In a captivating session that challenged long-held perceptions, renowned Kathak exponent Manjari Chaturvedi dismantled the myth that Qawwali is confined to a single religion or language. Speaking at the Koshala Literature Festival's inaugural day, she presented groundbreaking research highlighting the art form's incredible diversity and spiritual depth.
Beyond Arabic and Persian: The Linguistic Tapestry of Qawwali
During her session titled 'Qawwali: The Call of Hearts in Love' at UP Darshan Park, Chaturvedi insisted that the notion of Qawwali being exclusively sung in Arabic and Persian is a misconception. She emphasized that Qawwali is performed in Hindi, Awadhi, and numerous other Indian languages, showcasing its deep roots in the subcontinent's composite culture. The festival itself, which champions diversity, provided the perfect backdrop for this revelation.
The Untold Legacy of Sanatani Qawwali
One of the most striking revelations was her documentation of 'Sanatani Qawwali.' Through 14 years of dedicated research, Chaturvedi discovered references to Qawwali performances in Banaras from a century ago. She found documented evidence of 40 Qawwalis dedicated to Hindu deities, including specific compositions for Ganga Aarti and Lord Ganesha Aarti.
"This form of music came around 700 years ago. Imagine somebody created such visionary music that we are still grooving to it," Chaturvedi remarked, underscoring the timeless appeal of Qawwali.
Kakori's Sufi Tradition and Krishna Devotion
The session was further enriched by a soulful performance by Qawwal Gufran Aslami from Khairabad. He presented a Qawwali based on the poetry of the 18th-century Sufi saint Shah Turab Ali Qalandar from Kakori. Chaturvedi elaborated on this often-overlooked aspect of Kakori's heritage.
"While Kakori kebabs are world-famous, what we don't know is that Kakori has a rich Sufi tradition," she explained. Saint Shah Turab Ali Qalandar composed verses devoted to Lord Krishna, and for the past century, people in Khairabad near Kakori have continued to sing these Krishna-centric compositions.
Chaturvedi passionately argued that Qawwali's essence is spiritual, not entertainment. She expressed concern that Hindi cinema's portrayal of Qawwali as mere entertainment has diluted its profound spiritual context. Having found no prior academic documentation on the subject, she took it upon herself to research and document Qawwali's complete history.
She also advocated for copyright protection for Qawwals whose music is used by the film industry, suggesting that Qawwals themselves should be given opportunities to sing in films rather than having playback singers perform their compositions.
