Keshvar ajam used to mean "Persian" in a 1255 Hijra letter from the Ottoman Empire to Persian emperor Mohammad Shah

Ajam is a word used in Persian and Arabic literature, but with different meanings.

• In Arabic, Ajam (عجم) has two primary meanings: "non-Arab" and "Persian". Literally it has other meaning "one who is illiterate in language", "silent", or "mute", and refers to non-Arabs in general, or people of Southern Persian origin specifically. In the former sense it is a neutral term meaning "stranger" or "foreign".

• In Persian, Ajam is used to refer to the Persian language as a synonym and also it refers to Iran and things Iranian.^[1]

Etymology[link]

Origin[link]

Ajam has two primary meanings in Arabic: "non-Arab" and "Persian".^[2]

• according to a traditional etymology The word `ajam comes from the Semitic root `-j-m. Related forms of the same root include, but are not limited to:^[3]
• `ajama / 'a'jama / `ajjama: to dot - in particular, to add the dots that distinguish between various Arabic letters to a text (and hence make it easier for a non-native Arabic speaker to read). Now an obsolete term, since all modern Arabic texts are dotted. This may also be linked to `ajaam / `ajam: pit/seed (e.g. of a date or grape).

Persian painting, depicting Jamshid halved before Zahhak

• in'ajama: (of speech) to be incomprehensible
• ista'jama: to fall silent; to be unable to speak
• 'a'jam: non-fluent
• musta'jim: mute, incapable of speech

Homophonous words, which may or may not be derived from the same root, include:

• `ajama: to test (a person); to try (a food).

• according to A Persian etymology `Ajam comes from the first name of the ancient Persian king, Jamshid, The etymology would have "Ajam" as an arabized version of the kings name 'Jam' rooted in Sanskrit" Jam" or Yami,(Sanskrit: यमी) is the first woman, along with her twin brother Yama it is equal to (Adam and Eve in Jews and Christianity and Islam) .

She is also the Goddess of river Yamuna, connected to the mythology surrounding the Hindu god Krishna. Jam or Jamshid in Persian mythologyis the first king of kings of the world or the lord of the univers. according to the book "document on the persian gulf's name"page23-50 ,all the words related to Semitic root" `-j-m"(like: moajam-ajma-) also had a roote in "Jam"Yami,and in the cours of history different meaning have been given to the word. A.Jam is from addition of the definite article Al-and deletion of "l"in pronunciation. according to that book although jīm is a lunar and Lrarly will be omitted in pronounce but explanation can account for the anomalous assimilation of the "l" by the jīm or the ayin at the beginning of the word in place of the alif that would be expected from the article al-.because there are many exception for the lunar and Solar in Arabic.

Yami's Court and Hell.
The Blue figure is Yama with Yami and Chitragupta
17th century Painting from Government Museum, Chennai

Development[link]

According to The Political Language of Islam, during the Islamic period, Ajam was originally used as a reference to denote those whom Arabs in the Arabian peninsula viewed as "alien" or outsiders.^[4] The early application of the term included all of the peoples with whom the Arabs had contact including Persians, Byzantine Greeks, Ethiopians, and the somewhat related Nabataeans. Over time the term because specialized and referred to Persians almost exclusively as an ethnic term, but varied in its usage from place to place as the early Muslim conquests led to a much wider of Arabic-speakers. However, the original meaning still exists, and in much of the non-Arabic speaking Muslim world the term does not have a pejorative meaning as the word is understood to mean anyone who does not speak Arabic.

During the early age of the Caliphates, Ajam was often synonymous for "barbarian" or stranger. In the eastern parts of the Middle East, it was generally applied to the Persians, while in al-Andalus it referred to speakers of Romance languages - becoming "Aljamiado" in Spanish in reference to Arabic-script writing of those languages - and in West Africa, Ajami similarly refers to Ajami script, or the writing of local languages such as Hausa and Fulani in the Arabic alphabet. In Zanzibar ajami and ajamo means Persian which came from the Persian Gulf and the cities of Shiraz and Siraf. In Turkish and Urdu, there are many documents and letters that used ajam to refer to persian Muhammad Iqbal poem : ey javanan e Ajam Jaan E man o jaan e shoma(O youngs of Iranian i love you and i ....)but in recent literature the usage of the term is not used to any ethnic group, but instead may have evolved from the original Arabic usage for outsiders in general.

According to Encyclopædia Iranica, the name "Ajam", while "given to the non-Arabs of the Islamic empire" in general, was "applied especially to Persians" by the Arabs. The verb ʿaǰama originally meant "to mumble, and speak indistinctly", which is the opposite of ʿaraba, “to speak clearly”. Accordingly, the noun ʿoǰma, of the same root, is the opposite of foṣḥa, which means "chaste, correct, Arabic language".^[5] In general, Ajam was a pejorative term used by Arabs conscious of their social and political superiority, in early Islam. However, the distinction between Arab and Ajam is discernible in pre-Islamic poetry.^[5]

According to Clifford Edmund Bosworth, "by the 3rd/9th century, the non-Arabs, and above all the Persians, were asserting their social and cultural equality (taswīa) with the Arabs, if not their superiority (tafżīl) over them (a process seen in the literary movement of the Šoʿūbīya). In any case, there was always in some minds a current of admiration for the ʿAǰam as heirs of an ancient, cultured tradition of life. Even the great proponent of the Arab cause, Jāḥeẓ, wrote a Ketāb al-taswīa bayn al-ʿArab wa’l-ʿAǰam. After these controversies had died down, and the Persians had achieved a position of power in the Islamic world comparable to their numbers and capabilities, "ʿAjam" became a simple ethnic and geographical designation.".^[6] Thus by the 9th century, the term was being used by Persians themselves as an ethnic term, and examples can be given by Asadi Tusi in his poem comparing the superiority of Persians and Arabs.^[7] Accordingly: "territorial notions of “Iran,” are reflected in such terms as irānšahr, irānzamin, or Fors, the arabicized form of Pārs/Fārs (Persia). The ethnic notion of “Iranian” is denoted by the Persian words Pārsi or Irāni, and the Arabic term ahl al-fors (inhabitants of Persia) or ʿAjam, referring to non-Arabs, but primarily to Persians as in molk-e ʿAjam (Persian kingdom) or moluk-e ʿAjam (Persian kings).".^[8]

In the Persian Gulf region today, people usually refer to Persian as Ajami as they refer to Persian carpet (Ajami carpet or sajjad al Ajami), Persian cat (Ajami cat), and Persian emperors (Ajami kings).^[1] The Persian community in Bahrain calls itself Ajami.

Khaleej Ajam = Persian gulf/belad Ajam/Iran.othoman map

• 'Ajam was used by the Ottomans to refer to the Persian Safavids^[9]
• The Kurdish historian, Sharaf-al-Din Bitlisi, uses the term Ajam( عجم) in his book Sharafnama (1597 CE) to refer to the Shia Persians.^[10]
• Modern Sunni Kurds of Iran use this term to denote Persians, Azeris and Southern Kurds.^[11]
• Adjam, Hajjam, Ajaim, Ajami, Akham (as Axam in Spain for ajam), Ayam in Europe.
• In Turkish, the usage of the term is not applied to any ethnic group, but instead appears to have evolved from the original Arabic usage for outsiders in-general and shifted into a different meaning as the term ajemi (in modern Turkish acemi) literally means rookie, clumsy, inept or novice.^[12] The word, with this meaning, has been borrowed into languages of the former Ottoman Empire such as Bulgarian and Macedonian (аджамия) and Serbo-Croatian (adžamija).
• It is also used as a surname.^[13]
• It is also the old name of Iran used mostly by Arabs and Turks (keshvar-e Ajam) as a synonym to Persia, also a medieval name for the Persian Gulf (Bahr-e Ajam), or to refer to the follower of Shia religion.^[14]
• In Arabic music there is a maqam (musical mode) called Ajam, meaning "the Persian mode", corresponding to the major scale in European music.^[15]
• In Northern Indian music there is a muqam called Navroz-e-Ajam.^[16]

See also[link]

• Mawali
• Ajami (disambiguation)

References[link]

Nusrat Fateh Ali Khan (Punjabi: نصرت فتح علی خان (Shahmukhī)) (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). Considered one of the greatest singers ever recorded, he possessed a six-octave vocal range^{[citation needed]} and could perform at a high level of intensity for several hours.^[1] Extending the 600-year old Qawwali tradition of his family, Khan is widely credited with introducing Sufi music to international audiences.^[2][3] He was popularly known as "Shahenshah-e-Qawwali", meaning "The King of Kings of Qawwali".^[4]

Born in Faisalabad, Pakistan, Khan had his first public performance at age of 16, at his father's chelum. He officially became the head of the family qawwali party in 1971, and was signed by Oriental Star Agencies (OSA), Birmingham, U.K., in the early 1980s. In subsequent years, Khan released movie scores and albums for various labels in Pakistan, Europe, Japan and the U.S. He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist in the process. He toured extensively, performing in over 40 countries.^[5]

Biography[link]

Early life and career[link]

Khan was born on October 13, 1948 in the city of Lyallpur (now Faisalabad), Pakistan. He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and Qawwal. Khan's family, which included four older sisters and a younger brother, Farrukh Fateh Ali Khan, grew up in central Lyallpur. Initially, his father did not want Khan to follow the family's vocation. He had his heart set on Khan choosing a much more respectable career path and becoming a doctor, because he felt Qawwali artists had low social status. However, Khan showed such an aptitude for, and interest in, Qawwali that his father finally relented.^[6] 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, Khan 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, Braj Bhasha 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 Khan's sargam improvisations.

In 1979, Khan married his first cousin, Naheed (the daughter of Fateh Ali Khan's brother, Salamat Ali Khan); they had one daughter, Nida.^[7]

Early in his career, Khan was signed up by Oriental Star Agencies in the U.K. to their Star Cassette Label. OSA sponsored regular concert tours by Khan to the U.K. from the early '80s onwards, and released much of this live material on cassette, CD, videotape and DVD.G

Later career[link]

In the 1992–93 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle.^[8]

Khan 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),^[9] 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. Khan also contributed to the soundtrack of Natural Born Killers. He composed the music for the 1994 film Bandit Queen in collaboration with Roger White.

Peter Gabriel's Real World label later released five albums of Khan's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Khan 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. Khan 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 in 1999, two years after Khan'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 Khan. Rahman's 2007 song "Tere Bina" was also done as a tribute to Khan.^[10]

After his death, the song "Solemn Prayer", on which Khan 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, Khan Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist—a total of 125 albums as of 2001.

Death[link]

Khan was taken ill with kidney and liver failure on August 11, 1997 in London, England, while on the way to Los Angeles in order to receive a kidney transplant. He died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48.^[11] His body was returned to Faisalabad, Pakistan, and his funeral was attended by the public.

Composition of Nusrat's qawwali party[link]

The composition of Khan's ensemble, called a "party" (or "Humnawa" in Urdu), changed over its 26 years. Listed below is a snapshot of the party, circa 1983:

1. Mujahid Mubarak Ali Khan: Khan's first cousin, vocals
2. Farrukh Fateh Ali Khan: Khan's brother, vocals and lead harmonium
3. Rehmat Ali: vocals and second harmonium
4. Maqsood Hussain: vocals
5. Rahat Nusrat Fateh Ali Khan: Khan's nephew and pupil, vocals
6. Dildar Hussain: percussion
7. Majawar Abbas: mandolin and guitar/chorus, handclapping
8. Mohammed Iqbal Naqvi: secretary of the party, chorus, handclapping
9. Asad Ali: chorus, handclapping. Khan's cousin
10. Ghulam Farid: chorus, handclapping
11. 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.

Awards and titles[link]

Khan is widely considered to be the most important qawwal in history.^[12][13] In 1987, Khan received the President of Pakistan’s Award for Pride of Performance for his contribution to Pakistani music.^[8][14] In 1995 he received the UNESCO Music Prize.^[15][16] In 1996 he was awarded Grand Prix des Amériques at Montreal World Film Festival for exceptional contribution to the art of cinema.^[17] In 2005, Khan was awarded the "Legends" award at the UK Asian Music Awards.^[18] Time magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists him as one of the top 12 artists and thinkers in the last 60 years.^[19] He also appeared on NPR's 50 Great Voices list in 2010.^[20] In August 2010 he was included in CNN's list of the twenty most iconic musicians from the past fifty years.^[21]

Many honorary titles were bestowed upon Khan during his 25-year music career. He was given the title of Ustad after performing classical music at a function in Lahore on his father's death anniversary.^[22]

Tributes, legacy and influence[link]

Alexandra A. Seno of Asiaweek wrote:^[23]

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 Khan as a major influence, saying of him "He's my Elvis", and performing the first few minutes of Khan's hit "Yeh Jo Halka Halka Suroor Hai" (including vocals) at live concerts.^[24][25] Many other artists have also cited Khan as an influence, such as A. R. Rahman,^[26] Sheila Chandra,^[27] and Alim Qasimov.^[28]

Paul Williams picked a concert performance by Khan for inclusion in his 2000 book The 20th Century's Greatest Hits: a 'top-40' list, in which he devotes a chapter each to what he considers the top 40 artistic achievements of the 20th century in any field (including art, movies, music, fiction, non-fiction, science-fiction).^[29]

In 2008, Khan was listed in 14th position in UGO's list of the best singers of all time.^[30]

In 2004, a tribute band called (Brooklyn Qawwali Party) (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Khan. The 13-piece group still performs mostly instrumental jazz versions of Khan's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.^[31]

Films[link]

Documentaries[link]

• Nusrat Fateh Ali Khan: le dernier prophète (1996). Directed by Jérôme de Missolz.
• Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Khan's early career.)
• A Voice from Heaven (1999). Directed by Giuseppe Asaro. New York, NY: Winstar TV & Video. (This 75-minute documentary, available on VHS and DVD, provides an introduction to Khan's life and work.)
• Samandar Main Samandar (2007). A documentary aired on Geo TV detailing Khan's career.
• The King of Qawalli (2009). A short film aired on Dawn News about Khan's life and career.

Concert films[link]

• The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Khan and Party (two Urdu-language songs: a Hamd, and a Manqabat for Khwaja Mu`inuddin Chishti. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).
• Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute recording of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Khan's residency at the Ethnomusicology Program there.)
• Live in Concert in the U.K. (DVD, vols. 1–17) [OSA]; recorded between 1983 and 1993; first thirteen listed below:
  • Live in Concert in UK (DVD vol. 1)
  • Live in Concert (DVD vol. 2)
  • Live in Concert (DVD vol. 3)
  • Live in UK (DVD vol. 4)
  • Live in UK (DVD vol. 5)
  • Live in Concert (DVD vol. 6)
  • Live in UK (DVD vol. 7)
  • Live in UK (DVD vol. 8)
  • Live in UK (DVD vol. 9)
  • Live in UK (DVD vol. 10)
  • Live in UK (DVD vol. 11)
  • Digbeth Birmingham 12 November 1983 (DVD vol. 12)
  • Digbeth 30 October 1983 (DVD vol. 13)
• Akhiyan Udeek Diyan (DVD) [Nupur Audio]
• Je Tun Rab Nu Manauna (DVD) [Nupur Audio]
• Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]
• Rang-e-Nusrat (DVD, vols. 1–11) [Music Today]; recorded between 1983 and 1993 (same material as the OSA DVDs)
• VHS videotapes, vols. 1–21 [OSA]; recorded between 1983 and 1993 (same material as the OSA DVDs)
  • Luxor Cinema Birmingham (VHS vol. 1, 1979)
  • Digbeth Birmingham (VHS vol. 2, 1983)
  • St. Francis Hall Birmingham (VHS vol. 3, 1983)
  • Royal Oak Birmingham (VHS vol. 4, 1983)
  • Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)
  • Private Mehfil (VHS vol. 6, 1983)
  • Natraj Cinema Leicester (VHS vol. 7, 1983)
  • Live In Southall (VHS vol. 8)
  • Live In Bradford (VHS vol. 9, 1983)
  • Live In Birmingham (VHS vol. 10, 1985)
  • Allah Ditta Hall (VHS vol. 11, 1985)
  • Harrow Leisure Centre (VHS vol. 12)
  • University Of Aston (VHS vol. 13, 1988)
  • Aston University (VHS vol. 14, 1988)
  • WOMAD Festival Bracknell (VHS vol. 15, 1988)
  • Live In Paris (VHS vol. 16, 1988)
  • Poplar Civic Centre London (VHS vol. 17)
  • Imperial Hotel Birmingham (VHS vol. 18, 1985)
  • Slough Gurdawara (SHABADS) (VHS vol. 19)
  • Imran Khan Cancer Appeal (VHS vol. 20)
  • Town Hall Birmingham (VHS vol. 21, 1993)

See also[link]

• List of Pakistani musicians
• Nusrat Fateh Ali Khan albums

References[link]

Additional reading[link]

• Baud, Pierre-Alain. Nusrat Fateh Ali Khan, The Messenger of Qawwali. Editions Demi-Lune, 2008. (A biography of Nusrat)

External links[link]

Wikiquote has a collection of quotations related to: Nusrat Fateh Ali Khan

• Article with brief 1993 interview (edwebproject.org)
• King of Qawali documentary on YouTube
• NPR Audio Report: Nusrat Fateh Ali Khan: The Voice Of Pakistan
• Nusrat Fateh Ali Khan at the Internet Movie Database