REVIEWING QAWWALI: ORIGIN, EVOLUTION AND ITS DIMENSIONS

Pakistan Association of Anthropology, Islamabad, Pakistan Special issue Sci.int.(Lahore),27(2),1701-1704,2015 ISSN 1013-5316; CODEN: SINTE 8 1701 REVIEWING QAWWALI: ORIGIN, EVOLUTION AND ITS DIMENSIONS Shaheer Ellahi Khan1, Abid Ghafoor Chaudhry2, Haris Farooq3, Aftab Ahmed4 1 Lecturer, Department of Humanities and Social Sciences, Bahria University Islamabad, 2Incharge Department of Anthropology, PMAS-Arid Agriculture University Rawalpindi, 3Anthropologist, Department of International Development Studies, Iqra University, Islamabad, 4 Anthropologist, Pakistan Association of Anthropology, Islamabad, Corresponding Author‟s Email: [email protected] ABSTRACT: All over South Asia there is Qawwali, for all over South Asia there are Muslims; where there are Muslims; there are Sufis; and where there are Sufis, there is Qawwali – not the popular version of Qawwali adapted for entertainment in clubs and on the screen, but the authentic spiritual song that transports the mystic toward union with God. Research firstly explored the origin of Qawwali. Secondly it studied the importance of Qawwali in Sufi Music. Thirdly different phases of Qawwali evolution were analyzed followed by the assessment of the difference of Mehfil-e-Qawwali and Mehfil-e-Sama’. This research was based on the literature review and can be a guide to recognize the origin, evolution and characteristics of Qawwali by exploring different dimensions of earlier studies and literature. Key Words: Qawwali, Mehsil-e-Sama, Sufi Music, ethnomusicology, Qalandar, Dhamal INTRODUCTION the heart of the seeker which acts like a powerful rocket to One of the subfield of cultural anthropology is carry him far beyond the sun and stars to the realm of Divine ethnomusicology “ethnomusicology, is devoted to the study Nearness. Then the verses relating to Fana-fi-Allah are sung of musical traditions in various societies throughout the so that the seekers close their eyes and quietly go into Fana- world. Ethnomusicologists record and analyze music and the fi-Allah. This is allowed to last for some time to enable the traditions that give rise to musical expression, exploring seeker to get firmly established in Zat (Absolute essence). similarities and differences in musical performance and The last stage of the spiritual journey is Baqa-bi-Allah and composition” [1]. Music like religion and spirituality is towards the end of the mehfil (sitting) the song of this nature distinct in its total social phenomena. But having interaction are sung to bring the seeker back from intoxication (Sukr) to based relationship; music is part of religion and spirituality, sobriety (Sahw). Thus they go on flying to higher and higher and religion and spirituality are intermingled with music. A altitudes of Divine Proximity to which there is no end” [3]. complex relation exists between music, religion and “Qawwali is probably predestined more than any other Sufi spirituality in South Asia.“Qawwali is a recognized musical musical form to touch the listener – whether mystic or genre in the Indian subcontinent. It shares general traits with common believer, arouse enthusiasm and to alter his state of the light classical music of North India and Pakistan, but has consciousness. It brings tears to his eyes, opens his heart and unique characteristics related to its religious function. The empties it so Allah may flow in. The listener feels the term Qawwali itself applies both to the musical genre and to dissolution of the ego. Such emotionally intense music the occasion of its performance, the devotional assembly of compels participation, and collective conditions of mystical Islamic mysticism-or Sufism- in India and Pakistan. Like all rapture, considered gifts of God, are frequent” [2]4. “to the other Sufi practices sarna’ too is performed under partake of the „spiritual nourishment‟ of Qawwali, men – leadership of the sheikh or the teacher, who initiates and and, rarely, women – from all walks of life, and seekers of ends it with the recitation of fatiha or the opening chapter of any spiritual station and persuasion, are drawn toward the the Quran and controls its every stage as well as duration. sama’ ritual where it is most splendidly and abundantly Very often it is performed on a Thursday evening and practiced: at the shrines of the great Sufi saints of the past. today‟s Qawwalli recitals at the shrines of the saints are a There is no Qawwali experience more vivid and profound continuation of the same traditional practice. “Within the than the ‘urs of such a saint, the commemoration of his own Sufi tradition, the main task of spiritual music is to touch the final union with God on the anniversary of his death”. mystic‟s soul gradually induce ecstasy (hal, wajd) during the Within the Sufi tradition the main task of spiritualism is to course of concert (sama‟) and bring him closer to God” [2]. touch the mystics soul and gradually induce the ecstasy “The Sufi‟s poetry is the product of their manifold spiritual (hal,wajd) during the course of concert (sama) and bring him states (Ahwal) and, as such, is saturated with deep Hal closer to God. “Friends of God” and mediators to Allah are (intoxicating influence). When such songs are sung by the deeply venerated saints, such as Laal Shehbaaz Qalandar, expert Qawwals (singers), well-versed in Sufi technique, Schal Sarmast and Pir Shams, who are known in the songs they produce the same Hal on the listeners and elevate them that are known as Qalandari. These Qalandar are well known into ecstasies” [3]. in south and west Asia among the Muslim population and are the basic inspiration for the repertoire of mystical “The songs of Qawwali are arranged in the following order singers. Wine, love, inebriation and Qalandarism (Masti-o- to enable the seeker to pass through the above mentioned Qalandari) merge with one other here. Music and dance stages with the help of these songs plus the musical creates an intensive intoxicating atmosphere at the shrines accompaniment and aid. First of all we begin with the praise visited by Qalandars and Malangs [2]. of God, the Holy Prophet, and the saint of the Urs. This is Music and dance creates an intensive intoxicating followed by general love songs to create a storm of love in atmosphere at the shrines visited by Qalandars and Malangs. March-April  Pakistan Association of Anthropology, Islamabad, Pakistan Special issue 1702 ISSN 1013-5316; CODEN: SINTE 8 Sci.int.(Lahore),27(2),1701-1704,2015 According to mystic symbolism the naqqara is beaten to synthesis of all the truth and therefore the root of all doctrine announce the union between the divine lovers. Enchanted by and as such it offers certainty to the heart and to those the presence of God, the dervishes dance to the sound of elements of the soul which are nearest the heart [8]. dhool feeling God in their hearts. Following the pulse or The major portion of Sufi treatises throughout the ages has heartbeat of the drum, they realize the moment of divine dealt with the spiritual which the adept experiences and presence (waqt-i-Hal) and are overwhelmed by the love of passes through in his journey upon the way to God. The God. This dance in honor of Laal Shehbaz Qalandar, called spirit is like the sky, shining and immutable above the masto in Sindhi, frees the devotees and they moves very horizons of the soul. It is the world which, although not yet spontaneously, making abrupt leaps etc. The typical God, is inseparable from Him so that to reach it is already to rhythmic sequence of the drum, which is essential for be in the front courtyard of paradise and the proximity of the inducing ritual ecstasy, called dhamal, a term which in divine. The body also bears in its objectives and natural vernacular is frequently use for dance itself means existence [9]. “boisterous”, “noisy”. The ecstatic dhamal dance takes place Music is a controversial issue in Islam, in spiritual on various occasions at numerous shrines of saints in Indo- development; its benefits are of an over-whelming nature. Pakistan. Sama (the mystic listening) and raqs (dancing) are The kind of music and singing which is prohibited in Islam not only practiced by itinerant dervishes, but since the end of is of the frivolous and corrupt type whose vulgarity is the ninth century are also known in circles of orthodox Sufis. unwholesome in any society. The most charming expression Sama and raqs are not required in the orders and should only of spiritual development is in spiritual poetry of the Sufis of be performed by spiritually mature mystics following a Islam which have no parallel anywhere in the world and it is particular code of behavior (adab) [4] that poetry which provides the most captivating songs for Witteveen pointed out that to obtain spirituality is to realize Qawwali gatherings at the Sufi shrines during Urses and that the whole universe is one symphony; in this every occasionally in private dwellings, as well. It may be individual is one note, and his happiness lies in becoming mentioned that the Sufi poetry is the product of their perfectly attuned to the harmony of the universe. The manifold states (Ahwal) and as such saturated with deep hal. universe consists of vibrations of many different kinds. When such songs are sung by the expert Qawwals (singers), Among them the vibrations of sound play a most important well versed in Sufi technique, they produce the same Hal on role in the creation of universe and in human life. Sound the listeners and elevate them in to ecstasies. To be gives in to the consciousness an evidence of its existence [5]. overpowered in Qawwali is to invite digression. The more Sufi music is found in all Muslim regions where Sufi poetry you resist the higher you go [3]. is recited, while dance is really a specialty of just one Sufi Audition is resting after the fatigue of the (spiritual) order, the Mevlevis. The local musical traditions employed moment, and recreation for those who experience (spiritual) very considerably, and they have long and complex histories states, as well as a means of awakening the consciences of that are in many cases hardly known to outsiders. Specialists those who busy themselves with the other things. It is in ethnomusicology have discussed the technical aspect of preferred to other means of resting the natural qualities, these different musical traditions in terms of musical theory because the soul is unlikely to cling to it or repose in it: for it and performance. One of the best known traditions of Sufi comes and goes according to God‟s decree. Those mystics music is practiced by the Chishti school in India and who enjoy revelation and direct experience have no need of Pakistan. Because of its wild popularity in contemporary such help, for they have means which transport their hearts circles far beyond in those interested in traditional Sufi to walk in the gardens of revelation. When audition strikes rituals. Persian and Urdu text written by Chishti authors used the mystic it stirs the secret things of the heart and the man is the term sama, nowadays this type of music is known then either confused because he is too weak to support the primarily by the term Qawwali. An Arabic word meaning visitation or his spiritual states gives him the power to “recited”, this name preserves an old terminology, since control himself [10]. Arabic Sufi text from nine centuries ago refer to the receiver (Qawwal) of poetry as a central figure in musical rituals [6]. METHODOLOGY Singing in the melodious voice is generally called ghina, The main objective of the research was to explore the origin whereas the listening to verses thus sung is commonly of Qawwali, to study the importance of Qawwali in Sufi termed as Sama. Sama is of two kinds: (a) that sung in Music, to analyze different phases of Qawwali evolution, accompaniment of musical instruments and (b) that sung and to assess the difference of Mehfil-e-Qawwali and without that instrument. The impact of music on human Mehfil-e-Sama’. The study was aimed to answer the mind and emotions is universally acknowledged. Further following major research questions through the review of adds that the Ulema and mystics belonging to the Chishtiya available research and literature; to what extend the concept school of Sufism have of sort to prove the permissibility of of Qawwali is contradicted and misinterpreted, what is the Sama on the bases of about a dozen authentic Ahadith of the logic behind the misinterpretation of the concept of spiritual Holy Prophet (SAAW) [7]. music. The spiritual healing aspect of Qawwali has also been This doctrine is related to the mind; but mystical doctrine, highlighted in this study. which corresponds to the Lore of certainty, is a summons to the mind to transcend itself. The divine name Allah is the March-April  Pakistan Association of Anthropology, Islamabad, Pakistan Special issue Sci.int.(Lahore),27(2),1701-1704,2015 ISSN 1013-5316; CODEN: SINTE 8 1703 FINDINGS hamd, A naat; Arabic for description, is a song in praise of The findings traced from the literature are discussed below the Prophet Muhammad. The opening hamd is traditionally in the light of above mentioned objectives. followed by a naat, A manqabat (plural manaqib, which Sufism is a phenomenon of the vast and diverse non-Arab means characteristics) is a song in praise of either Imam Ali Muslim World. South Asian Sufism is immersed in poetry, or one of the Sufi saints. Manaqib in praise of Ali are sung at music and dance, and nowhere it has been as effective as in both Sunni and Shi'a gatherings. If one is sung, it will follow India where it made Islam thrive in a climate of religious right after the naat. There is usually at least one manqabat in pluralism and where Sufis came to be venerated by non- a traditional program, A marsiya Arabic for lamentation for Muslims. Even today the shrine of Khwaja Moinuddin a dead person is a lamentation over the death of much of Chishti at Ajmer, attracts both Hindu and Muslim pilgrims Imam Husayn's family in the Battle of Karbala. This would from all over the country. The age old mystique continues in typically be sung only at a Shi'a concert. Pakistan where shrines such as of Lal Shahbaz Qalandar and A group of qawwali musicians, called a party (or Humnawa Shah Abdul Latif Bhitai in Sindh are equally revered by the in Urdu), typically consists of eight or nine men including a Hindus of Pakistan. Let‟s not forget that Sufi saints lead singer, one or two side singers, one or two harmoniums themselves lived above religious and ethnic prejudices. (which may be played by the lead singer, side singer or Nizamuddin Auliya of Delhi is known to have practiced someone else), and percussion. If there is only one yoga and meditation. Shah Abdul Latif of percussionist, he plays the tabla and dholak, usually the tabla Sindh, traveled with the yogis to perform pilgrimage to with the dominant hand and the dholak with the other one Hinglaj Mata, the western most holy place of the Hindus. (i.e. a left-handed percussionist would play the tabla with his Sufi saints of Kashmir are even confused with Vedic left hand). Often there will be two percussionists, in which rishis. The legacy of tolerance continues as the musicians case one might play the tabla and the other the dholak. There from India, Afghanistan, Bangladesh, Trinidad and United is also a chorus of four or five men who repeat key verses, States ended their concert in Columbus, Ohio, by paying and who aid and abet percussion by hand-clapping. tribute to Lal Shahbaz Qalandar of Pakistan [11-13]. As the main song begins, the tabla, dholak and clapping Qawwali is a form of Sufi devotional music popular in South begin. All members join in the singing of the verses that Asia, particularly in the Punjab and Sindh regions of constitute the refrain. The lyrics of the main verses are never Pakistan, Hyderabad, Delhi and other parts of India. It is a improvised; in fact, these are often traditional songs sung by musical tradition that stretches back more than 700 years. many groups, especially within the same lineage. However, Originally performed mainly at Sufi shrines or dargahs the tunes are subtly improvised within the framework of the throughout South Asia, it has also gained mainstream main melody. As the song proceeds, the lead singer or one of popularity. Qawwali music received international exposure the side singers may break out into an alap. Nusrat Fateh Ali through the work of the late Pakistani singer Nusrat Fateh Khan also popularized the interjection of sargam singing at Ali Khan, largely due to several releases on the Real World this point. The song usually builds in tempo and passion, label, followed by live appearances at WOMAD festivals. with each singer trying to outdo the other in terms of vocal Other famous Qawwali singers include Pakistan's Sabri acrobatics. Some singers may do long periods of sargam Brothers, Bahauddin Qutbuddin and Aziz Mian. improvisation, especially alternating improvisations with a The roots of Qawwali can be traced back to 8th century student singer. The songs usually end suddenly. Persia (today's Iran and Afghanistan). During the first major Women used to be excluded from traditional Muslim music, migration from Persia, in the 11th century, the musical since they are traditionally prohibited from singing in the tradition of Sema migrated to South Asia, Turkey and presence of men. These traditions have changed, however, as Uzbekistan. Amir Khusro Dehelvi of the Chisti order of is evident by the popularity (and acceptance) of female Sufis is credited with fusing the Persian and Indian musical singers such as Abida Parveen. However, qawwali has traditions to create Qawwali as we know it today in the late remained an exclusively male business. There are still no 13th century in India. The word Sama is often still used in mainstream female qawwals. Although Abida Parveen Central Asia and Turkey to refer to forms very similar to performs many songs that are in the traditional qawwali Qawwali, and in India, Pakistan and Bangladesh, the formal repertoire, she does not perform them in the traditional name used for a session of Qawwali is Mehfil-e-Sama. qawwali style. Typically missing is the chorus which repeats The songs which constitute the qawwali repertoire are key verses, as well as the handclapping. mostly in Urdu and Punjabi (almost equally divided between The changing trends in the Sufi Music and power of music the two), although there are several songs in Persian, have been explained by Parveen Talpur in her article. She Brajbhasha and Saraiki. There is also qawwali in some has explained that the music based on Sufi concepts can be regional languages (e.g., Chhote Babu Qawwal sings in calming and inspiring, it can be furious too [14]. Bengali), but the regional language tradition is relatively Sufis and music go together. Sufi songs are hymns to the obscure. Also, the sound of the regional language qawwali divine and odes to the beloved saints; set to music these can can be totally different from that of mainstream qawwali. stir hysteria. Some of the Sufi saints have been poets and Qawwalis are classified by their content into several some of their disciples have written devotional verses that categories: A hamd; Arabic for praise, is a song in praise of are still recited around their shrines and beyond. When Allah. Traditionally, a qawwali performance starts with a Ustad Hidayat recited Amir Khusro‟s evergreen “chaap tilak March-April  Pakistan Association of Anthropology, Islamabad, Pakistan Special issue 1704 ISSN 1013-5316; CODEN: SINTE 8 Sci.int.(Lahore),27(2),1701-1704,2015 sub cheen lee mujh say naina milaikay” it mesmerized a The ultimate purpose of all genuine Sufi practices and versatile crowd mainly consisting of Indians, Pakistanis and particularly Qawwali is the experiential awakening into the Americans. If music is the universal language it can be the infinite realities as they unfold in their own natural way binding force between nations, we can turn the pages of within each heart. The sparks of light that emanate from history to confirm this. There is positivity, sense of tolerance within are innumerable and infinite in their combination and and selflessness in the concept of Sufism and same is permutation, engulfing all attributes, and yet their essence is depicted in the Sufi Music. The love for The creator, Prophet one. The listener realizes an outer state of knowledge, (PBUH) and creatures of Allah is a clear depiction in the beyond the divine law, and seeks union with the inner truth Sufi music and Qawali specifically. through intoxicating over the rhythmic beat of the music and Militant Islamist groups are certainly against this brand of poetry, in deep respect of the saint and their message of Islam. In 2009 few days before bombing the shrine of universalism. The hypothesis can surely be applied under the Rehman Baba in Peshawar, they had warned the custodians light of current findings and the descriptive interpretation to stop women from visiting the shrine. Three years later which indicates high commonalities among the earlier they have stooped to the level of targeting young girls who literature and contemporary research. advocate education. Talibans eventually destroyed the Rehman Baba shrine, the grief and anger bought REFERENCES Afghanistan a step closer to Pakistan as the Afghan 1. Christopher R. DeCorse,Raymond Scupin, 2009. government responded by bearing the costs of reconstruction Anthropology: A Global Perspective, Sixth Edition of the shrine. Rehman Baba is revered in Afghanistan, Published by PHI Learning. Pakistan and the tribal belt between the two countries; his 2. Frembgen, W. J. 2008. Journey to God. Oxford poetry echoes in the Pashtun land. University Press, Karachi. p. 164-184 The authenticity and significance of Qawwali can be well 3. Rabbani, W. B. 2005. Islamic Sufism. Al-Faisal understood by the fact that Hazrat Shaikh Nizamuddin Nashran, Urdu Bazar, Lahore. Auliya r.a. also known as Mehboob-e-Ilahi One of the 4. 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