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But in the context of qawwali, these songs of intoxication and yearning use secular metaphors to poignantly express the soul's longing for union with the Divine, and its joy in loving the Divine. In the context of that genre, the songs are usually taken at face value, and no deeper meaning is necessarily implied. In fact, in India and Pakistan, ghazal is also a separate, distinct musical genre in which many of the same songs are performed in a different musical style, and in a secular context. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. There are two extended metaphors that run through ghazals - the joys of drinking and the agony of separation from the beloved. Once again, this would typically be sung only at a Shi'a concert.Ī ghazal is a song that sounds secular on the face of it. There is usually at least one manqabat in a traditional programme.Ī marsiya is a lamentation over the death of much of Imam Husayn's family in the Battle of Karbala. If one is sung, it will follow right after the naat. Interestingly, manqabats in praise of Ali are sung at both Sunni and Shi'a gatherings.
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The opening hamd is traditionally followed by a naat.Ī manqabat is a song in praise of either Imam Ali or one of the Sufi saints. Traditionally, a qawwali performance starts with a hamd.Ī naat is a song in praise of the Prophet Muhammad. Qawwalis are classified by their content into several categories:Ī hamd is a song in praise of Allah. The central themes of qawwali are love, devotion and longing (of man for the Divine). The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki.
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Although famous throughout the world, its economic and spiritual hub remains the Punjab province of Pakistan from where it gained entry into the mainstream commercial music industry and international fame. Often listeners, and even artists themselves, are transported to a state of wajad, a trance-like state where they feel at one with God, generally considered to be the height of spiritual ecstasy in Sufism.
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Qawwali music received international exposure through the work of the late Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Originally performed mainly at Sunni Sufi shrines throughout the subcontinent, it has also gained mainstream popularity. It's a vibrant musical tradition that stretches back more than 700 years. Qawwali (Urdu/Persian: قوٌالی Punjabi/Multani: ਖ਼ਵ੍ਵਾਲੀ, قوٌالی Brajbhasha/Hindi: क़व्वाली) is a form of Sufi devotional music popular on the Indian subcontinent. No Urus is complete without Qawwali rendition in music and vocal praising the Holy Saint and his Holy Shrine.Īnd the qawwals get handsomely paid by the crowds, but more than money the Qawwals to seek the blessiings of the Holy Saint to achieve success in Bollywood or shows all over the world. Qawwali is the staple diet of the devotees who come to pay their salutations to the Dargahs during the annual Urus. Every Sufi Dargah is incomplete without Qawwals and their quintessential Qawwali.be it Makhdoom Shah Baba at Mahim,or Khwajah Garib Nawaz at Ajmer or Nizamuddin Aulia in Delhi.