khwaja Ghulam Farid
Song 8: Main Bhi Jana Jhok Ranjhan Dee - Shah Hussain
Song 9: Mera Ranjhan Koi Hor - Bulleh Shah
Song 10: Ghoom CharakhReya - Shah Hussain
Song 11: Kian Haal SunawaaN Dil Da - Shah Hussain
Song 12: Kina EeN Chareenda Yaar
Taunsa Barrage Kot Addu
Taunsa Barrage Kot Addu, Pakistan
The Taunsa Barrage is located on the Indus river in the Punjab province of Pakistan.
The Taunsa Barrage was completed in 1958, and it has been identified as the barrage with the highest priority for rehabilitation. It requires urgent measures to avoid severe economic and social impacts on the lives of millions of poor farmers through interruption of irrigation on two million acres (8,000 km²) and drinking water in the rural areas of southern Punjab, benefiting several million farmers.
In 2003, the World Bank approved a $123 million loan to Pakistan to rehabilitate the Taunsa Barrage on the River Indus whose structure had been damaged owing to soil erosions and old-age. The project was designed to ensure irrigation of the cultivated lands in the area of theMuzaffargarh and Dera Ghazi Khan canals, and through the Taunsa-Panjnad Link Canal that supplements the water supply to Panjnadheadworks canals.
The Taunsa Barrage is located on the Indus river in the Punjab province of Pakistan.
The Taunsa Barrage was completed in 1958, and it has been identified as the barrage with the highest priority for rehabilitation. It requires urgent measures to avoid severe economic and social impacts on the lives of millions of poor farmers through interruption of irrigation on two million acres (8,000 km²) and drinking water in the rural areas of southern Punjab, benefiting several million farmers.
In 2003, the World Bank approved a $123 million loan to Pakistan to rehabilitate the Taunsa Barrage on the River Indus whose structure had been damaged owing to soil erosions and old-age. The project was designed to ensure irrigation of the cultivated lands in the area of theMuzaffargarh and Dera Ghazi Khan canals, and through the Taunsa-Panjnad Link Canal that supplements the water supply to Panjnadheadworks canals.
Kot addu City Portal Muzzaffar Garh, Multan Pakistan
Kot Adu is a city of Muzaffargarh District in the Punjab province of Pakistan, the city, which is subdivided into 3 Union Councils, is the capital of Kot Adu tehsil[1]. It is located in the southern part of the province, and is a very historic city. It has a population of over 1 million[citation needed], making it the 400th largest city in Pakistan. It is built just east of the Indus River, more or less in the centre of the country, and about 866 km from Karachi, 600 km from Islamabad, 100 km from Multan, 80 km from D.G.Khan, 60 km from Muzzafargarh, 60 km from Layyah and 16km from Taunsa Barrage.
Kot Addu City, being a historic and prosperous city, attracts a number of tourists every year and is known as the 'City of Rivers'.
Location
The city of Kot Adu is located in southern Punjab province and almost at the exact centre of Pakistan. The area around the city is a flat plain and is ideal for agriculture. There are many canals that cross Kot Adu, providing water from nearby rivers. It is extremely hot in the
[edit] Language and literature
The majority of Kot Adu's residents are native speakers of the Seraiki language, though being situated in the province of Punjab many people also know Punjabi and the national language, Urdu. The vast majority of the population is Muslim. English is widely understood among the educated. Kot Adu is home to many literary figures and poets who are known throughout the country. The famous folk singer Mr. Pathanay Khan belonged to this city. Pathanay Khan The recurring identification of misery of family of late Pathaney Khan, by the news report in daily Dawn on May 1st 2007, the international day of laborers, may still have not stirred the minds. In this small city of Kot Addu near High School No. 2, where Pathaney Khan has left his assets, consisted of one widow, sons and daughters and some priceless relics like Tabla, Harmonium etc. His fame and audience have crossed the shores of every continent, but no body could know his poor financial condition beyond appreciating his spiritual ‘kaffis’. He claimed that recording company did not pay his royalty in his last days of life. Afterwards, the family of the deceased was helped by very few organizations. Pathaney Khan is famous for singing Sufi poetry of “Baba Bhulley Shah” and “Khawja Ghulam Farid”. Few of his melodies are etched in one’s mind and they penetrate deep into the soul. It’s just not the composition but meaningful poetry of great Sufi writers such as “Meda Ishq Vi Tu, Meda Yar Vi Tu”, “Mera Ranjhan Hun Koi Hor”, “Ghoom Charkhrya Ghoom”.
[edit] Educational institutions
Kot Addu is rich as far as schools and educational campuses are concerned. There are many colleges involved in the grooming of students and fulfilling desire of acquiring and distribution of knowledge and education. In last few years, mushroom growth of quality educational institution is observed in this neglected region. But now there are various private commerce collages, schools, academies and cadet college. There is one degree college for boys and girls each.
[edit] Industry
Kot Addu is a commercial and industrial centre, it is connected by road a rail with Lahore and Karachi, Multan, Islamabad and by air from Multan to Karachi, Quetta, and Faisalabad. Industries include Kot Addu Power Company (KAPCO), Cotton factories; foundries; cotton, woolen and silk textile mills; flour, sugar and oil mills; and a large thermal-power station and farm machinery. It is famous for its handicrafts (Kundar work) and cottage industries. There are hospitals, public gardens, and several colleges affiliated with the Bahuddin Zakrya University, Multan. This University was established in 1975. Large, irregular suburbs have grown outside the old walled town, and two satellite towns have been set up. Mangoes of Shujabad district are the best in the world. Multani khussa (shoes); embroidered clothes for ladies; embroidered cholas for men; earthenware pottery, painted potter, camel skin ware (e.g. lamps); carpets wooden products, especial lacquered wood.
[edit] Agriculture
Kot Addu is an important agricultural, industrial and tourist area. Wheat, cotton and Sugarcane are the main crops grown in the district. Besides, Rice, Maize, Tobacco, Bajra, Moong, Mash, Masoor [vegetable]and Oil Seed such as Rape / Mustard and Sun Flower are also grown in minor quantities in the district.
Fruits such as Mangoes, citrus, guavas and pomegranates are the main grown in the Kot Addu City. Dates, jaman, pears, falsa and banana are also grown in minor quantities in the district.
One an other local fruit which is called a bare. It is the main fruit grown in this region. Due to flooding, the crops are now rare, especially cotton and wheat product affected by this flooding.
Please visit for more Detail: www.kotadu.com
Kot Addu City, being a historic and prosperous city, attracts a number of tourists every year and is known as the 'City of Rivers'.
Location
The city of Kot Adu is located in southern Punjab province and almost at the exact centre of Pakistan. The area around the city is a flat plain and is ideal for agriculture. There are many canals that cross Kot Adu, providing water from nearby rivers. It is extremely hot in the
[edit] Language and literature
The majority of Kot Adu's residents are native speakers of the Seraiki language, though being situated in the province of Punjab many people also know Punjabi and the national language, Urdu. The vast majority of the population is Muslim. English is widely understood among the educated. Kot Adu is home to many literary figures and poets who are known throughout the country. The famous folk singer Mr. Pathanay Khan belonged to this city. Pathanay Khan The recurring identification of misery of family of late Pathaney Khan, by the news report in daily Dawn on May 1st 2007, the international day of laborers, may still have not stirred the minds. In this small city of Kot Addu near High School No. 2, where Pathaney Khan has left his assets, consisted of one widow, sons and daughters and some priceless relics like Tabla, Harmonium etc. His fame and audience have crossed the shores of every continent, but no body could know his poor financial condition beyond appreciating his spiritual ‘kaffis’. He claimed that recording company did not pay his royalty in his last days of life. Afterwards, the family of the deceased was helped by very few organizations. Pathaney Khan is famous for singing Sufi poetry of “Baba Bhulley Shah” and “Khawja Ghulam Farid”. Few of his melodies are etched in one’s mind and they penetrate deep into the soul. It’s just not the composition but meaningful poetry of great Sufi writers such as “Meda Ishq Vi Tu, Meda Yar Vi Tu”, “Mera Ranjhan Hun Koi Hor”, “Ghoom Charkhrya Ghoom”.
[edit] Educational institutions
Kot Addu is rich as far as schools and educational campuses are concerned. There are many colleges involved in the grooming of students and fulfilling desire of acquiring and distribution of knowledge and education. In last few years, mushroom growth of quality educational institution is observed in this neglected region. But now there are various private commerce collages, schools, academies and cadet college. There is one degree college for boys and girls each.
[edit] Industry
Kot Addu is a commercial and industrial centre, it is connected by road a rail with Lahore and Karachi, Multan, Islamabad and by air from Multan to Karachi, Quetta, and Faisalabad. Industries include Kot Addu Power Company (KAPCO), Cotton factories; foundries; cotton, woolen and silk textile mills; flour, sugar and oil mills; and a large thermal-power station and farm machinery. It is famous for its handicrafts (Kundar work) and cottage industries. There are hospitals, public gardens, and several colleges affiliated with the Bahuddin Zakrya University, Multan. This University was established in 1975. Large, irregular suburbs have grown outside the old walled town, and two satellite towns have been set up. Mangoes of Shujabad district are the best in the world. Multani khussa (shoes); embroidered clothes for ladies; embroidered cholas for men; earthenware pottery, painted potter, camel skin ware (e.g. lamps); carpets wooden products, especial lacquered wood.
[edit] Agriculture
Kot Addu is an important agricultural, industrial and tourist area. Wheat, cotton and Sugarcane are the main crops grown in the district. Besides, Rice, Maize, Tobacco, Bajra, Moong, Mash, Masoor [vegetable]and Oil Seed such as Rape / Mustard and Sun Flower are also grown in minor quantities in the district.
Fruits such as Mangoes, citrus, guavas and pomegranates are the main grown in the Kot Addu City. Dates, jaman, pears, falsa and banana are also grown in minor quantities in the district.
One an other local fruit which is called a bare. It is the main fruit grown in this region. Due to flooding, the crops are now rare, especially cotton and wheat product affected by this flooding.
Please visit for more Detail: www.kotadu.com
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