#all qawwali

[maester-of-spreadsheets]

Aka; an Armand playlist that only has songs from Shah Rukh Khan movies

Season 1 Episode 1: Aaya Tere Dar Par // Veer-Zaara I have broken all bonds with the world For you have come, leaving the world behind On your doorstep, your lover has come He has come, your lover has come

[Sorry for qawwali rocking. It will happen again.]

Season 1 Episode 2: Aa Tayar Hoja // Asoka Once on board the evening ship, get yourself settled in Come on, let's go! The evening shall be ecstasy The lips shall be mine but the thoughts shall be yours

[Needed at least one item number because Rashid!Armand basically served the same function as "I'm not sure what's happening here but I think I like it!"]

Season 1 Episode 3: Jaadu Teri Nazar // Darr Whether you say yes or no Whether you say yes or no Kiran, you're mine Kiran, you're mine

[Might as well throw this banger at the episode where Armand doesn't do anything but get accused of lingering.]

Season 1 Episode 4: Chaiyya Chaiyya // Dil Se Those who’ve been blessed with The shadow of love over their head, Will have heaven under their feet one day

[This claim is a little less impressive when you can float and you're immune to mediocre stars.]

Season 1 Episode 5: Chalak Chalak // Devdas This wine, this wine, yes, this wine, this wine This wine brings with itself The rain of memories It splashes and overflows This wine all around the heart

[Just here because of how often wine and blood are used as metaphors for one another and this episode has really comedically sezualized blood drinking DON'T THINK TOO HARD ABOUT HOW THE END OF THE SONG SIGNALS DOOM...]

Season 1 Episode 6: Baazigar O Baazigar // Baazigar My heart was alone You played such a game I stay up all night in your memories

[And that's a threat by the way.]

Season 1 Episode 7: Aaj Ki Raat // Don

The crazy ones are still unaware of What's going to happen tonight, What will be gained, what will be lost

[Not only is it difficult to know what Armand is doing, it's-]

Season 2 Episode 1: Tumse Milke Dil Ka // Main Hoon Na Check that! Wiiiiicked

[Or, if you prefer: "You don't know what is inside of my heart/You will remember my story."]

Season 2 Episode 2: Where's the Party Tonight // Kabhi Alvida Naa Kehna The pleasant songs are playing All lovers are misled So dance all night Where's the party tonight?

[Somewhere down the road!!!... at the combination mansion and vampire all you can eat place.]

Season 2 Episode 3: Phir Milenge Chalte Chalte // Rab Ne Bana Di Jodi I wish someone would love me, even if it’s a lie Even if it’s a lie, yes even if it’s a lie In every lifetime, the colors will change We blossom behind the curtains of dreamland We are travelers on the path of love, We’ll meet again as time goes by

[There are so many bollywood songs that make me feel like I've lived through several lifetimes, especially this one.]

Season 2 Episode 4: Ishq Kameena // Shakti Love is rotten, it has broken every heart Every lover has lost out to love, love has struck me down I find no peace, love is horrible, it makes life miserable

[Good song for an episode with everyone trying and failing to be romantic.]

Season 2 Episode 5: Dard-E-Disco // Om Shanti Om Then the fountain of grief started flowing As the balloon of my dreams burst That's why I now wander London, Paris, New York, L.A. or San Fransisco In my heart is the pain of disco

[... /Mic drop]

Season 2 Episode 6: Marjaani // Billu In the presence of God, I've also made promises I've acted according to the customs of the world Still if the world doesn't understand, then punish it If it agrees with you, then reward it If this crazy world doesn't agree to it then Let the world go to hell and die

[When you are about to be unable to prevent it :(]

Season 2 Episode 7: Dastaan-E-Om Shanti Om // Om Shanti The story goes that the one who recognizes the murderer, That lad has come back. It’s life’s way of telling the murderer That the shadow of death has surrounded him

[Just play this one in reverse because instead of using the trappings of theater to reveal the truth about an ingenue who was burned to death, we are using theater to conceal the truth about an ingenue who was burned to death.]

Season 2 Episode 8: Let's Break Up // Dear Zindagi Let’s break up, oh my love Agree to this We’ll never be able to make it work so let it go Let's break up!

[Yes, let's.]

[seekmemystar]

Balam, Pichkari that you hit me with बलम, पिचकारी जो तूने मुझे मारी

So the simple girl became a drunkard तो सीधी-सादी छोरी शराबी हो गई

Yes, you danced wearing jeans. हाँ, jeans पहन के जो तूने मारा ठुमका

So Lattu became the neighbor's sister-in-law तो लट्टू पड़ोसन की भाभी हो गई

It's your wrist, it's in your hands तेरी कलाई है, हाथों में आई है

I twisted it and it felt like cream मैंने मरोड़ा तो लगती मलाई है

This taste of cream will be expensive महँगा पड़ेगा ये चस्का मलाई का

it is good for you to fast उपवास करने में तेरी भलाई है

Yes, Bindiya, you have become pregnant. हो, बिंदिया तेरी माहताबी हो गई

If the desires of the heart become uncountable, then... दिल के अरमानों में बेहिसाबी हो गई, तो...

Balam, Pichkari that you hit me with बलम, पिचकारी जो तूने मुझे मारी

So the simple girl became a drunkard तो सीधी-सादी छोरी शराबी हो गई

Yes, you danced wearing jeans. हाँ, jeans पहन के जो तूने मारा ठुमका

So Lattu became the neighbor's sister-in-law तो लट्टू पड़ोसन की भाभी हो गई

Balam, Pichkari that you hit me with बलम, पिचकारी जो तूने मुझे मारी

So the simple girl became a drunkard तो सीधी-सादी छोरी शराबी हो गई

Yes, you danced wearing jeans. हाँ, jeans पहन के जो तूने मारा ठुमका

So Lattu became the neighbor's sister-in-law तो लट्टू पड़ोसन की भाभी हो गई

O, why is there an abuse on the lips of no vacancy? ओ, क्यूँ no vacancy की होंठों पे गाली है?

While the room in your heart is empty जबकि तेरे दिल का कमरा तो खाली है

(The room is empty, The room is empty) (कमरा तो खाली है, कमरा तो खाली है)

I know what you want मुझको पता है रे, क्या चाहता है तू

The song is yours, the intention is Qawwali. बोली भजन तेरी, नीयत कव्वाली है

This oppressor has become a ready answerer. ज़ुल्मी ये हाज़िर जवाबी हो गई

Today you have become the key to every lock, so... तू तो हर ताले की आज चाबी हो गई, तो...

here u go broski😔

i did not read all that I believe you okay I'm not reading this

[orgasming-caterpillar]

DOYH: Music Taste

Ranveer Kashyap

classical music is life (both Hindustani and Carnatic)

Lata Mangeshkar, Muhammad Rafi and Kishore Kumar fanboy to the core

will occasionally turn on a qawwali (doesnt want to admit that he's obsessed)

is very picky in english songs, but likes Hozier, Sleeping At Last, and Frank Sinatra

Raghav Patil

knows how to play acoustic and electric guitar

had a rock/punk phase in high school (only with music tho) and still likes them

boy's got Arctic Monkeys and Mother Mother in his blood

fell in love with retro bollywood music after he plugged into one of ranveer's playlists

he is… SO DRAMATIC. Like,, Rahat Fateh Ali Khan level of dramatic. Played Zaroori Tha in his head while crying in chapter 17

Madhuri Gaikwad

oh she's THAT girl

has a beautiful voice, wants to be like her favorite (Asha Bhosle)

can recite every hindi item song by heart, especially old bollywood ones. Chikni chameli? Ek do teen? Badi mushkil? Chane ke khet mein? She knows them all.

surprisingly, she also knows a lot of aartiyaan and mantras, catch her singing Madhurashtakam at any time of the day.

Manorama Shankar

MARWADI SONGS

is lowkey embarrassed by them usually, but push her onto the dance floor in a rajasthani wedding, and she's killing it on every single beat.

has a gym playlist

has a whole playlist of bollywood loverboy songs for madhuri, sings them at random times to make her blush

Shrishti Kaur

HOZIER LESBIAN

mitski too

hates mainstream bollywood songs

likes hard vocals, more for practicing than for listening because she likes pushing her limits

[zradfordhq]

Mind of Mine is the debut studio album by English singer and songwriter Zayn. It was released on March 25, 2016 through RCA Records, and was released one year after his departure from One Direction. Primarily an R&B and alternative R&B record, the album blends elements from various genres, including pop, folk, dub, soul, funk, electronic, Qawwali, hip hop, reggae, classical and soft rock. Upon release, it was met with generally positive reviews, with praise for Malik's new musical direction and his vocal performance.

The album was influenced by the music that Malik grew up with, primarily his father's urban music records, including R&B artists R. Kelly, Usher, Donell Jones, and Prince, rappers Tupac and Biggie, and reggae artists Gregory Isaacs and Yellowman, as well as Bollywood music.

He cited rapper Tupac's All Eyez on Me as the album that had the biggest impact on him, stating that it is "so real, and from a perspective of a place where somebody is not afraid to be completely 100 percent honest." He said, "as I grew up, it really helped me to understand that it’s OK to be honest with your art, because people appreciate that."

In an interview with NME, Malik explained the album's title: "It's really reflective of the whole experience that I want to give the listener. I wanted it to be almost like a brainstorm. It’s just music and it’s just whatever you’re feeling at that moment in time."

Talking about the recording sessions with Billboard, Malik's main collaborator for the album James "Malay" Ho said they have gone to unusual lengths in pursuit of inspiration, for one "we went camping for a week in the Angeles Forest – set up a generator and a tent so we could track in the woods." James Ho is a Grammy Award winning producer, whose past work includes Frank Ocean's Channel Orange and Big Boi's Sir Lucious Left Foot: The Son of Chico Dusty. "I'll come down here [the recording room] and record maybe seven songs a night," Malik told the magazine. "I’m enjoying what I’m doing. I’m not censoring myself anymore."

Ho described Malik as "pure genius" and noted that most of the vocals were recorded in just a few takes.

[sweetdreamsjeff]

Fans, friends mourn passing of Jeff Buckley

Bradley Bambarger

From: Billboard (Vol. 109, Issue 24)

 June 14, 1997

NEW YORK - Memorial services are being planned for singer/songwriter Jeff Buckley, who drowned the evening of May 29 while swimming off Mud Island in Memphis.

Buckley went down in a dangerous section of water near the Mississippi River as an undertow was caused by passing boats, according to a friend present at the scene. His body was found June 4.

An uncommonly gifted, charismatic artist, the 30-year-old Buckley inspired a rare degree of affection from associates and fans around the world. News of his tragic end has elicited waves of laments and tributes, ranging from hundreds of Internet missives to U2 dedicating a song to him at its Giants Stadium concert May 31. A public memorial is being planned for July in New York. A private service for family and close friends will be held sooner.

Buckley had been in Memphis playing a weekly residency at the club Barristers and making preparations to record his second studio album for Columbia Records. He was set to go into Easley Studios with producer/engineer Andy Wallace at the end of June. Buckley made his recording debut in 1993 on Columbia with "Live At Sin-e," a four-song EP taped live at the club Sin-e in New York's East Village, and followed that up the next year with the striking full-length "Grace."

Buckley was born in Southern California to Mary Guibert and the late folk-singing legend Tim Buckley. He barely knew his father but was raised in a musical fashion by his mother and stepfather before leaving home at 17. After living a peripatetic existence, Buckley moved to New York's Lower East Side in the early '90s and coursed his way through the downtown music circles. He eventually hooked up with former Captain Beefheart guitarist Gary Lucas in his avant-rock band Gods & Monsters.

Buckley made demos and toured with Gods & Monsters through 199192, leaving soon after to develop his art in solo club shows. His summerlong residency in '93 at the intimate Sin-e was a sensation, displaying his affinity for troubadour and torch styles as well as a tenor voice that was strong, supple, and unusually affecting.

"When I first saw Jeffat Sin-e, I felt how Jon Landau must have felt [seeing Bruce Springsteen]," says Don Ienner, president of Columbia Records (U.S.). "And it wasn't just the future of rock'n'roll I saw in Jeff but an inspired reverence for the past. He was into so much music - from gospel to qawwali, from Nina Simone to Led Zeppelin - and he was such a remarkable guitar player and amazing singer.

"We're all so devastated that he's gone," Ienner continues. "He touched his fans so deeply, and I know that of all the artists I've signed, none has moved me from the start like Jeff. The title of his record was so appropriate: He had this amazing grace. The only consolation for us is that his music will live on."

A bold, deeply felt album, "Grace" features original music that weds such disparate influences as the Smiths and the Doors, and its insightful covers range from Leonard Cohen's "Hallelujah" to composer Benjamin Britten's "Corpus Christi Carol." Buckley's own songs, particularly "So Real" and "Lover, You Should've Come Over," reveal a searching, sensitive talent. And the two signature tunes reprised from Buckley's time with Lucas, "Mojo Pin" and the title track, are examples of rock at its most transcendent.

"I consider the songs I wrote with Jeff some of the best work I've done," Lucas says. "He was a brilliant collaborator, one of the most talented people I've ever known. Playing again with him at the Knitting Factory's 10th anniversary party in February gave me shivers."

Over the years, Buckley had guested in a variety of musical settings, further demonstrating his catholic enthusiasms and abilities. He sang cafe bohemia with the Jazz Passengers, improv vocalise with John Zorn's Cobra, and 17th-century ballads at Elvis Costello's Meltdown Festival in London. He also played bass on downtown songstress Rebecca Moore's debut album, as well as on tour with the prog-rock outfit Mind Science Of The Mind. And he appeared on the latest albums by Patti Smith and Brenda Kahn and on a Jack Kerouac spoken-word disc. While in Memphis, Buckley was writing songs with members of the grunge-soul band the Grifters.

According to Ienner, Buckley had recorded more than 100 songs over the past three years at home, in rehearsals, and in the studio. That unreleased material includes a batch of demos he had worked on with former Television leader Tom Verlaine as templates for a new record. Ienner says the compilation of any future releases would include the participation of Guibert and Buckley's managers, George Stein and Dave Lory.

Lucas says he has demos and tapes of live radio broadcasts with Buckley that are of a quality typical of their efforts together. "We wrote about a dozen songs, a lot of them just as good as 'Mojo Pin' or 'Grace'," he says. "Jeff had this tremendous spirit that made the work such a thrill. And he touched everyone he came into contact with. It's a tragedy he's gone. There aren't many like him that come along. It's like a light going out."

[urdubooks24]

Sufinama: A Journey Through the World of Sufism

Sufinama: A Journey Through the World of Sufism

Sufism, an ancient mystical tradition, transcends boundaries of time and space, encompassing poets, saints, and seekers of divine love. In this comprehensive guide, we embark on a journey through the rich tapestry of Sufinama, exploring its diverse facets, from poetry and music to spiritual teachings and stories. Let us delve deep into the essence of Sufism and unravel its timeless wisdom.

Poetic Gems of Sufism: Sufi poetry, with its sublime beauty and profound symbolism, serves as a beacon of light for seekers on the path of love and devotion. From the ecstatic verses of Rumi and Hafiz to the soul-stirring couplets of Kabir and Bulleh Shah, explore the transcendent power of words that echo the longing of the human soul for union with the Divine.

1. Sufis/Sants:  The luminous souls known as Sufis or Sants exemplify the highest ideals of love, compassion, and humility. Through their exemplary lives and teachings, they illuminate the path of spiritual awakening and inspire countless seekers to tread the path of inner transformation.

2. Sant Vani: Sant Vani, the divine utterances of saints, resonates with the eternal truths of existence. Immerse yourself in the timeless wisdom of Sant Kabir, Sant Tukaram, and other revered saints as they impart profound insights into the nature of reality and the essence of divine love.

3. Sufi Qawwali: Sufi Qawwali, the soul-stirring devotional music, transports listeners to realms beyond the mundane, awakening the heart to the ecstasy of divine love. Experience the mesmerizing melodies and ecstatic rhythms that characterize this rich musical tradition, celebrating the union of lover and Beloved.

4. Sufi Kalam: Sufi Kalam, the mystical poetry set to music, serves as a vehicle for spiritual transformation and transcendence. Delve into the depths of Sufi Kalam as it weaves together themes of love, longing, and surrender, inviting listeners to embark on a journey of inner awakening and self-discovery.

5. Sufi Prose: Sufi Prose, imbued with wisdom and insight, offers invaluable guidance on the path of self-realization and spiritual enlightenment. Explore the profound teachings of Sufi masters through their timeless writings, which illuminate the mysteries of existence and the journey of the soul.

6. Persian Dictionary: A comprehensive Persian dictionary serves as a valuable resource for students and enthusiasts seeking to deepen their understanding of Sufi literature and language. Discover the richness of Persian vocabulary and delve into the nuances of mystical terminology used by Sufi poets and scholars.

7. Sufi Stories: Sufi Stories, with their allegorical wisdom and timeless moral lessons, inspire and enlighten readers of all ages. Journey through enchanting tales of love, compassion, and spiritual awakening, as recounted by Sufi masters such as Jalaluddin Rumi, Attar, and Fariduddin Attar.

8. Sufi Music: Sufi Music, with its enchanting melodies and devotional lyrics, transcends cultural boundaries and touches the depths of the human soul. Experience the transformative power of Sufi music as it evokes states of ecstasy, reverence, and divine communion, inviting listeners to immerse themselves in the ocean of divine love.

9. Conclusion: Sufinama, a tapestry woven with threads of poetry, music, and spiritual wisdom, offers a glimpse into the mystical realm of Sufism. As we conclude our journey through the world of Sufism, may we carry with us the timeless teachings and blessings of the Sufi masters, guiding us on the path of love, light, and inner peace.

[garlic-but-gay]

So many people would love dubstep if they heard literally anything past its dominant genre (brostep. Skrillex, knife party, excision, doctor p, [all artists i'm fond of btw, this isn't coming outta a place of negativity i love me some hype shit]). Like, for real. Take some time and listen to psychedelic runway (joker) or night vision (distance) or mud (loefah) or qawwali (pinch) or hypno angel (shackleton) and like, deadass just surrender to the groove. Put in your headphones, sit down, and just explore the depths of these songs i can't put it into words but if you like electronic music give this stuff a legit chance. Here's my personal favorite dubstep song

[wishesofeternity]

Zeb-un-Nisa, Aurangzeb’s eldest daughter, is born in Daulatabad in 1638 when Aurangzeb is governor of the Deccan. While Daulatabad fort dominates the horizon from a hilltop, Aurangzeb is building a new capital at Khadki town, stronghold of Jahangir’s old nemesis, Malik Ambar the ‘rebel of black fortune’. Malik Ambar is now long dead, having never allowed the Mughals to claim the Deccan while he lived. Zeb-un-Nisa, daughter of the Persian noblewoman Dilras Banu Begum, grows up in this provincial capital, far from the intrigues of the Mughal court. In the Deccan, the supremacy of her father is unchallenged and Zeb-un-Nisa is given a rigorous education under the supervision of Hafiza Mariam, a scholar from a Khurasani family. Zeb-un-Nisa is an excellent student and excels in the Arabic and Persian languages. Her father is so delighted when she recites the entire Quran from memory as a child that he gifts her 30,000 gold mohurs. In her erudition and her quick wit she is very like her aunt, Shahzaadi Jahanara, whom her father respects above all the other women of the court. When she is fifteen years old, she visits Shahjahanabad with Aurangzeb’s zenana as they return from the doomed Kandahar campaign. She is enchanted with the sparkling new city, the elegant women with their refined tehzeeb, their every gesture studied and full of grace. In the travelling court of her father, in these wildering years, it is a more pragmatic and pared down zenana but in 1658, when Zeb-un-Nisa is twenty years old, Aurangzeb deposes Shah Jahan and his household moves to Shahjahanabad.

Dilras Banu Begum, the somewhat haughty senior wife of Aurangzeb, is now dead. Even Aurangzeb, when giving marital advice to a grandson, will later admit that ‘in the season of youth’, he ‘too had this relation with a wife who had extreme imperiousness’. Since the other wives of Aurangzeb have less illustrious backgrounds, the senior women of the royal zenana are Roshanara and her eldest niece, Zeb-un-Nisa.

For twenty years Zeb-un-Nisa will be one of the most influential women of the zenana at Shahjahanabad. Her particular area of interest is poetry and literature. She collects valuable manuscripts and books and her library is one of the most extensive in the country. When Aurangzeb begins to retrench imperial patronage towards music and poetry, it is the royal women, the shahzaadas, the noblemen and then, later still, the wealthy middle class of Shahjahanabad who will continue the patronage of the arts. The governor of Shahjahanabad, Aqil Khan, is himself a poet and writes under the pen name Razi. Indeed, despite Aurangzeb’s later disfavour, Shahjahanabad fairly pulses with music. It tumbles from the kothis of the courtesans, the women thoroughly trained singers themselves, who bring Delhi Qawwali singing to mainstream attention. It vaults out of the large mansions of the newly wealthy, who prefer the lighter Khayaal and Thumri styles. In the gloaming of a tropical evening, it throbs out of the immense havelis of the princes and the noblemen, in the tenuous hold that Dhrupad still has amongst the elite of the Mughal court. And the poets keep gathering at Shahjahanabad, despite Aurangzeb’s dismissal of them as ‘idle flatterers’. They come from very far, like Abd-al-Qader Bidel, whose family is Chagatai Turkic but whose poetry so defines a phase of Shahjahanabadi poetry that he becomes Abd-al-Qader Dehlvi. Some will come from the Deccan, like Wali Dakhni, and some are born in the narrow, winding galis (lanes) of Shahjahanabad itself. They will write in Persian, in Urdu, in Braj and later in Rekhti. They will write in obscure philosophical quatrains, in flamboyant ghazals or in erotic riti styles but many will glow with the high-voltage mysticism of Sufi thought, for the ghosts of Shahjahanabad’s Sufi saints will enchant all the poets of the city.

Zeb-un-Nisa, like Jahanara who returns to court as padshah begum in 1666, is instrumental in supporting the work of writers and poets through her patronage. She supports the scholar Mulla Safiuddin Adbeli when he translates the Arabic Tafsir-i-Kabir (Great Commentary) into Persian and he dedicates the book to the shahzaadi—Zeb-ut-Tafasir. She also sponsors the Hajj pilgrimage of Muhammad Safi Qazwini. Qazwini will write an extraordinary account of his voyage, the Pilgrims’ Confidant, unique in its genre and magnificently illustrated and will dedicate it to Zeb-un-Nisa. For a few years, the courts of Jahanara and Zeb-un-Nisa will nurture this eclectic maelstrom of a culture, which has much more in common with Babur and Humayun’s camaraderie of artists than it has with Aurangzeb’s increasingly austere one. When Aurangzeb bans opium and alcohol, the easy complicity that the noblemen and padshahs shared in the ghusal khaana or the Deewan-e-khaas while drinking wine, is now forbidden. The imperial women, however, continue to drink wine, often made from grapes in their own gardens, flavoured with spices.

In 1669, Zeb-un-Nisa attends the lavish marriage ceremony of her cousin, Jaani Begum, to her brother, Muhammad Azam, at the haveli of Jahanara. There will be other weddings too: her sister Zubdat-un-Nisa will marry Dara Shikoh’s youngest son Siphir Shikoh and Mehr-un-Nisa will marry Murad Baksh’s son Izad Baksh. But for Aurangzeb’s oldest daughters, there are no more cousins to marry. There is an understanding, also, that these oldest daughters, like their aunts, possess a powerful charisma as Timurid shahzaadis and must be kept within the controlling orbit of the imperial zenana. The decades pass and still Aurangzeb rules, as resolute and restless as a young man. His sons, meanwhile, are growing old and impatient. Muhammad Akbar is Zeb-un-Nisa’s youngest brother and she is particularly close to him, as their mother Dilras Banu died soon after giving birth to him, when Zeb-un-Nisa was nineteen. The other sons are middle-aged men, and there have been skirmishes, the shahzaadas jostling for power, always subdued immediately by their unforgiving father. In 1681, when Muhammad Akbar decides to challenge his father, with the support of a Rajput alliance including the Rathors of Jodhpur, Zeb-un-Nisa is in a particularly vulnerable position.

In 1681, Jahanara dies. The imperial zenana has glowed with her ambition and talent for more than half a century. If the shahzaadas are uncertain about the future leadership of the Mughal empire, then the stakes are almost as high in the imperial zenana. Zeb-un-Nisa believes she may become the next padshah begum. She is a woman of letters, like Jahanara, with the same Sufi inclinations too. She is the eldest of the Timurid shahzaadis and presides over an astonishingly talented salon. It is time, surely, for a shahzaada to ascend the Peacock Throne as Aurangzeb is already an old man, sixty-three years old. So Zeb-un-Nisa sides with the young prince Muhammad Akbar, hoping to ensure her legacy in the next court.

But Aurangzeb is able to defeat Muhammad Akbar, using a mixture of duplicity and treachery. In the process, he discovers letters which incriminate Zeb-un-Nisa, demonstrating her ardent support for her brother. ‘What belongs to you is as good as mine,’ Muhammad Akbar writes in a letter to Zeb-un-Nisa, ‘and whatever I own is at your disposal.’ And in another letter he writes: ‘The dismissal or appointment of the sons-in-law of Daulat and Sagar Mal is at your discretion. I have dismissed them at your bidding. I consider your orders in all affairs as sacred like the Quran and Traditions of the Prophet, and obedience to them is proper.’ Muhammad Akbar is exiled to Persia, and Zeb-un-Nisa is imprisoned at the Salimgarh fort in Delhi. Her pension of four lakhs rupees a year is discontinued and her property is seized.

Very soon after this rebellion, Aurangzeb leaves Shahjahanabad for the Deccan with an entourage of tens of thousands, all of his sons and his zenana. He will never return to Shahjahanabad, which will slowly be leached of all of its nobility, craftsmen, soldiers and traders. Zeb-un-Nisa will live more than twenty years imprisoned in Salimgarh fort. She will grow old here as Shahjahanabad empties of its people and becomes a shadow of its former self. But the poets and the singers do not desert Shahjahanabad, their fortunes and their hearts are too inextricably linked to the great city, to this paradise on earth. Other patrons take over the role of the nobility, humbler people, so that a critical poet will later write:

Those who once rode elephants now go barefooted; (while) those who longed for parched grains once are today owners of property mansions, elephants and banners, (and now) the rank of the lions has gone to the jackals.

Not only do the poets remain but their poetry becomes saturated with the haunted longing and nostalgia which becomes the calling card of all the great poets of Delhi. This city of beauty and splendour, abandoned and then desecrated, and then bloodied, will inspire reams of poetry on the twin themes of grief and remembrance. In the future, one of these poets will court eternity when he writes:

Dil ki basti bhi Sheher Dilli hai;

Jo bhi guzra usi ne loota

As for Zeb-un-Nisa, she waits for Muhammad Akbar to claim the Peacock Throne but he dies, in 1703, outlived by his father. From her lonely prison on the Yamuna, the shahzaadi can see Shah Jahan’s magnificent fort. The Qila-e-Mubaarak remains locked up for decades and the dust and ghosts move in. The bats make their home in the crenelated awnings and sleep as the relentless sun arcs through the lattice windows. Bees cluster drunkenly around the fruit trees in the Hayat Baksh, the overripe fruit crushed on the marble walkways like blood. Moss skims over the canals and the pools, though the waterfall still whispers its secrets to itself in the teh khana (underground chamber) as Zeb-un-Nisa waits. Zeb-un-Nisa writes poetry while she waits for a deliverance that will never come. She is a poet of some repute, and writes under the pseudonym Makhvi, the Concealed One. This is a popular pseudonym, however, and it is difficult to establish which lines are truly written by the shahzaadi but it is likely that the following wistful and delicate lines are hers, written in the grim solitude of Salimgarh fort:

Were an artist to choose me for his model—

How could he draw the form of a sigh?

She dies in 1702, unforgiven by Aurangzeb, and is buried in the Tees Hazari Garden, gifted to her by Jahanara.

- Ira Mukhoty, “Daughters of the Sun: Empresses, Queens and Begums of the Mughal Empire”

[aashufta-sar]

Why isn't listening to ghazals and qawwalies all day every day a sport. I'd bag all the golds istg 😩

[dhwani-sangeet-mahavidyalaya]

Are you looking for the best tabla classes in Gurgaon? Look no further than Dhwani Sangeet! Whether you prefer offline or online learning, we offer top-notch tabla lessons. Our skilled and trained tabla gurus ensure an exceptional learning experience. The tabla, a vital instrument in Hindustani classical music, requires intricate finger and palm techniques to create mesmerizing rhythms. It is widely used in Bollywood, Qawwali, Bhajan, and Gazal music. Our classes cater to students of all ages, from kids to senior citizens. Learning tabla brings numerous benefits, including improved mathematical skills, self-discipline, confidence, and stress reduction. Subscribe to our YouTube channel for more musical content. Contact us now to begin your tabla journey at Dhwani Sangeet.

[thesufidotcom]

Nusrat Fateh Ali Khan's Legacy: Nusrat Fateh Ali Khan is widely regarded as one of the greatest qawwali singers of all time. He not only preserved the rich traditions of qawwali but also pushed the boundaries of the genre, experimenting with new styles and collaborating with artists from various musical backgrounds. His work continues to inspire and influence musicians even after his passing. Nusrat Fateh Ali Khan's music has had a profound impact on both Pakistani and international music scenes. His powerful vocals, improvisational skills, and ability to connect with listeners on a deep emotional level have left an indelible mark on the world of music. For Golden Voice of Nusrat Fateh Ali Khan (NFAK): Download Qawwali, Sufiana Kalaam, Hamd, Naat and Ghazal MP3 Songs click link: https://ift.tt/H0Y6RKE https://ift.tt/vR4Y7BM

[magickpagoda]

A chat I had with Chat GPT 4

What might be the result if there was a mass conversion of around 35% of the people of the United States to the Hindu faith?

If around 35% of the population of the United States converted to the Hindu faith, the effects would be far-reaching and potentially dramatic. The United States would become a much more religiously diverse country, with Hinduism becoming one of the major religions in the nation. This could lead to changes in public policy and greater acceptance and understanding of Hinduism within the United States. In addition, it could increase the number of Hindu temples, schools, and other institutions throughout the country. Finally, it could also lead to a greater appreciation of Hindu culture and traditions within the United States as more people become familiar with the Hindu faith.

How would the holiday seasons change with this happening?

The holiday seasons in the United States would likely change significantly if around 35% of the population converted to Hinduism. The major holidays celebrated in Hinduism include Diwali, Holi, and Navratri. Depending on the particular region of the United States, these holidays could become more widely acclaimed and be observed in various ways. Certain cultural and religious practices associated with these holidays could also become more prominent, such as the lighting of diyas during Diwali or the wearing of bright colors during Holi. In addition, other holidays celebrated in Hinduism, such as Raksha Bandhan, could also become more widely celebrated in certain parts of the United States.

How might fashion, music, and other cultural aspects of America change with a Hindu population of over 112 million?

With a Hindu population of over 112 million, America's fashion, music, and other cultural aspects would likely change significantly. Various traditional garments and clothing associated with Hinduism could become more popular, such as the sari for women and the dhoti for men. In addition, Hindu-inspired jewelry, such as naths, large gold nose rings, and bindis, could also become more popular.

Music related to Hinduism, such as bhajans and qawwali, could also become more commonplace in the United States, as could various other Hindu art forms such as dance, theatre, and painting. Finally, specific Hindu festivals and holidays could also become more widely celebrated in the United States, with people of all faiths participating in the festivities.

Is there any aspect of Hinduism that could never really last in America, even with such a large conversion?

The caste system, a significant part of Hinduism, could never really last in America, even with such a large conversion. The caste system divides Hindus into four main social classes and assigns each individual a place in society based on their birth. This system of social stratification is deeply entrenched in Hinduism, and many Hindus believe that one's home in the caste system is predetermined by birth. In the United States, however, such a system of social stratification would be highly unpopular and would likely not be accepted by most of the population.

On the whole, what would be the main changes brought about in America and the world by this American Neo-Hinduism?

The main changes brought about in America and the world by a new American Neo-Hinduism would likely be a greater acceptance and understanding of Hinduism, both in the United States and globally. This could lead to an increased appreciation of Hindu culture, traditions, and beliefs as more people become familiar with Hinduism. In addition, there could be a greater focus on religious tolerance and acceptance in the United States as the population becomes more diverse. Finally, the spiritual and cultural landscape of the United States would be significantly impacted, as Hinduism would become one of the major religions in the nation.

What might be the significant conflicts to arise between the American Hindu converts and the remaining Christian, secular, and other non-Hindu parts of America?

The major conflicts that could arise between the American Hindu convert and the remaining Christian, secular, and other non-Hindu parts of America would likely be related to religious and cultural differences. For example, there could be disagreements over issues such as religious education, the public display of religious symbols, the acceptance of Hindu holidays, and the rights and privileges of Hindus in the United States. Additionally, there could be disputes over the interpretation of specific religious texts and beliefs and the role of religion in public life. Finally, there could also be conflicts between Hindus and non-Hindus over various social and political issues.

What would be the five main conflicts between the new American Hindus and non-Hindus socially and politically in America?

Disagreements over religious education and the public display of religious symbols.

Conflict over the acceptance of Hindu holidays in the United States.

Disputes over the interpretation of religious texts and beliefs.

Conflicts over the role of religion in public life.

Clashes between Hindus and non-Hindus with mistaken ideas about what Hinduism is..

Any non-A.I. human thoughts on this "what if" concept?

[burlveneer-music]

Electric Sufi - Breathe In Love

This is Breathe in Love, the new album by Electric Sufi. A first single 'O Ignis Spiritus' will be released on 1 February 2023, the album will be released later that year.

Electric Sufi are Sheffield based Professor of Music and Sound Archaeologist at Huddersfield University Rupert Till, Manchester based singer-songwriter and environmental activist Sarah Yaseen and Nottingham based multi-instrumentalist / University lecturer Mina Mikhael Salama.

Rupert has produced ambient dance, chillout and electronic music under the the moniker Professor Chill throughout his career, including the album Dub Archaeology released in 2018. He’s also written the book Pop Cult which delves into the mysteries of music and spirituality, participated in the BBC TV series Civilisations as well as numerous other TV and radio shows, plus written articles in The Quietus, Huffington Post and New Scientist. His extensive research projects have been wide and varied, covering a multitude of subjects ranging from ‘The influences of Religion on British Club Culture and Electronic Dance music’ to ‘Sound Archaeology, Acoustics and Cave Art’.

Sarah, whose family roots are in Kashmir, is known in world music circles as a singer in UK Womad favourites Rafiki Jazz and Danish all-woman ensemble Radiant Arcadia. In Electric Sufi she sings in Urdu, Punjabi, Persian, Latin and English – and by doing so, draws upon a wide range of cultural influences. Inspired by Qawwali (Islamic devotional singing from India) and Ghazals (Arabic poetry), she has one foot firmly placed in a contemporary multicultural world and the other in the ancient lyrical and musical traditions on which she draws.

Mina, a Coptic Christian from Alexandria, Egypt, came to the UK as a refugee, taking asylum here from persecution in his homeland. He has since contributed much to UK culture through his performances at WOMAD, Edinburgh Festival, The Southbank, London as well as Cardiff, Leicester, Manchester and beyond. Along with Rupert, Mina has also contributed to the BBC TV series Civilisations where he demonstrated a 30,000-year-old Isturitz Vulture bone flute. On an international level, Mina has contributed to the music score on Disney’s Aladdin, directed by Guy Richie and starring Will Smith, Mena Massoud and Naomi Scott.

With a first performance at Bradford’s Kala Sangam Arts Centre, which received much applause from a diverse audience, this trio brings much collectively and individually to the Electric Sufi sound, resulting in a rich tapestry of cultural and musical layers of influence that their album Breathe In Love explores in much detail. Their modern interpretation of O Ignis Spiritus is a wonderful introduction to this enchanted world and their message of hope.

[pct-zindabad]

Cricket & Qawwali

𝘖𝘴𝘮𝘢𝘯 𝘚𝘢𝘮𝘪𝘶𝘥𝘥𝘪𝘯 𝘦𝘹𝘱𝘭𝘰𝘳𝘦𝘴 𝘵𝘩𝘦 𝘶𝘯𝘪𝘲𝘶𝘦 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘗𝘢𝘬𝘪𝘴𝘵𝘢𝘯𝘪 𝘤𝘳𝘪𝘤𝘬𝘦𝘵 𝘢𝘯𝘥 𝘘𝘢𝘸𝘸𝘢𝘭𝘪:

“Briefly – and dryly – Qawwali is a form of devotional music, originating centuries ago but in the form that we now know it in around the 13th century by one order of the Sufis. (Sufism is a practice of Islam but, with its modern puritanism belt much loosened, it asks for a more personalised relationship with God.) Generally but not exclusively, the lyrics will be the work of great Sufi poets, rendered in soaring, shrieking voices but to bare music: a tabla or dhol for a beat, a wheezing harmonium for rhythm, and the clapping of an entourage. The voice, the clapping, the chanting: these are the structural planks. But the spiritual base is the most important because Qawwali is not just music. To those versed, it is a call to prayer, to ritual, to contemplation, to faith, to hope, to despair, to love, to mourning, to celebration. Other music, especially modern music, asks you primarily to listen. Qawwali asks that you submit, that you immerse yourself. Otherwise it asks – and gives – you nothing.

Taken casually, it can be a mood thing. Sometimes it’s left me flat, a mish-mash of voice and noise that, to an ear attuned to Western music, is too disparate and incoherent. But sometimes – live especially and, thus, raw – it catches. Maybe it’s the right lyric or the force of repetition but then – forget mind, body and soul – it can set fire to eternity.

The more I thought about it, the more apparent Qawwali became as a revelatory point of reference for Pakistan’s cricket in those spells. Is it too crazy? I spoke to Abu Mohammad, one of the country’s leading Qawwals (better known alongside his brother Fareed Ayaz) about it. I’m not sure that the argument struck him immediately but, by the end of our conversation, as he promised to send me articles from 2005 (when former President Pervez Musharraf, the Pakistan cricket team and Mohammad and his troupe were all in Delhi together) linking Qawwali and cricket, I thought he might have warmed to it.

There were two questions I really wanted to put to him. Could it be said, I asked, that to the uninitiated, a Qawwali can sometimes feel like a living, breathing but random collection of voice and sound until, suddenly at one moment, it surges together. And then transformed, it becomes momentarily a single, powerful force. (Take also, I thought but didn’t ask, the alaap, that sudden vocal burst in a Qawwali. Is that not exactly like a riff of wickets by one bowler from out of nowhere, at odds with everything that has gone before?)

But it was the next question, about haal, that had really gnawed away in my head. The literal meaning of haal is state, as in a state of being, and it can refer to a number of different states. But it has come to be interpreted, more often than not, as one ultimate state of ecstasy, much sought after but rarely achieved, in man’s journey to get closer to God. “In the ecstatic state,” explains Idries Shah in his book Oriental Magic, “Sufis are believed to be able to overcome all barriers of time, space and thought. They are able to cause apparently impossible things to happen merely because they are no longer confined by the barriers which exist for more ordinary people.”

One of the primary objectives of Qawwali is to attempt to bring the performer as well as the listener to haal. Mohammad recites a Sufi poem and then says: “The state of haal is such that if you, God willing, get there in a gathering, after coming back from haal, you will not be able to describe or explain the feeling. This is just that state that only he knows who has experienced it. Haal or wajd [the literal translation for ecstasy] is such a state that comes to that man and takes him to the goal that he has been in search of all his life. Then he is not with himself, he has reached somewhere else.”

Is there a moment in live performances when you can identify that haal has been achieved? “No, no, no. You cannot identify this moment [haal ultimately can only be granted to you, you have no control over its arrival]. Sometimes it is the traditional chant Allah hu and it happens, sometimes a verse like Dam a dam mast qalandar and it’s there. This is dependent on the individual and their state of existence, the mood of the moment, where their point of thinking is taken from.”

“The entire tournament was, for Pakistan, like a Qawwali itself: disparate, floating aimlessly initially before suddenly coming together with such force that they became the best in the world”

This isn’t so radical a connection because, from the off, the concept of haal struck me as a familiar one. In a way it’s what all athletes strive towards. Only in sports they call it “the zone”, that state of supreme focus which sees athletes perform for periods at the very peak of their potential. How similar is it? Well. Dr Roberta Antonini Phillipe, a sports psychologist at the Institute of Movement Sciences and Sports Medicine, University of Geneva, says that when a player is in the zone, it is like being in a trance.

“The zone is when your mind fully connects with achieving a goal,” she explains. “When you’re in the zone your mind only processes the thoughts and images that help you execute your task successfully. In that state of mind the athlete explains that he has positive thoughts, positive images and sometimes also music in his head.”

The trope that the zone has spiritual components and implications is not unexplored. The psychologist Andrew Cooper did so in his 1998 book Playing in the Zone: Exploring the Spiritual Dimensions of Sports. Cooper is a devout student of Zen. “The zone is the essence and pinnacle of the athletic experience, for it reveals that, at their root, sports are a theatre for enacting the drama of self-transcendence,” he writes. “Athletes and fans alike, focused as we so often are on the game of winning and losing, miss the deeper significance that is right before our eyes. But in the zone, the extraordinary capacities that lie within each individual are made manifest. To grasp this hidden dimension is to transform the very meaning of athletic play.”

“Net practice and training – the rehearsed recordings of sport – are generally imprisonment for Pakistani players”

Where haal deviates from the zone is in the idea that the latter can be sought, that through a series of steps or rigorous preparation and practice it can be achieved. Many sports psychologists – but not all – believe that using different techniques of visualisation, goal-setting and self-motivation can help athletes to achieve and stay in the zone. Pakistan employs no such techniques and never has done. Just as Abu Mohammad says that Qawwali rehearsed and recorded in a studio is the imprisonment of the form, so it is with Pakistan. Net practice and training – the rehearsed recordings of sport – are generally imprisonment for Pakistani players. That is not where they shine. For them, as with Qawwali, it happens live and it happens unprepared. Enlightenment, goes one saying of Zen, is an accident, as it could be in haal and as it is in Pakistan cricket.

There are other points to consider in Pakistan’s deviation. How often, for example, do you hear of a group of athletes going into the zone collectively? It can and does happen. According to Ed Smith, Mike Brearley recently described a team in a zone: “Each player breathes in the others at their best, is strengthened by that identification, and gives off similar vibes to the rest of the team.” Choking, almost an opposite of the zone, does spread through teams. But the most striking aspect of Pakistan’s haal is the effect it has on the spectator. When Pakistan achieve haal, to be there live is to almost achieve haal yourself, in unison, as is the hope of every performance of Qawwali.

The Abu Dhabi Test win over England in January 2012, to pull out just one instance, managed this. I wrote a piece in which briefly I wondered about haal and Sufism. One spectator, part of the English travelling support, read it and wrote in. “As part of the visiting England fan base we sat yesterday in awe of what unfolded. Seldom do you see a side in any form of cricket dismantled in two hours of play. What struck many of us – and we have all played the game throughout our lives – was the seeming inevitability of what was about to unfold. From the very start of the England second innings one could sense a quiet but definite shift in ownership of the moment, something beyond the playing conditions and the participants solely. It was like karma, strange as that may sound. Your article summed up the sense of ‘other worldliness’ some of us felt.”

In other words, submission. Because, finally, what Pakistan are doing in these moments is asking you to submit. They are asking you, opponent and spectator, to submit to their reality, their chaos, their unplanning, their spur of the moment, their pox, their talent, their wretchedness, their beauty, their spirit. They are inviting you to dance with them. Except that it isn’t just a dance. It is the dance of that great Sufi poet, Jalaluddin Rumi:

“Dance, when you’re broken open.

Dance, if you’ve torn the bandage off.

Dance in the middle of the fighting.

Dance in your blood.

Dance when you’re perfectly free.”

[greenleafservices]

Greenleaf Service Apartments in East Delhi

Experience luxury and convenience at Greenleaf Service Apartments in East Delhi. Perfect for short or long stays, our fully furnished apartments offer modern amenities and a prime location. Contact us today at 8383915342 to book your stay.

Welcome to Greenleaf Apartments: Your Home Away from Home in East Delhi

When it comes to finding the perfect service apartment in East Delhi, look no further than Greenleaf Apartments. Our premium accommodations are designed to provide guests with the ultimate experience in comfort, style, and convenience. Whether you’re traveling for business or leisure, our fully furnished service apartments cater to all your needs.

Why Choose Greenleaf Apartments?

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Prime Location: Situated in the heart of East Delhi, our apartments offer easy access to major business districts, shopping centers, and cultural attractions. Whether you want to explore the vibrant markets of Lajpat Nagar or enjoy a peaceful stroll in the nearby parks, everything is just a stone's throw away. The strategic location also makes commuting effortless, with well-connected metro stations and bus routes nearby.

Fully Equipped Kitchens: Our service apartments come with fully equipped kitchens, allowing you to prepare your favorite meals at your convenience. With modern appliances, cookware, and dining essentials, you can enjoy home-cooked meals or quick snacks anytime you desire.

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Exceptional Service: Our dedicated staff is committed to providing top-notch service to ensure your stay is as comfortable as possible. From housekeeping to concierge services, we are here to assist you with anything you may need. If you have special requests or require assistance during your stay, don’t hesitate to reach out to us at 8383915342.

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Explore East Delhi from Greenleaf Apartments

Staying at Greenleaf Apartments not only gives you access to luxury accommodations but also allows you to explore the vibrant culture of East Delhi. Here are a few attractions you can visit during your stay:

Akshardham Temple: A stunning architectural marvel, Akshardham Temple is a must-visit for anyone in Delhi. Experience the rich history and spiritual ambiance that this temple offers.

Lajpat Nagar Market: Indulge in some retail therapy at this bustling market known for its affordable fashion, accessories, and home decor. It's a great place to find unique items and experience the local culture.

Nizamuddin Dargah: Visit this famous Sufi shrine to experience the spiritual atmosphere and enjoy the beautiful Qawwali performances that take place regularly.

Humayun's Tomb: A UNESCO World Heritage Site, this magnificent mausoleum is a stunning example of Mughal architecture. The lush gardens surrounding the tomb make it a perfect spot for a leisurely walk.

Food Lovers' Paradise: East Delhi is renowned for its diverse culinary scene. From street food to fine dining, indulge your taste buds with an array of flavors. Don't miss out on trying local delicacies and famous eateries in the area.

Contact Us Today

If you’re looking for a service apartment in East Delhi that combines luxury, convenience, and affordability, look no further than Greenleaf Apartments. Our commitment to excellence ensures that your stay will be memorable and comfortable.

[sweetdreamsjeff]

Liner Notes for Nusart Fateh Ali Khan's "The Supreme Collection Volume 1"

Caroline Records is releasing "The Supreme Collection Volume 1" from Nusrat Fateh Ali Khan & Party on August 26, featuring liner notes written for this collection by Jeff Buckley in 1996.

In his notes, Buckley writes: "The first time I heard the voice of Nusrat Fateh Ali Khan was in Harlem, 1990. My roommate and I stood there, blasting it in his room. We were all awash in the thick undulating tide of dark punjabi tabla rhythms, spiked with synchronized handclaps booming from above and below in hard, perfect time. I heard the clarion call of harmoniums dancing the antique melody around like giant, singing wooden spiders. Then, all of a sudden, the rising of one, then ten voices hovering over the tonic like a flock of geese ascending into formation across the sky. Then came the voice of Nusrat Fateh Ali Khan. Part Buddha, part demon, part mad angel... his voice is velvet fire, simply incomparable. Nusrat's blending of classical improvisations to the art of Qawwali, combined with his out and out daredevil style and his sensitivity, outs him in a category all his own, above all others in his field.... For the true Qawwali, all meanings of the music exist simultaneously and there is no need of purpose for religious dogma. There is only the pilgrimage to the light within the heart, which is the home of God. There is only a pure devotion and a fierce virtuosity to grow wings and soar through music. To plant a kiss on the eyes of Allah and then sing His loving gaze back into the hearts of Man."

In the wake of Buckley's recent tragic death by drowning, Caroline has dedicated this collection to his memory.

Nusart Fateh Ali Khan's "The Supreme Collection Volume 1"

THE COMPLETE LINER NOTES:

"The first time I heard the voice of Nusrat Fateh Ali Khan was in Harlem, 1990. My roommate and I stood there, blasting it in his room. We were all awash in the thick undulating tide of dark punjabi tabla rhythyms, spiked with synchronized handclaps booming from above and below in hard, perfect time.

I heard the clarion call of harmoniums dancing the antique melody around like giant, singing wooden spiders. Then all of a sudden, the rising of one, then ten voices hovering over the tonic like a flock of geese ascending into formation across the sky.

Then came the voice of Nusrat Fateh Ali Khan. Part Buddha, part demon, part mad angel...his voice is velvet fire, simply incomparable. Nusrat's blending of classical improvisations to the art of Qawwali, combined with his out and out daredevil style and his sensitivity, outs him in a category all his own, above all others in his field.

His every enunciation went straight into me. I knew not one word of Urdu, and somehow it still hooked me into the story that he weaved with his wordless voice. I remember my senses fully froze in order to feel melody after melody crash upon each other in waves of improvisation; with each line being repeated by the men in the chorus, restated again by the main soloists, and then Nusrat setting the whole bloody thing alflame with his rapid-fire scatting, turning classical Indian Solfeggio (Sa, Re, Gha, Ma, Pa, Dha, Ni) into a chaotic/manic birdsong. The phrase burst into a climax somewhere, with Nusrat's upper register painting a melody that made my heart long to fly. The piece went on for fifteen minutes. I ate my heart out. My roommate just looked at me knowingly, muttering, "Nusrat...Fa-teh...A-li...Khaaan," like he had just scored the wine of the century. I felt a rush of adrenaline in my chest, like I was on the edge of a cliff, wondering when I would jump and how well the ocean would catch me: two questions that would never be answered until I experienced the first leap.

That is the sensation and the character of Qawwali music, the music of the Sufis, as best I can describe it.

In between the world of the flesh and the world of the spirit is the void. The Qawwali is the messenger who leaps empty-handed into the abyss and returns carrying messages of love from the Beloved (Allah). These messages have no words, per se, but at the high point of a Qawwali performance, they come in bursts of light into the hearts and minds of the members of the audience. (Of course, by that time the whole house is either hanging from the rafters, or dancing.) This is called Marifat, the inner knowledge, and it is in the aim of the Qawwali tradition to bring the listener into this state: first through the beauty of the poetry and the weight of its meaning; then, eventually, through the Qawwali's use of repetition; repeating the key phrases of the poem until the meaning has melted away to reveal the true form to the listener. I've seen Nusrat and his party repeatedly melt New Yorkers into human beings. At times I've seen him in such a trance while singing that I am sure that the world does not exist for him any longer. The effect it has is gorgeous. These men do not play music, they are music itself.

The texts from which traditional Qawwals are sung come from the works of the great sufi poets: Bulle Shah (1680-1753), Shams Tabrez (d. 1247), Shah Hussain (1538-1599), and the great Sufi poet and scholar, Amir Khusrav (1253-1325), who was the inventor of Qawwali itself. These texts are devotional, of course, meaning poems of worship for Allah (Hamd) and the prophet Muhammad (N'ati-Sharif). There are also love poems (ghazals), where a more secular romantic interplay is happening between man and woman (which I can dig). The Qawwali's, however, see ghazals as a metaphor between Man and the Divine. They don't care about which meaning was derived from where. In the true Sufi way, through their music, any meaning that is needed by the listener is there for the listener to absorb. For the true Qawwali, all meanings of the music exist simutaneously and there is no need of purpose for religious dogma. There is only the pilgrimage to the light within the heart, which is the home of God. There is only a pure devotion and a fierce virtuosity to grow wings and soar through music. To plant a kiss on the eyes of Allah and then sing His loving gaze back home into the hearts of Man."

Source: Jeff Buckley, New York, 1997

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