Sohni Da Garha

Coke Studio’s newest episode is break from too much of everything in so little time, the global experiment that could not defy expectations. Or may be after so many successful seasons, the bar has been raised so high that any song less than extra-ordinary isn’t appreciated. One song in particular in episode four stood out, “Aamay Bhashaili Rey” by Alamgir.

The song is based on boatmen & the endless river. It speaks of the journey across this river on a boat with a broken rim and the longing of the other end. Lyrics are simple but they connect at so many different levels. It leaves room for imagination; this song could be about journey or about boatman, about self or even about life.
As Alamgir says in the BTS video of the song, this folk song really suits his voice.

Aamay Bhashaili Rey, Coke Studio Pakistan, Season 6, Episode 4 from Coke Studio on Vimeo.

Fariha Pervez did a decent job with her part. Coke Studio over the years has tried to reincarnate some of best compositions and songs, Dasht-e-Tanhai, Lambi Judai etc. They have also brought in segments and verses from older hits like “Tere Ishq Mein” bit originally by Alam Lohar, performed by QB in Coke Studio, “Parande” bit originally by Gurdas Mann, sung by Aatif Aslam in Season 2. The list is long and worth a separate post. Even in this song Fariha sang bits of the Pahari Thumri “Saiyyan Bina Ghar Soona.” If you haven’t yet listened to its rendition by Salamat Ali Nazakat Ali, you might like Fariha’s singing. I am not drawing any comparisons. All I am saying is that I am biased when to comes to such selections. I could add the usual comment of how Fariha’s performance would lead to a rediscovery of this thumri like Meesha Shafi’s performance led to rediscovery of Dasht-e-Tanhai (and Faiz, I should add).

I am tad disappointed by Fariha’s selection. To me the perfect complement to  Aamay Bhashaili Rey is Sohni. The river is same roaring with torrents. The desire of Sohni to cross the river and longing for other end finds a match in saath mere lagaaiyo maajhi naao miri kinaare re. The infamous Kaccha Ghadha takes the place of boatman.

A very short summary of the qissa ~ Sohni would cross Chenab every night to meet Mahiwal with the help of Ghadha. One day her sister-in-law replaced the Pakka Ghadha with a Kaccha Ghada. When Sohni tried to cross the river with the Kaccha Ghada, it dissolved in the water and Sohni drowned. Mahiwal saw Sohni drowning and jumped into the river and drowned as well.

Qissa of Sohni Mahiwal is popular in Punjab and Sindh. Various folk songs are based on the tragic end of the duo, many of which are in the form of conversation between Sohni and the Ghadha. The difference between Kaccha and Pakka is brought out using various metaphors and examples.

Pathanay Khan’s rendition takes the form of conversation. It contrasts the urge of Sohni to cross the river with pragmatism of Ghadha. Sohni pleads, Ghadha explain how this day is different. The verse “Dosh Na Meri Sohniye, Mein Ishq Di Aag Vich Na Sadya” brings forth the difference in perspective and an honest confession on part of Ghadha of how ordinary it is. This difference is played out in lot many other songs as well.


Raat Kahira Di: If torrents of Chenab on the D-day find a match, it would be in the voice of Gurmeet Bawa. The energy in her performance is unmatched, so is grief. Her rendition describes the Sohni as courageous, willing to fight dark night and Chenab. Kaccha-Pakka contradiction has place here, but stands no chance of a philosophical discourse against the love of Sohni. This song best brings out the tragic end of Qissa. (Scroll down for audio)

Sohni Da Ghadha: Central to Shaukat Ali Motie Malerkotlawale and party’s qawwali is the difference between Kachha and Pakka. It has strands of Sufism along with folk wisdom and is rooted in a context which is laid out clearly at the start of recitation.

Kachha Vekh Na Leya: Swarn Noora’s rendition is much softer. It draws parallels between Heer, Sassi & Sohni.  Kaccha-Pakka conundrum plays out here as well.

Folk artists bring in a color of their own in each renditions. The similarity of thought is countered with unique styles of singing and variety in poetry. These songs are inspired from the locality and have an element of pind in them which comes out in the form of words employed, tallafuz etc.



Radio station Poonch used to relay a popular gojri song “Na Pair Batad Mein Thariye, Iss Ne Tina Rod Le Janu” which was copied from Alam Lohar’s rendition of Sohni. In this transformation Ghadha was lost along with Sohni, what remained was self and Batad( a tributary of river Poonch) which has very little water during most of the year and swells up during monsoon.

“Kaafir Theevan Je Mukh Moodan, Chad Mahi Je Gayraan Lodaan”
Maulvi Ahmed Hassan Akhter’s recitation stands out with a fine selection of poetry, beautiful takraars and the impeccable voice of Ahmed Hassan. A qawwali provides adequate time to explore all aspects of portrayed reality. It is not restricted to mere stating of contradictions rather it builds on these contradictions. This recitation is a fine example of it.




Ustad Hafiz Miandad, Sitar, Sohni and Party.  This one too takes the form of conversation.



This post would be incomplete without “O Dis Di Kulli Yaar Di” by Ustad Mubarak Ali Khan-Fateh Ali Khan. The influence of these two Qawwal in shaping up the modern day Qawaali form especially in Punjab is immense. Qawwali begins with slower mellower start and gradually picks up pace and action.  It is marked with nuanced girahs and taans.  This shift in the middle towards “Main Ki Karan” adds another beautiful color. This entire recording is really amazing. Nusrat Fateh Ali Khan has also performed this qawwali and the difference in styles is quite obvious with this one.

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