While hereditary performers continue to perform Qawwali music in traditional and devotional contexts,[2] Qawwali has received international exposure through the work of Nusrat Fateh Ali Khan, Aziz Mian and Sabri Brothers largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Fareed Ayyaz & Abu Muhammad, Rahat Fateh Ali Khan, Badar Miandad, Rizwan & Moazzam Duo, Qutbi Brothers, the late Amjad Sabri, Wadali Brothers, Nizami Bandhu, Bahauddin Qutbuddin, Aziz Naza, among others. Most modern Qawwali singers belong to the famed 'Qawwal Bachon ka Gharana' school of Qawwali, which was based in Delhi before 1947 and migrated to Pakistan after the Partition of British India.
Delhi's Sufi saint Amir Khusrow of the Chisti order of Sufis is credited with fusing the Persian, Arabic, Turkish, and Indian traditions in the late 13th century in India to create Qawwali as we know it today.[3] The word sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.
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Traditional qawwali practice is built upon a system of hereditary training in which qawwals are part of the service community connected to a particular shrine. Their primary function to the shrine is to service formal activities, primarily the death anniversaries of Sufi saints (Urs).[7]
Since the intention of qawwali is to act as a bridge toward the experience of Sufi mystical love and builds upon religious chants and chanted poetry, the practice is viewed as permissible in what Islamic scholar Lois Lamya al-Faruqi refers to as non-musiqa.[8][9] Qawwals themselves are central figures within qawwali ritual but are not regarded as the focus and are still regarded as part of the servant class.[10]
Qawwals are trained in two primary ways: (1) as part of a bradri or brotherhood of performers in which they learn the fundamentals of the music, and (2) within Sufic teaching circles typically reserved for the higher classes in which they learn about Sufism. The understanding of the spiritual aspects but also the form's reliance on poetry requires a level of literacy in order to fulfill the role.[11]
Ethnomusicologist Regula Qureshi distinguishes between "old" tunes (purn dhune, purn bandishe) and "tunes of nowadays" (jkal k dhune). The "old" tune repertory includes movable tunes that can be adapted to multiple poems as well as "special" (makhss, khs) settings of poems, which are identified by their text. Qureshi also includes "typical Qawwal tunes" (Qawwl k thet dhunen) in this category, referring to tunes that can be used for a variety of poems based on the music's structural features.[12]
The songs which constitute the qawwali repertoire are primarily in Persian, Urdu, and Hindi,[13][14] although Sufi poetry appears in local languages as well (including Punjabi, Saraiki, and dialects of northern India like Braj Bhasha and Awadhi.)[15][16] The sound of regional language qawwali can be totally different from that of mainstream qawwali, as in the case of Chhote Babu Qawwal, whose style of singing is much closer to the Bengali Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.
The central themes of qawwali are love, devotion and longing for the Divine. The Sufi poets whose texts have made up the qawwali repertory often used worldly images to convey mystic spiritual love. As such, it is not uncommon to see mentions of worldly or forbidden concepts such as romantic longing, wine, and drunkenness, which are used as metaphors for the mystic state.[17] Qawwals bear the responsibility of maintaining a spiritually appropriate context for such songs, so as not to distract from the religious focus of the Qawwali occasion.[18]
A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one (i.e. a left-handed percussionist would play the tabla with his left hand). Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid percussion by hand-clapping.
Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained a predominantly male business and there are still not many mainstream female qawwals.
The longest recorded commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.
Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Almost all Qawwalis are based on a Raga from the Hindustani classical music tradition. Songs are usually arranged as follows:
The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone.[citation needed] Also in qawwali, there is no distinction between what is known as the chest voice and the head voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than what would be acceptable in the West.
Music has long been part of religious practices around the world, and while many styles and genres have come and gone over the centuries, you can just about always find someone out there working to preserve some of the traditions of religious music and present them to new audiences.
Riyaaz Qawwali is an ensemble that performs the genre called qawwali, which is specific to Sufism, an aspect of Islam. This devotional music originated in South Asia around the Indian subcontinent and, as such, borrows elements from Indian classical music and poetry.
The musicians also recently collaborated with composer Amritha Vaz on the Disney Junior series Mira, Royal Detective, which follows the adventures of a young girl who solves mysteries and helps people in a fantastical version of India.
Their career and songs authentically capture the sound that Nusrat was known for, perhaps more than any qawwali artist other. Today, one could claim that the true torchbearers of authentic qawwali from the Nusrat Gharana in Pakistan are these brothers. But, the journey to this level had its challenges.
Their grandfather Mubarak Ali and Fateh Ali were popular qawwals. Their father was in music. Music was in their blood. In 1992, at the ages of 11 and 9, Rizwan and Muazzam began to learn music from their father Mujahid Khan. Their training was cut short, unfortunately. Only 3 years into their talim, their father passed.
Yesterday in lecture my teacher asked me to tell me the difference between Song and Qawwali and don't have any answer and he said me to tell me the difference b/w them tomorrow.Please tell me the real difference b/w these two.Thanks
Qawwali is a specific style of music that arises out of the mystical Sufi tradition of Islam. Perhaps the most internationally famous Qawwali singer was Nusrat Fateh Ali Khan of Pakistan.
I strongly suspect that the distinction your teacher is expecting to hear is that Qawwali has a deeper spiritual dimension --both in terms of the (typical, but not universal) religious meaning in the lyrics, and due to the hypnotic quality of the chanting. A song is just a song, but Qawwali is a spiritual discipline.
Also, pace of Qawaali can be really slow. Many Indian or Pakistani Qawaali have been brought in mainstream cinema as proper songs. Those songs can no more be called Qawaali becuase they are faster and have better music than is generally available at a Qawaali stage programme.
Nusrat Fateh Ali Khan not only brought qawwali to a broader audience, he produced a lot of music. He left behind hundreds of recordings, including film soundtracks by directors Martin Scorsese, Oliver Stone, and Tim Robbins and collaborations with other artists, like Peter Gabriel, Michael Brook, and Eddie Vedder.
According to reports in the Pakistani press, two men riding a motorcycle fired shots at Sabri's car. The singer was shot five times, including in the head. On Thursday, thousands of people gathered in Karachi, to throw rose petals at the ambulance that contained the singer's coffin and to cluster near his home.
As journalist Murtaza Hussain said in a piece by Haroon Moghul published yesterday by the Washington Post, qawwali was "distinctively Pakistani and was our own unique expression of Islam. That's why this killing really strikes at the heart and soul of Pakistan."
Mindful of that legacy, Sabri sought to preserve his family's traditions in his work. He was particularly renowned for performing a song associated with his father and uncle called "Bhar Do Jholi Meri" ("Fill My Bag"):
But his elders were also well-known for experimenting and updating tradition. In the mid-1990s, The Sabri Brothers released "Ya Mustapha," on the American label Xenophile, which paired this qawwali party's soulful singing with saxophones. The young Amjad Sabri sings in the chorus of this recording. 152ee80cbc
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