Monday 27 April 2015

Poems

  1. Not in eutony of speech,
    if you seek,
    seek me
    at the shores of my silence.


  1. Words
    rounded rides
    in concentric circles
    Never reaching the centre.


  1. Every leaving is a rupture;
    bleeding forth words,
    said- unsaid, faces, met-unmet,
    places, touched-untouched.


  1. As I lay awake in a distant city
    the night swells around, thick with a nebulous air.
    An argent moon steals the show in a starless sky
    some rain drops hang on to the window sill-
    Too obstinate to let go.
    The wet and the dark impregnate the night,
    A wind-song fills the lonesome hour;
    Sleep plays coy to incisive awakening.'


  1. Words cast shadows on mind,
    Impressions take shape, a tale unfolds.
    You read a one act happy tale;
    I infer an epical tragedy.


  1. "Hridoy obadhyo meye
    oke kono pora bujhio na
    boi khata chire eksha, thutu diye ghose
    muche pheleche garho bidhilipi
    Nil byakoroner patay likhe rekheche cheleder naam!
    Emon ki chobio!!
    Hridoy obadhyo meye...take ki shashti debe dio"


    'The heart is an unruly girl
    Don’t teach her anything;
    Tearing apart her books, she has
    Wiped away all rules with her spittle;
    In the blue grammar book,
    She has scribbled names of boys
    And pasted pictures;
    The heart is an unruly girl
    Punish her the way you want!'
    By Mandakranta Sen, Translation Mine


  1. Don't show me the stars
    they are distant and removed
    I would rather look into
    the highway light flickering
    In the river of your eyes.


  1. There is a softness somewhere
    at the core of pain;
    A feeling akin to peace,
    A twilight tone, mellowed and restful
    An awning for life and it holds you fine.


  1. It Rains in my City

Few rotund drops and a feeble petrichor,
came visiting this evening;
They brought the message
Of an impending deluge.
A celebration of souls, your's and mine
It will be, they said;
wild things! I thought and shooed them away.
"It's coming", they insisted, in utter nonchalance
and shot back before leaving,
The penumbra will be punctured of pretense,
Giving love its reckoning recourse.
Shall we keep the arc pliable then, my Noah?


  1. She too had words of poetic finesse,
    She wore them as a gown all frilly,
    She made wings of words all downy,
    Her walked in beauty,
    She talked in verse,
    An enchantress absolute  
    A regal queen of sorts.




  1. With the first hint of summer in town
    and the ceiling fan switched on
    for first time in months,
    the Gossamer scab of oblivion
    Weaving a faint possibility of my salvation,
    Mothballed  for yet another winter.
    What remains now is the curve of your smile,
    And my eternal undoing.

  1. In some fleeting moments
    I have seen the face
    Chiseled like an artwork.
    The half smile has promises
    Of a love song,
    The eyes a foreboding
    Of damnation and death;
    Like a seraphim out of a sepulcher.

  1. You
    You came to me
    Eternity's God child
    And I knew
    My life was made

    My waking call
    My morning ode
    My dulcet joy
    My cup runneth over

    A distant land came a'calling
    Your journey was fixed.
    But I stashed you away
    In the alleys my dreamland.


  1. You 1
    In a transient dream
    u came to me
    And love was what
    I felt for you.
    My waking call
    My morning ode
    My dulcet joy
    My cup runneth over.
    I lost you now
    Beyond life's measure
    My ephemeral love
    Eternity's God child.


  1. Bridge
    The bridge you built
    with words, dreams and stars
    to reach my marooned existence,
    has turned into a rainbow.

    As I have colors now
    I will paint you a house someday
    for us to live in.

  1. Bridge 1
    The bridge you built with words,
    to reach my marooned existence,
    has turned into a rainbow.

    I have painted a house with its colours
    A dainty dwelling space for us,
    Will you cross the bridge to join me?

  1. Ode to Dejection
    With the possibility of words now exhausted
    and all scopes of armistice annulled
    here I sit now at the shore of relentless love
    and see my soul, trapped for life
    dying a slow and sad death
    Muffled by the turbulent deep of your calculated chaos.

  1. Dreams
    Every time they broke
    I gathered the pieces with tender care,
    As if they were my progeny-
    And buried them duly;
    Vexations past,
    I created some more.
    For dreams are all
    I am capable of creating.


  1. Game and War
    It’s a game you said
    An open ended one
    With no rules-
    And played in friendly terms.
    If only you knew the reward
    you would have made a war out of the game.



  1. Bridled joyclanks at the ankle bell
    Liberty's swan song.

    Repressed words degenerate
    gnawing at delicious pride.
    as tuppence life ticks on fast.


  1. You must need it
    like the earth needs the sun
    you must deserve it
    like the shell deserves the pearl
    you must hold it
    like the lotus leaf holds the dew drop.

  2. Closing is a remedy daubed with hopelessness.
    Closing is losing and succumbing as life succumbs to death.
    Closing is a ritual black and dark with grief.
    Closing is a swan song indisposed but resolute.

  1. Shadow of an old tree
on the window pane;

the night is now an art.

Bangla Qaawali

Qaawali and its Arrival in Bengal

For ages people in their search for peace or to look for a way out from troubles have sought shelter in the philosophical teachings and sayings of religious leaders, saints, and minstrels. In doing this they have travelled from one village to another. In this journey of the subaltern communities their songs too have travelled along with them expanding their geographical spread. This has added new elements to history. The downtrodden people living a deprived life eulogize the saints and sages as messiahs, singing paeans on their names.  This changes the names, the contexts and the singing styles. However, the basic structure of the tune and rhythm remain same. This dynamics have influenced the music and songs of the Sufis and Qawwals of East and West Bengal. Though it was difficult to preserve the authenticity of the songs, it is surprising that they have retained their essential originality. Such is the force of their originality that neither trendy tunes nor new melodies could alter the original philosophy of the songs. 

From conquering rulers, shrewd businessmen, to the saints and vagabonds, the Sufi songs were introduced to India through diverse sources and once here it took its own path. Qawwali is a song through which the Sufi practitioners seek to be one with the divine. Originating in Greater Persia-Iran, Kherson and Baghdad, these songs are sung all over the Khankas, Dargas and Majars of South Asia. These spiritual songs reached India in the 9th century through Herat, Nishapur, Kabul, Baluchistan, Kandahar, SamarkandBukhara, and Tajikistan. Much before the globalization Sufi songs were truly an international phenomenon. Though originating in Middle East the songs spread roots in the countries of Asia- Europe- Africa. The Muslim rulers and the Sufi Saints entered undivided Bengal from the West in the 12th century. First among the saints was Jalaluddin Tabria. Though the Sufis of Chisti Orders are much ahead in influence and numbers in Bengal, the first to set foot here was those of the Surabardi Order. Jalaluddin came during the reign of Lakshman Sen, the time which was few years before the conquest of Bengal by the Turks. His working area was Malda, now in West Bengal. The Sufi saints who came to Bengal in the later period includes Moinuddin Chisti, Kutubuddin Bhaktiar Kati, Fariduddin Gajan-I-Sakar, Nijamuddin Auliya, Sarafuddin Ali Shah Kalandar, Badiuddin Shah Madar et al. After the Chistia order, came the Kalandar and Madaria orders. Chattagram, Gaur, Pandua, Bardhamaan, Kalna, Mangalkot, Rongpur, Srihatta, Bikrampur, Rajsahi, Pabna, Bagura, Maimansingha, Dhaka, Faridpur, Sonargaon, Bakhargunj were the seat of Sufi philosophy in undivided Bengal. Sama songs of Sufis were regularly practiced in the Dargas and Khankas of these places. The influence of Jalaluddinand Shah Jalal has reference in the writings of the contemporary historians. Folk cultural traditions, influence of Buddhism and Baisnab religions of Bengal have paved the way for Sufism in the state. Both the tradition and school of thoughts got amalgamated here, thereby further strengthening the influence of Sufism in India. The songs of both traditions got intermingled and in that blend they found each other’s faith. 

There are two main reasons for the popularity of Sufi songs in Bengal. One is the affinity with its philosophy of being one with the divine and the other is its different way of arrival removed from the power wielding approach of Islam and Christianity. The Sufi saints upheld the kindness and greatness of Allah other than the image of a punishing master as is advocated by Islam. 

The advent of ‘Pir’ in Islam happened from the beginning of the Middle Age of Bengal’s history. The Sufi songs sung by the ‘Pirs’ speak of loving the divine one and to be one with him through love. This philosophy of love and harmony delineated through the simplicity of Bangla Qawaali songs easily got accepted and appreciated in Bengal. The ‘Pirs’ took up music as their medium of worship and used to set up musical sessions as a part of their worship, which were open to all class of people. The Qawwali songs sang here to elucidate and interpret religion among the common people travelled with them far and wide. It is a known fact that the orthodox Hindu and Muslim were enraged at this.

The tyrant Muslim rulers failed to gain trust and faith from the people they ruled. Such was the situation when the Sufi Saints with their message of love and tolerance won the hearts of the common mass. The Sama songs got mixed with Baisnab Kirtaan, Sahajia Doha and Baul Sufi songs to produce a new genre of Qawwali. The tradition of Sufi prosperity was in vogue in Bengal and Bihar in the 14th and 15th century though the historians mark the period as 12thto 15th century. Sufism was then replete with imprints of change. The influence of Khwaja Moinuddin Chisti and Nijamuddin Aulia is irrefutable in the propagation and popularity of Sufi songs in India. It was during the lifetime of Nijamuddin that Qawwali reached the grass root level and saw its golden era. Nijamuddin fought against the doctrine of the Islamic fundamentalists who banned the practice of Sama. He reintroduced the practice of Sama in India. The Chisti Order came in India with Khwaja Moinuddin Chisti who accompanied Mohammad Ghori to the country. The world famous pilgrimage at Ajmer Sarif was founded by Khwaja Moinuddin who strengthened the foundation of Sufism in India. Next to him was Nijamuddin Aulia whose songs made him highly popular and he was consecrated as a leader. He was dedicated in his efforts to continue the practice of Sufism against the staunch opposition of the fundamentalists. The Nijamuddin Darga named after him is a prime seat of Qawwali practice in India. Thousands of people visit the Darga ever year to pay tribute to the great saint. 

The tradition of Sufism in India was most full of life in the 15th century. Initially the songs of the Dargas of Nijamuddin and Ajmer Sarif had resemblance to Hindu Kirtan, Vedanta thoughts, and other historic and mythological anecdotes. The singing and dancing tradition of the Baisnavs found its parallel in the dervish dance of the Sufi. The Vedic philosophy on the other hand highly influenced the Sufi thinkers. In Bengal the Sufi practitioners bridged the gap between the Muslim and the Hindu rulers. They also liberated the poor farmers from the shackles of superstition and orthodox ways of life. This spontaneous acceptance of Sufi thought and philosophy influenced Sufi songs with an essence of the regional culture in Bengal. The spiritualism in Qawwali songs took birth in the 800 BC at Persia (present day Iran and Afghanistan). In 1100 BC the practitioners of this spiritualism travelled to Asia, Turkey and Uzbekistan. The singing tradition that Amir Khusro, (the poet of Chisti order of Sufi school) founded by blending Farsi and Indian musical traditions is called Qawwali. These songs made their way to northern India through Punjab and Sind regions of Pakistan. After that it came to Bangladesh and Kashmir from North and West Pakistan. In Bengal the Sufi thought and philosophy was sustained and nurtured by its inherent belief in universal love. The Baul tradition of Bengal developed in close association with the Islamic Sufism and Baisnab Sahajiya tradition. According to many the singing tradition of the Sufis has deeply influenced other singing styles of Bengal and its adjoining areas. 

The songs introduced by the Sufi saints in Bengal flourished in the fertility of the region’s rich musical traditions. The Best example of it can be the songs practiced at the Majhbhandari Sarif of Chattagram and its adjoining Ashrams. The songs have close associations with Qawwali tradition. But these songs are not exactly Islamic Qawwali but are heavily influenced by Bengal’s cultural essence. These songs eventually entered West Bengal through various Majar and Dargas. Though not in as many numbers, the Fakirs of West Bengal also practice Bangla Qawwali in their own way. Many such singers are present at Nadia, Murshidabad, Bardhamaan, and South 24 Parganas. From the arid desert regions to the luscious greens of Bengal these songs have changed their forms which is another area of research and study. 

Structure of Qaawali

Oli means someone close to God. And Qwal means words dedicated to God. Qawwal is a person who sings a Qawwali. In essence Qawwali is the song of saints. It is a pure spiritual music. It is the main stream Sufi music. Places where Muslim settlements have lived historically including Punjab and Sind of Pakistan, And the Northern region of India, have traditions of Qawwali. It is also present in North and West Pakistan, Bangladesh and Kashmir

Hindusthani Classical music especially Khayal has significant influence to Qawwali. Amir Khusru the celebrated Sufi poet and lyricist wrote poems and songs in Hindi, Farsi and Braja language. From human emotions like love and spirituality to seasons and festivals, Khusru penned poems on varied subjects. Another notable Sufi poet is Jalaluddin Rumi (1207 – 17 December 1273). He was a 13th-century Persian poet, jurist, Islamic scholar, theologian, and Sufi mystic. Rumi's influence transcends national borders and ethnic divisions: Iranians, Tajiks, Turkish, Greeks, Pashtuns, other Central Asian Muslims, and the Muslims of South Asia have greatly appreciated his spiritual legacy for the past seven centuries. Rumi has been described as the "most popular poet" and the "best selling poet" in the United States.  Rumi's works are written mostly in Persian, but occasionally he also used Greek, Arabic, and Turkish in his verse. Years after his death he still continues to be regarded as a great poet in Europe, Asia and America

Qawwali programmes in India and Pakistan are called Mehfil- e- Sama. Qawwalis are mostly written in Urdu and Punjabi. Besides they are also written in many vernacular languages. Bangla Qawwali is one such tradition. 

The main tone of Qawwali is always spiritual. However the lyrics put emphasis on secularism and mysticism. Hamd, Nat, Mankuabat, Marcia, Gazal, Kafi and Monajaat are some of the classifications of Qawwali. Earlier Qawwali was performed at a special room reserved for it at the Dargas, where Qawwals sang Qawwali all night. Today a particular place is designated for Qawwali performances. Initially there used to be three musical instruments - Sitar, Harmonium and Tabla. The team was usually of 6-7 members. One main singer was accompanied by two or three side singers. Today the teams are of 8-9 members including the main and side singers, percussionists and a group of chorus. The chorus repeats the leitmotif. Team members sit in rows and two teams perform in a Qawwali programme forming two columns. Before Harmonium came in vogue, Saringi was used. Today at some of the programmes banjo and keyboard are also used. A specialty of Qawwali is the hand claps by team members that compliment the percussion instruments. 

Women have been historically barred from Music in Islam. Tradition demands that women cannot sing in front of men. They used to sit at a secluded place to see a musical programme. However, the situation has changed now with the change in mindset. Popularity of singers like Abeeda Parvin is a testimony to this, though she improvises her singing which often transgresses from tradition. There is no chorus or hand clap in her performances. However, the field of Qawwali is still dominated by male singers. A Qawwali song is usually of 15-30 minutes. The longest Qawwali till now is of 115 minutes. Some of Nusrat Fateh Ali Kahn’s Qawwalis are of more than with one hour duration. The songs begin in a somber and slow manner and gradually raise their tempo. Towards the climax the combined experience of singing, hand clapping and the musical accompaniment takes the audience to a state of trance. The singers play the main Raga of the song through long notes. The lead singers often add lines to the main lyrics and then the side singers repeat them. Following the initial singing comes the Aalap part, when other than the lead singer other team members join the singing. Initially the lead singers used to take break after the Aalap part. However, Nusratfateh Ali has popularized the coming back of the lead singer into singing after the Aalap. The songs depend on the emotion and enthusiasm of the singers. The singers focus on the ascending and descending tone of their voice. Often they incorporate personal improvisation to showcase their mastery over the genre. The songs are sung in a high note. The songs often end suddenly without preparing the audience for a possible denouement. 

Other than the Madaria Sufi all other Sufi followers consider Qawwali songs as their way of worship. The Madaria Sufis sing songs during harvest, a collection of which has been published by Bangla Academy of Dhaka. Most exploration in Qawwali has been done by the Sufis of Chisti order. They consider it to be their personal property. Most of the Qawwals worldwide are followers of Chisti order. The Indian and Bengali influences into the genre also happened under the guidance of Sufi practitioners belonging to Chisti order. The opponents of Chisti order have attacked the followers of Chisti order by launching assault on Qawwali. The Sufi saints of Chisti orders though close to the rulers have never taken any favor from them. In Bengal too there was no exception to this.

The Sufi poets of Chisti order including Nizamuddin Aulia replied to the attacks through their songs. The songs written by these poets begin with a symphony of all the music accompaniments that announce the arrival of Moinuddin Chisti. Sufis believe that their saints are beyond any time and space and are present at different layers of our Mother Nature. The tribute to Moinuddin Chisti is followed by paying tributes to other saints. ‘Rong’ and ‘Badhoa’ are two different traditions of singing Qawwali songs. Among the early Qawwals the most celebrated are Aziz Miyan, Badar Ali Khan, Aka Badar Miandad, Bahauddin Kutubuddin, Fateh Ali Khan, Mubarak Ali Khan, Munshi Rajiuddin, Nusrat Fateh Ali Khan, Sabri Brithers et al. Among today’s popular Qawwals are Faiz Ali Faiaz, Farid Faiaz, Rezwan Muyajum Qawwali, Rahat Nusrat Fateh Ali Khan, Wahid Navid Chisti and Warsi Brothers.

Qaawali songs have Sufi thoughts ingrained in them. The Qaawals sing their songs to reach to the divine entity through it. 

The journey from Darga to Cinema

In India Qawwali has been popularized through films. Sufiana Kalam has been an integral part of Hindi films for quite some time. Keeping the main structure intact, improvisations have been made according to the need of the film and sometimes the religious and spiritual got replaced by the romantic and humorous.  Directors and music composers have used the rhythm and joviality of the Qawwali which have always resulted in a hit song. 

The conservatives might be of opinion that this has negative implications on Qawwali but one cannot deny that these improvisations have given birth to some of the all time Bollywood hits. The phenomena of using Qawwali as film songs stared sometime in the middle of last century. In 50s, 60s and 70s most of the Hindi films used to have at least one Qawwali item. Sometimes the main song was kept unchanged in terms of lyric and tune but improvisations were made in the music arrangement. The layman who had otherwise no exposure to Qawwali got introduced to it through Bollywood. 
The golden age of Qawwali as Hindi film songs was till 80s, now Pakistani and Iranian Sufi music have taken the place. The audience has changed so has their choice. Now they prefer techno Qawwali with fast beats and modern music instruments. 
Post 70s a new phenomenon can also be traced where the main Qawwali got inspired by the filmy Qawwali. The length of the songs got cut short by the singers of Darga, the presentation and music arrangement was also changed. Women started to sing Qawwali from this time. 

Bollywood has grabbed all the folk, classical and religious songs and changed them according to the need of the film, but Qawwali has succeeded to maintain its distinctiveness in terms of rhythm and tune. 
The Indian songs have started influencing the songs from its introduction to the country. In Pakistan the new generation knows only about this techno Qawwali or the Hindi filmy songs in the tune of Sufi. May be someday there will be a debate on the authenticity of the prevalent forms of Qawwali and Sufi music.
Sufi is the music of the marginalized, for Qawwali it is even more relevant. Be it in the village or town the Qawwali always finds its audience among the people from lower strata of the society. In this music one gets rhythm and tempo blended with spirituality. Qawwali is the music for collective, and not for the individuals. The modern instruments have made it even more popular, Hindi film has inspired and newly structured the 700 years old music tradition; there is no space for denying the fact.   

Songs of Gorbhanga

The folk singers of Gorbhanga in Nadia have safeguarded the tradition of Bangla Qawwali in its original form. The new generation is also learning and practicing the tradition.  Some of them like Babu Fakir, Akkas Fakir, Arman Fakir, Khaibar Fakir, Khejmat Fakir have attained world fame. Most of the time they are busy performing in different festivals held across the world.  Golam Fakir is the most prominent face of this area. 
The artists are getting recognition from the people living around the village; new generation is showing interest in learning and they are getting invitation for performing in much higher number than the previous years. They are now certain about the future of their tradition. Rehearsals are regularly held at the resource centre at Gorbhanga, Qawwali trainings are imparted in groups. New teams are ready to perform in different festivals. 

Baul Fakiri music has always been an integral part of living for the artists of Gorbhanga but they were mostly poor and uneducated. With their success and recognition as artists, the children of the village are now going to the schools. Today Golam has computer in his house; previously he used to carry dead bodies to the local morgue. The time has changed. Now there are more than hundred Baul and Fakirs practicing the tradition. The village has become a land of Sufiana where people are singing at the resource centre or at the Akhra (A space for group practise). The village is now frequented by the exponents of Baul philosophy, college students interested in Baul practice and others from the urban areas. People from other countries also come to the village to know about this unique philosophy and culture of the marginalized. 

Arman Fakis says their ancestors have come from Afghanistan so there are Afghan influences in their language and culture. Their forefathers used to practice the philosophy and the music, philosophy was of more importance then. 35 out of 100 fakirs are directly associated with music, rest are mainly practitioner of Baul philosophy. They do not perform in public. Many of them have participated in the initiative undertaken by banglanatak dot com in association with European Union.  There are 5 Self help group in Gorbhanga itself comprising 50 artists. Before the banglanatak dot com’s initiative it was not known that the songs of Gorbhanga are Qawwali though the similarity was evident. Arman Fakir learnt this music from Kustia’s Gani Pagol and brought the music in Gorbhanga. This music has similarities as well as differences with the Qawwali performed in Dargas across the country. These are also used as film songs which have a detrimental effect on the form; the Fakirs of Gorbhanga are trying to safeguard it in its original form. 

The monthly income of the Fakirs has now increased from 500 to 6 thousand, leading artists are earning up to 18 thousand per month. They are now recognized artists with fame and reputation. They believe that the art form will survive even without their effort but the initiative has certainly helped to widen the reach to a larger audience. They also believe distortions will not woo away listeners from their penchant for the original songs. The Fakirs of Bengal have always practiced family life, they very much occupied with family bonding while remaining indifferent about property and money. Most of them are engaged in agriculture for livelihood while many of them spend most of their time performing outside the village. Apart from the resource centre there are 4 other Ashrams too where the Fakirs practice their music in complete devotion.

There are not much difference between Bangla Qawwali and Qawwalis in Urdu, Hindi, and Arabian, except for the language and presentation. All are about Sufi philosophy or paeans of the Gurus or Pirs. Arman Fakir describes the difference between Qawwali and Fakiri music as Fakiri music being about Fakiri Philosophy propagating the thought that God resides amongst us and we humans should search our soul for finding Him within while Qawwali is praise of Oli /Allah.

Jalangi’s Chhote Golam is a prominent singer of Bengal having a unique style and presentation. He says the style differs from one place to another. The music, instruments, and style of the Baul Fakiri music practiced in Kushthia, Jashor, and Nadia differ from those in Dhaka, Manikgunje, Sylhet.  


Qawwali of Kolkata

The ambience of the area surrounding Tipu Sultan’s mosque, at Anwar Shah Road crossing changes as night darkens. Music resonates in the air, as a number of Qawwali patrons flock to the place to get a taste of it. Pagla Baba’s Mazar, Isha Ali Jalani’s Mazar and its neighbouring areas are the melting pot for the fanciers of Qawwali. Kachi Qawwal informs that, Qawwali sessions are a must on Thursdays and during Urs held at the Mazars. He laments the dearth of Qawwali sessions, as the market for the same is on the wane. Kachi’s major income is through his Qawwali performances at Latubaba and Paglababa’s Mazar, which amounts to nearly 8000 rupees. Kachi Qawwal bewails that, today’s audience prefer Qawwal in the guise of Hindi film songs. He presents Qawwali in Bengali, Hindi and Urdu and the version varies according to the demand of a particular area.

Due to its narrative nature, the importance of the Qawwali lyricists is increasing by the day, so much so that, mug shots of the song writers are often seen on the CD covers. Though the Qwwali lyricists are not of the same stature as the Baul-Fakiri padakartas, their pride is worth noting. In fact, the Qawwals depend on them to a great extent.
A large chunk of the Qawwals of Kolkata is ‘Paschima Mussalman’. The forefathers of Kachi and Khokan Qawwals were from Iran and Multan respectively, both of which were the epicenters of Sufi ideology. Khokan is a staunch believer in the traditional form of Qawwali and his renditions reflect the same. He believes that modernization of Qawwali has given way to obscenity, which he detests strongly. Khokan opines that, a large number of audiences comprise the aged and young singers are not joining in as many numbers. The Qawwali season in Kolkata stretches from the month of December to April. The Qawwals like Kachi, Khikan, Salim, Kader Pervez, Chote Babu Qawwal and Mehtab, have demanding schedules during this period. They travel with their troupes to the Mazars of various districts.  

In stark contrast to earlier trends, today one can hear women performing Qawwali; but till date they do not perform at the Dargahs.  Female artists like, Miss Panna, Rehana and Pratibha Singh, perform at club soirees. They sing praises of Pir-Murshids in semblance of modern popular hit songs. The only hope of the Kolkata Qawwals is the performances at the Dargahs and the clubs. Although the popularity of the Sufi songs is ever increasing, courtesy, Hindi film songs, it has given rise to a new genre of pseudo Sufi singers. The true patrons of Qawwali avoid these singers.

To be precise, Kolkata is the birthplace of the recoding system and cinema. The interweaving of Qawwali with Kolkata, through the medium of cinema is an old one. Famous singer of undivided India, Noorjehan sang Qawwali in numerous Hindi and Urdu films. Our very own, Manna Dey, had learnt Qawwali from his uncle, the great singer, Krishnachandra Dey. Some of the brightest stars of Kolkata Qawwali circle were Gobardhan Chakraborty, Manulal Mishra (Haurey) and Pannalal Bose. Any mention of Qawwali would be incomplete without referring Nawab Wajid Ali Shah. As a prisoner, he was deported to Kolkata (Metiabruz), but it could not suppress his love for music and dance. His Kolkata Durbar was visited by the luminaries of the music world like, Aghornath Chakraborty, Shyamal Goswami, Raichand Boral, to name a few. Famous Qawwals also performed at his court. The essence of Bengal’s as well as, India’s cultural heritage can be found in Kolkata. It is evident from the fact that Qawwali co-existed with Bengal’s very own Kavi –Gaan, Jhumur, Tarja, Akhrai and Half –Akhrai.

Sufi Theory

700 years after the birth of Christ when Islam was dominating the world many of its followers became sybarites. However, many others did not tread that path and lived a tolerant and frugal life dedicated to the worship of the almighty. Sufism had its advent in this belief of reaching the God through faith, belief, giving and sharing. Sufi is an Arabian word. Swafa in Arabic means ‘purity’. ‘Suf’ on the other hand means silk, connoting to Saints wearing silk clad robes. In the early years of Islam these saints were seen at the adjoining areas of the mosque of Medina. They were called Alam-e-Sufi.

The Sufis were always very tolerant and for them Jihad means fighting against ill thoughts and desires. The Sufi saints follow a path of sheer dedication and spiritualism which is often expressed through frenzied and overwhelming raptures. Sufi philosophy is pluralistic and believes in a personal affinity with God. Sufism espouses a well-founded and thoroughgoing interpretation of Islam, which focuses on love, tolerance, worship of God, community development, and personal development through self-discipline and responsibility. A Sufi’s way of life is to love and be of service to people, deserting the ego or false self so that one can reach maturity and perfection, and finally reach Allah, the True, the Real. The role of Guru is very significant in Sufism who plays the role of leading one to the divine power. Where knowledge is the essence of one’s life in Islam, in Sufism the place has been given to realization and heartfelt emotions. They consider the deep rooted feelings to be the dwelling of the almighty. This philosophy is reflected in the lines of many Bangla Qaawali. A number of mystics in the early generations had concentrated their efforts upon tawakkul, absolute trust in God, which became a central concept of Sufism.  The final stage is Arabic ‘Fanā,’ which is the complete denial of self and the realization of God that is one of the steps taken by the Muslim Sufi (mystic) toward the achievement of union with God.

Dance plays an important role in the quest of a Sufi practitioner. Here we can find a parallel with the Kirtaniyas of Bengal who also have dance as an integral part of their religious practice. The Order of the Whirling Dervishes is one branch of the vast Sufi tradition of Islam. Sufi whirling is a form which originated among Sufis, and which is still practiced by the Sufi Dervishes. It is a customary dance performed within the Sema, or worship ceremony, through which dervishes aim to reach the source of all perfection. This is sought through abandoning one's nafs, egos or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles. The Dervishes wear a white robe and red Fez hat. In Sufi philosophy the divine entity is often considered a lover.

Sufism has many similarities with Baisnab, Sakta and Saibo School of beliefs. Sufism has ecstasy as a state of connection with Allah. Sufis practice rituals (Dhikr, Sema) using body movement and music to achieve the state of trance. In the trance-like state the normal consciousness is lost in ecstatic contemplation of the Divine Being. These experiences authenticate the developing discovery of the ultimate light and truth. Trance also finds mention in Baisnab religious practice. 

The practice of Sufi religious order involves three stages starting with uttering the prayer, and moves on to be calm and at peace by dissolving all inner turmoil, and in the final stage the devotee and the divine becomes one. Material love does not find any place in Sufi belief. It speaks of ‘Agape’ rather than ‘Eros’. According to many the advent of ‘Sufism’ can be traced before the Advent of Islam. The Sufi saint named Ubais-Al-Farid belongs to a period that dates before the birth of Mohammed. So Sufism can be classified as Sufi of early period and Sufi of later years. Belief in God is the first step. Once the belief in God is attained then comes losing oneself in God. If one is able to do it, one has attained a power which is beyond human comprehension. The process of attaining this is called Fana by the Sufis. Fana results in what may be called a resurrection in God. And the idea of resurrection explains the next stage, which is Baqa, meaning, 'Thou Art', and this means rising towards All-might. The divine spirit is to be recognized in that rising towards All-might. In the 11th century a distinguished Sufi mystic was Baba Tahir who is called Hamdai. ‘Hamdan’ refers to a space where everything is knowledge.
Interestingly the dictum of Omar Khayyam (professors of Nishapur University and later Bagdad University) in which he said to keep the inner thoughts and quest hidden from the outer world finds mention in the songs of Bauls of Bengal. 

Sadi Siraji the famous Sufi Mystic spoke of universal love and invited all to join in the celebration of universal brotherhood. Rumi was born to native Persian-speaking parents originally from the Balkh city of Khorasan, in present-day AfghanistanAsia Minor was then known as Rum and there are a number of historical personages born in or associated with this area who are known as Rumi. The group of dancing Dervishes which was developed by Rumi was known as ‘Chelabi’. In his famous book named, Mansabi-e-Manabi, Rumi has said that he does not belong to his body or to his ephemeral life; coming from the divine source he has no religion, no death or rebirth. He also says that he has not originated from any human body, neither has he come from the Garden of Eden or from the filth of the Earth. His home is every where and this entire world is his dwelling.

Bangla Qaawali and its Obscured Tracks

In spite of having age old rich tradition, pool of talented artists and large audience base Bangla Qawwali had lost its glory over time. It is important to identify the reasons behind this for reviving the art form. Sufism and its practitioners were attacked by the fundamentalists, time and again throughout history.  Although there are few exceptions where the music lover Kings supported and patronized the Sufi culture, but that doesn’t represent the whole. Even today they cannot practice it freely in many places of Bengal, including fringes of Kolkata. 

Lack of proper artists and institutional patronage, ignorance and apathy towards learning he forms among the new generation are some of the reasons behind the crisis which being faced by this art form. However, the art form is still popular and alive among the poor and marginalized people. Sufis are liberal and anti establishment, so they are hated by the conservatives of different religions. The institutional religions have adopted from Sufi culture but never gave any recognition. The conservative rulers have always been skeptic about Sufi thoughts and tried to suppress it with all their power. On the face of this tyranny and repression Sufism got restricted into a small section of people. 

As the Sufis propagate their philosophy through music, fundamentalists attack their music. The Sufi practitioners even get physically assaulted by them or are socially ostracized. The Bauls of Bengal differ in their philosophy from both the orthodox Sufis and the followers of Islam. This has resulted in opposition from both quarters and many have expressed reservations about their singing, calling it of lower quality. The Qawwali songs in Bengal have undergone serious changes due to geographical and cultural influences. Imbibing local elements into them they have gained their individual identities at different regions of East and West Bengal

Hazeat Kebla Kaba was a true sage and spent his life in the pursuit of the divine. He was extremely learned but dedicated in life in religious studies. He founded the Maijbhandar Sarif which became famous in his life time and people from far and wide visited the place to seek his blessings. He lived his life for others, providing solace, and spiritual paths to those in distress and trouble. He died on 23rd January 1906 and every year to commemorate his death anniversary there is a huge assembly of his followers at Maijbhandar Sarif and also at the adjoining Dargas. The songs that are traditionally practiced at these areas are called Maijhbhandarir Gaan, which is very close to the Qawwali tradition.

The lack of appreciation of the path followed by the Sufis of Bengal from the Islamic orthodox followers and also the Sufis affected the popularity of the genre of Bangla Qaawali. However, in recent years the Fakirs of Bengal have taken initiatives to revive the form and have presented it with success to both national and international audience. Celebrated musicians too have recognized the potential of this genre of music. The Pakistan Government on the other hand in their efforts to please the Arab World and to compete with the Mumbai music industry is supporting Qawwali Songs and in doing so accepting changes that clash with the authenticity of the form in terms of its philosophy. 

In Bangla Qawwali we find coexistence of various religious orders and in this it gets akin to the Sufi philosophy which too talks of tolerance. Belonging to the uneducated and marginalized communities the singers of Bangla Qaawali do not get the proper recognition they deserve. 

Qawwali as a genre has never got proper patronage. Most of the Muslim rulers were orthodox and suppressed the practice of this tradition. Only a few of them were egalitarian enough to appreciate the singing tradition. This happened in Bengal too. The increasing popularity of the Majars and Dargas where the downtrodden people, mostly victims of orthodox religious rules thronged for getting solace enraged the Islamic fundamentalists who were historically close to the State machinery. To stop this they attacked the Sufi practitioners who indulged more in dancing and singing rather than following the religious rites. They banned music to control this increasing popularity of Sufism. Many of the Sufi saints were forced to partially follow the dictums imposed by Islamic fundamentalists.

The Bengali fakirs put greater importance to ‘Guru’ and ‘Pirs’ in their practice of Sufism. In the world Sufi culture Guru plays the role of an adviser but in Bangla Qawwali tradition he is seen as a God. The Bangla Qaawali singers also sing Baul songs which have close resemblance with each other. The lyricists of Bangla Qawwali have often mixed the different Sufi orders in their songs which will be opposed by the orthodox believers of Sufism. At times they have changed the character of the songs but the original essence didn’t get lost. The inherent lexicon of the songs if studied carefully will help one identify the songs as Qaawali.





Village Festivals of West Bengal

banglanatak dot com works towards reviving and revitalizing intangible cultural heritage as means of livelihood. The flagship initiative of the organisation, Art for Life has led to socio-economic empowerment of 4500 folk artists in eastern India. They have used an innovative strategy of establishing 6 rural folk art centres which have evolved as living museums where artists practice their traditions, interact with the visitors and organize annual festivals as celebration of their heritage. The hubs provide a new positive identity to the localities which were earlier identified as deprived rural villages. 10 rural creative hubs are gradually emerging as new cultural tourism destinations to bring additional income opportunities to the so-far economically marginalized areas. They also promote education tourism by facilitating interaction between the local community and the visitors. The local people share their heritage and the tourists take back a piece of human history. The festivals organised annually at these villages highlight how ICH is a way of life of the people and not one-off event for a single audience.
A motley array of festivals dots our annual almanac:
Festivals of Purulia are numerous which is coloured and characterized by the epiphanies of joyous ceremonies and enthusiasm, and technically personify the robust and composite cultural heritage of the nation, History has it that an assortment of folk performances is held as this festive period dawns upon. The traditional dance forms of Purulia are rich and vibrant and have a global appeal. Chau, the dance form replicating martial art, has been inscribed in the list of master piece art by UNESCO. Bamnia and Cheliyama are two of the villages having the largest concentration of Chau dancers. One has to pay a visit to the villages meet some of the finest indigenous artists and experience their hospitality amidst the serene beauty of nature.
Charida, a small picturesque village in the foothills of Ajodhya is home for some wonderful artists making Chau mask, the headgears for Chau, the dance form with vigorous movements. In Purulia, Chau dancers wear large stylized masks while performing. The masks have a frank, simple and bold look.  An annual Chau Mask Festival is held where Charida welcomes one and all with its wondrous beauty, rustic charm and the simplicity.
Gorbhanga village situated in Nadia district of West Bengal is the home of the Fakirs. ‘Fakir’ is a word coined from the Arabic terms ‘Fe-kaph-re’ whose literal translation would be the ‘Madness’ of discovering the power of the element, ‘Air’. The Fakirs celebrate the search of the Eternal Truth through their music. A  home for more than 100 fakirs, the spirit of Gorbhanga are  simplicity, warmth, serenity and receptivity to other culture. While entering the village one is likely to hear the strumming of instruments like Dotara (lute) or the tinkle of Mandira and the sweet melodies sung by the Sufis of Bengal. Every year the Fakirs of Gorbhanga celebrate their music and philosophy in a three day long festival called Fakiri Utsav. During the festival one can get immersed the soulful Fakiri music and enjoy jam sessions with the international artists creating an ambience of cultural plurality.

Between the two ancient capitals of Bengal, Pundrabardhan and Gaur, lies the soft, green village called Kushmandi, which produces the finest examples of Bengal wood carving skills, along with other forms of traditional art, like fine pottery, bamboo and cane art or artifacts made out of fabric. But its claim to fame is undoubtedly the wooden masks (mukha), which are meant for Gambheera dances or Palas (musical folk theaters). It is a dance cum mime performed by various ethnic groups of Dinajpur. Traditionally, the masks are made by the Rajbonshi community of this area (250 artists). Bold demonic look is the characteristic feature of the masks. The annual fare by these artists is also an occasion to visit the place and get immersed into an authentic cultural experience that’s exclusive in its own measure.
The art form came to be known as Madhubani painting as the largest concentration of artists is at present in Madhubani. Madhubani painting (originally known as Mithila or Maithili painting),is a traditional wall painting or bhitti-chitra by rural artists, mostly women, commemorating the social rituals,  Done mostly in colour, line, Godhna and Tantric styles, these paintings reflect religious leanings, love for nature, feminine beauty, and divinity, as well as the panoramic view of the day to day life. The main themes of Madhubani paintings are Krishnaleela, Ramayan, Marriage and other mythological stories. The fish is also a common character as it is thought to be a symbol of love, fertility and procreation. Songs related to different rites are traditionally associated with these ritualistic paintings. The young women artists of this area are celebrating the story of their resurgence for last three years by organizing a three-day rural festival named, Madhubani Festival, at Rajnagar in Madubani. Presently there is a concentration of more than 700 Madhubani painters in Simri region of Madhubani district. Now the artists, mostly women, also paint on other mediums like garments, wood and came up with delightful products like scarves, t-shirts, coasters, lampshades etc. Vistors there can learn about the painting and its underlying tales, buy from a wide range of products, marvel at the ruins of local royal heritage and enjoy performance by folk musicians.
With a rich history and tradition, ideal geographical location for both agriculture and industries and a wide tourism potential, Bardhaman wears a motley crown. Around sixty families living in the Natungram village, of the Bardhaman district, are involved in wooden doll- making. These dolls are characterised by vibrant colour, intricate design and ethnic style. The owl, with its unique design and colours, is the brand product of the village and shares an iconic status in representing Bengal’s handicrafts. Besides replications of owls, Krishna and Radha and King and Queen are traditionally made. The small village waits the visitors with its pastoral beauty, rural charm and great artistry. A 3-day village fair along with a folk festival is held in Natungram, which beckons one and all to witness the artistic brilliance of the craftsmen.
In Bankura district there are is an old and established village of Terracotta craftsmen, Panchmura, which is the home of around 300 artists making terracotta items. Terracotta is a fascinating baked clay-based art. When one hears the word “terracotta” it brings images of the famed Terracotta Army in China or the Tanagra figurines from Greece, but the archetypal “Bankura Horse,” the tour de force of Indian terracotta, has over time gained recognition as a work of art among art lovers in the world. The a terracotta of Bankura is famous for its simple yet dynamic srtistry having a range of products starting from animal and human statuettes to household utility and décor products. One can plan a vacation at Panchmura, and experience its pastoral beauty, simple life, enriched cultural heritage. A three-day village fair, along with a folk festival is held at Panchmura, promoting community led heritage tourism.
Though many folk art forms which are our intangible heritage are dying with the emergence of electronic media, there is one art form which was dying even few years back, has made a remarkable comeback. One such art form is Patachitra. Naya is in Pingla block in West Midnapore district which has been able to celebrate the success of local artists in reviving the village heritage, for a mix of art and music in a rural setting. . There are around 250 Patuas living in Naya village in Pingla who paint stories in a series of frames on long scrolls of cloth with natural colours. Artists are also making various diversified products like T-Shirts, sarees painted with Patachitra and utility items like lanterns etc. They added bits of modernity to this art form. Some of them paint not just the divine mischief of Krishna, but also nightmares like 9/11, 26/11 , Jnaneswari train carnage, national issues like the Babri Masjid destruction or the tsunami in Southeast Asia in 2004. A 3 - day village festival, POTMaya, offer visitors the unique opportunity to see art gallery at every house, interact with the artists, learn about mythology or extracting natural colour and collect some great work.

Situated on 4 acres of land, Tepantar is a theatre village in Satkahania of Bardhaman. The thick Garh forest presents a perfect backdrop for the winding Ajay River, offering a visual splendor to the tourists. The cultural centre is run by Ebong Amra, a group of local tribal people who promote regional forms and rituals through innovative stage and open air performances of plays staged widely in India and Bangladesh. Festivals and fairs are held regularly at Tepantar.

Situated on 60 bigha of land, Loksevayatan is an institute established in 1948 enshrined with the philosophy of Mahatma Gandhi. The founder of the institute Subodh Kumar Roy and his wife Basanti Roy worked with Gandhi for twelve years and then founded Loksevayatan at Nimdih, in Purulia-Jharkhand border. At the foothill of Dolma the land is rocky and has a sylvan beauty with a rivulet running along the boundary of the Ashram. The simplicity of life and quietude of nature can be felt right after entering the Ashram. The Ashramites are engaged in organic farming and rural industries. A three -day festival named Basanta Utsav is celebrated here to mark the festival of colours. The people smear Aabir (colours) on each other and sway to the local ‘Jhumur' tunes’, Chau, Natua and Pata dance.
Thinspins 

1. Deep within
Are stories
surfaces cannot hold.
When you write
Write me deep.
‪#‎thinspins1

2. Look for me
On the other side
Of comfort
Inconvenience regretted.
‪#‎thinspins2

3. Smelling like you
Is the best part
Of our encounters.
‪#‎thinspins3

4. She: Why me?
He: Because,
There is no alternative.
thinspins4

5. Pace for you,
For me, space
In between a story ricochets.

‪#‎thinspins5

6. Somewhere
Instants get eternity
Elsewhere
Eternity is institutionalised

‪#‎thinspins6

7. Tell me a story
Don't make it of flowers
For fragrances get feeble
Soon.

‪#‎thinspins7

8. Pedestals were different
But love
As it turned out 
Was a great leveller.

‪#‎thinspins8

9. There is a fine wire
Between 
Your fear and fortitude
I perched my love on it.

‪#‎thinspins9

10. Someday
And the day will come
When 'pull'
Will be our 
Highest common factor.

‪#‎thinspins10

11. Repression
Is a queer force
Often causing 
Co-lateral damage

‪#‎thinspins11

12. What lingers?
Memories and moments do
Often Words and poems too

‪#‎thinspins12

13. Eventuality we will see
As for now
Time's warp looks a
delightful dwelling 

‪#‎thinspins13

14. Return to Nature, 
A phenomenon
Akin to the creation
Of a poem.

‪#‎thinspins14

15. Soft winds
In summer evenings
Are lovers' parley

‪#‎thinspins15

16. At night
I give myself to the dark
My shelter from light's ignominy. 

‪#‎thinspins16

17. Between sun dunes and seashores 
Water makes
Settlements

‪#‎thinspins17

18. Ebb and flow,
The sea song
Intones a jagged tune.

‪#‎thinspins18

19. Mingled breadths
In languid rhythms
Orchestrating one love song.

‪#‎thinspins19

20. Come in my dreams
To live
Our desired reality.

‪#‎thinspins20