Why the newfound love for Qawwali?

On a winter evening in January 2022, I found myself fleeing from the TSC at Dhaka University, desperately trying to escape the wrath of Bangladesh Chhatra League members who were determined to stop the first-ever Qawwali event held at the university. 

 

Earlier, they had attacked the event, arguing that it conflicted with the values of the Liberation War and was an attempt to revive Urdu. They assaulted the organisers, wrecked the musical instruments, and terrorised the visitors.

 

On that night, if somebody had told me that within two and a half years, there would be Qawwali sessions all over the country, and they would be attended by hundreds of enthusiastic youths, I would not have believed them.

 

But times change, and ever since the fifth of August, Qawwali events have been nothing short of a celebration of the ousting of the previous autocratic Hasina-led regime. Today, these musical events  are being hosted in multiple universities, in colleges, and in public spaces. One cannot help wondering—why the newfound love for Qawwali? 

 

A historical deep dive 

 

The tradition of Qawwali in Dhaka can be traced back to the spread of Sufism in the region, particularly during the Mughal era. Dhaka, an important centre of Islamic culture in Bengal, has long been associated with Sufi saints and their shrines (dargahs), where Qawwali has been an integral part of religious gatherings.

 

Sufism has had a strong influence in Bengal; with it, the tradition of Qawwali came as a form of spiritual expression. The Sufi saints who came to the region brought their practices with them, including the performance of Qawwali at religious and spiritual gatherings. These performances were often held at the shrines of revered saints or in various Sufi centers around Dhaka.

 

Qawwali is primarily composed in Urdu, Hindi, Persian, Punjabi, and Sindhi. But there are Bangali  Qawwalis as well, most prominently written by poet Kazi Nazrul Islam. These songs frequently incorporate different genres of devotional poetry, including hamd (praise of God), na't(praise of the Prophet), and manqabat (praise of revered Islamic figures). 

 

Traditionally, Qawwalis began with the Prophet's  words (qawl). The performances typically take place at religious festivals like Urs (anniversaries of Sufi saints) and other special events held at dargahs or during spiritual gatherings (mehfil-e-sama).

 

However, over the last century, their popularity has expanded beyond religious settings to household celebrations, musical concerts, commercial recordings, and even South Asian films. 

 

Bollywood and Coke Studio Pakistan's renditions have greatly popularised these songs across the world. So much so that the Mira Nair directed 2012 thriller 'Reluctant Fundamentalist' began with the Qawwali song Kangna.

 

"Qawwali is deeply tied to our city's history," said Mir Huzaifa Al Mamduh, the lead organiser of that infamous 2022 Qawwali event. "When we organised the event, our goal was to highlight the city's cultural diversity. While often seen as Indian or Pakistani, Qawwali has been part of Dhaka's heritage for centuries, though many were unaware of this. We wanted to change that."

 

He added, "When the Chhatra League attacked us, Qawwali became a symbol of resistance. Other genres—folk, rock, pop—weren't targeted, only Qawwali. After Sheikh Hasina's departure, Qawwali symbolised the new Bangladesh, representing opposition to the previous regime."

 

What Qawwali stands for in the present 

 

On 13 January, 2022, a day after the attack, activist and writer Zahid Ahsan, along with other activists, led a protest. Later, they organised a Qawwali event at the Dhaka University campus. Ahsan believes that this event represented Qawwali as a form of resistance, a voice of revolution.

 

"These days, it is more of a celebration of the fall of the past regime. The spirit of resistance is not prominent in today's Qawwalis anymore. Did any of these programs demand justice for the July Massacre? Or did they recite any rebellious poetry? No. It's the same old songs everywhere." 

 

Some argue that the Qawwalis performed at these events are mostly Bollywood songs, lacking the original messages of traditional Qawwali. The same songs are repeated in many venues, and sometimes hamd and na't are mistakenly presented as Qawwali.

 

Additionally, the quality of the performances is often questioned since many singers are not professional Qawwals. Professional Qawwals possess a unique aura and skill set that elevate the event, capturing the true essence of Qawwali. Many believe that without these professionals or adherence to the tradition's essence, these events are merely Qawwali in name.

 

"Qawwali is a lifestyle, a separate gene with a distinct cultural context," said Huzaifa. "These days, people are slapping the tag of Qawwali over just about any genre of music."

 

Huzaifa pointed out that recently, hamd and na't events have been mislabeled as Qawwali. He has observed rebel songs being grouped under the Qawwali banner and believes this is because people view Qawwali as the sole musical expression that embodies the fight against oppression.

  

Poet and activist Shoikot Amin says, "Qawwali has become a tool in identity politics now. It is also a part of urban identity in post-revolution Bangladesh. So, there is a possibility of cultural appropriation here, too." 

 

Qawwali is sometimes used to fill the cultural void left by the previous regime.

 

"For the past 15 years, no one had the freedom to express themselves," said Zahid. "Singers couldn't sing, poets couldn't write, and artists couldn't perform. As a result, there is a cultural gap, and some groups are now trying to fill it using Qawwali."

  

Zahid thinks that over-emphasising Qawwali will narrow down the path to a new era of multiculturalism. 

 

"Only Qawwali can not create a new cultural establishment. We need more patronisation for all musical genres. We need such events everywhere for Baul, Lalon, Bhatiali, rap, rock—all genres of music." 

 

Another significant concern is the lack of female participation in the Qawwali events, unlike in India or Pakistan. In Pakistan, we have seen Abida Parveen, who has garnered worldwide fame. In India, we have seen Nooran Sisters. It can be due to the fact that Qawwali is not yet mainstream in Bangladesh. 

 

But what about the audience? In some events, like the two hosted at Jahangirnagar University in the recent past, there was a noticeable female audience. But in many other events, female participation is not visible. It raises some concerns regarding the inclusivity. 

 

"The organisers must not discourage women from attending these events," said Shoikot Amin. "Such events should be merged with the communities. Otherwise, it can never be truly inclusive."