Riyaaz – Q & A – I

[Editor’s noteI (Patwari) interviewed Sonny from Riyaaz Qawwali group on Skype in May 2015. The following transcript was edited by me, and revised by Sonny.]

Locating the Sacred – Riyaaz Qawwali from David Schwittek on Vimeo.

Patwari: Can you tell us a bit about the beginning of your journey into qawwali performance?

Sonny: I met Dr. Akbar Hyder when I was a student at the University of Texas. Discussions with him about qawwali were instrumental in my turning towards qawwali, and, woh kehte hai na ke lagan lag jati hai, so it became sort of an obsession of mine. In a way it opened for me different realms of thinking. Then, stars aligned in such a way that we ended up doing a couple of very interesting performances that were attended by some academic luminaries and big-name sponsors of the Austin Pakistani community. The appreciation and encouragement they showed, for us, sort of started our journey as a group.

But, I’ve been interested in qawwali for a long time. It’s my misfortune to have discovered qawwali late, in 1998. I distinctly remember discovering qawwali in August of that year because it was like rediscovering my love for music. By the end of the month I was listening to a lot of Nusrat Fateh Ali Khan and realizing that he had passed away only a year ago. So it was my misfortune to have never seen him perform live. He was an important influence in my initiation into qawwali. What Khan sahib did for qawwali is of immense importance, bringing a lot of people, non-South-Asians and South Asians, into the world of qawwali. For me, it was a great introduction to the qawwali tradition and I was then able to explore the vast landscape of qawwali and the works of qawwals such as Sher Ali, Mehr Ali, or Waddali brothers, Aziz Mian, Sabri Brothers, Abida Parveen.

Continue reading “Riyaaz – Q & A – I”

August Days

Gentle readers,

It has been quiet, I know. I hope all of you are busy writing your books to keep your jobs, or to get new ones. It must be exhausting, and you have my sympathies. I published a review-essay in Caravan looking at four new books on 1947/Partition: the edited volume by Urvashi Butalia, Partition: The Long Shadow, Anam Zakaria’s The Footprints of Partition, Nisid Hajari’s Midnight’s Furies, and Venkat Dhulipala’s Creating a New Medina.

The histories and memories in the new books considered here are in tension with one another. They open up new archives, methods and understandings, just they continue to naturalise the incommensurability of the Muslim with India. It is evident in reading them that our need to understand the deep history of Partition is acute. Just as graveyards are segregated by communities, so are histories. In partitioned South Asia, the Shia, Sunni, Muslim, Hindu, or Assamese, Sindi, Baluchi pasts are also constructed to be separate. The histories we produce must acknowledge the burden of recognising difference and parsing it. For the subalterns, those adrift among borders, the fuller history of Partition remains unwritten. The Rohingya floating at sea are also part of the forgotten stories of Partition. They who once were Indian or Burmese or Pakistani or Bangladeshi are now of nowhere. Without land, they are also without history.

Do take a look, and do let me know what you think.

Bhalo ki Bhalo na

Acchā Jī Acchā!
– Taimoor Shahid, translation of Sukumar Ray’s Bangla poem Bhālo Re Bhālo

bhaiyyā re!
soch ke dekhūṇ bohat dūr
yeh dunyā hai sāri acchī
aslī acchī naq̣lī acchī
sastī acchī mehngī acchī
maiṇ bhī acchā tum bhī acchī
dhun gānouṇ ke idhar kī acchī
phūlouṇ kī ḳhuṣhbū bhī acchī
āsmān ke bādal acchay
mauj dularī hawā bhī acchī
garmī acchī sāwan acchā
mailā acchā ujlā acchā
sabzī acchī qourmā acchā
machli bharā pakoṛā acchā
sīdhā acchā bāṇkā acchā
daff bhī acchī ḍhol bhī acchā
bāl bhī acchay ganjā acchā
ṭhaila gārī ṭhelnā acchā
ḳhastā pūrī belnā acchā
gān purāne sunnā acchā
sumbul rūī kī dhunnā acchā
yaḳh panī kā g̣husl bhi acchā
lekin sab se acchā bacco!
pāo rotī aur gīlā guṛ!

Kāfir Re Kāfir
Taimoor Shahid, translated parody of Sukumar Ray’s Bangla poem Bhālo Re Bhālo

bhaiyyā re!
soch ke dekhūṇ bohat dūr
yeh dunyā hai sāri kāfir
aslī kāfir naq̣lī kāfir
sastī kāfir mehngī kāfir
maiṇ bhī kāfir tum bhī kāfir
dhun gānouṇ ke idhar kī kāfir
phūlouṇ kī ḳhuṣhbū bhī kāfir
āsmān ke bādal kāfir
mauj dularī hawā bhī kāfir
garmī kāfir sāwan kāfir
mailā kāfir ujlā kāfir
sabzī kāfir qourmā kāfir
machli bharā pakoṛā kāfir
sīdhā kāfir bāṇkā kāfir
daff bhī kāfir ḍhol bhī kāfir
bāl bhī kāfir ganjā kāfir
ṭhaila gārī ṭhelnā kāfir
ḳhastā pūrī belnā kāfir
gān purāne sunnā kāfir
sumbul rūī kī dhunnā kāfir
yaḳh panī kā g̣husl bhi kāfir
eid-ul fitr ki pūjā kafir*
lekin sab se kāfir bacco!
pāo rotī aur gīlā guṛ

*Line inserted on the recent IS statement banning Eid prayers in Mosul

In Plato’s Cave


The above image is taken from the second of the five videos released to showcase Osama bin Laden in his compound in Abbottabad by the US Department of Defense after the 2 May, 2011 operation of US Navy Seals that was to kill or capture him. It was told that the footage was found among the treasure trove of data collected from his compound. This is a remarkable image. The body, which is supposed to be terrorism personified (let’s call it terrorism-body, for more than being of a terrorist, it represents much that is terrorism and the War on Terror), is hidden from view by a blanket wrapped over it and a winter skull cap on the head. Its rear side view doesn’t reveal much; only a side glimpse of a face with a beard and a hand on remote control being its revelatory organs. For all that is hidden, this is its only manifestation: a terrorist Muslim’s body that has its hand on the trigger.
Continue reading “In Plato’s Cave”

Memoirist of Fire — Eduardo Galeano, in memoriam

[This is a guest post by Keerthik Sasidharan. It was first published at Medium.]

On 12th April, the Chinese media reported that Puren, the youngest half-brother of Puyi, the last emperor of the Manchu Qing dynasty, had died at the age of ninety-six. The outside world barely noticed. With Puren’s passing vanished last of the tenuous linkages to a medieval world that was as baroque as the eventual Communist regime of Mao was to be radical. To the outside world, however, replacing the Manchu Qing with the Communists was merely the replacement of one form of opacity by another. Well before the Italian director Bernardo Bertolucci threw light on Puyi, the relationship between the Communist Party and the last of the Chinese royals was merely an historical footnote, albeit not as bloody as the Romanoffs in the wake of Lenin and his gang. Eduardo Galeano, the iconic Uruguayan writer died earlier this week, was one of the few reporters who managed to finagle an interview with Puyi in 1963. The red shadow of Mao’s persona, understandably, darkened the mood of the hour. During their conversation, mediated by a Mandarin to Spanish translator, Puyi let in Galeano on a secret with, what must have been by then, a well practiced routine of humility: the Last Emperor of China, who now lived as a gardener and librarian, was not a member of the Communist party. When asked why he hadn’t joined, Puyi confessed: “The title of Communist is a most noble title. I am very far from attaining that incomparable glory… I must finish changing my ideas if I am to reach such an elevated goal.” Galeano doesn’t write what he felt when he heard those words but he leaves behind a cryptic, but sympathetic, note about the cup in which his jasmine tea was served: “The dragons on the porcelain surface are fighting.” Such encounters with those cast away onto the sides of history fueled Galeano’s journalistic and writing career wherein he gently peeled away layers of self-deceptions that the defeated entertain, not to self-aggrandize themselves but often to eke out morsels of dignity.

Galeano’s death comes after more than half century long career wherein he wrote about the vanities and follies of men, the loneliness of back breaking labor in flea markets and coal mines, the worm addled utopias promised by demagogues on the Right (mostly) and the Left, the gray suited high priests of modern finance capital who have sacrificed countries to their great God called productivity, the historical amnesias of the global South and the post-industrial oblivions in the North. When he died, Galeano was 74, thrice married, bald and a prophetic voice who once dreamed of being a footballer.


Continue reading “Memoirist of Fire — Eduardo Galeano, in memoriam”

On Dissent

Over at The Hindu, a slightly longer version of my thoughts on the assassination of Sabeen Mahmud.

Crushing voices of dissent:

The crime of the intellectual is to create the scene of the crime. The scene of the crime is a space — whether concrete or metaphoric — in which dialogue can exist. Their crime is in expressing or harbouring dissent. And the punishment is always death.

No Healer of Glass

Fanon wrote about why the anti-colonial struggle targeted doctors and intellectuals. It did so, he surmised, because the colonial doctor or the colonial ethnographer were not mere healers and intellectuals. They were also critical participants in the daily life of the colony; they had property, employed colonized bodies; the healers were torturers and the ethnographers were erasers of native pasts. For Fanon, the native doctor and the organic intellectual were the hope for the freed nation– these figures who would carry the episteme of Europe through the burning colony, and assimilate the two. We now know that project to be just as flawed as the colonial one.

The mis-titled ‘post-colonial’ nation that emerged in 1947 bent its will to dominate Kalat, Kashmir, Swat, Bengal, Sind, Baluchistan. At each, they erased the organic intellectuals, the healers, those who could offer a narrative counter to their enlightened nationalism. Fanon’s organic intellectuals were targeted and killed by the post-colonial state in 1971 in East Pakistan, in the 1970s in Karachi. The healers are being killed across Pakistan right now.

Today, as I sit and think about Sabeen Mahmud, my mind keeps going back to the state-sanctioned killing of intellectuals in 1971. Why kill Abul Khair and Munier Chowdhury? They wrote. They taught. In the perverse logic of the nation-state, their ideas, their capacity to have a dialogue, were the very reasons for their eradication. There is only one idea, only one conversation, only one speaker.

I started to talk about Baluchistan here when the insurgency started in 2005. Ten years later, the state has assassinated a number of leaders and over 3,000 have ‘disappeared’. The Baluchi men, women and children walked over 2,000 km to see if someone can answer them. No one did. One of those marchers, Mama Qadeer, was the participant at the talk held in T2F, organized by Sabeen Mahmud. She was killed after the event. She was killed because she provided a forum for a conversation that cannot be held in Pakistan. It is a conversation that pits the dreams of a Chinese-Pakistan Economic Corridor against local resistance. Just days before the T2F conversation, the State forced LUMS University in Lahore to cancel their talk on Baluchistan. It is this re-scheduled talk that led to the death of Sabeen Mahmud.

There is no doubt in my mind that the Baluch cause will be crushed. Whether economic nationalism triumphs or the sacral one, does not really matter in the end. The corridors will be built over the hidden mass graves and the charred dreams of self-autonomy. With the murder of Sabeen Mahmud, there is the end of decade old space for dialogue in Karachi. That space is not coming back. No one is going to step forward and create such spaces anew. The killing of Sabeen Mahmud is the shattering of T2F. We can now cry and hold these broken shards as much as we like. But, to quote Faiz, there are no healers of glass.

موتی ہو کہ شیشہ، جام کہ دُر / be it pearl or glass, uncorked or full
جو ٹوٹ گیا، سو ٹوٹ گیا / is broken is broken
کب اشکوں سے جڑ سکتا ہے / when can tears mend?
جو ٹوٹ گیا ، سو چھوٹ گیا / is broken is gone

تم ناحق ٹکڑے چن چن کر / for nothing, are you picking these shards
دامن میں چھپائے بیٹھے ہو / storing them in your lap
شیشوں کا مسیحا کوئی نہیں / there is no healer of glass
کیا آس لگائے بیٹھے ہو / what hope do you have?