AR Rahman’s acknowledgement of the Dagars after an almost three-year court battle is an important corrective step

On Friday, music composer AR Rahman, through his counsel and senior advocate Abhishek Manu Singhvi, told the Supreme Court that he is willing to credit the late Ustad N Faiyazuddin Dagar and Ustad N Zahiruddin Dagar (popularly known as Junior Dagar Brothers) in the song ‘Veera Raja Veera’ from Mani Ratnam’s Ponniyin Selvan II (2023). The statement marks a clear shift from his previous position, where he had resisted the suggestion that the Dagars required explicit credit. When the case began, the lawyers representing Rahman and Madras Talkies (Mani Ratnam’s production house) had even alleged that Wasifuddin’s copyright claim was “misconceived” and that he was on a “fishing expedition” and that he was doing this “for monetary gains & publicity”. The production house also claimed that the song is a “traditional composition created by Narayana Panditacharyain in the 13th century”. Rahman’s revised position on the matter indicates an effort to settle the dispute and perhaps an understanding that this acknowledgement carries symbolic weight. It also shows that the realisation has finally dawned, from a stance of confrontation, to that of respect and acknowledgement for senior artistes. Dhrupad exponent Wasifuddin Dagar (Faiyazuddin’s son and Zahiruddin’s nephew), who had filed the case in 2023, had alleged that Rahman’s song ‘Veera Raja Veera’ had the exact musical foundation, composition and rendition style as that of the Shiva Stuti, a devotional piece performed by the celebrated dhrupad exponents late Ustad Nasir Faiyazuddin and Ustad Nasir Zahiruddin Dagar (known as Junior Dagar Brothers), his father and uncle respectively. He had claimed that the composition, in Adana, a late-night raga, was created by his uncle Ustad Zahiruddin Dagar, and was recorded in 1978 in Amsterdam. Zahiruddin’s diary, in Wasifuddin’s possession now, has the Shiv Stuti written in it. In the space of oral legacy, classical musicians weren’t copyrighting their music. Imagine if Wasifuddin needed permission and a licence to perform his own composition just because someone with more money put a copyright on it. While it may seem far-fetched, it actually happened with Ghazni Khan Manganiyar, a little-known folk singer from Rajasthan, who originally composed and recorded Nimbooda, while Sanjay Leela Bhansali held the copyright and Ismail Darbar took composer credit in the film Hum Dil De Chuke Sanam (1999). Shiva Stuti has often been sung as a finale piece at dhrupad concerts as it builds with an accelerated tempo, a sharp contrast to the contemplative mood of the art form. It has been sung by other students from the tradition, including the Gundechas and Uday Bhawalkar. The Hindi version in the film has been sung by Arman Dehlvi with additional vocals by Shivam Bhardwaj. Both have been Wasifuddin’s students. Their association with the Dagar tradition inevitably raises another question: how exactly did the melodic structure travel into the film’s soundscape? And here was a wealthy production house trawling on the work of artistes with lesser means. Singhvi told a three-judge bench presided by Chief Justice of India (CJI) Surya Kant that the arrangement will “meet the ends of justice till the trial” and that they “don’t want to hide the names. That’s not the object.” Rahman’s decision helps set the record straight, ensuring that the contribution is properly reflected in the film’s credits from now on. He made a mistake and is ready to take corrective steps. One can appreciate that. Although delayed, the admission from Rahman does help restore the dignity due to the Dagarvani tradition, besides respect and rightful credit for those who have looked after its study, systems and nuances. Suanshu Khurana is an award-winning journalist and music critic currently serving as a Senior Assistant Editor at The Indian Express. She is best known for her nuanced writing on Indian culture, with a specific focus on classical music, cinema, and the arts. Expertise & Focus Areas Khurana specializes in the intersection of culture and society. Her beat involves deep-dive reporting on: Indian Classical Music: She is regarded as a definitive voice in documenting the lineages (Gharanas) and evolution of Hindustani classical music. Cinema & Theatre: Her critiques extend beyond reviews to analyze the socio-political narratives within Indian cinema and theater. Cultural Heritage: She frequently profiles legendary artists and unearths stories about India’s tangible and intangible cultural heritage. Professional Experience At The Indian Express, Khurana is responsible for curating and writing features for the Arts and Culture pages. Her work is characterized by long-form journalism that offers intimate portraits of artists and rigorous analysis of cultural trends. She has been instrumental in bringing the stories of both stalwarts and upcoming artistes to the forefront of mainstream media. Find all stories by Suanshu Khurana here ... Read More