Cuba’s second language is Spanish. Yes. You read it right !
First language of Cubans is music. They speak music, they walk music, they breath music, they live music. If you have any doubts, you need to visit Cuba. Every few hundred meters, just as you find Tim Hortons in Canada, you will find music bands in Havana. Cuban music is influenced by European and African music mostly brought along by people from Spain as conquerors and West Africans as slaves. Am no technical expert on music so i quote from elsewhere:
“SHORT HISTORY OF CUBAN MUSIC: The Caribbean island of Cuba has been influential in the development of multiple musical styles in the 19th and 20th centuries. The roots of most Cuban musical forms lie in the cabildos, a form of social club among African slaves brought to the island. Cabildos preserved African cultural traditions, even after the Emancipation in 1886 forced them to unite with the Roman Catholic church. At the same time, a religion called Santería was developing and had soon spread throughout Cuba, Haiti and other nearby islands. Santería influenced Cuba’s music, as percussion is an inherent part of the religion. Each orisha, or deity, is associated with colors, emotions, Roman Catholic saints and drum patterns called toques. By the 20th century, elements of Santería music had appeared in popular and folk forms. Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Most important among these are France, the United States, and Jamaica. Reciprocally, Cuban music has been immensely influential in other countries, contributing not only to the development of jazz and salsa, but also to Argentinian tango, Ghanaian high-life, West African Afrobeat, and Spanish “nuevo flamenco”. FOLK MUSIC: The natives of Cuba were the Taíno, Arawak and Ciboney people, known for a style of music called areito. Large numbers of African slaves and European immigrants brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, zampado, retambico and canción. Later, northern European forms like waltz, minuet, gavotte and mazurka appeared among urban whites.Fernando Ortíz, a Cuban folklorist, described Cuba’s musical innovations as arising from the interplay between African slaves settled on large sugar plantations and Spanish or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants reconstructed large numbers of percussive instruments and corresponding rhythms, the most important instruments being the clave, the congas and batá drums. Chinese immigrants have contributed the cornetín chino (“Chinese cornet”), a Chinese wind instrument still played in the comparsas, or carnival groups, of Santiago of Cuba.”
Below are two beautiful videos I have recorded from live performance by an all girl band in the hotel we are staying. Its absolutely phenomenal.
It is a myth propagated by the ultraconservatives that music is haram in the faith.
Another myth propagated by the ignorant is that the songs in praise of Prophet Muhammad PBUH are sung as a biddat( innovative distortion) only in the South Asia and not in the Arab world. On the contrary, my favourite naats are in Arabic and they are called Nasheeds.
Having lived in Saudi Arabia, for nearly 2 decades, and travelled extensively in the Arab world from Egypt to Syria to the Gulf, the overload of beautiful music I have enjoyed is beyond the scope of this post.
Here I wish to share the FIRST EVER Arabic song in recorded history which was sung in 622 AD in Madina when Prophet PBUH entered the city, and he was overwhelmingly welcomed by the Ansars ( the residents of Madina). The singers lined up were women, who played Duff( a hand drum) and sang in his praise.
The lyrics say: Tala’a Al Badru Alaina…The white full moon has arisen….
The one shared below is the modern original version sung by none other than my favourite Arab singer, Um Kulthum, for the film The Message. The video also gives an overview of how the welcome scene may have looked like 1400 years ago.
This is my utmost favourite, and the catchy music still gives goosebumps and serves as a reminder of the hundreds of trips to the tranquil city of Madina from Makkah in our 19 years stay there and numerous weddings we attended in the Arab world.
In a typical Arab wedding even today, the bride-groom are traditionally received in the wedding hall by women singing this very song.
طلع البدر علينا Oh the white moon has arisen over us من ثنيات الوداع From the valley between hills وجب الشكر علينا And we owe it to show our gratitude ما دعى لله داعWhere the call is to Allah أيها المبعوث فيناOh you who were raised among us جئت بالأمر المطاعComing with a word to be revered جئت شرفت المدينةYou have brought to this city nobility مرحبا يا خير داعWelcome best caller to God’s way
EID MILAD UN NABI
Do listen to the song, the music and the powerful voice. Does it feel as a beautiful piece of music as it feels to me?
Sufism talks of losing the ‘self’ to attain the love of God. Here in an unusual Hindi sufi poetry the poet Achal Ram, a Kabir bhakt, describes in simple yet delightful verses how by losing one’s self, he sees the reflection of God within himself and then falls in love with that self.
Mukhtiyar Ali, a renowned Kabir singer adds ecstasy to the soulful words through his rendition. Translation in the subtitles by Kabir Project does remarkable justice to the original verses.
Dekha apne aap ko, mera dil deewana ho gaya, Na chhero yaron mujhe, main khud mastana ho gaya. I saw my own self and fell in love with it, Don’t mess with me friends, I am in ecstasy of self.
Lakhon suraj, chandrama, qurban per hain mere husn per, Adbudh chhavi ko dekh ke, kehne se main sharma gaya. Countless suns and moons bow down to my beauty Seeing my spectacular silhoutte, I am speechless and blush.
Ab khudi se baaher hain, ishq kafni pehen ker, Sab rang chola rangaa, deedar apna ho gaya. I am free of self-obsession after being draped in love shroud, Sporting a dress dyed in all colors, I have come face to face with myself.
Ab deekhta koi nahin, duniya me hi merey siwa, Doori ka parda hata, saara bharam pighla gaya. Now I behold no one in the whole world but my own self The veil of separation is lifted, all delusions have vanished away.
Achal Ram ab khud ba khud, hai mehboob mujh se na-juda Nij noor mein bharpoor ho, apne mein aap samaa gaya. Achal Ram now by itself, the beloved and I are inseparable Suffused with self radiance, I have merged within myself.
Weddings are not complete without the wedding songs in any community. “Kaahe ko byahi bides” in Braj dialect by Amir Khusrau is an extremely popular wedding song in the northern Indian subcontinent. There is hardly any wedding where this song is not sung by the women. Since these verses are passed on from one generation to another by word of mouth, every singer picks and chooses different stanzas and sometimes with variance in vocabulary in the verses. I have tried to collect the different verses, and there may still be other lesser known verses too. Shall appreciate if you will share if you have any different ones in the comment box.
It is a plea from a daughter to her father explaining how she is one of the dispensable objects from their household. Through metaphors, though seemingly simple, she makes a gut wrenching comparisons with herself. Every stanza of the song merits a deep appreciation of that comparison in a different way.
Khwaja ji,
Sun li hamre jiyara ki peerh, Ankhiyaan se bahe hai neer.
Khwaja listen to the pain in my heart, While from my eyes flow out tears.
Kāhe ko byāhe bides? Arre lakhiyā` bābul more? Kāhe ko byāhe bides?
Why did you marry me off to a alien land? O’my wealthy father,
why did you part me from you?
Hum to bābul torey, bele kī kaliyā`. Arre ghar-ghar mānge hai` jāye. Lakhiyā` bābul more
Kaahe ko byahe bides. We are just flower-buds from your garden, Every household asks for us.
O’my wealthy father,
Why did you part me from you?
Hum to bābul tore angan kī chiṛaiyā. Arre chuge, piye, urr jāye.
Lakhiyā` bābul more
Kaahe ko byahe bides.
We are just birds from your courtyard We peck on food, drink and then fly away
O’my wealthy father Why did you part me from you?
Hum to bābul tore, khūte kī gayīyā`. Arre jid haanko hakjaaye. Areh lakhiyā` bābul more
Kaahe ko byahi bides.
We are just your tethered cows,
we have to go wherever you drive (send) us.
O’ my wealthy father
Why did you part me from you? .
Tākh bhārī me`ne guṛiye` jo chhoṛī. Arre to chhoṛā saheliyo` kā sāth. Lakhiyā` bābul more
Kaahe ko byahe bides.
I’ve left at home alcoves full of dolls, and parted from my childhood friends too. O’ my wealthy father
Why did you part me from you?
Mehala` tale se dolā jo nikalā. Are bīran ne khaayi pachhād. Lakhiyā` bābul more
Kaahe ko byahe bides
When my palanquin passed beneath the mansion, My brother fainted and fell. O’my wealthy father, why did you part me from you?
Doley ka parda utha ker jo dekha Na babul na babul ka des reyy Lakhi babul morey Kaahe ko byaahe bides?
When I lifted the veil of the palanquin There was neither father, nor fatherland, O’my wealthy father Why do you part me from you?
Bhaiyā ko diyo bābul mehala do mehale. Areh ham ko diyo pardesh re. Lakhiyā` bābul more
Kaahe ko byahe bides
You gave, two-storied houses to my brother And to me, you gave a foreign land. O’my wealthy father, why did you part me from you?
Ghar se tou kayila hum ke vida, Arre Jiyara se na kariyo judaa, Lakhiyā` bābul more
Kaahe ko byahe bides
You are sending me away from home, Separate me not from your heart, O’my wealthy father, why did you part me from you?
Khusrau kehat hai`, Aiy merī lāado. Arre dhan dhan bhāg suhāg re. Lakhiyā` bābul more
Kaahe ko byahe bides.
Khusrau says, O my darling daughter – May your marriage be blessed with everything. O my wealthy father, why did you part me from you?
There are multiple classical and folk versions sung by countless singers. Few of my favorites are here:
A different and very interesting version I found is this sung by Habib Painter >
Waise tou dastoor hai ye purana, Pii ki nagariya hai dulhan ko jaana Kehtey hain Nabi aur Khusrau ka kehna Doley ka parda utha ker jo dekha Aya paraya des reyy, ache babul more Kaahe ko byaahi bides, ache babul more…
The word Nowruz meaning New Day, is the most anticipated and favorite celebration for Persians. It occurs exactly on the Spring Equinox. This occasion has been renowned in one form or another by all the major cultures of ancient Mesopotamia. Sumerians, 3000 BC, Babylonians, the ancient kingdom of Elam in Southern Persia and Akaddians in the second millennium BC, all celebrated this festival. What we celebrate today as Norooz (Also spelled Now Ruz, Norooz or Norouz) has been around for at least 3000 years and is deeply rooted in the rituals and traditions of the Zoroastrians of the Sassanian period.
It’s no secret that Persians love any excuse to celebrate. But of all the many reasons to celebrate, Norouz, The Persian New Year, is by far the most important and dear in the hearts of Iranians around the globe. Literally translating to “A New Day,” Norouz marks the first day of Spring (March 21st) and the beginning of the year in the Persian calendar.
Originally a Zoroastrian holiday, Norouz has been celebrated for at least 3,000 years. The most significant aspect of Norouz is the fact that it is a non-religious and non-ethnic celebration. Norouz brings together several hundred million diverse peoples spanning from Iran to northwest China, India and Central Asian republics,Turkey and Eastern Europe, Iraq and westward to Egypt; all celebrating this joyous holiday which represents new Beginnings, and the start of Spring.
Sofreh Haft Seen
In harmony with the rebirth of nature, the Persian new year celebration starts on the first day of Spring, illustrated by a beautiful spread Haft Seen:
A symbolic illustration of Norouz is the “Haft Seen” (Persian translation of “Seven S”), a ceremonial table spread, including at least seven items whose names start with the letter “S” in the Persian alphabet; hence the name “Haft Seen” or “Seven S”. The spread itself is usually a beautifully crafted and decorated fabric such as “Termeh.”
At the specific time of Vernal Equinox (when the sun is observed to be directly over the equator) which varies every year, the family gathers around Haft Seen holding hands. At the moment of transition into the New Year or “Sal Tahvil,” family members embrace each other and eat a sweet…for a sweet year! This is followed by exchanges of “Aydi” (cash gifts exchanged) and having the traditional new year dish “Sabzi-polo and Mahi” (herbed rice and white fish).
The Most Common Haft Seen Items:
Sib (Apple): Red apples representing health and natural beauty.
Sabzeh (Sprouts): Wheat, barley or lentils sprouts growing in a dish,
symbolizing the fertility of the land in the Spring and the rebirth of nature.
Samanu: Common wheat sprouts are transformed and given new life as
this sweet and creamy pudding, representing the reward of patience.
Sir (Garlic): Displayed in beautifully decorated dishes, garlic represents
good health, and is believed to chase away evil spirits.
Sumac: A popular Persian spice used as a symbol to wish for some zest
in life in the new year.
Senjed (Oleaster): The Senjed or wild olives represent love and compassion.
Sombol (Hyacinth): Hyacinth is placed in the Haft Seen to signify the beauty
and fragrance of Spring, and the rebirth of nature.
Sekkeh (coin): Coins representing wealth and hopes for prosperity.
Serkeh (vinegar): The vinegar also placed in a beautiful bowl or decorative
container is a symbol for maturity, and the wisdom and patience that comes
with age.
Other items not starting with letter “S”, but included because of their symbolic
meaning and cultural significance include:
Mirror: The mirror is usually set at the top center of the Haft Seen,
representing self-reflection.
Candles: Lit candles are more commonly set on each side of the mirror
and represent enlightenment and happiness.
Gold Fish: One of the most fun traditions of Norouz is buying the gold
fish for Haft Seen. The gold fish are used to represent joy and movement.
Holy or Poetry Book: Religious families will often place their holy book
in the center of the Haft Seen. Others opt for famous poetry books such
as Divan of Hafiz or Shahnameh.
Eggs: Usually, one for each member of the family, artfully decorated eggs
are used to represent the human race, as well as, fertility.
Sweets: Traditional Persian sweets are another popular item for the Haft Seen.
The pastries are a symbol for a sweet life and are meant to be eaten
during the celebration.
Seville orange: Floating in a bowl of water, it represents the earth
floating in space.
Haji Firouz (Persian: حاجی فیروز / هاجی فیروز – Hāji Firuz) or Khwaja Piruz (Persian: خواجه پیروز – Xwāje Piruz),[1] also spelled Hajji Firouz, is a fictional character in Iranian folklore who appears in the streets by the beginning of Nowruz. His face is covered in soot, and he is clad in bright red clothes and a felt hat. He dances through the streets while singing and playing a tambourine, and is the companion of Amu Nowruz(“Uncle Nowruz”).
(Source & further details: here >> https://en.wikipedia.org/wiki/Hajji_Firuz).
Lyrics: Beškan Beškan Beškan beškan e, beškan! (It’s a snap-snap, snap!) Man nemi-škanam, beškan! (I won’t snap, snap!) Injā beškanam, yār gele dāre (If I snap here, this one will complain) Unjā beškanam, yār gele dāre (If I snap there, that one will complain) In siāh e bičāre če qad howsele dāre! (How patient this poor man is!)
Bonfire:
People traditionally jump over bonfires, shouting “Zardie man az to, sorkhie to as man,”which means “May my pallor be yours and your red glow be mine.” The flames symbolically take away the unpleasant things from the last year.
Following is my favorite song Nasim-e-Farvardin( The breeze of Spring) by Marzieh , an ode to arrival of Spring:
Reshma who originally hailed from Bikaner Rajasthan here sings a ‘maand’ or a welcome song in Rajasthani language for the arrival of the beloved. (Have attempted to translate the verses from my basic knowledge of the language).
Kesariya baalam o’saa, padhaaro mhaare des rey
Oh my saffron beloved, Come to my abode.
Thaare aayo dujaan Barishme mere Your arrival shall bring life in me
Saajan aaye o’ sakhi, Main kayeen manwa vikraan, Thaari paryo gaj motiyaan, Aur ooper nayn dharaan. My beloved shall come my friend How can I keep my mind sane,
I shall spread pearls on the tray, And keep my eyes on them.
Kesariya baalam o’saa, padhaaro mhaare des rey
Oh my saffron beloved, Come to my abode.
Sajan sajan main karaan Sajan jeev jari Choorley per moondshaan Aur vachaan ghari ghari. I utter “Beloved, Beloved.” “Beloved” is embedded on my tongue, Shall weave his name on my bracelet, And watch it over and over.
Kesariya baalam o’saa, padhaaro mhaare des rey
Oh my saffron beloved, Come to my abode.
Awan saavan keh gayo dhola Ker gaya khol anek Bin taagan taa gash gayee Mhaari anganiya ree rey. Shall come in the rains, he promised, Played many cruel jokes on me, Without the rope of his swing, My courtyard is deserted.
Kesariya baalam o’saa, padhaaro mhaare des rey
Oh my saffron beloved, Come to my abode.
Published in Express Tribune Blogs here > http://blogs.tribune.com.pk/story/33221/you-can-play-holi-too-even-if-you-are-muslim/
Phagwa, more commonly known as Holi, celebrated on the full moon day of Phalgun, is a festival that heralds the arrival of spring. Played with dry and wet color, it is a symbolic expression for the changing temperatures and the blossoming fields.
Since very young, on the morning of Holi, I saw my Muslim parents being called at the gates of our house in Delhi, by a group of faces immersed in colors, who all looked almost identical. As my parents walked out, they were enthusiastically smeared with color by the crowd, and they too lost their identity with crowd. It left no clue as to who was who, when they roared together with laughter and excitement. As we siblings grew up, we joined in too, with our set of friends.
Holi, as I envision it, is a perfect way to depict a spirit of universal brotherhood beyond color, creed, caste or social status.
If taken in it’s true spirits, Holi never was and never is meant to be a religious festival to be celebrated by a select faith.
Though, like other religious festivals, it too claims a legend with a victory of the good over the evil ( The Story of Holika). However, from the context of its current celebration, it is said to have begun by the love duo Krishna and Radha.
Krishna as a young boy, being extremely dark complexioned, complained to his mother Yashoda, why was he dark, while his beloved Radha fair?
The conversation between a complaining son, and his doting mother, is narrated beautifully, in a famous folk song:
(Krishna asks mother Yashoda: “Why am I dark, while Radha is so fair?” Mother smiles and replies: “Listen my dear, the fair Radha’s kohl eyes have swept you with their magic, and hence are you so dark.)
And one day teasingly to console Krishna she is said to have told him: “What’s in a color? Go and smear Radha’s face with any color you like.”
And Krishna out of love for Radha, smeared her with red color( gulaal).
Legend claims that thus began the playing of colors ( Holi khelna), between Krishna and Radha along with her friends referred to as Gopis.
Their romance with playing Holi has been immortalized in many miniature painting s:
Another one, with in Mughal art:
Mughal Emperors too fancied Holi, for its association with color and romance. They brought the practice of playing Holi to their courts and palaces.
Akber is no surprise, knowing his secular conviction and a Hindu Queen, Joda Bai.
Jehangir, the romantic art connoisseur, is documented to have played Holi with his Queen Noor Jehan in his palace and called it Eid-e-Gulabi. It isnt hard to imagine the ecstatic aroma and aura that must have been created in the palace by red gulaal, rose petals ( gulab paashi) and rose water (aab paashi)being sprinkled during the royal play.
Auranzeb’sfancy for the colors of Holi came as a surprise to me. Writes Lane Poole in biography Auranzeb: “During his time there used to be several groups of Holi singers who besides reciting libertine lyrics also indulged in salaciousness, accompanied by various musical instruments.”
Bahadur Shah Zafar’s verses on Holi now are sung as part of the phaag ( folk songs of Holi). One of the most sung verses being:
Kyo Mo Pe Rang Ki Maari Pichkaari Dekho Kunwar Ji Doongi Mein Gaari (Why drench me with color spray,
now my prince, I will swear at you)
Bahut Dinan Mein Haath Lage Ho Kaise Jane Doon Aaj Phagwa To Son Ka Tha Peeth Pakad Kar Loon.
(After long have you come in my hands, how will I let you go?
Today is Holi, and perfect time to catch hold of you)
This is Mughal Emperor Jehangir playing Holi in his palace:
Sufi poets too eulogized the Radha Krishna romance and Holi, when expressing their love for their revered Sufi Saints or even God.
To begin with Sufi poets, it is Shah Niaz’s‘sHori Ho Rahi hai, (immortalized by Abida Parveen):
Holi hoye rahi hai Ahmad Jiya ke dwaar Hazrat Ali ka rang bano hai Hassan Hussain khilaar Aiso holi ki dhoom machi hai chahoon or pari hai pukaar Aiso anokho chatur khiladi rang deeyon sansaar “Niaz” pyaara bhar bhar chidke ek hi raang sahas pichkaar.
(Holi is happening at beloved, Ahmed’s (saww) doorsteps. Color has become of Hazrat Ali (as) and Hasan (as), Hussain (as) are playing. It has become such a bustling scene of Holi that it has become talk of the town, people are calling others from all over, What unique and clever players (Hasan and Hussain) that they colored the entire world. Niaz (the poet) sprinkles bowlfuls of color all around, the same color that comes out of thousands of pichkaaris ( spray guns).)
{Thanks to Ali Rehman @Baahirezaman for the translation}.
Bulleh Shah also played Holi with his Master:
Hori khailoongi keh kar Bismillah Naam nabi ki rattan charhi, bond pari Illalah Rang rangeli ohi khilawe, jo sakhi howe fana fi Allah
(I shall play Holi, beginning with the name of Allah. The name of Prophet is enveloped with light, He only makes us play with colors, who annihilates with Allah)
Amir Khusro relates to Holi through multiple fascinating ways, in various places. Khusrau refers not just to the color, or the play but of the birth place of Krishna Mathura in the famous Aaj Rung hai rey:
Gokal dekha, Mathra dekha, par tosa na koi rang dekha Ey main dhoond phiri hoon Des bides mein dhoond phiri hoon,
Purab dekha pacham dekha uttar dekha dakkan dekha Re main dhoond phiri hoon Des bides mein dhoond phiri hoon,
Tora rang man bhaayo Moinuddin Mohe apne hi rang mein rang le Khwaja ji Mohe rang basanti rang de Khwaja Ji Mohe apne hi rang mein rang de
{In summary: I saw Gokul, Mathura ( bith place of Krishna) and even East to West I roamed, but I did not find anyone with a color like yours. My heart is enamored by your color, hence color me in your shade, my master.}
Another lesser know verse I came across is:
Khelooongi Holi, Khaaja ghar aaye, Dhan dhan bhaag hamarey sajni, Khaaja aaye aangan merey..
( I shall play Holi as Khaaja has come to my home,
Blessed is my fortune, O’ friend,
as Khaaja has come to my courtyard.)
Needless to repeat, there are ample such examples. No matter how much one may attempt, it is impossible to separate the two inter-meshed cultures coexistent for centuries in the subcontinent. These celebrations of culture are all about love and inclusion, and absolutely nothing about hate and discrimination.
Let’s celebrate then, with an open heart !
Here is the link to Amir Khusrau’s Kheloongi Holi, Khaaja ghar aaye:
Towards evening, as the time for Shafqat Amanat Ali’s concert approached on the third day of Mosaic Festival 2012, there was a visible increase in the hustle bustle in the Celebration Square. Before he could even come, the lawns were full.
Dressed casually, Shafqat walked on the stage amidst cheers, after being e introduction by none other than Sohail Rana.
The first song ‘ankhon ke sagar, le doobe humein‘, was enough to drown the crowd into a Shafqat frenzy.
Then followed the khamaj “mora sayyan mo se boley naa,”which transformed the mood of an excited crowd into that of a sombre ecstasy.
Having talked to Shafqat in the waiting room, prior to the show, he had mentioned of his conviction for Indo Pak cross cultural exchange.
He had promised, “As such we artists contribute a great deal towards that, but I would consider myself very fortunate to support anyone who works towards making it into a reality.”
Carrying on that conviction in the crowd, he dedicated the third song, Ye Hausla, towards “India Pakistan Peace” amidst an uproar of applause for his dedication. By just this third song, the crowd had been immensely electrified. The words were powerful and seemed to reiterate his promise even more strongly.
“Ye hausla kaise jhukey, ye arzoo kaisey rukey. Manzil mushkil to kya, dhundla ye saahil to kya…”
I noticed a lady, sitting on the front most rows, reciting every song of his, verse by verse.
“You seem to be his diehard fan?” I asked.
Pat came her reply, “Yes, I love the imagination with which he brings fusion of different genres in his music. Though many of them are coming from Bollywood, but are yet not cliché’ Bollywood. It touches the strings of the heart. “ Sapna, as she introduced herself, is a new immigrant from Delhi, and takes pride, that she knows all the songs he has sung so far.
In the conversation earlier, Shafqat had told about his family’s experimentation with different kinds of music. He mentioned of how his father Ustad Amanat Ali Khan, excelled in Ghazal singing despite being earlier dissuaded as not deemed suitable to his classical background of Patiala gharana. He referenced the experimentation of his brother, Asad Amanat Ali’s with various forms, including Punjabi.
A soft spoken Shafqat Amanat Ali, to me was contrary to the image I had of him through his “Rockstar Ustad” image. I had expected I would meet a loud, talkative, rock star personality. Diametrically contrary to my image, he was extremely soft, and sombre not just in voice, but expressions and body language too.
Most of my questions, some serious, and some not so serious, were mostly answered by him with a uniform sobriety, with just a slight smile on the question, “Why did you take up a degree in Political Science?”
The smile followed with a simple answer, that “he was the first one to go to the University, from his family, and hence, without much direction being given, he followed, what his friends chose to study.”
Being a musician, to him was inevitable, as this is how kids in his gharana are trained from a very early age. “They are left with little choice to do anything else.”
If he is not doing music, what does he do? “I watch a list of movies, and sleep”, replied Shafqat.
We had been told by his manager that he loves food, especially desi food. So came my obvious question: “What’s your favourite food?” “Biryani Saag” , was the instant reply, but with a quizzed expression on me, he preferred to explain, as “a relative unknown dish, being his favourite dish. It is cooked on occasions and in special deghs, by the cooks.”
The manager also revealed Shafqat’s love for nature. He reminisced of the time, when due to a beautiful foggy weather in Malaysia, they went for a walk, and during that stroll composed one of his most beautiful songs. “Tell us something in this blog that you have never shared before, but would wish to.”I asked.
With an expression of hurt he shared, “ I was a rejected singer on PTV, and ….”.
However it hurt me too, to have asked that, so I switched instantly to, “What special message would you give to Mosaic Festival?” And his instantly opened arms and a flying kiss towards all the Mosaic volunteers standing around, did all the talking.
Back to the concert, each song that followed, further mesmerised the crowd . Half way through the concert, the jam packed crowd was completely electrified. The radiation of enthusiasm could not hold back an interactive Shafqat’s energy too, and he chose to come down into more proximity to his fans, shaking hands, giving them hugs and sharing the mic with them to sing.
Before he began the folk song “Main nai jana pardes biharwa’, he paid a tribute to Tufail Niazi, the great folk singer, considering himself fortunate to have re sung the song.
After almost a dozen melodious renditions, and with time to close, the crowd was too charged to let him go that easily. Amidst almost everyone screaming “one more” and “Eid Mubarak”, a bunch of threesome fans near the stage were screaming:
“Shafqat tussi great ho”…and out of modesty with no smiles he replied “Eidi chahiye?”
They were right behind me, so I turned and asked, “Any specific reason you say so, or is it just for more songs?”
Each one of the young girls, Chhavi, Saumya and Esha had different replies, which they literally had to scream out, due to the cheers all around. “He’s versatile and very powerful.”
“Most soulful singer.”
“Kudos to him for bringing classical back to the youth.”
To convince the crowd, that it was time to leave, he even tried to parody “Aaj gaane ki zid na karo, dekho pit jaoge, aisi baatein kiya na karo”,but the verses fell unheard on the screaming crowd.
As I tweeted and posted a picture of the crowd on the face book :
Ilmana Fasih @ZEEMANA Electrified crowd at #ShafqatAmanatAli concert #MosaicFest2012http://yfrog.com/kibnaboj
Almost instantly came a reply tweet from Pakistan:
akeelchaudhry @akeelchaudhry One of the finest singers I must say “@ZEEMANA: Electrified crowd at#ShafqatAmanatAli concert #MosaicFest2012 http://yfrog.com/kibnaboj “
Just the way how an incredibly electrifying evening should come to a close, the last song, which he chose to sing, did actually help to pacify an emotionally charged crowd.
It was perhaps the most touching of his songs, I had ever heard. After hearing it live, at the close, meant, it would linger much longer in the head.
And as I walked back home after the concert, and unknowingly, I kept humming it all the way.
“Kuch ajab khel kartar key, morey Saeen Gharib Nawaz key, Ek ko deeno mulak khajaney, ek bhikaari anaaj key. “
If “Music is wine” the following three intoxicationg instrumental pieces do live up to these remarks by Beethoven.
Sitar by Pandit Ravi Shanker
Sarod by Ustad Amjad Ali Khan :
Santoor by Pandit Shiv Kumar Sharma:
“How does one put the spiritual significance of music on paper? Music transcends all languages and barriers and is the most beautiful communicative skill one can have. Music makes us all experience different emotions or the Navarasa as we call it. Different types of music, whether it is vocal or instrumental, Eastern or Western, Classical or Pop or folk from any part of the world can all be spiritual if it has the power to stir the soul of a person and transcend time for the moment. It makes one get goose-bumps in the body and mind and equates the highest mental orgasm and the release of grateful tears! ” ~ Pt. Ravi Shanker.
In philosophy :
“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.”
~Plato
Blind to Bounds 
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