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nirgun_studio
Swapnil Kulkarni
Films | Commercials | Theatre | Singer | Music Composer | Sound Designer | Sync Sound Recordist | Mixing Engineer |भजन | भोजन | भ्रमण | ॐ
Presenting you the Logo of Nirgun Studio designed by my dear friend and master illustrator Suneet Wadke @bahoorupi .
Nirgun Studio is a person, a clan, a cult, a movement, a place, a journey and a destination.
Keep blessing and join me in this journey for Original Music 🌺
‘२९ मार्च २०२६’ — हा दिवस म्हणजे आमच्या “स्टूडियो दगड” च्या “Know Your Fort – रायगड” पुस्तकाचा प्रकाशानाचा, आणि थोडक्यात सांगायचं तर माझ्या डोक्यातल्या गोंधळाचा सुवर्णदिन!
सुरुवात अशी झाली की डोक्यात विचारांची जत्राच भरली होती. काय करायचं, काय टाळायचं, काय जमेल, काय नाही... आणि या सगळ्या गोंधळात एक भुंगा सतत गुणगुणत होता — अपर्णामामींनी लिहिलेल्या त्या सुंदर ओळी!
म्हणलं, हे गाणं मुलांसाठीच आहे तर मग मुलांनीच गायलं तर काय बहार येईल! पण लगेच दुसरा विचार — “अगं, वेळ कुठे आहे? चाल कोण लावणार? मुलं मिळणार का? आणि सगळं नीट होईल का?”
ठरवलं — “करायचंच!”
स्वप्नील आठवला. मस्त स्वच्छंदी पोरगा!
फोन केला… आणि तो लगेच म्हणाला, “करू या!”
त्या रात्रीच चाल तयार! ऐकली…
vocal आणि music — दोन्ही तयार!
ऐकून मन अगदी तृप्त झालं.
म्हणलं, “बस्स! आता हे करायचंच!”
काही माणसं अशी असतात… रोज भेटत नाहीत, फारसं बोलणंही होत नाही… पण मनाच्या कुठल्यातरी कोपऱ्यात कायम बसलेली असतात.
आता पुढचं मिशन — मुलं गोळा करणं!
मित्र-मैत्रिणींना विचारलं आणि अनन्या, अद्विका, रियान, मिहिका, राधा — सगळे तयार!
पालकांना थोड्या भीतीने विचारलं — “जमेल का?”
ते म्हणाले — “तू निर्धास्त रहा!”
आम्ही सगळे भेटलो… आणि मी थक्क!
पोरांनी तर पाठ करूनच आणलं होतं!
खणखणीत आवाज, आत्मविश्वास — अगदी भारी!
अनन्या आणि अद्विकाचा आवाज — म्हणजे जणू घंटानाद!
रियान — एकटाच मुलगा — पण महाराजांवर एवढं प्रेम की तो म्हणाला, “मी नक्की म्हणणार!”
मिहिका — परदेशात वाढलेली — पण तिच्या आईने मराठी शब्द इंग्लिशमध्ये लिहून दिले… आणि तिचं एकदम पाठ! (dedication पाहून मन म्हणालं — “जियो मेरे लाल!”)
राधाबाईंचं वेगळंच प्रकरण — तिला पेटी वाजवायची होती! वेळ कमी, तब्येतही ठीक नाही… पण तिचा उत्साह मात्र full volume मध्ये!
खरंच सांगते… त्या दिवशी मन अगदी भरून आलं.
मुलांनी माझ्या प्रयत्नांना इतकं सुंदर रूप दिलं की काय सांगू!
आणि मग काय — ice cream पार्टी झालीच!
सगळ्या बालक-पालकांचे मनापासून आभार — त्यांनी मुलांकडून पाठ करवून घेतलं, आणि मुलांनी ते आनंदाने केलं.
हा सगळा अनुभव म्हणजे एकदम “कमाल” होता!
पुस्तकप्रकाशनाच्या दिवशी तर मुलांनी गाणं सादर केलं… वाटलं — “बस्स! ह्याचसाठी तर सगळा प्रवास!”
Thank you माझ्या छोट्या मित्रांनो!
स्वप्नील — तुझे खूप खूप आभार!
आणि अपर्णा मामी — इतक्या साध्या, सोप्या शब्दांत तुम्ही किती खोल अर्थ मांडलात!
शेवटी एकच — हे सगळं घडतं तेव्हा वाटतं… “आपण काहीतरी चांगलं केलं असणार मागच्या जन्मात!” 😄)
“Lost in the verses of a legend. 🌙✨ Here is my humble attempt at ‘Afreen Afreen’.” 🎥 : @in.qalab #AfreenAfreen #NusratFatehAliKhan#SufiMusic #UnpluggedCover #NFAK
Link in bio
Mungi Sakhrecha Rava Out Now!
(Nostalgia, Childhood, Simple Things, Mundane Life, Summer Vacation, Friends, Mangoes)
A melody that feels like a heartbeat… ❤️🎶
“Jiya Dhadak Dhadak” in my voice. 📹 : @suyash_kelkar
#JiyaDhadakDhadak #CoverSong #Soulful #ReelsIndia #MusicVibes FeelTheMusic
Who were you before the world told you what to be?
Presenting our first short film, Mungi Sakhrecha Rava
Writing, Direction & Music
Aditya Lokhande @aditya_lokhande
Director of Photography
Atharva Burkule @_clearblur
Still Photography
Tanvi Lokhande @_tanvilokhande_
Narration
Swapnil Kulkarni @nirgun_studio
Cast
Abir Anand
Salil Lohade @salil_lohade
Samar Sahasrabudhe
Sanay Sahasrabudhe
Jay Salunke
Priyanka Dhavale @ar_priyankalokhande
Anand Dhavale @ananddhavale
Edit
Atharva Burkule
Tanvi Lokhande
Score mix
Sharon Gonzalez @shon_gbrl
Sound Design & Film Mix
Yash Pathak @yash.artiste
Poster Design
Priyanka Tambe @priyankatambe_
Special Thanks
Nilam Lokhande
Anil Lokhande
Yash Lokhande @lokhande_yash25
Apurva Kothavade @ugaaaach_
Releasing on 19th March, 2026
Aql Mast-o-Ishq Mast-o-Aashiq-o-Mashook Mast !
It’s a joy when the poetry you sing finds its echo in the experience shared by the audience.
Thank you so much @rjdnyaneshwari for this beautiful take.
#TheArtofQawwali #TAQ
#sufimusic #poetry #nusratfatehalikhan
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
These stills are from a short film
NAAM KYA HAI TUMHARA?
shot with @alokrajwade in difficult, uncontrolled spaces — a very small cramped lift with a huge mirror, a live uncontrollable noisy procession, and a run and gun guerrilla shoot inside a local train. It had everything.
The decision to work in black and white was conceptual as well as stylistic.
In the current socio-political climate, colour has acquired fixed symbolic ownership, where specific colours are routinely aligned with particular ideological or communal identities.
By removing colour, we tried to disengage from this, allowing the image to function without inherited political meaning.
We chose this aspect ratio as a visual metaphor for how the protagonist does not fully fit into the spaces she occupies.
Framing consistently places her as small and surrounded, so the world feels larger, louder, and more dominant than her.
Thank you Pune for the overwhelming response to "The Art of Qawwali"
#theartofqawwali #TAQ #sufimusic #qawwali #worldmusic
@ujwalgajbhar @joshcrooner @nusrat_apoorv @atharva.vairagkar @sagarjadhav0308 @jasraj_jayant_joshi @poorva_apoorv
Thank you Pune for the overwhelming response to "The Art of Qawwali"
#theartofqawwali #TAQ #sufimusic #qawwali #worldmusic
@ujwalgajbhar @joshcrooner @nusrat_apoorv @atharva.vairagkar @sagarjadhav0308 @jasraj_jayant_joshi @poorva_apoorv
Thank you Pune for the overwhelming response to "The Art of Qawwali"
#theartofqawwali #TAQ #sufimusic #qawwali #worldmusic
@ujwalgajbhar @joshcrooner @nusrat_apoorv @atharva.vairagkar @sagarjadhav0308 @jasraj_jayant_joshi @poorva_apoorv
Thank you Pune for the overwhelming response to "The Art of Qawwali"
#theartofqawwali #TAQ #sufimusic #qawwali #worldmusic
@ujwalgajbhar @joshcrooner @nusrat_apoorv @atharva.vairagkar @sagarjadhav0308 @jasraj_jayant_joshi @poorva_apoorv
Thank you Pune for the overwhelming response to "The Art of Qawwali"
#theartofqawwali #TAQ #sufimusic #qawwali #worldmusic
@ujwalgajbhar @joshcrooner @nusrat_apoorv @atharva.vairagkar @sagarjadhav0308 @jasraj_jayant_joshi @poorva_apoorv
#GigAlert
Start 2026 with TAQ :)
Show Details :
1st Jan 2026
MES Auditorium, Kothrud
6.30 PM
About the Clip :
'Ye Jo Halka Halka' is undoubtedly one of the most popular Qawwalis worldwide. Written by Anwar Farrukhabadi, composed and compiled by NFAK and Party, it has become the face of Qawwali for many of us.
It was performed by TAQ at @yellow_doorstudio Session 2
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