Tori Surat ke Balihari - Hazrat Amir Khusrau

Habib A Niazi's style of singing focuses on melody
and he manages to get to the essence of the poetry.

the melodious voice of jafar husain khan baduni

Tori surat ke balihari, Nijaam

Sab sakhiyan mein chundar mori mailee,
Dekh hansain nar naari,
Ab ke bahar chundar mori rang de,
Piya rakh lay laaj hamari, Nijaam.
Sadqa baba Ganj-e-Shakar ka,
Rakh lay laaj hamari, Nijaam.
Qutab, Farid mil aaye barati,
'Khusrau' raajdulaari, Nijaam.
Kouo saas kouo nanad say jhagday,
Hamko aas tihaari, Nijaam.
Tori surat ke balihari, Nijaam.
---

trans: http://www.angelfire.com/sd/urdumedia/lyrics.html

Beholding your appearance, Oh Nijaam
I offer myself in sacrifice.
Amongst all the girls, my scarf is the most soiled,
Look, the girls are laughing at me.
This spring, please dye my scarf for me,
Oh Nijaam, protect my honour.
In the name of Ganj-e Shakar (Nizamuddin Aulia's pir),
Protect my honour, Oh beloved Nijaam.
Qutab and Farid have come in the wedding procession,
And Khusrau is the loving bride, Oh Nijaam.
Some have to fight with the mother-in-law,
While some with sisters-in-law,
But I have you for support, Oh Nijaam.

Mein Maili, Tan Mera Maila - Nizami Brothers

This beautiful kalam in fond praise of Prophet Muhammad (PBUH) depicts the hindustani andaaz in which much of the language is hindi and helps create a larger appeal. Words like lajpaal, kirpa, and daya are relatively unfamiliar in the present Pakistani milieu, but were often used in many sufiyana kalam of India in order to attract the non-muslim population to the Sufi Shrines of Delhi.

The poet talks of coming on the day of judgement, bearing a burden of his sins and beseeching the Prophet to intervene on his behalf with God to ask for forgiveness. Gender reversal which is also quite common in such poetry of dargaahs is also used here.

Ghulam Sabir & Ghulam Waris are better known as Nizami qawwals and are Nizamuddin Awlia's resident Qawwals. They hail from the Delhi Gharana of singers.


Mein Maili Tan Mera Maila from Tasawwuf

Ghulam Sabir & Ghulam Waris recite in praise of Muhammad (PBUH)
Nizami Brothers from Dehli

Mein maili, tan mera maila, kirpa karo sarkaar,
Nazr e karam sarkaar, Ya Muhammad

Sar pe uthha kar paap ki gathri,
aayee hun tumhrey duar
Nazr e karam sarkaar, ya Muhammad

Merey kiwaiyya, beech bhanwar mein, kashti dub na jaaye
Tera hun, tu meri khabar le, kon lagaaye paar
Nazr e karam sarkaar, ya Muhammad

Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Mangte khaali hath na loantein, kitni milli khairat na poochho
un ka karam phir unka karam hai, unke karam ki baat na poochho

Mujh mangtey ki baat hi kya hai, woh hein barde lajpaal
Unki kirpa aur daya se, chalta hai sab sansaar
Nazr e karam sarkaar, ya Muhammad

Jiss ko bhi sarkar nawazein, yeh hai unki marzi
Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad

Nazar ban ke, aankhon mein aaye Muhammad
Sukoon ban ke dil mein samaaye Muhammad
Tamasha ye daikho, jahhanun ki aatish, lagaye Khuda, aur bujhaye Muhammad
Ke Muhammad ki shaan e shafaat to daikho, ke pakrde Khuda aur chhurdaye Muhammad

Museebat se fursat naheen milne waali
Aur qayamat mein rahat naheen milne waali
Khuda to zindagi, daeta bhi hai, laeta bhi hai laikin
Mere sarkaar jo daete hein vo wapis nahin laete

Chalti donon jahan mein unki, maalik hein mukhtaar
Nazr e karam sarkaar, ya Muhammad

Nazr e karam sarkaar, Nazr e karam sarkaar

Teri Re Mein Tau Charan Lagi - Ustad Bahauddin Qawwal

The first line was composed by Nizamuddin Auliya himself, while observing from the Chilla how Hindu worshippers bathed in river Jumna:

Every people has its right path, its faith and its focus of worship 

Amir Khusrau, who was with him, at once completed the couplet with a verse line which has come to represent a poetic statement of the Sufi creed:

I, however, focus my worship on the tilted cap of my Beloved 

              
                                                                      - Sufi Music of India and Pakistan
                                                                                     by Regula Qureshi



Ghut ke undar baith key karain prem se piyar
Ayse piya say Khusro apna tan-man deejay var

Teri Re Mein Tau Charan Lagi, Peer Nizamuddain, Khwaja Nizamuddin  
I have embraced your feet, O Saint Nizamuddin, O Khwaja Nizamuddin

Har qaum rast ra he, deen-e-wa qibla gahe,
Mun qibla rast kardam, bar samt kajkullahe.

 ہر قوم راست راہے دینے و قلبہ گاہے
 من قبلہ راست کردیم بر سمت کج کلاہے  

Every people has its right path, its faith and its focus of worship (Qibla), 
I, however, focus my worship on the tilted cap of my Beloved (Nizamudin Aulia)

Har Shab Ma'nam Fetada - Amir Khusrau

Har shab manam futada, Ba girde sarai e tou
 Har roz ah o nala kunam az barai e tou

every night have I fallen, around the circle of Thy tavern 
 every day, do I wail and cry, in yearning of Thee 

 Jana ba iin shakista dil-bewafa ma shou
 Umre guzasht ta shuda am aashina e tou

 O Love, turn not thy gaze from this broken hearted one 
 for a lifetime has been spent, in getting to know Thee 

Rozay ke zarra zarra shavad, ustakhan-e-man
 Ba shad hanoz dar dil-e-veesham hava e tou

 when my bones are nothing but shattered bits 
 may my heart carry on its quest of Thee 

 Bar hal-e-zar-e-man nazar-e-kun ze raahay lutf
 Tu Badshah-e-husni o Khusrau gada e tou

 Let thy Grace fall on my blighted self 
 Thou art the Lord of Grace, and Khosro but a begger of Thee 

~ Amir Khusrau

Recital: Farid Ayaz & Abu Muhammad Qawwal
Recording credit: Najeeb Omar, Karachi
Farsi to English translation ~ Farrokh Namazi, 

In The Courtyard of the Beloved - Aaj Rung Hai

Great job with the sound and video editing. The imagery is beautiful as is the qawwali.

Enjoyed this very much. Artistically done. Wonderful!

Try submitting it to the Metropolitan Museum of Art on Fifth Avenue, NYC where they have Islamic Galleries.


IN THE COURTYARD OF THE BELOVED is a visual and aural portrait of Nizamuddin Auliya Dargah, a Sufi shrine in New Delhi, India. Made from over 18,000 still images and ambient sounds recorded on-site, rapid-fire bursts of kaleidoscopic imagery assemble into fractured collages.

Each day, hundreds of pilgrims travel by airplane, train, car, rickshaw and foot to reach this shrine, which honors a 12th century Sufi mystic who believed in drawing close to God through renunciation of the world and service to humanity. Beginning with imagery from these journeys, the film then enters the physical space of the shrine; a unique nexus of marketplace, social space and spiritual haven, where devotees come to offer their prayers and find a moment of reflection away from the din of Delhi traffic. As the sun sets behind the dome, musicians begin the qawwali, a style of Sufi devotional music that ranges from contemplative religious elegy to raucous crescendo.

Executive Producer Samina Quraeshi
Original tabla score by Suphala
Audio post-production by Paul Bercovitch
Produced by Sadia Shepard
Photographed and edited by Andreas Burgess
http://vimeo.com/27156797

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Aaj Rung Hai Ree Maan Rung Hai Ree
Mairay Mehboob ke Ghar Rung Hai Ree

Sajan Milaavra Moray Aangan Mein
Aaj Rung Hai Ree Maan Rung Hai Ree

Mohay Peer Payo Nizaam Uddin Auliyah
Nizaam Uddin Auliyah Mohay Peer Payo

Sabir Ala Uddin Auliyah Mohay Peer Payo
Data Fareed Uddin Auliyah Mohay Peer Payo
Khuwaja Qutub Uddin Auliyah Mohay Peer Payo
Meeera Mohhauddin Auliyah Mohay Peer Payo

Payo Nizaam Uddin Auliyah Nizaam Uddin Auliyah Alauddin Auliyah
Mein To Jab Daikhoon Moray Sung Hai Ree Ma Rung Hai Ree

Dais Badais Mein Dhoond Phiri Hoon,
Tora Rung Mun Bhaayo Moin Uddin

Tohay Dhoond Phiri Hoon, Tohay Dhoond Phiri Hoon
Mohay Tora Rung Mun Bhaayo Nijamuddin

Tora Rung Mun Bhaayo Moin Uddin
Mohay Apne He Rung Mein Rung Lay Khuwaja Ji

Mohay Rung Basanti Rung Day Khuwaja Ji
Mohay Apne He Rung Mein Rung Day

Mori Churioon Ki Laaj Khuwaja Rakhna
Yeh To Pehn Layi Ab UTRut na

Jo Tu Maangay Rung Ki Rangai
Mora Joban Girwi Rakhlay Khuwaja Ji

Ahay Dais Badais Mein Dhoond Phiri Hoon
Mohay Tora Rung Manwayo Moin Uddin

Mein To Aiso Rung Aur Na He Daikho Kaheen Bhi
Ahay Nizam Uddin Auliya Jag Ujiaro
Ey Jag Ujiaro Jagat Ujiaro
Jag Ujiaro Jagat Ujiaro

Nizam Uddin Auliya Jag Ujiaro
Jag Ujiaro Jagat Ujiaro

Aaj Rung Hai Ree Aaj Rung Hai Ree

Ganj-e-Shakar Ke Laal Nizamuddin

From amongst the treasures left behind by Amir Khusrau, this is one kalam that is especially dear to my heart.

The following two renditions were added today to this older post:
1. By the full 11.09 min version Nizami brothers


2. A clip of the more classical rendition by Farid Ayaz from Sufi Eternal Vol 2.


this (full) version may be downloaded here: http://www.cdbaby.com/cd/sufieternalvol2
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The following is a shorter recital from the mehfil in Ottawa which was hosted by our friends Dr. Arshad Saeed, Javed Somra & Mustafa Hamid.

Ganj-e-Shakar Key Laal Nijamuddin




If any of you would like to share anything to do with Hazrat Moinuddin Chishti, Hazrat Nizamuddin Aulia, Hazrat Fariduddin Chishti or the Chishti order of sufis I'd be very interested to hear more.

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Sazad Barshan-e-to Alam Panahi
Nizamuddin Mehboob e Illahi

Ganj-e-Shakar Laal Nijamuddin
Chisht Nagar Mein Bhaag Rachayo

Khwaja Moinuddin, Khwaja Qutabuddin
Prem Ke Rung Ki Rain Chardhaiyo

Dhan Dhan Bhaag, Unkey Mori Sajni
Jin Aiyso Sundar Preetam Payo

Pir Nijamuddin, Chakar Khilardi
Bayyan Pakard Mora Ghungta Utthayo

Sees Mukhat Haatam Pichkari
Morey Aangan Hori khaelan Aayo

Khaelo re Chishti o Holi Khaelo
Khwaja Nijam ke Bhaes Mein Aayo

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Lagi Nazar Bharpur Kargaee Chucknachoor

A delightful and soulful manqabat in honour of Hazrat Nizamuddin Aulia (RA) performed by Fareed Ayaz, Abu Mohammad & Co. in 2003. This track is taken from their first public concert delivered after the passing away of their great father Munshi Raziuddin Ahmed Khansahib (may he rest in peace).