A very important question arises: What is the benefit of writing and studying history? A little thought gives a simple answer — it helps us learn about mistakes made in the past. It shows us what errors not to repeat. Along with that, it informs us about strategies, methods, and approaches that can help human life be prosperous and happy according to the place, time, and circumstances. Scholars explain this question in much greater detail.
Similarly, another question is: What is the harm in not writing or studying history? Now there’s no need to search for an answer because there are many obvious proofs right on the chest of Indian soil today.
- How many people really know the true history of Delhi’s Qutub Minar?
- How did the ‘Gyanvapi’ mosque come to be in Kashi — the city of Bhagwan Shiva?
- Why did the false narrative of the Babri structure, linked to the invader Babur, outweigh the truth about Ram Lalla’s birthplace for so long?
- What was its impact on Hindu society?
- Even today, the half-covered pillars of mosques at Bhagwan Krishna’s birthplace loudly cry out their history.
- Why is it still difficult for Hindus to worship Goddess Saraswati in the Bhojshala of Bhopal?
- Why is the glorification of foreign invaders and religious aggressors who came to loot India still a compulsory part of our education system?
These are not merely rhetorical questions – they are living proof of what happens when history is distorted or ignored.
Another essential question is: What happens when history is altered? You’ll find the answer clearly in Bollywood films and songs. Notice how prevalent the Urdu language is in Hindi cinema. Today, disrespecting Hindu religious symbols has become fashionable, yet no one dares mock radical Islam or Christianity. A notorious example of distorting history is found in the Shah Rukh Khan-starrer Chak De India. Many such examples can be found.
Indeed, history shapes our mindset. By branding Hindu history as false or suppressing it, a deliberate agenda was executed to instil inferiority in the Hindu psyche. That is why even today, Hindus remain unsure about their glorious past. On the other hand, descendants of the so-called Mughal lineage – who now collect garbage, fix punctures, sell vegetables, or work as barbers or tailors – proudly proclaim that “We ruled Bharat for 800 years!” That’s the power of mindset – shaped by manipulated history.
Take music for example: Today, many people know about Western or Islamic musicians, and it’s widely accepted that Bollywood frequently copies foreign films and songs. Why can’t Bollywood lyricists or writers match that level of thought? Why do Arabic words dominate Hindi film music? On the very land of Tansen – who could light lamps with his music – why is there such a cultural drought? The answer lies in the telling and distortion of history.
The history of Tansen’s life has also been tampered with, and this cannot be denied. It was even larger “ploy” to bring him in Akbar’s court. Isn’t it strange and thought-provoking that even today, while Tansen’s name shines like the sun in the music world, no one knows his original birthplace with certainty? We know everything about Akbar and his predecessors, but even about Tansen—who sang praises of Hindu gods and goddesses through his ragas in Akbar’s court—the available information is vague.
The phrase “Does he/she consider himself/herself Tansen?” or “Is he/she a descendant of Tansen?” has become common, but authentic historical writing about Tansen’s life is still awaited or his actual life story lacks credible documentation. Because of India’s folk memory and oral traditions, Tansen’s life story is not yet extinct — but how long will it survive?
It is said that every dark cloud has a silver lining and this is true here too. Recently, a hindi book titled Tansen Ka Tana-Bana was released. The author is senior journalist and TV panelist Rakesh Shukla, who has also written Delhi Mein Hindu Rajvansh Ka Swarnim Kaal, and who views Bharat from Bhartiya perspective. The book has been published by the renowned Suruchi Prakashan. It contains 116 pages across 10 chapters. Despite its brevity, the author successfully encapsulates vast knowledge in an engaging style. It narrates the ups and downs of Tansen’s life based on historical evidence.
The book’s foreword is written by renowned archaeologist Padma K.K. Muhammad, lending authenticity to its content. His foreword compels readers to read the book in one sitting. K.K. Muhammad powerfully writes:
“The Mughal court may have had its pros and cons. Even if we overlook that, contemporary and modern historians cannot escape the responsibility of explaining why Bharat’s cultural heritage has not been respected in historical discourse. Is it because Bharatiya culture, despite centuries of Islamic invasions, managed to retain its Indian character? Our music preserves our epics, literature, architecture, sculpture, and crafts. It is tragic that this cultural legacy was not justly communicated to the new generation. The clearest example is Tansen. His music was fully exploited but presented in such a way that it seemed as though music and musicians only emerged under Mughal rule. But the corridors of history never stay shut forever. Curiosity and inquiry will eventually unveil the truth hidden behind the curtain of history. This book is one such example.”
In his own words, author Rakesh Shukla makes a bold assertion:
“In India, a tradition has been established where once a certain version of facts is accepted, it is considered the ultimate truth, and no further research is deemed necessary. This has been the case with Tansen as well.”
What’s especially noteworthy is that the author is neither a historian nor a music expert but understands the seriousness of writing history and has taken this important step. This is a ray of hope and an inspiring message that if experts fail in their duties, others must step forward, as no work belongs exclusively to anyone.
The first chapter highlights to Hindu society’s indifference. It includes a photo of a platform where Tansen used to practice music – its current condition is so pitiable that even the word ‘shame’ seems inadequate. In a country where invaders and plunderers have grand monuments and statues, Tansen’s ‘Tannu ka Chabutra’ is crumbling into the dust, risking extinction.
Each chapter of the book reveals new insights about the life of the music maestro, Tansen. It is generally recognised that Bollywood, especially through its Sufi music and cultural expressions, has significantly polluted the mindset and cultural fabric of Hindu society. The truth about Sufi Muslims, which is essential to understand from the perspective of present and future security, is revealed in the second chapter of the book.The third chapter’s illustrations are shocking. It tells the story of Tansen’s forced conversion to Islam and being named “Ata Ali Khan”. Despite this, Tansen remained a practicing Hindu his entire life. His compositions clearly reflect his unwavering faith, and chapter seven provides ample evidence of this.
The book also reveals new facts about Akbar – including that he was born in the Vindhya region. It shows how deeply Tansen was influenced by the Bhakti movement. Most major music schools in Bharat can trace their roots to Tansen, as shown by his genealogical tree.
In summary, this book uncovers many unknown aspects of Tansen’s life – his challenges, forced Islamisation, and how Akbar used him for imperial glorification. Yet it also proves that Tansen retained his Hindu identity through it all. It clarifies many established beliefs and reveals unknown aspects of his life that were hidden or suppressed.
It’s no exaggeration to say that while this book is brief, it could serve as a foundational reference for future research on Tansen. If we wish to ensure a safe and prosperous present and future, we must write and study our history and literature from Bhartiya perspective. This book is a vital step in that direction. It is available on the Suruchi Prakashan website.
Narayanayeti Samarpayami…
Comments