Celebrating the birthday of Farid Ayaz today, I'd like to share this beautiful clip of Ghalib's poetry from a Karachi home recital shared by Junaid Zuberi.
Aah ko chaahiye ik umr asar hone tak
kaun jiitaa hai terii zulf ke sar hone tak
Ham ne maanaa ke taghaaful na karoge lekin
Khaak ho jaayen ge ham tum ko khabar hone tak
Gam-e-hastii kaa 'Asad' kis se ho juz marg ilaaj
shammaa har rang mein jaltii hai sahar hone tak
Posted again after the comment from Asif Hasnain from Vienna.
"Just beautiful, both the kalaam and the rendition. Transports the listener. The power of love of music, of the creator, of life, of the eternal. Thank you for this wonderful post, which I came across just now. " Asif Hasnain.
There was a beautiful mood created that night which can be felt through this particular ghazal. Both the qawwals and the audience were in heaven and feeding off each other. The style (andaaz-e-bayan) takes me back to other recitals I heard during my childhood.
______________________________________
Qawwali Recital at The Noor Cultural Centre, Toronto - 2008
Kalam: Hazrat Shah Niyaz (1742-1834).
Ishq mein tere koh-e-gham sar pe liya jo ho so ho
aesh-o-nishaat-e-zindagi chhord diya jo ho so ho
Laag ki aag lagte hi, Bamba namad yeh jal gaya
Rakht-e-wojood-e-jaano tak kuchh na bacha jo ho so ho
Aql ke Madrase se uth, Ishq ke Maikade mein aa
Jaame Fanaa-o-Bekhudi ab to Piya jo ho so ho
Hijr ki jo museebatein, arz kiin uske rubaru
Naazo adaa se muskura, kehne lagaa jo ho so ho
Hasti ke is saraab mein, Raat ki Raat bas rahe
Subhe Adam Huaa Numoo, Paaon Uthaa jo ho so ho
________________________________________
Translation: Saqib Mumtaz Mountains of agony, i bear in your love now, come what may. The luxuries of life, i forsake now, come what may.
In the fervor of love, the threads of being seared, the fabric of body, form, self; all charred now, come what may.
Rise from the seminary of reason, enter the tavern of love From chalice of annihilation and selflessness, drink now, come what may.
The pangs of seperation, I bared before the beloved With an airy smile said, "now, come what may."
In the mirage of this body, I seek the night only And if Adam appears with the morning, I could raise the feet, come what may!
Thanks to Zahid Khan & Atique Azad and last but least the
Noor Cultural Centre
Listen to the (ney) reed flute, how it tells a tale of separation,
I want a bosom torn by severance, that I may unfold the pain of love desire,
In every company I uttered my wailful notes,
I consorted with the unhappy and with them that rejoice,
Everyone became my friend from his own opinion;
none sought out my secrets from within me,
My secret is not far from my plaint,
but ear and eye lack the light (to apprehend it)
Body is not veiled from soul nor soul from body,
yet none is permitted to see the soul."
This noise of the reed is fire, it is not wind;
whoso has not this fire may he be naught!
'Tis the fire of Love that is in the reed,
'tis the fervour of love that is in the wine.
The reed is the companion of everyone who has been parted from a friend:
its strains pierced our hearts.
Who ever saw a poison and an antidote like the reed?
Who ever saw a sympathizer and a longing lover like the reed?
The reed tells of the Way full of blood and recounts stories of the passion of Majnun.
Only to the senseless is this sense confided:
the tongue hath no customer save the ear.
In our woe the days (of life) have become untimely:
our days travel hand in hand with burning griefs.
If our days are gone let them go! - 'tis no matter.
Do Thou remain, for none is holy as Thou art!
Whoever is not a fish becomes sated with His water;
whoever is without daily bread finds the day long.
None that is raw understands the state of the ripe:
therefore my words must be brief. Farewell.
~ Rumi
As well as of course our deep and undying gratitude to Mevlana Jalaluddin Rumi for this and the
following pages we are grateful to the following persons:
Transliteration - courtesy of Goli Amini Rad. (Iran)
Translation by professor R.A. Nicholson.
The Persian manuscript is 'the old version' as used by Professor Nicholson when correcting his
original translation. *Those concerned with a more sophisticated transliteration may like to try the excellent Dar al-Masnavi website. JMZ
beshno az ney chon hekaayat mikonad,
az jodaayee ha shekaayat mi-konad,
kaz neyestaan ta maraa bebrideh and,
dar nafiram mardo zan naalideh and,
sineh khaaham sharheh sharheh az faraagh,
ta begooyam sharheh dardeh eshtiyaagh,
har kasi ku door maand az asleh khish,
az jooyad roozegareh vasleh khish,
man be har jamiyati naalaan shodam,
jofteh bad haalaano khosh haalaan shodam,
har kasi az zanneh khod shod yaareh man,
az darooneh man najost asraareh man,
serreh man az naaleyeh man door nist,
lik chashmo goosh ra aan noor nist,
tan zeh jaano jaan zeh tan mastour nist,
lik kas ra dideh jaan dastour nist,
aatash ast in baangeh naayo nist baad,
har keh in aatash nadaarad nist baad,
aatasheh ishq ast kandar ney fetaad,
jooshesheh ishq ast kandar mey fetaad,
ney, harifeh har keh az yaari borid,
pardeh hayash pardeh hayeh ma darid,
hamcho ney zahri o taryaqi keh did?
hamchon ney damsaaz o moshtaqi ke did?
ney hadiseh raheh por khoon mikonad,
qesseh hayeh eshq e majnoon mikonad,
mahrameh in hoosh joz bihoosh nist,
mar zaban ra moshtari joz goosh nist,
dar ghameh ma rooz ha bigaah shod,
rouz ha ba souz ha hamraah shod,
rouz ha gar raft gu ro baak nist,
to bemaan , ey aankeh chin to paak nist,
har keh joz maahi zeh aabash dir shod,
har keh bi roozist, roozash dir shod,
dar nayaabad haaleh pokhteh hich khaam,
pas sokhan kootaah baayad, vassalaam.*
For Farid Ayaz lovers this will be a true delight. I was completely bowled over seeing this 40 year old video of Qawwal Faird Ayaz performing with such confidence and ease when he was around 19 or 20 years old. Lovely takrar and tarz, accompanied by passionate singing and the grand master Munshi Raziuddin lost in the love for the Divine and the sheer pleasure of leading such a fabulous qawwal party.
Ya Rassool-Allah, Ya Rassool-Allah
Nigah-e-lutf ka mushtaq, aye sarkar mein bhi hun
Tumhari nargis-e-bimar ka bimar, mein bhi hun
Buron se bhi bura hun mein, magar aye Rehmat-e-alam
Tumhara naam leva, ik zaleel-o-khwar mein bh hun.....
Chaap Tilak is probably one of the all time popular kalams of Hazrat Amir Khusrau. Every qawwal has probably sung it due to its popular appeal.
This soulful rendition is special because it contains many appropriately inserted verses of poetry.
Similar to other forms of folk singing, qawwali has has an earthy and raw sound in the way it is sung. No one recital of a specific poetry is exactly similar to the other due to the constant improvisation, so sit back and enjoy this one.
The Poetry and Translation that are all part of this rendition
Meri Aankhon Se Mere Dil Mein Uttar Kar Daikho - anyone know the poet?
______________________________________________________ Mir Taqi Mir
'Mir' in Neem Baaz Aankhon Mien
Saari Masti Sharaab ki Si Hai.
Eng Trans:
'Mir' in Those Half Open Eyes
The Intoxication is Just Like Sharaab.
____________________________________ Hazrat Amir Khusrau
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Eng Trans:
You've taken away my looks, my identity, by just a glance.
By making me drink the wine of love-potion,
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.
I give my life to you, Oh my cloth-dyer,
You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.
____________________________________ Hazrat Sultan Bahu
Alif Allah Chambe Dee Bootee
Murshid Man Wich Laee Hoo
Nafee Asbaat Da Panee Milia
Har Rage Har Jaee Hoo
Eng Trans: (JR Puri)
My Master has Planted in My Heart
The Jasmine of Allah's Name
Both My Denial that the Creation is Real
And My Embracing of God, the only Reality
Have Nourished The Seedling Down to its Core
___________________________________________ Maulana Jalaluddin Rumi (604-672A.H) had touched the story of 'Ruh' 'Spirit' or 'Soul' by stating the pangs of departing 'Ruh' or 'Spirit' from its real source.
Bishno az nay Chun Heekayat Meekunad
Az Juda’i ha Shikayat Meekunad
Eng trans:
Listen to the flute, how it relates the story
Complaining about the Separation (from the real source)
___________________________________________ Baba Bulleh Shah
Ilmon Bas Kar Oo Yaar
Tainu Ikkoi Alaf Darkar
Eng Trans:
Forget the pride in your knowlege, O friend.
One ‘Alif’ is all you need (for unity with the Devine)
___________________________________________ Kabir Das
Sun Kabira, Bansuri Kahe Niraalee Baat
Nagar Dhandora Peet-ti, Hai Chhoota Pee Ka Saath
Eng Trans:(Farah Aziz)
Listen Kabir, to the flute's unique lament
announcing everywhere that it is parted from the beloved
______________________________________________
Ab mori naiyya paar karo tum Hazrat Nizaamuddin auliyaa ab mori dukh darid(r)a sab door karat hai Tanras Khan ke leeje Khabariya Ganj-e-shakar ke hooN laRaiyaa ab mori
Translation: Oh! Honorable Nizamuddin take my rocking boat to the shore of the river. Save your devotee Tanras Khan (the poet) from sorrow, poverty and miseries of life
Kabir has been sung with such abandon here. The visual experience is almost as intense as the poetic one. The essence of Kabir's words comes through beautifully in the recital by Farid Ayaz Qawwal.
The video is part of a larger project of research on the 15th century mystic poet Kabir. The compilation of clips is from the film "Had Anhad" produced by Shabnam Virmani of The Kabir Project, Bangalore.
@ 7.34 he sounds exactly like his father and ustad Munshi Raziuddin. Made me smile as I observed that. During the film at one point he said something to the affect that "mera Kabir to ye hein" pointing towards his fathers picture on their living room wall. ustaad ka ehteraam aur muhabbat.
Amir Khusrau's Love Poetry sung by Farid Ayaz & Abu Muhammad Qawwals
Nami danam chi manzil bood shab jaay ki man boodam; Baharsu raqs-e bismil bood shab jaay ki man boodam. Pari paikar nigaar-e sarw qadde laala rukhsare; Sarapa aafat-e dil bood shab jaay ki man boodam. Khuda khud meer-e majlis bood andar laamakan Khusrau; Muhammad shamm-e mehfil bood shab jaay ki man boodam.
Translation:
I wonder what was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers. God himself was the master of ceremonies in that heavenly court, oh Khusrau, where (the face of) the Prophet too was shedding light like a candle.
Another beautiful rendition of "Mun Kunto Moala", (Manqabat) in praise of Hazrat Ali (R).
The word "moala" means leader in this context. I have been asked about this on a few occasions...therefore the explanation.
At an evening of qawwali organized by Canada Pakistan Association
The above is in a higher resolution than youtube allows, therefore better quality of viewing and sound (though unfortunately the sound is not from the mixer but the video microphone)....
Poetry of Nawab Hilm of Hyderabad, Deccan. Raag Des recited at the Hindu Mandir in Montreal. What a wonderful performance by Farid Ayaz & Abu Muhammad Qawwals that has left warm and lasting memories for South Asian Montrealers.
Those who were unable to attend missed a very special event, but can get a feel of it through this video.
The Qawwals' tour of Canada was sponsored by the Kabir Cultural Centre. ____________________________________________________________________
Historic performance of Sufi Devotional Music
On a balmy spring day in April 2008, the South Asian community in Montreal made history by organising a Qawali performance at the local Hindu Mandir . The performance received overwhelming response, and the audience was moved both emotionally and spiritually.
Qawali is traditional, Muslim Sufi music, performed mainly in Pakistan and India. The tradition of this art form in India/Pakistan, dates back to the time of the revered Indian Sufi saint, Amir Khusrau Dehelvi, who wrote verses for Qawali and composed musical renditions that are still very popular to this day. However, the roots of the art of Qawali reach back to 8th century Persia where its early forms were performed as part of the Sufi "Sema" ritual. The Sema is a pivotal ritual of devotional prayer and meditation, common to all Sufi schools. This is performed in a variety of way; whirling, chanting, singing and playing music on special musical instruments like the "ney" (reed flute), are all parts of the Sufi's efforts to search for, and forge, direct connections with the Divine, and reach a state of spiritual ecstasy. Qawali is one such medium of the this quest. The emphasis is on the verses and their hidden meanings, rather than the musical artistry.
In the 13th century, Amir Khusrau, a Sufi devotee of the Chisthi Sufi school, shaped Qawalli by fusing its Persian roots to Indian dialects and musical traditions. A disciple of Khawaja Nizam-uddin Aulia, one of the many Sufi saints of Northern India to spread their ideas and teachings that originated from the far reaches of the Islamic world of Persia, Central Asia and Turkey. Nizamuddin himself was born in Badayun and traveled at the age of twenty to Pakpattan where be became the disciple of Baba Fariduddin Ganj-e-Shakkar and later became his successor. It was a time of exploration of ideas and search for knowledge. There was a great surge and movement throughout Asia by teachers, scholars, monks, sufis and philosophers who traveled widely exchanging thoughts and sharing teachings. This movement was facilitated by the vigorous trade that was carried out through the length and breath of the region and along the fabled Silk Route.
These ideas and teachings were unique as they were not confined to any one strict religious dogma, but embodied principles of inclusion and openness. The emphasis was on good governance, citizenship, spiritual and moral elevation through meditation and good deeds. Sufism, Buddhism and other similar schools of thought, found purchase in these means of transmission.
Qawalli is a popular and revered form of devotional singing and because of its Sufi soul, rooted in the belief in universality and oneness of all, is enjoyed by people of many religious persuasions in South Asia. The one to bring this art form to Western ears was the great Pakistani Qawal Nusrat Fateh Ali, who pioneered the popularisation of Qawali in North America and Europe. Today there are many Qawali lovers around the world and its popularity is steadily growing. Part of this growing and flowering is the essential message of universal tolerance, love and inclusiveness contained in the lyrics, that is particularly appealing to people world-wide in these turbulent and unsettled times.
In Montreal, an organisation called the Kabir Cultural Center (KCC) named after the famous Indian saint Kabir Das, strives to build bridges through cultural activities to bring the South Asian diaspora closer to the mainstream Canadian community they live within. As part of its efforts, KCC organised a Qawalli performance in 2007 and again in 2008, of the famous Qawals, Farid Ayaz and ensemble of Pakistan. This Qawal "Gharana" or musical family, traces its lineage back to a favourite disciple of Hazrat Amir khusrau, and they maintain and preserve the traditional forms handed down through the generations. Their group has been awarded the highest accolades by the Pakistani Government and their musical genius is acknowledged the world over.
After hearing the spell-binding performance, the Hindu Mandir approached the group for a performance at their temple, to which the group readily agreed and on the 6th of April, history was made by a performance of Sufi, devotional music at the Mandir. The group performed works by Amir Khusrau, their spiritual teacher, and also works by Kabir Das. The audience was enchanted and deeply moved. The performance had special significance because it coincided with the NAVARATRI (New Year's) celebrations. Indeed, what better way to step into a new year but with a message of peace, inter-faith harmony and good-will, and the significance was appreciated by both the performers and the audience.
It was a performance that will be long remembered with the hope that its message will bring the communities of South Asia, closer together and indeed build a bridge that spans ideological, cultural and religious differences. Kudos to KCC and the Hindu Mandir administration for its foresight and forward looking initiative. Bridges built by steel and concrete, erode with the passage of time, but the ones built in hearts endure and strengthen with love and commitment.
It was a fabulous event last evening, followed by a most unlikely double-first today, the first time ever that Farid Ayaz Ensemble has sung in a Hindu temple and the first time that the Hindu Temple in West Island has ever had a Pakistani group (and devout Muslims) singing on their premises.
This later event was even more remarkable for the great appreciation from the audience at the temple, the money showered on the artists and the great fraternity displayed by the Sufi artists in all their singing and communication to the audience. Special thanks go to Arif Bhai and Kiran Behan for bringing the artists from Pakistan and bearing the brunt of all the logistics.
Rumi's Sufi Poetry - Na Man Behooda Farid Ayaz and Abu Muhammad sing with passion and feeling. They are both intense and gentle in their recital. Seems like the culture of Iran meets Turkey and then meets Pakistan in this video.
No I am not roaming aimlessly around the streets and bazaar I am a lover searching for his beloved
God have mercy on me I am walking around troubled
I have done wrong and sinned and am walking around wounded
I have drunk the wine of desire and am strolling around beloved
Though I may seem drunk I am quite sober...
My thanks to Farid Ayaz and Abu Muhammad Qawwals for keeping this kala alive in the hearts and minds of sufi music lovers, and to all those who helped to make this evening possible.
13th of Rajab is being remembered and celebrated as the (1347th) birthday of Hazrat Ali Murtaza -- Sahabi-e-Rasul, Imam, Khalifa-e-Rashidoon, scholar, statesman, and warrior. His numerous virtues and achievements, which need no introduction here, are beautifully captured in the following Man Kunto Maula rendition by Munshi Raziuddin, a fantastic composition which brings together Urdu and Persian couplets from various poets and saints.
Zahay izzo jalalay Bu Turabay fakhre insanay Ali al-Murtaza mushkil kushaye shere Yazdanay
The honour and valour of Abu Turab is the pride of mankind No doubt Ali al-Murtaza (AS), helper in the time of need, is the Lion of God. — Hazrat Shah Niaz Ahmed Qadri Chishti
Man Kunto Maula by Munshi Raziuddin, Farid Ayaz, Abu Mohammand & Party:
[Performed at the residence of Mr. Mehdi Hasnain, Karachi, Pakistan, 1988].
The unique thing about this poem is that it is a macaronic, written in Persian and Brij Bhasha. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha. In the remaining verses, the first two lines are in Persian, the last two in Brij Bhasha. The poem showcases Amir Khusrau's mastery over both languages.
