The Kanara or Canara region (Tulu/Konkani: Karavali ಕರಾವಳಿ (Konkani: करावली which is also Known as Coastal Karnataka comprises three coastal districts of Karnataka, namely Dakshina Kannada, Udupi and Uttara Kannada and Kasaragod district of Kerala in southwestern India. Kanara forms the southern part of the Konkan coast. The length of this region from north to south is around 300 km and width varies from 30 km to 110 km. The region is characterised by swaying palms and swift brooks running towards the Arabian Sea.

Etymology[link]

Lord Parshurama commanding Lord Varuna to make the seas recede to make the Tulunadu.

According to legend Parashurama, the avatar of Vishnu, retrieved this place from the sea by throwing his axe into the sea. The sea fell back to the place where his axe fell. Hence this place is also called Parshurama Kshetra.

According to Historian Severino da Silva in his book History of Christianity in Canara vol. I, he mentioned that ancient names for this region are Kol Kannam (Tamil: no man's land) or Parashuram Srashti (creation of Parashuram).^[1] According to Mr. Severine Silva, a former advocate at Karwar and Stephen Fuchs author of the work The Marriage Customs of the Christians in South Canara, India The name Canara is the invention of European traders (Portuguese, Dutch and English) who for the purpose of trade came to this tract from the early 16th century onwards. The Bednore Dynasty, under whose rule this tract was at that time, was known to them as the Kannada Dynasty, i.e., the dynasty speaking the Kannada language. The letter 'd' being always pronounced like 'r' by the Europeans, the district was named by them Kanara (or Kannada). This name was retained by the British after their occupation of the district in 1799, and ever since this name has remained. However according to them the controversy over the meaning of the place-name 'Canara' does not end with this explanation. It is a complicated question which cannot be discussed here.^[2]

History[link]

One of the main indigenous groups of this district are called Tuluva, probably from the word Tulavu which in Tulu language means - to row (the boat), since most of the early settlements of Tuluvas were on the banks estuary or rivers. It is impossible to state at what period this name was introduced; but it is certain that it came into existence only after the coastal strip of Canara was reclaimed from the sea and populated. The people who first settled here were called Tuluvas. Since very little research has been done about the prehistory of Canara, it is difficult to know who the earliest inhabitants of Tuluva were. Tuluvas probably migrated to this region from North western India around 1500 B.C.^[3]

Geography[link]

Coordinates: 14°53′N 74°35′E / 14.883°N 74.583°E / 14.883; 74.583

The three districts in the region are Uttara Kannada (North Canara) whose administrative headquarters is Karwar, Udupi district whose district headquarters is Udupi, and Dakshina Kannada (South Canara), whose administrative headquarters is Mangalore. The region is bounded on the east by the Western Ghats and on the west by the Arabian Sea. The coastal strip between the Western Ghats and the sea, including Kanara and the state of Goa and coastal Maharashtra to the north, is known as the Konkan coast, while the coast of Kerala is known as the Malabar coast. Kanara is also known as the Karavali coast.

Culture[link]

Even though many languages are spoken here, there are many common factors in food, culture, rituals, traditions. Rice, fish and coconut oil are commonly used ingedients in the food of the people of Karavali region. Spirit worship (Bhuta Kola), Serpent worship (Nagaradhane), Buffalo race (Kambala), Yakshagana are some of common traditional rituals followed. Major ethnic groups are the Konkanis and Tuluvas.

The main languages spoken in this area are Tulu and Konkani. Konkani is mainly spoken in the northern part while Tulu is predominantly spoken in the south. The majority of the people follow Hinduism. Other religions practiced include Christianity and Islam. Tulu speakers are exclusively Hindus. This region has many sites of Hindu pilgrimage including Kollur, Kadri Manjunath Temple, Sharavu, Mangaladevi, Dharmasthala, Kukke Subramanya Temple, Udupi Srikrishna Matha (Temple), Kateel, Murdeshwara, Idagungi and Gokarna.

The region is known for its wide variety of vegetarian dishes. Fish is the staple diet among the non-vegetarians here. Coconut is used generously in all the dishes.

Occupation[link]

The people of this region have always been known for farming and fishing. But since the last few years, an influx of a large number of BPOs and IT companies (especially in and around Mangalore and Udupi have provided a lot of employment.

Commerce[link]

This region is also known as 'the cradle of Indian banking'. Konkan railway runs through the length of this region. The largest railway terminus in this region is at Mangalore. There are two major ports, New Mangalore Port and Karwar. The only airport in this region is Mangalore International Airport, with air connections to major cities in India and the Middle East. The southern part of this region is one of the most industrialised regions of Karnataka, with Karnataka's only petroleum refinery, iron ore pelletisation plants, steel plants, and fertiliser plants.

Demand for Statehood[link]

The demand for creation of a separate state of Tulu Nadu, a prosperous region of Karnataka and Kerala, is based on fact that Tuluvas are culturally very distinct from the rest of Karnataka. Spirit worship (Bhuta Kola), Serpent worship (Nagaradhane) are can see only in Tulunadu. So this Tuluvas have been demanding a separate state, or at least autonomy. Both the Karnataka and Kerala state governments have created Tulu Sahitya Academy- for the preservation and promotion of Tuluva culture, and to counter this accusation of cultural neglect.^[4]

See also[link]

• North Canara
• South Canara

Notes[link]

References[link]

• Silva, Severine; Stephen Fuchs (1965) (PDF, 2.48 MB). The Marriage Customs of the Christians in South Canara. 2. 24. Asian Folklore Studies, Nanzan University (Japan). https://www.nanzan-u.ac.jp/SHUBUNKEN/publications/afs/pdf/a173.pdf. Retrieved 2009-04-23. 
• Silva, Severine (1961). History of Christianity in Canara. I. Coompta, North Canara: Star of Kanara Press. 

External links[link]

• Yakshagana
• Karavali festival

Anjali Devi (Telugu: అంజలీదేవి)  pronunciation (help·info) (born 24 August 1927) is a veteran Telugu actress and producer. She is well known for her mythological role as Sita in Lava Kusha and roles in movies like Suvarna Sundari and Anarkali.

Biography[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2011)

She hails from Peddapuram, East Godavari district in Andhra Pradesh, India, and later settled in Chennai. She was a theater artist before entering into movies. Her film debut was as Lohitasya in Raja Harishchandra in 1936. Her first movie as heroine was Kashtajeevi by L. V. Prasad 1n 1940 but that movie was abandoned after three reels shooting.Later C.Pullayya found her given opportunity hevenly beauty Mohini in Gollabhama. With her expressions and looks, she became a star overnight in 1947. After that she never looked back. She eventually acted in more than 350 Telugu films^{[citation needed]} and also in a few Tamil and Kannada films as the heroine.

She married P. Adinarayana Rao, a music director, in 1940. They have two sons. Together they produced many Telugu films under the banner of Anjali Pictures. She acted in Lava Kusha, a milestone film and the first color film in the Telugu film industry in 1963. She acted in various roles like damsel, angel, dancer, demon, goddess, traditional woman and later in mother characters. Her granddaughter Saila Rao is also an actress.

Career[link]

As actress[link]

In 1936 she appeared in a minor role in Raja Harishchandra and then played the lead role in L. V. Prasad's Kashtajeevi. She is well known for playing Sita in Lava Kusha and her performances in films like Suvarna Sundari and Anarkali were also appreciated. She has acted in more than 350 films, which includes Telugu, Tamil and Kannada language films. Brundavanam (1992), Anna Vadina (1993) and Police Alludu (1994) were the last few films of her career. In Balaiah's Police Alludu and Anna Vadina she appeared alongside Brahmanandam.

As producer[link]

In 1955 she produced the film Anarkali, in which she herself played the lead role of Anarkali, with Akkineni Nageswara Rao as Salim. Then she produced V. Madhusudan Rao's Bhakta Tukaram and Chandipriya. Bollywood and Tollywood actress Jayapradha played the lead role in her film Chandipriya alongside Shobhan Babu and Chiranjeevi.

Awards[link]

• She received the Raghupathi Venkaiah Award in 2005 for her lifetime service to the Telugu film industry.
• She was conferred the Ramineni Award in 2006 in the fine arts category.
• She received the prestigious ANR National Award in 2008.

Filmography[link]

• Gollabhama
• Kashtajivi
• Chandipriya
• Bhale Krishnudu
• Sati Sakkubai
• Mayalamaari

Tamil movies[link]

• Annai Oru Alayam
• Adutha Veetu Penn
• Manalanae Mangayin Baghyam
• Sarvadhikari (with MGR)
• Kanavane Kankanda Theivam (with Gemini Ganesan)
• Penn (with Vyjayanthimala)
• Mangayarkarasi (with P. U. Chinnappa)
• Marmayogi (with MGR as hero)
• Eezai Uzavan
• Adiththan Kanavu (producer: T. R. Sundaram)
• Sorgavasal (as K.R. Ramasamy's sister "Thilagavathy")

As producer[link]

• Paradesi
• Suvarna Sundari
• Swarnamanjari
• Chandi Priya
• Sati Sakkubai
• Shirdi Sai Sathya Sai Divya Katha (television series)

See also[link]

• Krishnaveni
• Bhanumathi

References[link]

• Anjali Devi at Chakpak.com

External links[link]

• Anjali Devi at the Internet Movie Database
• Golden Nandi for Krishnaveni

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Te Matatini is a biannual festival and competition celebrating the cultural dance of the Māori people of New Zealand. The festival generally takes place over a three or four day interval and includes competition in a variety of specific forms of Māori song and dance.

Background[link]

Te Matatini is a national indigenous dance festival in which Kapa Haka performers from all around New Zealand (Māori: Aotearoa) come together to compete for the noble and honour of winning the national finals. The name was given by Professor Wharehuia Milroy, a composite of Te Mata meaning the face and tini denoting many — hence the meaning of Te Matatini is many faces.

The Te Matatini festival is held every two years in different regions of New Zealand. Authority (mana) is given to different tribes (iwi) to host the festival. For example, in 2009 the mana was given to Tauranga Moana on behalf of the Bay of Plenty (Mataatua) region.

Mead (2003) explains, Mana is undergone by a set of rules before it is given, the people or person in charge has to accept these constraints and strive to rise above them in order to do the job that is set before them.

Te Matatini is seen as playing a very important role within Maoridom in promoting and developing indigenous dance, Kapa Haka. It provides a valuable cultural experience for the Maori people of New Zealand and others from all around the world, with the festival attracting up to 30,000 participants and spectators. Te Matatini celebrates the Maori culture, its beauty, and its core values. Kapa Haka is a form of Maori identity and contributes to New Zealand being unique.

The Te Matatini Society is the driving force behind Te Matatini National Kapa Haka Festival. Initially emerging in the late 1960s, it has evolved into the sponsor of a variety of Maori festivals and Polynesian events. The society in its current form was established in 1972 and has focused on the long term nurturing of Maori performing arts.^[1]

Competition format[link]

The festival is normally run over 3 – 4 days. The first day involves a powhiri by the ‘tangata whenua’ (home people). All kapa haka performers, supporters, dignitaries and visitors are welcomed to the host region and the National Festival. The powhiri is carried out according to the customs and protocols of the host people.

The Competition Preliminaries are held during Days 1, 2 and 3, with groups performing across a range of Toi Haka - compulsory and non compulsory performance disciplines.

Each performance is judged against set criteria, by judges appointed from around New Zealand who are expert in their respective disciplines. Those teams with the highest combined marks in their competition pool move on to compete in the Competition Finals. The finalists are judged on the compulsory disciplines to determine the new Toa Whakaihuwaka: overall aggregate winner.

The Competition Finals are always held on the last day of the Festival, which is concluded with prize giving, where taonga (trophies) are awarded across a variety of toi haka (performance disciplines). (Te Matatini Society, 2009).

Disciplines[link]

The performances are made up of the following disciplines:

• Waiata tira (optional) —The choral is used to warm up the group or is good to put rangimarie (peace) upon the group to settle nerves. This item is optional and not compulsory.

• Whakaeke —The item known as the whakaeke is the entrance song, where groups can make a statement in which who they are, where they come from, what the purpose is. It involves a lot of movement and choreography around the stage, and involves much discipline.

• Moteatea — The moteatea is a traditional chant or dirges, however there are more contemporary styles being used in the more present times.

• Waiata-a-ringa — The action song is where performers are using hand and body actions, much emphasis is placed on the hands, face, body and eyes to combine actions to words of the song. Ngata & Armstrong (2002) state that, “the action song is not a series of drill movements but a rhythmic expression of moods and emotions” (p. 9).

• Poi — The Poi is a item that is done mostly by women, but can be done by men. This item is known for its gracefulness and poise, utilising a poi (round ball) connected to a plaited cord that exhibits beauty and style.

• Haka — Tanerore, “the offspring of Te Ra and Hineraumati gave the personification of hot quivering air, who danced in the summer heat, which was known as Te Haka a Tanerore (the haka of Tanerore” (Reed, 2004, p. 399). The Haka is also used to make a statement against political matters, issues in Maori society, and barriers and challenges that Maori face today. It is also known as an expression of New Zealand identity. Karetu (1993) states that “of the Maori dance repertoire it can be said that the haka is the most eagerly anticipated wherever there is a performance” (pg. 80).

• Whakawatea —The item is the exit song for the group. This gives the group the opportunity to leave a final statement, and reinforce what they came to do, who they are and thank the tangata whenua ‘home people’ for hosting the event.

• Manukura Wahine/Manukura Tane — Female and male leaders where both show there roles from on and off the stage. These include; karanga (the calling), mihimihi (speeches), how the leaders present themselves within their groups in terms of leadership and how they carry themselves for the group.

• Kakahu — This is the dress form, groups are judged on dress style. This item recognises the skills of weavers, moko and tuhi kiri (tattoo) artists, and carvers.

• Te Reo — Also known as the Maori language, this discipline is the pinnacle of all disciplines.

Previous winners[link]

Here are the previous winners of Te Matatini National Kapa Haka Festival, along with the region which hosted the festival.

• 2011 - Matarae I O Rehu, Te Tairawhiti
• 2009 – Te Waka Huia, Mataatua
• 2007 – Whangara-Mai-Tawhiti, Rangitane
• 2005 – Ta Whanau a Apanui, Rangitane
• 2002 – Waihirere, Tamaki Makaurau
• 2000 – Matarae I O Rehu, Ngaruawahia
• 1998 – Wahirere, Trentham
• 1996 – Ngati Rangiwewehi, Rotorua
• 1994 – Te Waka Huia, Hawera
• 1992 – Te Waka Huia, Ngaruawahia
• 1990 – Te Roopu Manutaki, Waitangi
• 1988 – Waihirere, Whangarei
• 1986 – Te Waka Huia, Christchurch
• 1983 – Ngati Rangiwewehi, Hastings
• 1981 – Taniwharau, Auckland
• 1979 – Waihirere, Wellington
• 1977 – Te Kotahitanga o Waitaha, Gisborne
• 1975 – Te Roopu Manutaki, Whangarei
• 1973 – Mawai Hokona, Rotorua
• 1972 – Waihirere, Rotorua

Video links[link]

Kapa Haka groups from Te Matatini 09[link]

• Te Waka Huia.
• Te Iti Kahurangi.
• Te Matarae I Orehu.
• Te Whanau a Apanui.
• Waihirere Maori Club.

Kapa Haka Disciplines[link]

• Waiata tira (Te Iti Kahurangi).
• Whakaeke (Te Waka Huia).
• Waiata-a-ringa (Te Piringa).
• Poi (Turanga Tane, Turanga Wahine).
• Haka (Te Waka Huia).

Footnotes[link]

Further reading[link]

• T. Karetu, Haka! The Dance of a Noble People. Auckland, NZ: Reed Books, 1993.
• R. Ngata and A. Armstrong, Maori Action Songs. Auckland, NZ: Reed Books, 2002.
• H. Mead, Tikanga Maori. Living by Maori Values. Wellington, NZ: Huia Publishers, 2003.
• A.W. Reed, Reed Book of Maori Mythology. Auckland, NZ: Reed Books, 2004.

External links[link]

• Te Matatini official website.
• Te Matatini Society, History and Initiatives. Retrieved March 20, 2010.
• Te Matatini Society, Nga ture o te whakataetae: Competition rules. Retrieved from March 25, 2010.
• Kapa Haka Secondary Schools 2010.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2009)

Ghazi Khan Mirani
Tomb of Ghazi Khan, Dera Ghazi Khan
Coronation	15th Century
House	Baloch chieftain
Father	Haji Khan Mirani
Burial	Tomb of Ghazi Khan, Dera Ghazi Khan
Religion	Islam

Nawab Ghazi Khan Mirani (Balochi, Saraiki, Urdu غازی خان میرانی) was the son of Haji Khan Mirani, a powerful Balochi chieftain living in modern-day Pakistan.

The Derajat had its existence as an historical area to the Baloch immigration in the fifteenth century. Sultan Husain, the Langah Dynasty's Sultans of [[Multan], being unable to hold his trans-Indus possessions, called in Baloch mercenaries, and assigned these territories to Malik Sohrab Dodai in jagir. Sohrab's sons, Ismail and Fateh Khan, founded the two Deras or `settlements' named after them ; while Haji Khan, father of Ghazi Khan and the head of the old Mirani tribe of the Balochis, who had also entered the service of the Langahs, assumed independence in the reign of Sultan Mahmud, Sultan Husain's grandson, and founded Dera Ghazi Khan, naming it after his son and successor in the 1476 on the western bank of the Indus River. Haji Khan died in 1494. The tract was a deserted waste but contained a few isolated towns. The Miranis soon came into conflict with the Nahars, who ruled the country on the Indus to the south, the boundary between the rival powers lying north of Rajanpur ; but the Miranis also held some territory east of the Indus in Muzaffargarh District.

There many folk tales associated with Ghazi Khan and his minister Gaaman Sachar, which is a legendary character in Saraiki literature.

Tomb of Ghazi Khan[link]

The tomb of Nawab Ghazi Khan Mirrani, locally called as handeera in Saraiki, was built in the beginning of 15th century. This seems like the tomb of Shah Rukn-e-Alam in Multan. It is located in the Mulla Quaid Shah Graveyard. Its main gate is from eastern side and two small doors are in side of north and south. In it there are 11 graves, which are of the family of Nawab Ghazi Khan Mirrani. Every side of the tomb is 13 feet (4.0 m) and 3 inches (76 mm) from inside and there are conical minarets from the outside. Its circular distance from the earth is 17 feet (5.2 m) and half. The half diameter of the conical minarets remains 34 inches (860 mm) on the highest of 19 feet (5.8 m). There are 28 ladders from northern side in the internal side. The graveyard was built up around the tomb of Nawab Ghazi Khan Mirrani. This is the oldest building in the city. The tomb condition is continuously deteriorating and many social activists are raising voice to preserve this heritage.^[1]

List of Places after his name[link]

• Dera Ghazi Khan, a city in Pakistan
• Ghazi Ghat, a village in Muzaffargarh, Pakistan

List of Institutions after his name[link]

• Ghazi University
• Ghazi Medical College

List of Companies and Organizations after his name[link]

• Al-Ghazi Tractors
• Ghazi Textile Mills

See also[link]

• Dera Ghazi Khan
• Derajat
• Mirani tribe
• Langah Dynasty
• Pakistan

References[link]

External Links[link]

• http://www.urbanpk.com/forums/index.php?/topic/27430-dera-ghazi-khan-mir-ghazi-khan-mirani-balochs-tomb/
• http://www.wasaib.com/view/11/1/5/1.html
• http://pakgen.blogspot.co.uk/2010/04/tome-of-ghazi-khan-mirani.html

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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