SUFIANA MUSIC OF KASHMIR

 

Josef M. Pacholczyk in his book The classical music of Kashmir writes: "In the 20th century social, political and economic changes in Kashmir have weakened the vitality of the sufiana musiqi traditions. In spite of many attempts on the part of Kashmir cultural institutions to revitalize it, sufiana musiqi is in a severe decline and its future seems uncertain.
Saaz Nawaz performing on Santoor

 

Sufiana Music legends of Kashmir

Tibetbaqal M A	Qaleenbaaf G M	Kamaal Joo Bhat	M Ramzan Joo
Setari A Khaliq	Saaz Nawaz G M	Sheikh A Aziz	Ahangar G R
Sannaullah Bhat	Namtahali A G	Yaqub Sheikh	Gopi Nath
M Sidh (Sidiq Joo)	Zaz Amir Din

 

For centuries Kashmir has had a history of invasions by outside forces to subjugate people by perpetual use of force and apart from persecution and plunder,the worst hit has always been the culture of this paradise on earth. Sufiana music, a very old tradition is dying out and an urgent action is needed to save it from extinction. Only a few families in Kashmir practiced this musical form, whereas the tallest Ustad Ghulam Muhammed Qaleenbaaf, Ustad Ghulam Muhammed Saaz Nawaz and Ustad Abdul Ghani Namtahali contributed to impart to their family members and were/are practicing artists.

 

	Ustad Ghulam Muhammad Qaleenbaaf imparting training to young artists, a glimmer of hope. Cultural invasion from India is slowly making Kashmiri language and music irrelevant, unfortunately.

Automatic:

 

The Maestros inherited from their forefathers, the elite class of masters like Ramzan Joo, Sidh Joo, Abdullah Shah, Muhammed Abdullah Tibetbaqal and Qaleenbaaf the art of Sufiana Mousiqee and devoted their life to the art which unfortunately is dying due to public insensitivity. This indifference is initially the direct result of lack of State patronage. The only source that could promote this art was State run Radio Kashmir that must be said was dominated by people who were averse to the very idea of promoting a tradition that was linked with Islam and Muslim culture. The lyric language used is Persian dialect and the instruments source Persia or the Middle East. With the passage of time the legendaries of yester years from the Valley, performed in a society that was responsive, blend the lyrics with local Kashmiri dialect to make it understandable and acceptable to local population. Kashmir being predominantly Muslim enjoyed the music with spiritualism and Sufism being the heart and soul of Sufiana Kalam. The music that is basic to Kashmir, the crucible of many forms of arts and crafts witnessing callousness towards the traditional and folk arts, the cultural invasion from north and central India made all the difference and the younger generation who would be the future of this music were attracted to Indian music that offered glamour, cheap love songs and unfulfilled dreams. Radio Kashmir being directly controlled from Delhi managed to consign Sufiana Kalaam to history.

 

Sufiana Mousiqee generally known as "Saazandar Geawun" is the classical rendering in which lyric predominates the Maqam (Mode). The Sw'ras (Notes) make their presence felt and there is no clear-cut recurring pattern of sw'ras that could pervade in each song of the Maqam. It is believed that Hayat Joo the great ancester had come from Iran and later settled in Kashmir. He was the great musician of the time. Sultan Joo the student of Hayat Joo would sing in the royal court of Maharaja. The Maharaja would send his special horse Kontal Gur to fetch him to give performance before the Maharaja. It is significant to note that most of Kashmir´s Maharajas, though Hindus by faith, were literate as they could read, write and understand Persian.

 

There are a few books written by people like ´Taranai Sarwar´ by Khushdil, ´Asli Mousiqui´ by Hafiz Ahmaduulah Punjabi and ´Ramoz mousiqui´ by Shiekh Abdul Aziz and this has been a good effort but again due to lack of interest very few people are aware that such books are even available. ´Koshur Sargam´ of Shiekh Abdul Aziz recorded Sufiana poetry and this system of notation is perhaps the only one around.

Wadan Sangeet aur Sufiana Mousiqui by Noor Muhammed Bhat and ´Hamari Mousiqui´ by Qaiser Qalandar have talked a lot about Kashmiri music.
Source (Shiraza, Muhammed Ahmed Andrabi)

 

Muhammed Abdullah Tibetbaqal

S/O Khawaja Abdul Ghani Bota Wani
Resident of Ali Kadal,  Srinagar,  Kashmir
Born:   July 14, 1914    Died: January 03, 1982

 

Tibetbaqal was in full employment with State run Radio Kashmir. He was the master of a unique voice full of melody and received appreciation from all the lovers of music having a special relationship with Sufiana Kalaam. He did not belong to the family of musicians but a family of businessmen dealing in world famous Pashmina shawls and fruit like Apricot in particular.

 

Because of the business connections, his family was influenced by getting in contact with people from Russia, Ladakh, Tibet, and Yarqand. This Mongolian race from the regions of Ladakh, Tibet and Yarqand was referred to as "Bota". Since the poetry used in Sufiana Kalaam is mainly Persian he had acquired fairly good knowledge of Arabic and Persian which helped him to first understand what he was to sing. Since his childhood, having a good voice, he was allowed to sing prayers in Maktab (School) on regular basis which in turn proved to be helpful for his future achievements. At a later stage because of his good voice and his personal liking and attachment with Sufiana Kalaam he received initial training in this from Ustad Ghani Joo and Ustad Ramzan Joo.

 

His family vehemently opposed his interest in singing but he remained steadfast and adamant to continue receive the training and stayed associated with the art. In 1948 Radio Kashmir had just been introduced to Kashmirs and Tibetbaqal got this employment as a breakthrough and was soon famous. His attempt to blend the Sufiana Kalaam with local Kashmir dialect was a very good venture and was highly acclaimed.

 

He continued to sing Naat and Manqabat (spiritual singing) from Radio Kashmir while receiving appreciation from lovers of this art especially his best capabilities to play this wonderful local musical instrument called Santoor. He, at times, played other instruments like Sitar, Harmonium and Tabla. He also worked with the State department Cultural Academy and contributed to promote this art. Though he received invitations to visit different countries but for some reason he declined all these offers and preferred to stay in Kashmir.

 

Rising Kashmir, the mainstream newspaper in honour of Maestro Tibetbaqal added the following: Tibetbaqal was honored with Robe of Honour by Kashmir Academy of Art, Culture and Languages, Pride of Performance, Kala Kendra and Golden Jubilee Award, All India Radio by the Ministry of Information and Broadcasting, Government of India. He remained a leading Sufi singer and instrumentalist (Santoor) of Kashmir at global level. In 1944, Taj Company of Lahore recorded some Solo instrumental Santoor recitals/wadans of Ustaad Tibetbaqal besides other recitations and archived them for preservation.

 

THE INSTRUMENT SANTOOR
Ustaad Muhammad Abdullah Tibetbaqal was a master of unique, exceptional and a very tuneful voice. He improvised Sufiana music to a great extent by introducing to it new techniques vocally as well as instrumentally. Though the Sufiana music was traditionally sung in Persian language but the legendary Ustaad for the first time added Kashmiri Sufi poetry to it and this new experience got global appreciation especially from lovers of Kashmiri language.

Besides being a Sufi musician, Ustaad Tibetbaqal was a Sufi poet, writer, spiritual, religious reformer and scholar. Thousands of people at Zoo Masjid, Zero bridge, Srinagar used to come from long distances for performing Salat ul Juma (Friday prayer) behind him and felt unique shower of mercy, bounties and spiritual satisfaction from Almighty Allah upon themselves.

 

Ustaad Muhammad Abdullah is the author of Spiritual Book titled Islam and Sama (Sufi Audition) in which he has beautifully explained and proved on the basis of Holy Quran, traditions of Holy Prophet (SAW), Islamic Jurisprudence that how Sama is permissible and forbidden in Islam.

 

In the year 1978, the University of Kashmir, Srinagar and Bonyad-e-Farhang-e-Iran, Tehran, felicitated Ustaad Muhammad Abdullah Tibetbaqal with the honor of being visiting faculty for second summer Institute for Persian teachers. Though it was a challenging experience for the legendary Ustaad to demonstrate practically i.e. on santoor (Commonly known as Phonology/Phonetics) the different aspects and etiquettes´ of Persian Language before the great teachers / intellectuals of that period but highly won appreciation from the seekers of knowledge.

 

Muhammad Ashraf Tibetbaqal is the only son of Ustaad Muhammad Abdullah Tibetbaqal who´s elder son Aadil Tibetbaqal (Astt.Prof. Faculty of Music & Fine Arts University of Kashmir Sgr) is now carrying the highly rich and inherited treasure of his grandfather to the upcoming lovers of Sufiyana Culture of Kashmir at Global level under the aim and mission of Tibetbaqal Memorial Trust, founded in 1983´ in the memory of Legendary Maestro Muhammad Abdullah Tibetbaqal.The morning breeze scatters the rose; but not the log, which can only be spilt by an axe. The world subsists on music, exhilaration and ardour. But what can a blind man see in a mirror? (Alama Sheikh Sa´di)
The author can be mailed at tibetbaqalaadil@yahoo.com

 

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Ghulam Muhammed Qaleenbaft

S/O Muhammed Siddique
Resident of Khanakah-e-Maula,
Srinagar, Kashmir
Born:   1909  Died:   1994

He was employed by Radio Kashmir on permanent basis from 1949 to 1971. He belongs to the elite group of singers and musicians. He had developed interest with the art since his childhood and would participate in all household gatherings were lovers of music would assemble and listen to Sufiana Kalaam. He is known to be unique in maintaining the flow of music while his singing has always been appreciated. Initially he was trained by one Sula (Sultan) Joo and then later by Khala (Khaliq) Joo both were known to be music masters of their own time. He has contributed a lot to keep this tradition alive and has also worked as a teacher to impart this tradition to boys and girls of Amira Kadal High School, Srinagar. As he acquired good fame he was appointed as teacher at State Cultural Academy to train young generation so that the art would live for future.

 

He continued to work with Radio Kashmir and Stat Cultural Academy till he breathed his last. His students namely Shiekh Abdul Aziz, Mushtaq Ahmed and Muhammed Yaqub were all recognized musicians.

 

Kamaal Joo Bhat

S/O Muhammed Kamal Bhat
Resident of Wahthor,  Tchodur,  Kashmir
Born  1913  Died   1978

He was fortunate and one of the first to get a job in Radio Kashmir which gave him a breakthrough and soon his name became a household. He inherited the art from his father and his cousin and playing of Sitar he learned this skill from Ramzan Raether of Yetchgam, Kashmir. He started his career singing at private gatherings, though illiterate, he was gifted with huge memory and would be able to translate Persian poetry with ease. He is known to have mastered raags like druya, yake, dupke, namdur, mukhmas, tchaqeel, neemtchqeel, setaal, chapandaaz and hajr. He also had a special skill to play Sitar,Tabla and Surnai and being best at Sitar, maqam kanra though difficult to sing would make people ecstatic.

 

His sweet voice full of melody would make Lalle wakhan the poetry of famous poetess Lalla Arifa and the (shurkh) spiritual poetry of Hazrat Shiekh Nooruddin Wali a treat to listen to.

 

Ustad Kamal Bhat was employed was employed by Radio Kashmir in 1948 on permanent basis and involved himself with programs organised and conducted by State Cultural Academy. Apart from knowing Sufiana kalaam he would take to dancing as well and did all this with perfection. He also organised to hold classes and would teach the youngsters the art of singing and dancing. He has travelled to some parts of India (now in Pakistan) before partition of India in 1947. Notably, two of his students Abdul Gani Bhat and Abdul Gani Namtahali are practicing Sufiana Kalaam are practicing artists.

 

Muhammed Ramzan Joo

S/O  Ustad Wazir Joo
Resident of Kaka Soth, Jamallata,
Srinagar,  Kashmir
Born:  1881   Died:  December 7,  1971

Ustad Ramzan Joo, belonging to the family of great musicians and being brother of Maestro Sidh Joo, is ranked as a top class artist in Sufiana Kalaam and acquired this art from his ancestors. He would always participate in spiritual gatherings and getting in touch with other highly acclaimed singers and artists benefited him to learn and master the art singing especially Sufiana Kalaam.

 

His teachers were achievers in this art like Ustad Wazir Joo and Ustad Abdullah Shah. His motivation, as is said, was his love for Sufiana Kalaam and its spirituality and any financial interest has been of no consequence. He was relentless in his effort to carry on with promoting this art which he did with great success and imparted training and whatever he had learnt to younger generation.

 

He was employed by Radio Kashmir in 1955 and initially received a B class status. It goes to his credit that he was best at playing Santoor but was adept in playing Sitar as well. He also performed in the programs organised by State Cultural Academy and received Robe of Honour from the same department. His students, notably, include Ustad Ghulam Muhammed Saaz Nawaz, Abdul Ghani Saaz Nawaz and Ghulam Ahmed Saaz Nawaz.

 

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Abdul Khaliq Setari

S/O  Khwaja Abdul Gaffar Setari
Resident of Vejoubour,  Islamabad,  Kashmir
Born:  1904    Died:  1958

Also known as Khala Saeb belonged to a family of Sufiana Kalaam professionals and hails from the home Mazaar area of Sufi music village Shangaz, Kashmir. He has been associated with the art since his childhood and received basic training from his father elder Setari. He is reported to be a very good sitar and tabla player and it was his own brother Ghulam Muhammed Setari and Sannaullah who taught him these skills. Being so good at playing Sitar he assumed the nickname of Setari and finally this nickname became the family´s surname. After his home village Shangaz, another village Vajebuer also received laurals to achieve a special place in this art of music. Khala Saeb's expertise for using "Aaho band" (an acknowledgement or a nod for approval of songs continuity.)

 

He has extensively travelled a facility provided by the department of Cultural Academy and thus visited various places to perform and receive laurels from the public at places like Bhopal, Bombay and quite a few places in central and northern India. The Bhopal Academy awarded him a certificate of appreciation.

 

In 1960 he got an opportunity to introduce himself on Radio Kashmir and his performance gave him quite a big fame. He had learned Persian language and was very good in interpreting Persian poetry to his fans directly during conversations or through his songs. His command on the language was so good that he was always mistaken to be an Iranian. This was something outstanding as he did not receive any schooling and was totally illiterate. He maintained his good voice and entertained people with his magic voice till he breathed his last. Among his pupils who reeived training notable are Muhammad Abdullah Setari, Abdul Majid, Showkat Khan, Altaf Hussain and Abdul majid Akhoon.

 

Ghulam Muhammed Saaz Nawaz

S/O  Ustad Ramzan Joo
Resident of Dana Mazar,  Safa Kadal,  Srinagar,  Kashmir
Born:  July  1940

 

He was fortunate enough to learn the art from his father when he was very young. Though being part of the group of musicians belonging to his uncle Ustad Sidh Joo, the relationship helped him to attain fame very quickly as his Uncle was already a recognized Sufiana musician. He loves to sing Persian spiritual poetry and his delivery of pronunciation being correct added to the flavour of his singing and people love to hear him sing. He is known to play with perfection the instruments like Santoor, Sitar, Tabla and saaz-e-Kashmir but has an extra edge at playing Santoor.

 

He was initially employed by Radio Kashmir as a ´B´ class employee and because of his hard work and perseverance soon became a big name in Sufiana kalaam. He also received a "Sanad" appreciation from Sadiq Memorial Trust. He has also received a few awards from State and Sangeet Academy of India which he received in the year 1999.

 

Saaz Nawaz received appreciation and acclaim as one of the greatest exponents of Sufiana Music. He also hopes the tradition he inherited from the great masters will be carried on by his sons Mushtaq and Shabir who are learning the art under his guidance and encouraging the youngsters is the only glimmer of hope keeping this tradition alive.

 

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Sheikh Abdul Aziz

S/O  Sheikh  Abdul  Karim
Resident of Gaw Kadal, 
Srinagar,  Kashmir
Born:  15-03-1928    Died:  02-12-2005

 

Ustad Sheikh Abdul Aziz is counted as one of the masters from the group of elite musicians and has been trained in the art since his childhood. He would organize gatherings at his own house and invite people from all walks of life having deep interest in Sufiana music and perform. His older brother had also developed an interest in Sufiana Kalaam. This was a unique way to socialise and get to know people which ultimately would become a family affair. His father did not have any interest with all this and expected his son to be more inclined towards education. As he was attracted to this art right from the start he worked very hard to attain perfection in the art of singing and playing instruments like Santoor and Sitar.

 

To start with he received training from Ustad Ghulam Muhammed Qaleenbaft and then learned under the guidance of Ustad Muhammed Siddique, Muhammed Abdullah Tibetbaqal and Maulana Shamsuddin Hairat Kamili. In short he was fortunate to receive training from the elite group of maestros. He is even the author of very well known book titled Kashur Sargam which is an achievement in itself wherein he discussed and explained most of maqam notes and the book is in three parts. He was also in charge of Institute of Music and Fine Arts nearly for twenty years.

 

He also contributed to impart training to his young students who are performing though at a slow pace. He was later employed in radio Kashmir and was instrumental in promoting Sufiana kalaam to a large extent. Here he would encourage group performance and his mastery about Sitar became popular, though his favourite instrument being Santoor, he would try his hand on other instruments as well. It was noticed that he had a firm grip on flow and notes (taal) that would enhance his capabilities to perform to deliver and perform with confidence. He is presently working in Doordarshan (Indian TV) and also involves himself with programs organized by State Cultural Academy. He is known to have performed on stage frequently which has received appreciation. He is said to be of the opinion that Dholaki (an Indian musical instrument) is better than Tabla as it coincides with Sufiana mousiqui. He received invitation to visit USA (Maryland) where he performed with tremendous success and quite a few students of music showed interest to learn Kashmiri Sufiana music.

 

While paying very high tributes and an acknowledgement for the intellectual capabilities of Sheikh Abdul Aziz, Jozef M. Pacholczyk in his book 'The Classical Music of Kashmir goes on to say " the three volume set of 'Kashur Sargam' by Sheikh Abdul Aziz (1963-65) which contains notations of repertory, provided the bulk of the materials used for my analysis." He further continues to mention "Aziz's 'Koshur Sargam' is by far the most comprehensive anthology of Sufyana. Because of its reliability, it will be used in this research as an important primary source."

 

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Ghulam Rasool Ahangar(Sarangi)

S/O Abdul  Rahman  Ahangar
Resident of Lodur,  Tehsil Varmul,  Kashmir.
Born:  July  1952

He was employed by State Information Department as an artist. He is best known by his short name Sarangi as he was known to be best this instrument. As a young boy, he received training from Haji Ghulam Nabi Bulbul and he was further trained by Abdul Rahman Bhat and Shiekh Ali Muhammed.

 

He became popular and famed as he was very good at playing Sarangi, Tumbakhnaer and Santo Sitzter. He got his breakthrough in 1975 when he was first introduced by Radio Kashmir and was employed in B grade category and was promoted to A grade in 1995. He visited Delhi, Ajmeer, Jaipur, Bombay, Agra and Calcutta through Cultural and Tammadun departments of the State where he performed with his group to gain laurels. He has a group of students receiving training in the art and to name the few are: Muhammed Subhan Shah, Ghulam Ahmed Dar, Ghulam Hassan Shiekh and Abdul Raheem Shah. His most famous song will be remembered for a long time:

 
     Thari yawnenni bargey posh
  Bali maryey mai rosh
              Lalawun mey thownum naar
  Newnam qarrar vesiyey 
                

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Muhammed Yaqub Sheikh

S/O Abdul Ahad Sheikh
Resident of Bona Shah,  Kralapur,  Budgam,  Kashmir.
Born:   April  10,  1960

Yaqub hails from a family of Ustaads like his maternal grand father Ghulam Muhammed Qaleenbaaf and then received training from famed people like Shiekh Abdul Aziz and Ustaad Kamaal Bhat. He is adept in playing Santoor, Sitar, Tabla, and Saaze Kashmir but was more inclined to play Santoor where he achieved perfection. He learned to play Saaz-e-Kashmir from late Ustad Kamal Bhat. He travelled to Switzerland/Geneva, Paris, Germany, Italy and Algeria to perform and earned laurels.

Yaqub currently runs a music school at Kralpura where a good number of students are learning the art. He has also served as music master in Radio Kashmir where he would perform with his associates and students.

 

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Gopi Nath (Gupe BaCche)

Resident of Kashmir, ACchabal,  Anantnag (Islamabad),  Kashmir.
Born:  1920   Died:  January,  2001

Gopi Nath is the first Kashmiri Pandit who took to dancing and became very famous in a very short time. His family tradition would not allow him to lead a path of this nature and had to struggle to continue dancing. His commitment and perseverance made him a well known figure and learned the art of singing as well. His singing includes Hindu Leela, Naat, Chakri and Roaf. His singing party included Muhammed Ismail Dar, Abdul Aziz, Ghulam Rasool, Muhammed Ramzan and Abdul Samad.

 

Gopi Nath was famous for playing Harmonium but would play with comfort instruments like Tabla, Noat(Kashmiri clay pitcher) and Banjo. He initially sang in marriage parties and in some specially organised private parties and then went on to sing at Radio Kashmir where he was employed on permanent basis. He at times would perform on Indian Television channel Door Darshan as well.

 

Later, he was employed by States Field Publicity Department and trips organised by the department would take him to other places in the state to perform. He made such trips to states rural areas and regions. He would occasionally perform in the programs organised by states Cultural Academy and through them travelled to Delhi, Bombay, Goa and has also visited Africa wherefrom he returned with medals and awards.