| Islamic Culture | |
| 19 Feb 2010, NewAgeIslam.Com | |
| RECLAIMING SUFI HERITAGE | |
 “What is Sufi music? Singing a prayer to God and making an illclad girl gyrate to the rhythm? Positively not,” says Mohammad Idris Qutubi, the younger of the two Qutubi brothers who have been the traditional Sufi singers attached to the oldest dargah of Delhi, that of Khwaja Syed Muhammad Qutubuddin Bakhtiyar Kaki in Mehrauli, popularly known as the Qutub dargah. “As a family, we’ve been singing for the Khwaja Sahab for the past 825 years,” informs the elder brother, Mohammad Ilyas Qutubi...
“Anybody singing a song in praise of God classifies himself as a Sufi singer these days, which is not correct,” implores Mohammed Idris. The indignation of the traditional singers becomes heightened due to the money and fame that the ‘other’ singers end up making, in the name of Sufi singing/ qawwali. “Most of these Bollywood composers visit a dargah, copy our songs and make millions through their albums or films,” adds the elder brother. -- Archana
RECLAIMING SUFI HERITAGE
Archana
19 Feb 2010
As the city gets ready to host two Sufi music festivals, the traditional singers carry on a legacy without publicity
SUFI MUSIC— it’s all about the heart, about the direct hit it makes on your soul, the straight road to God that it builds between the earthly and the divine, the trance that it spreads as an envelope around you. But toss up this term in the music market and you are likely to get stumped by the connotations that it evokes — fame and money come way ahead of everything else that Sufi music was originally devised for.
As the city braces itself for two important upcoming Sufi music festivals — the famous Jahan-e- Khusrau organised by filmmaker Muzaffar Ali, from February 25 to 28 at Arab Ki Sarai, Humayun’s Tomb, and the new Qawwali festival to be organised by Sanjeev Bhargava of Seher in the coming weeks — we decided to walk along the fault lines that mark the world of Sufi music. It was an interesting walk down the historical lane to the practitioners of Sufi music who continue to sing the way their forefathers sang when music began to be an integral part of the Chishti order of Sufism in India. And that was about a thousand years ago.
“What is Sufi music? Singing a prayer to God and making an illclad girl gyrate to the rhythm? Positively not,” says Mohammad Idris Qutubi, the younger of the two Qutubi brothers who have been the traditional Sufi singers attached to the oldest dargah of Delhi, that of Khwaja Syed Muhammad Qutubuddin Bakhtiyar Kaki in Mehrauli, popularly known as the Qutub dargah. “As a family, we’ve been singing for the Khwaja Sahab for the past 825 years,” informs the elder brother, Mohammad Ilyas Qutubi.
For those who have shaken a leg to the reverberating music of the songs like Ali More Angana by Shubha Mudgal in many a night club, the definition of this genre of music as given by the Qutubi brothers may seem a little obsolete. And the Gen Now followers of Sufi music may not be entirely wrong. Sufi music is, indeed, one of the most traditionally rich genres of music that has undergone a transformation along with the changing times, yet retains its original flavour and purpose.
Cultural historian Navina Jafa, who has been studying the subject for over a decade now, deconstructs the meaning of Sufi music. “Of all the Sufi orders that took root in India during the medieval period, the Chishti order distinguished itself with the introduction of music as a form of worship. The singers were known as qawwal bachchas and what they sang came to be known as qawwali. It was actually a remembrance of God through music, which was generally undertaken through chorus singing and participation of the community,” elaborates Jafa.
So, each dargah of a Sufi saint of the Chishti order has an attached troupe of singers, like the Qutubi brothers at the Qutub dargah and the Nizam Chand Sahab and family with the dargah of Hazrat Nizamuddin Auliya.
The Sufi songs of these qawwals have retained popularity through the ages for two reasons — the romance of the lyrics and the intoxicating music. That fact that God is treated as a beloved in Sufi music has added to the adaptability of these age-old songs for the modern club-hopping generation that needs lilting music of any variety to spin to. And that’s where the fault lines appear — because of the inherent appeal of Sufi songs, many a singer has added a song of this genre to his kitty, which may or may not be sung for God alone.
That includes Bollywood, the favourite whipping boy of purists of all variety. In fact, film buffs did tune into a quintessential Bollywood qawwali till as late as 1980s in almost every film that was made — the most famous imagery of the genre crossing the mind right now is that of a naughty Rishi Kapoor dressed in all-green clapping his hands to Mohd. Rafi’s Purdah Hai Purdah in Amar Akbar Anthony (1977).
“Anybody singing a song in praise of God classifies himself as a Sufi singer these days, which is not correct,” implores Mohammed Idris. The indignation of the traditional singers becomes heightened due to the money and fame that the ‘other’ singers end up making, in the name of Sufi singing/ qawwali. “Most of these Bollywood composers visit a dargah, copy our songs and make millions through their albums or films,” adds the elder brother.
Sanjeev Bhargava, who has carved a niche for himself in the city’s cultural scenario with popular festivals like the Bhakti Utsav and Qutub Festival, and is soon going to launch a qawwali festival, says, “It’s true that the Bollywood style ishq qawwali has overshadowed the traditional ibadat qawwali.”
The qawwals attached to dargahs also have a problem with the popular festivals or programmes that ascribe a lot of importance on having a Pakistani name in the line- up. “Who will take care of qawwals in India?” That forces one to think about the constant appearance of the name of Abida Parveen in the Jahan-e-Khusrau festival. With due respect to the doyenne of Sufi singing, one wishes more names could be given the prestigious platform to show off their singing repertoire.
With Seher’s dedicated festival of qawwalis coming up, there is hope for the practitioners of art as they would have one more festival, besides the Jahan-e-Khusrau, to look forward to, which will connect them with the wider audience. Bhargava says, “Ever since the Bhakti Utsav began in 2002, we’ve featured a new group of qawwals every year. I don’t want to repeat the same popular names as I don’t want to follow a Bollywood approach of getting a full house on the opening night. In fact, we are now in the process of a talent hunt to search for qawwals who are attached to various dargahs from as far off as Tamil Nadu, Andhra Pradesh and Bengal in India to places in Pakistan.”
But there are other issues as well, besides the rightful ownership of the genre of music. For instance, the problems that Muzaffar Ali has had to face in organising Jahan-e-Khusrau at Humayun’s tomb are well known. Says Ali, “I do this festival for the sake of poetry. Some people think differently but divine intervention helps me.”
The debate amongst the singers of Sufi music may rage on till the end of time. What will, however, continue to hold the audience in thrall is the fact that this genre of music truly rocks. No matter how and in which form you hear it, it intoxicates the listener. All that the traditional singers demand is perhaps a share in the popularity and monetary pie that the non-traditional singers attain by singing just one song of the genre, albeit packaged well. Of course, they will have to get out of their confines and interact more with the world, without purportedly corrupting their vocation’s purity. And then perhaps, peace shall prevail along the fault lines of Sufi music.
1HAZRAT NIZAMUDDIN AULIYA’S DARGAH
CHAND NIZAMI SAHAB (above, centre) sings at the dargah of Nizamuddin Auliya (1238-1325), one of the best-known Sufi saints of the Chishti order. Nizamuddin was born in Badayun, Uttar Pradesh, but moved to Delhi as a child. He was a disciple of Fariduddin Ganj-e-Shakar, or Baba Farid, who lived in Ajodhan (modern-day Pak Pattan in Pakistan). Nizamuddin’s most famous disciple was the poet Amir Khusrau, who also lies buried at the dargah.
JAHAN-E-KHUSRAU CALENDAR
February 25: Mushaira, ICCR Auditorium, Azad Bhavan, IP Estate, 6.30 p.m. February 26: Sanam Marvi & Samander Khan and group to perform with Rabbi Shergill, Arab Ki Sarai, 6.30 to 9 p.m. February 27: Sufi film show, ICCR Auditorium, Azad Bhawan, IP Estate, 11.30 a.m. February 27: Ghazal singer Radhika Chopra and Turkish musician based in the US Omar Faruk Tekbilek sing at Arab Ki Sarai, 6.30 to 9 p.m. February 28: Sufi film show, ICCR Auditorium, Azad Bhawan, IP Estate, 11.30 a.m. February 28: Contemporary dancer Astad Deboo, Awadhi- Bhojpuri singer Malini Awasthi and Pakistani Sufi sensation Abida Parveen, at Arab Ki Sarai, 6.30 to 9 p.m
QUTUBUDDIN BAKHTIYAR KAKI’S DARGAH
THE QUTUBI brothers sing at the dargah of Khwaja Syed Muhammad Qutubuddin Bakhtiyar Kaki (1173-1235) in Mehrauli, the oldest in Delhi. The Sufi saint was a disciple and spiritual successor of Moinuddin Chishti, founder of the Sufi order named after him, which was till then confined to Ajmer and Nagaur in Rajasthan. Bakhtiyar Kaki moved to Delhi on the orders of his spiritual master some time during the reign of Iltutmish (1211-1236). The annual Urs (death anniversary of the saint) is held at this dargah with much fanfare, which includes a musical evening by the qawwals. This year, the Urs will be held on February 28-March 1.
Source: Mail Today, New Delhi
|
8:06 AM
Sultan Shahin
0 comments:
Post a Comment