Thematically, it is more similar to hamd or the praise of Allah, which is an important part of qawwali. He has research experience in folk music and mystic spiritual traditions, especially in West Bengal, Rajasthan, Bihar and Punjab.In aam concerts we start with 'hamd’ composed in Urdu or Hindi, whereas in khas concert we present 'naat’ followed by ‘qaul’ or ‘Maula Ali’r Shaan’ mainly composed in Bengali. ‘Origin and Journey of Qawwali: from sacred ritual to entertainment’. AG: How did you perceive the journey and changes of Bangla Qawwali in the last thirty-five years? Banda Nawaj Gesuderaj, a disciple and successor of Nasiruddin Chirag, travelled to Gulbarga of present day Karnataka. His songs are classified as a distinct genre of Bengali music –‘Nazrul Geeti’.However, none of the previous scholars has discussed in detail about the practice of sama or qawwali in medieval Bengal. Kazi Nazrul Islam ((AD 1899 – 1976), the rebel poet of Bengal, used this language more successfully in hundreds of his Islamic songs ranging from hamd, naat, marsiya and ghazal in Bengali.
Ghutiyari Sharif of South 24 Parganas, Dargah of Mastan Shah at Mehmanpur (Budge Budge, of North 24 Parganas), Dargah of Sadir Baba (Sadiruddin Chishti) at Enayetpur(West Medinipur)and Pagla Baba Mazar at Tollygunj (Kolkata) are a few of the Sufi shrines that host qawwali performance every Thursday-night and in the annual celebration of Urs (death anniversary of the Sufi saints). Whichever way it is expressed in whichever language it speaks of the same essence.’While verses of different lengths (ranging from short to long)and metrical schemes such as The traditional Urdu qawwalis are usually based on particular ragas of North Indian classical music, while Bengali qawwali does not really follow the raga system and is performed, instead, in a simple repetitive melody without any great improvisation. So far, to the best of our knowledge, no scholarly literature or research work has been found on this particular art form. Khokon Qawwal: Since childhood I have been trained in this (Sufi) path by my grandfather who happened to be my Pir (spiritual master) too. Apart from the romantic, heroic and elegiac ballads, the Sufi poets of medieval Bengal composed a lot of religious literature including ‘Mystical theories were also expressed in the Bengali language as early as the seventeenth century, when a mystic called Hajji Muhammad described, in his The incorporation of Arabic and Persian words like Allah-Khoda, Nabi-Paigambar, and Pir-Murshid had become prominent in this period (fourteenth to eighteenth century) in Bengali literature. For any queries, comments, or feedback, please contact Sahapedia at
Some of the important books were al-Sarraj’s Among the different Sufi orders of medieval Persia, Hamiduddin Nagauri, another disciple of Khwaja Moinuddin, was an ascetic-scholar who performed sama in the royal court of Sultan Iltutmish. Even though, the Similar debates can be found among the researchers on ‘Maijbhandari songs do not have the typical alternating singing between a soloist and an echoing group…Another reason why such songs (like Maijbhandari or the song above by Gani Pagol) cannot be read directly into the qawwali tradition is that these songs are not rendered in the sequence of Qawl-Hamd-Naat-Manqabat, which are mandatory aspects of qawwali performances. Album: Vear Mala Singer: Tusi Rani, MD Nasir Jhankar Music Label: Blaze Audio Video Vendor: GoBindas Entertainment Pvt.
Qawwali is a common practice among us who follow Sufism. Fariduddin Ganj Shakar (better known as Baba Farid) wrote a number of Sufi poems in Punjabi and was a disciple of Qutubuddin. The songs are based on different themes like ‘muzahidana’, the songs of chivalry, ‘rindana’, which deals with ‘sharab’ (wine), ‘saqi’ (wine-provider) and ‘botal’ (the container of wine) and ‘Arifana’, which is on the esoteric knowledge.According to Naser, there are two types of presentation and performance in qawwali depending on the audience and the stage.
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