Qawwal Wazir Hussain Qadri, the lead Qawwal on ' Mere Khwaja Ki Ghulami', hails from Rampur district in Nainital and is affiliated to the dargah of Hatwa Sharif. Today we are of his Silsilia, today we are of Chishtia | Khwaja is our portal to Heaven) (Here we sit enticed in the assembly of the Sarkar | while Sarkar lavishes our homes with his beneficence Silsila milgaya Chishtia hogayen | Khwaja aise mile ke jannati hogayi Hum toh yahaan Sarkaar ki mehfil main magan hoon | Sarkaar humare ghar ki taraf dekh rahein hai
Ajmer sharif qawwali videos archive#
The Qawwali becomes a vestibule between the many worlds in the space of the Urs becoming an active archive of the socio-cultural history of Chishtiya Sufism, Islam and the classical Khayal music tradition in South Asia in a few minutes of performance. (You are the culmination of my worldly desires/ Thaam liya Khwaja ne toh mushkile bhi tal gayi Amidst the confounding vitality of the world-of real problems beseeching benefaction beyond the realm of the real, of unexplainable love, faith and devotion of an unexplainable multitude tied to an unexplainable attraction-steeped in the deep and simple magnanimity of sound, earth, light, and love, magic was created, one afternoon in the dargah of Ajmer Sharif. The Qawwali, ' Mere Khwaja Ki Ghulami', shone on till the mehfil was momentarily suspended for the maghrib evening prayers. The Qawwali rose, calming the confused cacophony of the Urs, engulfing the hum of instruments, chants, and bird-songs, into a lavender smoke towards an enchanted emerald sky. I seek no light but the sight of your doorstep) (Gharib Nawaz past all thoughts I am now yours Garib Nawaaz hum hogaye tumhare bahut sochne ke baadĪur ab kisko dekhna hai tumhe dekhne ke baad Amidst the confused sonorous vitality there arose, sudden and storm-like, the deep and enriching, sound of the Qawwali. Late one afternoon, with a few good hours before the Dua-e-Roshni, the dargah was alive with sound of numerous kinds-the enticement of the shehnai, the busy buzz of the Bhishtiwalahs (traditional water-carriers who supply it in leather pouches), the chants of the Qalandars (Bohemian sufis) attuned to the rapturous beats of the duff and dholaks, the synchronised hum of the pilgrims praying, and Quranic recitation interspersed with the soft chirps and cooes of the many pigeons, parrots and sparrows inking the alabaster dargah with their sudden, bright blues and shocking greens-contributing to the colourful cacophony of the Urs. People gather to listen to qawwals at the Ajmer Sharif dargah. It is this quest for a union with the Beloved, and the sublimation of the mortal self, that the Qawwalis honour in song. Such was the power of the Qawwali, that the saint surrendered his life to it in a moment of divine realisation. Get a new life from the unseen every moment) Khwaja Qutb-ud-Din Bakhtiyar Kaki, a venerated Chishti Sufi saint, went into uncontrollable ecstasy on hearing the following couplet of a Qawwali in a sama mehfil:
The legendary Qawwali singer, Ustad Nusrat Fateh Ali Khan, in an interview with New York Times, said “.but really I am just singing for God." Music, rhythm and sound are practiced in the Chishtiya Sufi silsila of South Asian in the form of sama mehfil, intimate performances of sacred Qawwali music and Sufi poetry that take place in khanqahs across Pakistan and India. A study of all ancient traditions reveal that the first divine messages were given in song, as is true of the Psalms of David, the Song of Solomon, the Gathas of Zoroaster and the Gita of Krishna. The act of listening ( sam) and the one who listens ( sami) are sacred in Islam.
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