Aasmaan par ik sitaara naam ko chamka tere
Posted on: December 22, 2025
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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‘Jumbish’ (1986) was produced and directed by a newcomer, Salahuddin Parvez who also wrote the story, screenplay, dialogues and lyrics for the film. Surprisingly, he had no connection with the film industry. He was an Urdu poet and writer having published 13 books of his poems and 3 novels. In this film, Akbar Khan and Padmini Kolhapure acted in lead roles.
I have already covered the story of the film in details in one of my earlier articles on the film, the link of which is here. The theme of the story is that since time immemorial, there has always been the tug of war between divines and devils in the world, the former wanting the peace and prosperity on an enduring basis and the latter worked to sabotage the same. This tug of war will go on in future also. But on every occasion, it is the peace-loving people who will be the ultimate winner.
There are seven songs in the film under the music direction of Jaidev. One of the female singers of the song is Kumari Faiyyaz (also known as Faiyyaz Shaikh) whose name may not be familiar to many of the readers of the Blog. The reason is that her playback singing in Hindi films have been rare – 10 songs between 1972 and 1993. She is a veteran singer-actor who has mainly worked in Marathi theatres since 1966.
Kumari Faiyyaz Shaikh was born in Pune on January 5, 1948. Her father had a business in Pune. The family shifted to Solapur when her father established a new business in his native city. She grew up in Solapur where she completed her matriculation in a Marathi medium school.
Faiyyaz’s mother was from Warangal who was a singer trained under Pandit Basvaraj Rajguru, a leading vocalist of Kirana Gharana. But due to family restriction, she had to discontinue her singing. From the childhood, Faiyyaz had developed interest in singing and dancing. She had learnt Kathak from Master Hassan and Bharatanatyam from Guru Kutty. She used to participate as an amateur singer and dancer in local programmes which her family circle resented. But her grandmother who was of a progressive nature, encouraged her in singing and dancing activities and later to work in theatre.
Faiyyaz was good at studies and was well-versed in many languages spoken in and around Solapur apart from Marathi. After passing her matriculation, she was keen to complete her college studies with a view to taking up teaching as a profession. But the family’s financial condition at that time prevented her from cimpleting her college studies.
As a hobby, Faiyyaz worked in her first Marathi drama ‘Tujha Aahe Tujha Paashi’ written by the veteran writer, Pu. La. Deshpande which was staged by actors of Solapur’s Central Railway Institute. With this, her grooming as a theatre actor-singer started in Solapur. Dr Jabbar Patel who was her senior in Solapur, trained her in the nuances of Marathi theatre while working with him in a couple of amateur dramas. Sometime in 1961, one day, her grandmother had invited yesteryear film actress, Sheela Shukal (real name: Roshanara, known by her screen name, Sheela, wife of actor Rama Shukal) for lunch being their family friend who was on a visit to Solapur, her native place. During that time, she heard Faiyyaz’s singing. She was so impressed with her singing that she insisted that she should come to Mumbai where her singing will be appreciated. She will introduce her to C Ramchandra whom she knew during her active years in Hindi films. However, at that time, Faiyyaz was more into completing her studies than her career as a singer.
When the family’s financial condition became precarious because of winding up of her father’s business due to losses, being the eldest among the four sisters, the responsibilities of looking after the family fell on her. In May 1965, Faiyyaz shifted to Mumbai mainly to earn money to help her family. She stayed for some time with Sheela. Through her recommendation, she got her first break in Marathi musical play, ‘Geet Gaayile Aaswaani’ as a singer-actor which was written by Sumatidevi Dhanwate (younger sister of actress, Vanmala). However, the play had to be wound up after 25th shows because of the poor response.
The producer of the Marathi play, ‘Ashrunchi Jaali Phulen’ (later remade as a Hindi film, ‘Aansoo Ban Gaye Phool’, 1969) was looking for a singer-actor. Sumatidevi recommended Faiyyaz’s name for a side role. In this play, Faiyaaz had rendered a snippet of a popular Dadra song, ‘maine laakhon ke bol sahe sitamgar tere liye’, mainly to fill the gap in the play where the main actor has to change the constume. However, the song became so popular that on every shows of the drama, by public demand, she had to sing the song. Later on, this snippet of song was converted into a full-pledge song and was made as a part of the play.
Because of the popularity of her singing, Faiyyaz got the role of Zarina in another super hit Marathi musical play, ‘Katiyaar Kaljaat Ghusli’ in which she rendered a Thumri, ’saanwariya se naina ho gaye chaar, haay Rama laagi karejwaa kataar’. With these two Marathi musical plays, Faiyyaz established herself as one of the top singer-actor in Marathi musical plays. She was singer-ator in popular Marathi plays such as ‘Matsyagandha’, ‘Madanachi Manjiri’, ‘Veej Manhaali Dhartila’ and many more. During her four decades of the theatre career, Faiyyaz worked in around 35 Marathi plays.
Due to tight scheduling and contractual obligations relating to her Marathi plays, Faiyyaz lost many opportunities to work in Marathi and Hindi films, both as an actor and the playback singer during her younger age. Still, she got an important role in Hrishikesh Mukherjee’s ‘Sabse Bada Sukh’ (1972). In the later career, she got roles in Amol Palekar’s ‘Daayara’ (1996). For the same reason, she also lost opportunity to be the disciple of Begum Akhtar in Lucknow which she herself offered when she heard her singing while meeting Pandit Vasantrao Deshpande. In the later years, she acted in about a dozen Marathi films in character roles and some TV Serials – both Marathi and Hindi. In addition, she also participated in musical concerts in which she rendered Hindustani semi-classical songs and popular songs from her musical plays. (Note: The life profile of Faiyyaz is mainly based on her interview in Marathi taken by theatre and film actor, Vikram Gokhale which was uploaded on Sahyadri Channel of Doordarshan.)
I am presenting the third song from the film, ‘aasmaan pe ik sitaara naam kaa chamkaa tere’, rendered by Faiyyaz on the words of Salahuddin Parvez which will give some idea about her singing style. The song is set to music by Jaidev. In the film, only the snippet of the song (only two lines of the mukhda) gets played in the background in a feeble sound after an injured Manas (Akbar Khan) is kicked by the Shaitan (Shafi Inamdar) and he lies unconscious. A man (Yeshwant Dutt) on a bullock cart watches him and alights to revive him.
From the orchestration of the song, I guess that the song was picturised on a courtesan and the situation for the song was that few years back, Yeshwant Dutt’s wife (Sahela Khan) was abducted by Shaitan and sold to a courtesan. When she meets Akbar Khan on a cremation ground when he was cremating her husband (Yeshwant Dutt), she reveals him her background. Probably, this song may have been picturised on her as a flashback which may have got deleted on the editing table.
Audio Clip:
Song-Aasmaan par ik sitaara naam ka chamka tere (Jumbish)(1986) Singer-Kumari Faiyyaz, Lyricist-Salahuddin Parvez, MD-Jaidev
Lyrics:
aa aaaa
aa aa aa aaa
aa aa aaa aa
aa aaa aaa
aa aa aa aa aaa
aa aa aaaaa
aasmaan par
aasmaan par
aasmaan par ik sitaara
naam kaa chamkaa tere
naam kaa chamkaa tere
ae ae ae
haathh par mehandee kaa taara aa
haathh par mehandee kaa taara
yaad phir aayaa mujhe ae
yaad phir aayaa mujhe ae
yaad phir aayaa mujhe
door saare shahar ko
iss shab ne aanchal mein kasaa
door saare shahar ko o
iss shab ne aanchal mein kasaa
mere chehre
mere chehre ae ae
mere chehre par tere
gesoo ghazal gaane lagey
gesoo ghazal gaane lagey
gesoo ghazal gaane lagey
janglon mein mor naache ae ae
janglon mein
janglon mein mor naache
bheegaa mausam aa gayaa aa aa
bheegaa mausam aa gayaa aa
mere aangan
mere aangan n n
mere aangan ko tere
do paaon yaad aane lagey
do paaon yaad aane lagey
do paaon yaad aane lagey
bastiyon mein chaand niklaa
khidkiyaan khulne lageen..een
khidkiyaan khulne lageen..een
meree aankhon
meree aankhon on
meree aankhon se tere
honthhon ke paimaane lagey
honthhon ke paimaane lagey ae ae
aasmaan par ik sitaara
naam kaa chamkaa tere ae ae
haathh par mehandee kaa taara aa
haathh par mehandee kaa taara
yaad phir aayaa mujhe
yaad
yaad phir aayaa mujhe ae
yaad phir aayaa mujhe
ik sitaare ne
na jaane
kaan mein kyaa keh diya
aasmaan ne sar jhukaaya
jism sharmaane lagey
aur maine tere haathon par
sitaara dhar diyaa
dhar diyaa
dhar diyaa aa
hahahaha
hahahaha
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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