Qawwali, which means ”the word” or ”utterance”, is a centuries-old Sufi tradition stretching back more than 700 years. Sufi music means music that connects with the heart. It is the music of submission and surrender that bonds humans to God and transcends all religious boundaries.

Sufi scholars conceived and developed meticulous practices to enhance this bonding with God and one such practice was the art of Qawwali. In the late 13th century, Hazrat Amir Khusraw (1253-1325), a famous Sufi saint introduced Persian and Arabic elements in South Asian and Hindustani classical music. An expert in both Indian and Persian music at the court of Al’ah Din Khilji - the Sultan of Delhi, Khusraw is credited with the introduction of two musical forms – Qaul and Tarana. Qawwali finds its genesis i both these forms. 

However, a different school of thought hints at evidence that states that Qawwali predates Hazrat Amir Khusraw. The great masters of the Chisti order of Sufis were admirers of Qawwali. One of the great Chisti Sufis, Saint Hazrat Outubuddin Bakhtiar Kaki, is said to have died in 1236 while in a musical trance induced by a Qawwali.

Whatever be the exact origin of this sublime art form, Qawwali today represents a powerful, demanding yet popular art form that has transcended boundaries of religion and nationality. Yet for all its perceived intensity and spontaneity the Qawwali does stick to certain common techniques, albeit nebulous and flexible ones. This is one art form where everything comes second to the uplifting experience of the music.

Technique

Qawwali songs usually start with alaaps. This portion is deliberately sung with no rhythm to create a trance-like atmosphere. The singer and listener is slowly coaxed into a state of higher consciousness. The world outside the music is quickly ushered away. Then the alaap is trailed with an instrumental prologue. The song slows down for a meditative passage where text is crooned by the lead vocalist or Qawwal of the group, then the notes are hurled aloft to one pronto peak after another as the singer trades melodies with Ganun (Zither), Sarangi (Violin like), Dholak, Rabab, Harmonium, Tabla and a backing lineup of male voices.

The audience moved by their elation give the vel or money to the performers as a token of appreciation. Poetry is at the core of Qawwali. During a Qawwali dialogue between the musicians and the listener is instigated. And through this dialogue the Qawwal prods his audience sometimes gently, often violently with gushing vocals, into a trance.

The words praise saints, yearn for the beloved and laud devout ecstacy. At the same time the music thrusts listeners towards that ecstasy with supreme classical singing, the erratic whirring of the instruments, gaining momentum, steady handclapping, incantatory refrains, gushes of pounding beats and towering vocal rendering. The music carries its listeners into an alternative realm of consciousness. A realm of whirling dervishes and sufis spasming in ecstasy.

Ranging from rhythmic moving of the head, dreamy dancing to convulsions of the body, the Qawwali then reaches its climax when members of the audience are drawn into the trance until the music itself comes to a grinding halt. In an ideal situation the participant/listener is moved to a state of spiritual enlightenment known as Fanaa.

The Bollywood Avatar

The tradition of Qawwali has had numerous ups and downs. It was frowned upon during the reign of Aurangzeb, a period which saw several Sufi saints butchered at the whims of the Mughal Emperor.

Qawwali shares with mystical Islam the belief that religious knowledge is not obtained only through rigidity and asceticism. There is nothing wrong with knowledge imparting pleasure or the use of congenial media to transmit knowledge and some Sufi orders subscribe to this school with relish.

Qawwali,perhaps in a second life of sorts, has come to be accepted and appreciated in the Indian film industry during the 20th century. Bollywood has been one of the major vehicles in its rise and popularity today. Indian cinema precluded the artist-audience interaction and the Qawwali modified accordingly. A typical example of a filmi qawwali is "Sharam ke Kyun Sab" from "Chaudvin ka Chand." The filmi Qawwali also set the trend for the grandiose feature presentation that one finds in modern day performances. Though, in all fairness, these seem to lack the potent audience-engulfing impact of the original. The ensuing popularity and commercialization has further helped reduce the religious or devotional aspect of this essentially spiritual genre of music.

What started in Dargahs and Mazaars centuries ago has today metamorphosed into a formidable art form. A true Qawwali lover still enjoys with glee a pure (or even almost pure) Qawwali. But today a plethora of exponents have taken the Qawwali to the global stage.

New Masters

The late Nusrat Fateh Ali Khan, Hussain Brothers with their beautiful, effortless, soft yet earthy voices, Pakistani rock band Junoon complete with the lilting sounds of their guitar, a flashy modernizer of traditional Qawwali music - Badar Ali Khan who creates songs that a rocker could love, Abida Parveen who sings Kafi songs - the female equivalent of Qawwali (which is reserved for male singers) have all given the Qawwali new life and intriguing variety.

Parveen brings profundity to the music along with flamboyance with her husky voice. Nusrat Fateh Ali Khan was attempting a globalisation of the mystic experience by collaborating with musicians from other countries and performances in countries that has no Urdu speaking tradition. Such experiments may well breathe new life into the art of Qawwali.

(Surya Ragunaathan is passionate about writing and currently writes a column for the Times of India.) 

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Qawwali, which means ”the word” or ”utterance”, is a centuries-old Sufi tradition stretching back more than 700 years. Sufi music means music that connects with the heart. It is the music of submission and surrender that bonds humans to God and transcends all religious boundaries.

Sufi scholars conceived and developed meticulous practices to enhance this bonding with God and one such practice was the art of Qawwali. In the late 13th century, Hazrat Amir Khusraw (1253-1325), a famous Sufi saint introduced Persian and Arabic elements in South Asian and Hindustani classical music. An expert in both Indian and Persian music at the court of Al’ah Din Khilji - the Sultan of Delhi, Khusraw is credited with the introduction of two musical forms – Qaul and Tarana. Qawwali finds its genesis i both these forms. 

However, a different school of thought hints at evidence that states that Qawwali predates Hazrat Amir Khusraw. The great masters of the Chisti order of Sufis were admirers of Qawwali. One of the great Chisti Sufis, Saint Hazrat Outubuddin Bakhtiar Kaki, is said to have died in 1236 while in a musical trance induced by a Qawwali.

Whatever be the exact origin of this sublime art form, Qawwali today represents a powerful, demanding yet popular art form that has transcended boundaries of religion and nationality. Yet for all its perceived intensity and spontaneity the Qawwali does stick to certain common techniques, albeit nebulous and flexible ones. This is one art form where everything comes second to the uplifting experience of the music.

Technique

Qawwali songs usually start with alaaps. This portion is deliberately sung with no rhythm to create a trance-like atmosphere. The singer and listener is slowly coaxed into a state of higher consciousness. The world outside the music is quickly ushered away. Then the alaap is trailed with an instrumental prologue. The song slows down for a meditative passage where text is crooned by the lead vocalist or Qawwal of the group, then the notes are hurled aloft to one pronto peak after another as the singer trades melodies with Ganun (Zither), Sarangi (Violin like), Dholak, Rabab, Harmonium, Tabla and a backing lineup of male voices.

The audience moved by their elation give the vel or money to the performers as a token of appreciation. Poetry is at the core of Qawwali. During a Qawwali dialogue between the musicians and the listener is instigated. And through this dialogue the Qawwal prods his audience sometimes gently, often violently with gushing vocals, into a trance.

The words praise saints, yearn for the beloved and laud devout ecstacy. At the same time the music thrusts listeners towards that ecstasy with supreme classical singing, the erratic whirring of the instruments, gaining momentum, steady handclapping, incantatory refrains, gushes of pounding beats and towering vocal rendering. The music carries its listeners into an alternative realm of consciousness. A realm of whirling dervishes and sufis spasming in ecstasy.

Ranging from rhythmic moving of the head, dreamy dancing to convulsions of the body, the Qawwali then reaches its climax when members of the audience are drawn into the trance until the music itself comes to a grinding halt. In an ideal situation the participant/listener is moved to a state of spiritual enlightenment known as Fanaa.

The Bollywood Avatar

The tradition of Qawwali has had numerous ups and downs. It was frowned upon during the reign of Aurangzeb, a period which saw several Sufi saints butchered at the whims of the Mughal Emperor.

Qawwali shares with mystical Islam the belief that religious knowledge is not obtained only through rigidity and asceticism. There is nothing wrong with knowledge imparting pleasure or the use of congenial media to transmit knowledge and some Sufi orders subscribe to this school with relish.

Qawwali,perhaps in a second life of sorts, has come to be accepted and appreciated in the Indian film industry during the 20th century. Bollywood has been one of the major vehicles in its rise and popularity today. Indian cinema precluded the artist-audience interaction and the Qawwali modified accordingly. A typical example of a filmi qawwali is "Sharam ke Kyun Sab" from "Chaudvin ka Chand." The filmi Qawwali also set the trend for the grandiose feature presentation that one finds in modern day performances. Though, in all fairness, these seem to lack the potent audience-engulfing impact of the original. The ensuing popularity and commercialization has further helped reduce the religious or devotional aspect of this essentially spiritual genre of music.

What started in Dargahs and Mazaars centuries ago has today metamorphosed into a formidable art form. A true Qawwali lover still enjoys with glee a pure (or even almost pure) Qawwali. But today a plethora of exponents have taken the Qawwali to the global stage.

New Masters

The late Nusrat Fateh Ali Khan, Hussain Brothers with their beautiful, effortless, soft yet earthy voices, Pakistani rock band Junoon complete with the lilting sounds of their guitar, a flashy modernizer of traditional Qawwali music - Badar Ali Khan who creates songs that a rocker could love, Abida Parveen who sings Kafi songs - the female equivalent of Qawwali (which is reserved for male singers) have all given the Qawwali new life and intriguing variety.

Parveen brings profundity to the music along with flamboyance with her husky voice. Nusrat Fateh Ali Khan was attempting a globalisation of the mystic experience by collaborating with musicians from other countries and performances in countries that has no Urdu speaking tradition. Such experiments may well breathe new life into the art of Qawwali.

(Surya Ragunaathan is passionate about writing and currently writes a column for the Times of India.) 

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