Paran: Rhythemic phrase recital

Bols / Phrases receited with the rhythm of Pakhawaj/Tabla (a percussion instrument). Functionally, it is a heavy assertion on the part of the tabla player in the classical styles. The bol is invariably open strokes from the pakhawaj tradition. Although the origin of the term paran is obscure, one common belief is that it is a corruption of "parhant". Parhant is the recitation of bols in a kathak dance recital. This could imply that the paran was a composition whose bols were so beautiful that it was suitable for a special recitation. It is certain that the bols are the defining criterion of paran, with function acting as a strong second. The bols invariable reflect open, resonant strokes derived from the pakhawaj tradition. Bols such as TiTaKaTaGa, DiGeNa, DhuMaKiTaTaKa, or DhaGeTiTa are most common. Functionally, the paran is an aggressive display of virtuosity on the part of the tabla player. It may be used in kathak dance, tabla solos and whenever the "trading off" places control in the hands of the tabla player. This form is not found in light or folk genre and is inappropriate for general accompaniment. It can be of many kinds, e.g. Bol Paran, Jati Paran, Ghungru (bells) Paran, Pakshi (bird) Paran. Also Ganesh Paran, Kali Paran, Lakhsmi Paran (by the name of the Hindu Gods and Goddesses) etc. 

Pandit Kishan Maharaj (Hindi: किशन महाराज) (September 3, 1923 – May 4, 2008) was an Indian tabla player who belonged to theBenares gharana of Hindustani classical music. Maharaj ji was honored by the Padma Shri in 1973 and the Padma Vibhushan in 2002. Here is a Ganesh paran by Maharaj ji.

Here is another paran from a popular Bollywood movie.