First things first, I’m not a person who can pass critical judgements on the art of qawwali. But I strongly believe that Aziz Mian, who was born in Delhi in 1942 and died in Tehran in 2000, was one of the greatest qawwals.

In my view, Aziz Mian was vastly different from his peers such as the Sabri brothers, Nusrat Fateh Ali, Bahauddin, Munshi Raziuddin, Manzoor Niazi et al. We all know that qawwali is a form of devotional singing.

In this tradition, music does play an important role. In the case of Aziz Mian, however, music played little or no role because it was Aziz Mian’s sheer eloquence that had always mesmerized his audience. It was obvious that Aziz Mian had dexterity over the Urdu language.

Almighty God had bestowed him with the ability of successfully presenting comprehensive descriptions and explanations of some of the most complex ideas, thoughts and theories in a highly effective and meaningful manner. He was equally good insofar as appreciation and rendition of Persian poetry is concerned.

The late Shah of Iran Reza Shah Pahlavi was one of his admirers. Armed with an MA in Urdu from the University of Punjab, Aziz Mian was also known as the “Qawwal of the Barracks” because he was admired by Generals and foot soldiers alike.

His deeper knowledge of languages, Islamic thought, Sufism, philosophical traditions and richness of Indian culture had shaped his approach to communication with his listeners through the medium of qawwali. In my view, his style was neither convoluted nor obscure.

Owing to its manifold variety, however, his method or technique was elusive. Yet he’s the qawwal one listens to avidly on the highways and homes for spiritual satisfaction, if not entertainment. “Mai kia janoo, mai kia janoo (I know nothing)...”.

Syed Rizwan Shah (Karachi)

Copyright Business Recorder, 2023