KARACHI: New repertoire, recitals by young qawwal trainees and a spontaneous whirling dervish act were some of the highlights of Bazm-e-Aqeedat at the Napa auditorium on Sunday.

Past the witching hour, Abu Mohammad, Farid Ayaz and their 13-member group opened their performance with the customary Hamd. Written by Amjad Hyderabadi, also known as Khayyamul Hind, the first quatrain was as follows: ‘Jo maangna hai musabib-e-sabab say maango;

Minnat say, khushamad say, adab say maango;

Kyun ghair kay aagay haath phailaatay ho;

Banday ho agar rab kay, toh rab say maango’

The repetition of ‘phir maang, phir maang’ in the subsequent quatrains by Abu Mohammad and Farid Ayaz with different variations made the phrase more meaningful.

The scions of the Qawwal Bachchoun Ka Gharana then sang the praises of Prophet Mohammad (PBUH) in a Naat ‘Ya Sahibul Jamal Va Ya Sayyidul Bashar, La Yumkinus Sana o Kama Kana Haqqa Hu (it is next to impossible for us to truly recognise and understand your worth). These verses were interspersed by another Naat using Al Huruf Al Muqatta’at, isolated letters found in some of the introductory verses in the Holy Quran.

No qawwali repertoire is complete till tributes are paid to Hazrat Ali and his progeny. The rendition of ‘Man Kuntu Maula’, a manqabat composed by Amir Khusrau, combined with Marsiya poet Mirza Salamat Ali Dabeer’s verses and dholak riffs made this a unique composition.

Upon request the group also recited ‘Aya bana aaya, haryala bana aaya’, which evokes the imagery of Hazrat Imam Hussain as a bridegroom. Here the young trainees nine-year-old Raziuddin Ahmed, 14-year-old Abu Turab and 15-year-old Fattahul Khair also got the chance to showcase their vocal skills. “Training in the art of qawwali begins during childhood,” said Farid Ayaz. During these particular renditions one observed numerous nazranas presented to the group by the audience.

Another most requested piece was ‘Kangana’, made famous by Coke Studio, a highly successful music fusion show and also featured in Mira Nair-directed film The Reluctant Fundamentalist. ‘Kangana’ is more about dexterous interpretations of alaaps in raag malkauns and every time it comes across as an innovative experience.

Bulleh Shah’s ‘Mera Piya Ghar Aaya’ and a new composition ‘Main Saahil Houn’ penned by Amjad Hyderabadi was also part of the performance.

‘Sajan yeh mat janiyo kay tohay bicharat mohay chain’, was the initial line of a Poorbi recital rendered by five vocalists. It then flowed into ‘Sakhi kaasay kahoun, mohay laajh lagay, Mori pi ki nazarya maar gayi’. So mesmerising was this kalaam that an audience member launched into a spontaneous spinning act akin to whirling dervishes of Konya collapsing into the arms of three men who had formed a protective circle around him in case he injured himself.

The night concluded with the traditional ‘Aaj rang hai’ followed by a lavish Sehri comprising stuffed crepes, cheese omelette, bhuna keema, chana curry, halwa, paratha, lassi and tea.

Published in Dawn, July 14th, 2014