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Hind
Islami Tahjeeb Ke Rang
Aqeedat Ke Rang
Concept
The tradition of oral transmission in Islam
can be traced back to the concept of wahi. Quranic verses were
revealed to The Prophet through Jibrail, the messenger of God, through the
word of mouth and certain other ways such as : Roya-e-sadiqua
(revelation through dreams) and salsalutul jars (sound of ringing
bells) and direct dialogue with the God. The Prophet spread these verses
to the masses through oral recitation. Quran was compiled in a book form
as available today during the time of the first pious Caliph. Another oral
tradition is that of Hadith, which contains advice and solutions
provided by The Prophet to his followers.
Oral transmission of the Quran by the Hafiz, the traditional reciter is
another significant institution in the spread of Islam. Hafiz memorises (hifz),
the verses and renders them verbatim. The process of oral rendition of
Quran is called quirat. There are different styles of quirat
called quirat-e-saba. Quirat may have some regional variations.
During the month of Ramzan there is a tradition of reciting the
Quran in mosques after the Isha prayer (night prayer). This is
called taravih. In taravih the entire Quran is recited
within the period beginning with the visibility of moon of Ramzan
and ending with the visibility of moon announcing the festival of Id-ul-fitr.
Apart from quirat, oral rendition of devotional poetry is also very
strong in Islam. Various literary forms such as hamd (poetry in
praise of Almighty God), na’at in praise of the Prophet) manquabat
(poetry in praise of the family of the Prophet, his companions, associates
and other religious figures) are very popular. Marsia is a form of
lament poetry which came to be mostly associated with mersias of
the memory of tragic happing of Karbala. This poetry acquired an
indigenous hue in India. It became a strong metaphor against exploitation,
dictatorship and misrule. Indian poets used local linguistic idioms and
symbols to bring out the pathos in the poetry. This syncretism gave rise
to dahe in Awadhi, ashurkhana in Deccani, kabad
in Panjabi. etc.
The seminar will also look at different styles of recitation such as sozkhani.
Different literary forms like mersia, salam, manquabat, noha, kasida
etc. are recited in this style. Influence of local traditions also
impacted the style of recitation e.g. durud khani in Kashmir, which
clearly demonstrates the Buddhist chanting tradition.
Next comes the tradition of devotional music. Some form that need mention
here are qual and quawali, munajat, baulgiti and nazrulgiti
of Bengal and Chaharbait from Tonk and Rampur. Women have played a
great role in preserving the tradition of oral recitation in Islam. Forms
such as milad, salam, dua, kasida and zikr will be in focus
here. Zikr is a form through which one remembers Almighty Allah and the
Prophet individually and in a group. The form of zikr varies from region
to region.
Among the Shia Muslim the tradition of kahani also present us with
interesting syncreticism of classical forms with the indigenous tradition.
Koshkol songs sung by Takiya Faquirs are another important
dimension of folk music. Quissa goi, though not religious in
character, is also an important part of Islamic culture in India and the
Seminar will include this as well in its ambit.
In order to project different colours of devotion and dedication in Islam, with special reference to its Indian rootedness, the IGNCA is organizing an eight-day festival on “Aqeedat Ke Rang” comprising a National Seminar, Public Lecture Series, Cultural performances and Exhibitions from 1st to 8th April 2008.
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