Qawwali (Urdu/Persian/Pashto/Sindhi: قوٌالی; Punjabi/Saraiki: ਕ਼ੱਵਾਲੀ, قوٌالی; Brajbhasha/Hindi: क़व्वाली; Bangla: কাওয়ালী) is a form of Sufi devotional music popular in South Asia, particularly in areas with a historically strong Muslim presence, such as Pakistan, especially Punjab and Sindh, and parts of North India. The style is rare, though not entirely absent, in North and West Pakistan, Bangladesh, and Kashmir. It is a musical tradition that stretches back more than 700 years.
Originally performed mainly at Sufi shrines or dargahs throughout South Asia, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Pakistani singer Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Pakistan's Sabri Brothers and Aziz Mian.
==Origins== The roots of Qawwali can be traced back to 8th century Persia (today's Iran and Afghanistan). During the first major migration from Persia, in the 11th century, the musical tradition of Sema migrated to South Asia, Turkey and Uzbekistan. Amir Khusro Dehelvi of the Chisti order of Sufis is credited with fusing the Persian and Indian musical traditions to create Qawwali as we know it today in the late 13th century in India (Hindustani classical music is also attributed to him). The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.
Qaul (Arabic: قَوْل) is an "utterance (of the prophet)", Qawwāl is someone who often repeats (sings) a Qaul, Qawwāli is what a Qawwāl sings.
The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki. There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.
The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).
Qawwalis are classified by their content into several categories:
The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.
Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.
Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained an exclusively male business. There are still no mainstream female qawwals. Although Abida Parveen performs many songs that are in the traditional qawwali repertoire, she does not perform them in the traditional qawwali style. Typically missing is the chorus which repeats key verses, as well as the handclapping.
Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Songs are usually arranged as follows:
# They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody. # Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raag of the song to be played. # The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raag, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song. # As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. Normally neither the lyrics of the main verses nor the melodies that go with them are improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularized the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly.
The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the neck voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than would be acceptable in the West.
Category:Indian styles of music Category:Islam in India Category:Islam in Pakistan Category:Islamic music Category:Pakistani culture Category:Pakistani styles of music * Category:Religious music Category:Sufi music Category:Sufism in Pakistan
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Aziz Mian Qawwal |
|---|---|
| Background | solo_singer |
| Birth name | Abdul Aziz |
| Alias | Aziz Mian Mairthi |
| Born | April 17, 1942Delhi, British India |
| Died | December 06, 2000Tehran, Iran |
| Origin | Lahore, Punjab, Pakistan |
| Instrument | Harmonium |
| Genre | Qawwali |
| Occupation | Singer-songwriterMusicianPoetPhilosopherWriterScholar |
| Years active | 1966–2000 |
Kho gaya hai kya khuda jo dhoondhta phirta hai tu? Has God got himself lost that you go searching for him everywhere? (Aashiqi Dillagi Nahin Hoti)
Supne vich mera maahi mileyaa Te main paa layi gal vich baawaan Dar di maari palak na kholaan Kitte pher vichhad na jaawan I met my beloved in a dream And locked my arms around his neck. Now I don't dare open my eyes For fear we'll be separated again. (Akh Larr Gayee Yaar Naal)
Tamaam duniya ko dikha baitthe apna jamaal Mera waqt aaya to chilman daal di Bade badnaseeb the hum, ke qaraar tak na pauhanche Dar-e-yaar tak to pauhanche, dil-e-yaar tak na pauhanche You showed your beauty to the whole world. When it was my turn, you let the curtain fall. It was my misfortune, that I could not reach this rest. I could only reach her door, I could not reach her heart. (Bade Badnaseeb The Hum)
Ay Allah, waiz ki bandagi hai jahannum ke khauf se Maine gunah kiye tujhe ghaffar samajh kar The preacher is pious only because he’s terrified of hell, Lord. Whereas me, I sinned freely, trusting in your mercy (Hashr Ke Roz Main Poochhunga)
Woh jahannum bhi mujhe de to karoon shukr ada Koi apna hi samajh kar to sazaa deta hai Even if he sends me to hell, I will still be grateful, Since we punish only those who we count as our own (Jannat Mujhe Mile Na Mile)
Main sharaabi, yaaron mujhe muaaaf karo Main nashe mein hoon, yaaron mujhe muaaaf karo Sheeshe mein mai, mai mein nasha, main nashe mein hoon Ye apni masti hai, jisne machayi hai halchal Nasha sharaab mein hota to nachti botal I'm a drunkard; forgive me, my friends. I'm intoxicated; forgive me, my friends. There's wine in the glass, there's intoxication in the wine, and I am intoxicated. But, no, this hubbub is of my own nature. If intoxication lay in the wine, the bottle would do a drunken dance. (Main Sharaabi Sharaabi)
Jannat jo mile, laa kar maikhaane mein rakh dena Kausar ko mere chhote se paimaane mein rakh dena Mayyat na meri jaa kar veerane mein rakh dena Balki paimaanon mein dafnaa kar maikhaane mein rakh dena Saaqi abhi maikhaane ka dar band na karna Shaayad mujhe jannat ki hawa raas na aaye If they give me paradise, just leave it for me in the tavern. Pour the entire fountain of paradise into my little goblet. When I die, don't go leaving my body in some forlorn place. Just bury me in goblets, and leave them in the tavern. And, listen, don't lock up the tavern just yet either. It's entirely possible that paradise won't suit me too well. (Main Sharaabi Sharaabi)
Tere sawaal ka yaar ab jawaab dete hain Ba roz-e-hashr hai, itni bhi jaldbaazi kya Zara sharaab to pee lein, hisaab dete hain Give me a moment, I’ll get to your question. It’s judgement day, so what’s the big hurry now? Some wine first, I’ll render my accounts by and by. (Main Sharaabi Sharaabi)
To farishte poochhenge mehshar mein paakbaazon se Gunah kyoon na kare, kya khuda rahim na tha? Trust me, the angels will ask the pious on judgement day: "Why didn’t you sin? Didn’t you trust in God’s mercy?" (Milegi Sheikh Ko Jannat)
Maine dil diya, pyaar ki hadh thi Maine jaan di, aitbaar ki hadh thi Mar gaye hum, khuli rahi aankhen Yeh mere intezaar ki hadh thi I gave my heart; that was the height of love. I put my life in his hands; that was the height of trust. I died, but my eyes refused to close. That was the height of waiting. (Teri Soorat Nigahon Mein)
Is daulat ko kya karna hai ? Yeh soch ke ik din marna hai What use is this fortune? Think: one day you will die. (Yeh Paisa Kya Karega)
Category:1942 births Category:2000 deaths Category:Muhajir people Category:Pakistani qawwali singers Category:Pakistani singers Category:Sufi music
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Notability | Persian Mystical poet |
|---|---|
| Era | Medieval |
| Color | #cef2e0 |
| Image name | Mevlana.jpg |
| Name | Jalal ad-Dīn Muhammad Rumi |
| Title | Mawlānā |
| Birth | 1207 |
| Birth place | Balkh Province, Afghanistan |
| Death | 17 December 1273 |
| Ethnicity | Persian |
| Region | Rûm, Persia |
| Religion | Islam |
| School tradition | Sufism; his followers formed the Mawlawi Order |
| Main interests | Sufi poetry, Sufi whirling, Muraqaba, Dhikr |
| Notable idea | Persian poetry, Ney and Sufi dance |
| Works | Masnavi, Diwan-e Shams-e Tabrizi, Fihi Ma Fihi |
| Predecessor | Baha-ud-din Zakariya and Shams Tabraiz |
| Influences | Baha-ud-din Zakariya, Attār, Sanā'ī, Abu Sa'īd Abulḫayr, Ḫaraqānī, Bayazīd Bistāmī, Šamse Tabrīzī |
| Influenced | Sir Mohammad Iqbāl, Shah Abdul Latif Bhittai, Tāhir ul-Qadrī, Kazi Nazrul Islam, Abdolkarim Soroush |
(Khawaja Abdul Hamid Irfani, "The Sayings of Rumi and Iqbal", Bazm-e-Rumi, 1976.) as the Persian-language Qur'an. It is considered by many to be one of the greatest works of mystical poetry I died as plant and rose to animal, I died as animal and I was Man. Why should I fear? When was I less by dying? Yet once more I shall die as Man, to soar With angels bless'd; but even from angelhood I must pass on: all except God doth perish. When I have sacrificed my angel-soul, I shall become what no mind e'er conceived. Oh, let me not exist! for Non-existence Proclaims in organ tones, To Him we shall return.}}
از جمادی مُردم و نامی شدم — وز نما مُردم بهحیوان سرزدم
مُردم از حیوانی و آدم شدم — پس چه ترسم؟ کی ز مردن کم شدم؟
حمله دیگر بمیرم از بشر — تا برآرم از ملائک بال و پر
وز ملک هم بایدم جستن ز جو — کل شیء هالک الا وجهه
بار دیگر از ملک پران شوم — آنچه اندر وهم ناید آن شوم
پس عدم گردم عدم چو ارغنون — گویدم کانا الیه راجعون
With the foundation of the modern, secular Republic of Turkey, Mustafa Kemal Atatürk removed religion from the sphere of public policy and restricted it exclusively to that of personal morals, behavior and faith. On 13 December 1925, a law was passed closing all the tekkes (or tekeyh) (dervish lodges) and zāwiyas (chief dervish lodges), and the centers of veneration to which pilgrimages (ziyārat) were made. Istanbul alone had more than 250 tekkes as well as small centers for gatherings of various fraternities; this law dissolved the Sufi Orders, prohibited the use of mystical names, titles and costumes pertaining to their titles, impounded the Orders' assets, and banned their ceremonies and meetings. The law also provided penalties for those who tried to re-establish the Orders. Two years later, in 1927, the Mausoleum of Mevlana in Konya was allowed to reopen as a Museum.
In the 1950s, the Turkish government began allowing the Whirling Dervishes to perform once a year in Konya. The Mawlānā festival is held over two weeks in December; its culmination is on 17 December, the Urs of Mawlānā (anniversary of Rumi's death), called Šabe Arūs (شب عروس) (Persian meaning "nuptial night"), the night of Rumi's union with God. In 1974, the Whirling Dervishes were permitted to travel to the West for the first time.
The Afghan Ministry of Culture and Youth established a national committee which organized an international seminar to celebrate the birth and life of the great ethical philosopher and world-renowned poet. This grand gathering of the intellectuals, diplomats, and followers of Maulana was held in Kabul and in Balkh, the Maulana's place of birth.
On 30 September 2007, Iranian school bells were rung throughout the country in honor of Mowlana. Also in that year, Iran held a Rumi Week from 26 October to 2 November. An international ceremony and conference were held in Tehran; the event was opened by the Iranian president and the chairman of the Iranian parliament. Scholars from twenty-nine countries attended the events, and 450 articles were presented at the conference. Iranian musician Shahram Nazeri was awarded the Légion d'honneur and Iran's House of Music Award in 2007 for his renowned works on Rumi masterpieces. 2007 was declared as the "International Rumi Year" by UNESCO..
Also on 30 September 2007, Turkey celebrated Rumi’s eight-hundredth birthday with a giant Whirling Dervish ritual performance of the samāʿ, which was televised using forty-eight cameras and broadcast live in eight countries. Ertugrul Gunay, of the Ministry of Culture and Tourism, stated, "Three hundred dervishes are scheduled to take part in this ritual, making it the largest performance of sama in history."
; On Persian culture
; Spiritual Islam
;Other
; Rumi experts
; English translators of Rumi poetry
; Interpreters of Rumi
Category:1207 births Category:1273 deaths Category:Persian literature Category:Iranian Sufis Category:Iranian Sunni Muslims Category:Persian philosophers Category:13th-century philosophers Category:Persian spiritual writers Category:Medieval Persian people Category:Sufi poets Category:Persian poets Category:Persian writers Category:Mevlevi order Category:13th-century writers Category:Medieval poets Category:Mystic poets
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Nusrat Fateh Ali Khan |
|---|---|
| Background | solo_singer |
| Born | October 13, 1948Faisalabad, PunjabPakistan |
| Died | August 16, 1997London, England |
| Instrument | Vocalist, harmonium |
| Genre | Qawwali, Ghazal |
| Occupation | Musician |
| Years active | 1965–1997 |
Nusrat Fateh Ali Khan ( (Shahmukhi)}}) (October 13, 1948 – August 16, 1997) a world-renowned Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He was featured in Time magazine's 2006 list of "Asian Heroes".Considered one of the greatest singers ever recorded, he possessed a six-octave vocal range and could perform at a high-level of intensity for several hours.
Khan began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bol Bandish. He then went on to learn to sing within the classical framework of khayal. Khan's training with his father was cut short when his father died in 1964, leaving Khan's paternal uncles, Mubarak Ali Khan and Salamat Ali Khan, to complete his training.
His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death.
In 1971, after the death of Mubarak Ali Khan, Nusrat became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party.
Khan's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Nusrat's sargam improvisations.
Early in his career, Khan was signed up by Oriental Star Agencies [OSA] of Birmingham UK to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material on cassette, CD, videotape and DVD.
Nusrat teamed with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985, with Canadian musician Michael Brook on the albums Mustt Mustt (1990) and Night Song (1996), and with Pearl Jam lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking. One of these songs ("The Long Road") was re-used on the soundtrack for Eat, Pray, Love in 2010. Nusrat also contributed to the soundtrack of Natural Born Killers.
Peter Gabriel's Real World label later released five albums of Nusrat's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Nusrat provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. Nusrat also collabrated with Michael Brook to create music for the song 'Sweet Pain' used in the movie Any Given Sunday. He also performed traditional Qawwali before international audiences at several WOMAD world music festivals and the single Dam Mast Qalandar was remixed by electronic trip hop group Massive Attack in 1998.
His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album.
Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two Bollywood films, Aur Pyaar Ho Gaya (in which he also sang the song onscreen) and Kachche Dhaage. He sang the title song of the film, Dhadkan. He also sang Saya bhi saath jab chhod jaye for Sunny Deol's movie, Dillagi. The song was released only in 1999, two years after Nusrat's death.
Khan contributed the song "Gurus of Peace" to the album Vande Mataram, composed by A.R. Rahman, and released to celebrate the 50th anniversary of India's independence. Rahman, who was a big fan of Khan could not do further songs with him. As a tribute, Rahman later released an album titled Gurus of Peace, which featured "Allah Hoo" by Nusrat. Rahman's 2007 song "Tere Bina" was also done as a tribute to Nusrat.
After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used on the Peter Gabriel song "Signal to Noise" (on the album Up), and on the soundtrack to the Martin Scorsese film Gangs of New York.
According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist—a total of 125 albums as of 2001.
#Mujahid Mubarak Ali Khan: Nusrat's first cousin, vocals #Farrukh Fateh Ali Khan: Nusrat's brother, vocals and lead harmonium #Rehmat Ali: vocals and second harmonium #Maqsood Hussain: vocals #Rahat Nusrat Fateh Ali Khan: Nusrat's nephew & pupil, vocals #Dildar Hussain: percussion #Majawar Abbas: mandolin and guitar/chorus, handclapping #Mohammed Iqbal Naqvi: secretary of the party, chorus, handclapping #Asad Ali: chorus, handclapping. Nusrat's cousin #Ghulam Farid: chorus, handclapping #Kaukab Ali: chorus, handclapping
The one significant member of the party who does not appear on this list is Atta Fareed. For many years, he alternated with Rehmat Ali on vocals and second harmonium. He is easily identifiable in videos since he plays the harmonium left-handed.
This snapshot is non-representative in one respect: harmoniums were usually the only instruments. Only rarely were instruments like mandolin or guitar used.
Nusrat Fateh Ali Khan's voice was otherworldly. For 25 years, his mystical songs transfixed millions. It was not long enough .... He performed qawali, which means wise or philosophical utterance, as nobody else of his generation did. His vocal range, talent for improvisation and sheer intensity were unsurpassed.
Jeff Buckley cited Nusrat as a major influence, saying of him "He's my Elvis", and performing the first few minutes of Nusrat's hit "Yeh Jo Halka Halka Suroor Hai" (including vocals) at live concerts. Many other artists have also cited Nusrat as an influence, such as A.R. Rahman, Sheila Chandra, and Alim Qasimov.
Category:1948 births Category:1997 deaths Category:People from Faisalabad Category:Pakistani male singers Category:Pakistani Shi'a Muslims Category:Pakistani qawwali singers Category:Performers of Sufi music Category:Punjabi people Category:Sufi music Category:Qawwali Category:Real World artists Category:Nigar Award winners Category:Harmonium players
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Baiju Bawra |
|---|---|
| Background | solo_singer |
| Birth name | Baijnath Mishra |
| Born | 1542Gwalior, Madhya Pradesh |
| Died | 1613 |
| Genre | Indian classical music |
| Occupation | singer |
Like Tansen, the musician at the court of Mughal Emperor Akbar, Bawra was a disciple of Swami Haridas (1512-1607).
According to historical books preserved in Jai Vilas Mahal in Gwalior, he would light oil lamps by singing Raga Deepak, make it rain by singing the ragas Megh, Megh Malhar, or Gaud Malhar, and bloom flowers by singing raga Bahar.
Historian Abul Fazal at Emperor Akbar's court and historian Faqirullah at Emperor Aurangzeb's court have written that Baiju defeated Tansen in a singing competition at the court of Akbar. Tansen then touched Baiju's feet and asked for his own life. In response, kind-hearted Baiju went back to Gwalior.
Gopal Nayak, a court musician in the state of Kashmir, India, was a student of Baiju. The king of Kashmir challenged Baiju against Gopal Nayak. Baiju sang raga Bhimpalasi. Instead of singing in response, feeling overwhelmed, Gopal Nayak cried in the court. After this defeat, Gopal died and his body was cremated on the bank of river Satluj. When the bones in Gopal's body were thrown in the river following the cremation, they sank. According to a legend, Gopal's widow then asked Baiju to retrieve her husband's bones. Responding, Baiju taught a new version of Malhar to her daughter, Meera, and after a week's training, Meera sang that raga on the bank of Satluj in front of a crowd. As soon as she finished the Dhrupad, her father's bones emerged on the bank out of the river. From that time on, that raga is known as Meera ki Malhar.
Category:1542 births Category:1613 deaths Category:Hindustani singers Category:Mughal Empire Category:People from Gwalior
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Fariduddin Ganjshakar |
|---|---|
| Religion | Islam, specifically the Chishti Sufi order |
| Alias | Baba Fareed |
| Location | Pakpattan |
| Title | Hazrat |
| Period | Early 13th century |
| Predecessor | Qutbuddin Bakhtiar Kaki |
| Successor | Various, including Nizamuddin Auliya and Alauddin Sabir Kaliyari |
| Birth date | 1173/1188 |
| Birth place | Kothewal village in Multan |
| Death date | 1266/1280 |
| Death place | Pakpattan |
Hazrat Bābā Farīduddīn Mas'ūd Ganjshakar ( (Shahmukhi), ਹਜ਼ਰਤ ਬਾਬਾ ਫ਼ਰੀਦੁਦ੍ਦੀਨ ਮਸੂਦ ਗੰਜਸ਼ਕਰ (Gurmukhi)}}) (1173–1266)
Hazrat Baba Fariduddin Ganjshakar, a Sufi, is generally recognized as the first major poet of the Punjabi language and is considered one of the pivotal saints of the Punjab region. Revered by Muslims and Hindus, he is also considered one of the fifteen Sikh Bhagats within Sikhism and his selected works form part of the Guru Granth Sahib, the Sikh sacred scripture. He was a descendant of the Farrūkhzād, known as Jamāl-ud-Dawlah, a Persian (Tajik) king of eastern Khorasan.
He was the grandson of Shaykh Shu'aib, who was the grandson of Farrukh Shah Kabuli, the king of Kabul and Ghazna. When Farrukh Shāh Kābulī was killed by the Mongol hordes invading Kabul, Farīd’s grandfather, Shaykh Shu'aib, left Afghanistan and settled in the Punjab in 1125. Tuesday, 7 May 1266 CE (679 Hijri) during Namaz. His shrine (darbār) is in Dera Pindi, and his epitaph reads, "There is only one Farīd, though many spring forth from the bud of the flower".
Bābā Farīd's descendants, also known as Fareedi, Fareedies and Faridy, mostly carry the name Fārūqī, and can be found in Pakistan, India and the diaspora. His descendants include Sheikh Salim Chishti, whose daughter was Emperor Jehangir's foster mother. Their descendants settled in Sheikhupur, Badaun and the remains of a fort they built can still be found.
:Farīdā jo taīN mārani mukīāN tinhāN na mārē ghumm Fareed, do not turn around and strike those who strike you with their fists.
:Farīdā jā lab thā nēhu kiā lab ta kūṛhā nēhu Fareed, when there is greed, what love can there be? When there is greed, love is false.
:Kālē maiḍē kapṛē, kālā maiḍā wais, :GunahīN bhariyā maiN phirāN, Lōk kahaiN darvēsh
Laden with my load of misdeeds, I move about in the garb of black garments. And the people see me and call me a dervish.
:GallīN cikkaṛ dūr ghar, nāḷ piyārē nīNh, :ChallāN tē bhijjē kamblī, rahāN tāN ṭuṭṭē nīNh.
My promise to my love, a long way to go and a muddy lane ahead If I move I spoil my cloak; if I stay I break my word. and the Founder of Sikhism, Guru Nanak Dev, who met the then head of the shrine, Sheikh Ibrāhīm, twice, and his meeting led to the incorporation of 112 couplets (saloks) and four hymns by Bābā Farid, in the Sikh Holy Book, the Guru Granth Sahib, by the fifth Guru, Arjan Dev in 1604. Guru Nanak was familiar with the verse of Bābā Farīd, and not only includes these verses in the Holy Book, but even comments on some of them.
The city of Faridkot bears his name. According to legend, Farīd stopped by the city, then named Mokhalpūr, and sat in seclusion for forty days near the fort of King Mokhal. The king was said to be so impressed by his presence that he named the city after Bābā Farīd, which today is known as Tilla Bābā Farīd. The festival Bābā Sheikh Farād Āgman Purb Melā' is celebrated in September each year, commemorating his arrival in the city. was also renamed as Farīd's 'Pāk Pattan', meaning 'Holy Ferry'; today it is generally called Pāk Pattan Sharīf.
Other accounts and legends also says that Baba Farid once a caught a bolt of lightning with his bare hands and placed it into a pot, which saved the lives of many civilians.
On October 25, 2010, a bomb exploded outside the gates of the shrine, killing six people.
Category:Pakistani Sufis Category:Indian Sufis Category:Punjabi poets Category:Punjabi people Category:Sufi mystics Category:Sufi poets Category:Mystic poets Category:Chishti Order Category:People from Pakpattan District Category:Punjabi-language poets Category:Pakistani people of Afghan descent Category:Burials in Pakistan Category:Pakistani saints Category:Sufi saints
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
