The tradition of qawwali in Indian film music is as old as Indian film itself. But this vigorous tradition of Qawwali, after reaching its peak in the 60s, declined in the next two and a half decades.
During this time, if this part of the film was made, all the emphasis was on stunts and juggling of tradition. After that, Qawwali got a new life in the 90s with the acceptance of Nusrat Fateh Ali Khan in Bollywood.
On the one hand, Jagadris like Anu Malik and Viju Shah promoted a low aesthetic taste by stealing Khan Sahib’s tunes, but on the other hand, AR Rahman took inspiration and experimented with a higher level of creativity. In an interview, Rahman says that during the days when he was composing music for Roja, he heard Nusrat Fateh Ali Khan and thought, ‘Why can’t I compose music like that or sing like him?’
Hardly anyone in the vast world of film music has missed AR Rahman’s dreamy tunes. Wherever he passed, he left such a lasting impression that even the dust of many decades in the future will not be able to erase it. Rahman transformed the Qawwali both technically and thematically.
Most of the film qawalis, from ‘Hum To Loot Liya Mil Ke Hasan Waalene’ to ‘Nah To Karwaan Ki Tain Hai’ and ‘Teri Mahfil Mein Ghatsam Kar Him Bhi See Gege’, were painted in romantic colors rather than mysticism. Just as bhajans were becoming part of film music, the formal attribution of darbar and qawwali to the Muslim social background was never a regular trend in Bollywood before AR Rahman.
This does not mean that Rahman limited the scope of Qawwali. There are several instances where Rahman used a qawwali melody in a purely romantic song, including the wedding qawwali in Bombay Dreams and Kehna Hi Kiya (Bombay 1995).
Be it Shankar Ehsan Loy’s ‘Kajra Re’, Mithun’s ‘Aankhin Teri Katni Hussain’ or Joban Nautiyal’s ‘Dil Kashati Kar Satya’, AR Rahman’s influence can be felt everywhere.
This is the promotion of the new culture of Qawwali in Bollywood, which, when combined with Techno Qawwali or Club Qawwali, makes a very wide range. If it wasn’t for Rahman’s keyboard on his back, we might have missed such a beautiful world.
AR Rahman, who revolutionized film music, is also at a point in Qoli’s new aesthetic where other contemporary composers seem to be bowing before him. Rahman used modern western musical instruments in the indigenous genre of Qawwali with such delicacy that the aesthetic sense was not compromised in the slightest. Whether the lyrics are mystical, romantic or a mixture of both, the special feature of such songs is Rahman’s music. Let’s listen to five of Rahman’s film qawwalis that represent him in every respect.
Ishq Bana Kya Jeena Yara (Tal, 1999)
The 1999 film is graced with the best songs of AR Rahman, who played a pivotal role in the commercial success of the film.
In the background of the voices of Sujata Mohan, Sonu Nigham and Anuradha Sriram, the harmonium creates a magic spell, while traditional instruments like the flute and tabla also add new richness to the juicy composition.
The lyrics of ‘Ishq Bana’ have been penned by the old player of film songs, Anand Bakshi. Even after spending 41 years in the film world, at least in this Qawwali, the edge of his pen remains intact.
Piya Haji Ali (Faza, 2000)
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Due to his busy schedule, Rahman refused to give the music of ‘Faza’, but he expressed his desire for Piya Haji Ali’s music.
This Qawwali is an expression of devotion and one’s needs in the service of Syed Haji Ali Shah, a Sufi sage of the fifteenth century. Syed Haji Ali Shah built a dargah on the shores of Worli sea in Bombay, which is a reference point. Pilgrims include people of all religions, so it is considered a sign of social unity at the local level.
Rehman later recalled it in an interview saying, “I feel good when I hear from people that ‘this qawwali saved them from falling apart’.”
Noor Ali Noor (Meenakshi: A Tale of Three Cities, 2004)
This is AR Rahman’s earliest and perhaps his finest Qawwali, which reflects the harmony of three regions: the mesmerizing string pieces of Italian music, the traditional rural style of Hyderabadi Qawwali, and the rhythmic splendor of the Arabs.
The director of this film was famous painter FM Hussain. It is known that when Rahman recited the lyrics to the lyricist in his presence, he started singing ‘Ishq Ishq’. FM Hussain said, ‘Don’t waste this traditional type of straw in such fresh and beautiful music.’ Later Hussain himself wrote the lyrics and showed that he is a magician not only with the brush but also with the pen.
Embellished with the beautiful voice of Murtaza Khan and Qadir Khan, this Qawwali is more feminine than mystical.
Khwaja Mere Khwaja (Jodha Akbar, 2008)
Due to his devotion to Khwaja Moinuddin Chishti, AR Rahman had been attending Ajmer Sharif for many years. Khawaja Sahib was the first saint who popularized the practice of Sama in India. Now, how can one pay more homage than to compose music for them? Rahman did the same and used it whenever a Qawwali was needed in Jodha Akbar.
Rahman’s melodious voice fills the air in this composition with the rhythm of guitar, harmonium, tabla and clapping.
Kin Facon (Rockstar, 2011)
Rockstar is one of AR Rahman’s finest Hindi films, whose diversity, depth and impact make it one of the most important musical Bollywood films of the 21st century.
After being thrown out of the house, Jordan (the main character of the film) visits the shrine of Khawaja Nizamuddin Auliya. After learning the intricacies of Qawwali during his stay, he expresses his spiritual feelings with ‘Kun Fakun’. Irshad Kamil’s beautiful lyrics, Ranbir’s excellent acting and above all AR Rahman’s simply captivating music make this a masterpiece of filmi qawwali. The juggling of guitar and shehnai is a testament to Rahman’s fusion skills.
This Qawwali includes the voices of Rehman, Javed Ali, Mohit Chauhan and Nizami Bardaran.
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#Rehman #revived #film #Qawali
**Interview with Dr. Ishrat Khan, Qawwali Music Expert**
**Editor:** Welcome, Dr. Ishrat Khan. Today, we’re exploring the fascinating evolution of qawwali in Indian film music, particularly through the innovative lens of AR Rahman. To start, could you give us a brief overview of qawwali’s journey in Bollywood?
**Dr. Khan:** Thank you for having me! Qawwali has a rich heritage in Indian film music, dating back to the early days of cinema. However, after its peak in the 1960s, it saw a decline. By the late 80s, the style was overshadowed by more mainstream genres. Yet, the 1990s marked a resurgence, prominently thanks to the exceptional talent of Nusrat Fateh Ali Khan, whose work reignited interest in this form.
**Editor:** It’s interesting to note the contrasting influences during this revival. You mentioned AR Rahman; how did he reshape qawwali in Bollywood?
**Dr. Khan:** AR Rahman’s impact was profound. He didn’t just replicate the traditional forms; he redefined them. Rahman’s music is characterized by a blend of Western instruments with traditional qawwali elements. This fusion expanded the aesthetic, creating a new genre that appealed to contemporary audiences while respecting the roots of qawwali.
**Editor:** Would you say Rahman’s approach has influenced other composers in Bollywood?
**Dr. Khan:** Absolutely. Rahman’s integration of qawwali melodies into various contexts—from romantic songs to devotional tracks—encouraged other composers to experiment. His unique style, as heard in songs like “Khwaja Mere Khwaja” and “Noor Ali Noor,” has set a benchmark, and many composers look up to his innovative techniques.
**Editor:** Can you explain the thematic transformation Rahman introduced through his qawwali compositions?
**Dr. Khan:** Certainly! Traditionally, qawwalis often carried deep spiritual and mystical themes. Rahman, however, infused romantic elements into the genre, making it accessible to a broader audience. Songs like “Ishq Bana Kya Jeena Yara” illustrate this beautifully, merging love with devotion. His work has shown that qawwali can transcend its origins, allowing it to thrive in diverse musical narratives.
**Editor:** Looking back, how significant is Rahman’s contribution to the revival of qawwali culture in Bollywood?
**Dr. Khan:** Rahman’s influence is undeniably monumental. He not only revitalized qawwali but also integrated it into the very fabric of modern film music in India. He paved the way for genres like Techno Qawwali, blending tradition with modernity while maintaining depth and purity in the music. His work has revived interest in qawwali, ensuring its relevance for future generations.
**Editor:** Thank you, Dr. Khan, for this insightful discussion. It’s clear that AR Rahman’s contributions have not only transformed qawwali but also enriched the entire landscape of Indian music.
**Dr. Khan:** Thank you for having me! It’s been a pleasure to delve into such a fascinating topic.
