A Drama of Saintly Devotion Performing Ecstasy and Status at the Shaam-E-Qalandar Festival in Pakistan Amen Jaffer

Home , Lal Shahbaz Qalandar, Qalandariyya, Qalandar (caste), Qalandar (title), Rani (Pakistani actress), Sehwan Sharif

A Drama of Saintly Devotion Performing Ecstasy and Status at the Shaam-e-Qalandar Festival in Pakistan Amen Jaffer

Figure 1. Dancing the dhama\l in Sehwan in front of Shahbaz Qalandar’s tomb, 7 February 2011. (Photo by Saad Hassan Khan)

On the evening of 16 February 2017, the dhamal\ 1 ritual at the shrine of Lal Shahbaz Qalandar in Sehwan, Pakistan, was tragically cut short when a powerful bomb ripped through a crowd of devotees, killing 83 and injuring hundreds (Khan and Akbar 2017).2 Seven years prior, in January 2010, I was witness to another dhama\l performance in the same courtyard of this 13th- century Sufi saint’s shrine (fig. 2). On that evening, the courtyard, which faces Qalandar’s tomb,

1. Dhama\l is a ritualized expression of love, desire, and connection with a saint as well as a celebration of the saint’s powers and miracles. It can take the form of dance or music. For treatments of the ritual sensibilities of this genre see Frembgen (2012) and Abbas (2002:33–35). For an analysis of its musical form and style see Wolf (2006). 2. Sehwan is a small city in the southeast province of Sindh that is best known as the site for Shahbaz Qalandar’s tomb and shrine.

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021 7 February 2011. (Photo7 February by Saad Hassan Khan) Figure 2. The courtyard in front of Shahbaz Qalandar’s tomb in Sehwan, 24 Amen Jaffer

of Economics andPolitical [email protected] from theNew Schoolfor Social Research, New York, from theLondonSchool andaMasters inSociology lifeinurbanSufi shrinesinthe everyday byexamining Asia Punjab region. He hasa PhD in Sociology income neighborhoods. Previously, he hasinvestigated thenature ofsacred power South in contemporary current research focusesonthelinksbetween socialorganization,culture, andpoliticsinLahore’s lower- Amen Jaffer attheLahoreAssistant is Professor of UniversitySociology of Management Sciences. His bring totheirlives, allowingparticipantstobreakthroughmany oftheboundariesthatdivide itarian state, Qalandarbecomesevermoreimportant. Isawthejoyandmeaningitseemedto control theyhaveovertheirlivestotherapidlyencroachingmarket andanincreasinglyauthor them toexpressthemselvesfreefrominhibition. As Pakistanis areforcedtocedeeventhelittle hopes, aspirations, andspiritofthemarginalized ofthisland. The dhama\lisanopportunityfor ing aboveandacknowledgingherbody’s rhythm. (the thirdgenderinPakistan)community, whensheisdancingforQalandarandfeelshimfly- meeting Qalandar. QalandaristhefreedomfeltbyPyaari, asexworkerfromthekhwaja sara the smallplotoflandhelivesonwithhisfamilybutforgetsthesetroublesatthought bowed beforehersaint. QalandaristhejoyofJamalSaeen, whoconstantlyfacesevictionfrom who refusestowearshoesonherlongannualjourneyfromLahoreSehwanuntilshehas 5 cents)everynightforherannualpilgrimagetoSehwan. QalandaristhepainfeltbyMaryam, ble scrapsfromLahore’strashtheentiredaysothatshecanputasidefiverupees(lessthanUS cations ofhisnameandspirit. QalandaristheloveofMaeenMeedaan, whopicksrecycla- of themillionsPakistaniswhoarerenewedintheirdevotiontohim mostly underprivilegedPakistanisacrossthecountry. Qalandarrepresentsthecollectiveenergy While Sehwanservesastheheadquartersofthissaint, heisinvokedeverydaybymillionsof upon theseeventstoanalyzethedynamicsofQalandardevotionincontemporaryPakistan. dhama\l inSehwan, IhavesinceattendedanumberofQalandarcelebrationsinLahore. Idraw 3. between February and October 2013. Unlessin this article. stated, all the quotations of devotees are conducted otherwise from fieldwork interviews In order to protect the privacy of their beliefs, I am using pseudonyms for all the Qalandar devotees mentioned My firstexperienceofthedhama\lconvincedmethatQalandarsymbolizescollective dhama\l (fig. 1). AsLatif, to celebrateQalandarthrough passion theyhadjustunleashed a testamenttothefrenzyand exhausted, crumpledformswere had justbeenbornanew. Their very muchalive. Infact, they bodies was alsocrowdedwithhuman the drumfadedaway. energy untiltheinsistentbeatof tinued togiveeverydropoftheir exhausted womenandmencon- sessed byhisrhythm.” And these Qalandar. You havetobepos- from yourcoretobeapartof proclaims: “You havetogive long Qalandardevotee, proudly opportunity towitnessanother Even thoughInevergotan — — but thosebodieswere through theirinvo- 3 alife- - Shaam-e-Qalandar 25

whether —

(Sufi schools or Melas are not solely 5 have become synony- of a Sufi saint is an occa- — refers to the act of meeting. celebrated by Muslims, Hindus, Sikhs, and others. These cos- others. and Sikhs, Hindus, Muslims, by celebrated melas annual death anniversary Punjabis, Pashtuns, Sindhis, Balochis, Muhajirs, Shias, Shias, Muhajirs, Balochis, Sindhis, Pashtuns, Punjabis, — — and those belonging to the upper classes that are thinly repre- l I witnessed \l I witnessed all there after the dhama And they were all gathered. — — Instead of spreading fear, the bombing seemed to have spurred devotees the bombing seemed fear, Instead of spreading 4 (holy renunciants) associated with nearly all the different silsilas (holy renunciants) associated with nearly

malangs Besides serving as a repository of cultural memory, the urs is also organized as a festival or memory, Besides serving as a repository of cultural While certain activities, such as the ritual dhama\l music and dance, such as the ritual While certain activities, -dhamal-at-Lal-Shahbaz-. numerous are there Asia South Throughout who members audience diverse attract and profane, and sacred activities, of number a include festivals mopolitan reasons. participatedifferent many for Some of these images can be viewed at: http://dunyanews.tv/en/Pakistan/375547-Undeterred-devotees-perform at: viewed be can images these of Some , a heretic innovation in Islam, have in Islam, a heretic innovation performance of dhama\l as bida’a, Those who view the 5. 4. sion for mass celebrations in which saints are remembered and invoked through rituals and sion for mass celebrations in which saints designed to celebrate the memory of the saints and The urs is other performative practices. a connection with them and seek their miracu- provides an occasion to establish or renew into a paral- Devotees believe that their saints do not die; instead their souls pass lous powers. The urs is thus understood as a commemoration of lel realm where they are united with God. grave, such as applying henna to the saint’s rituals, this marriage with the Divine; many of its the urs is an occasion So rather than mourning death, are derived from marriage ceremonies. for celebration. “mela” the word Derived from Sanskrit, mela. connected to urs. They are also, for example, celebrated during the wheat harvest. However, However, celebrated during the wheat harvest. for example, They are also, connected to urs. are organized on the annual urs of Sufi saints, the biggest melas in contemporary Pakistan steadily grown in the last This festival has Qalandar. with the largest arranged for Lal Shahbaz but also the most cosmopolitan mela in Pakistan. few decades to become not only the largest of the three- an estimated 2.2 million people participated over just the first two days In 2017, These included city of Sehwan (SAMAA 2017). day festival at the shrine of Qalandar in the Sufis sects as well as many Hindus and Christians. Muslims belonging to both Shia and Sunni and “modernists” It is only the attendees. networks) were also prominent among the secular Western Islamist or sented in this mela. actually perform a wide variety of practices to com- devotees mous with Qalandar celebrations, followers recite Islamic Besides the dhama\l, memorate and connect with Shahbaz Qalandar. and lay flowers at the tomb, cook and distribute food, perform ritual self-flagellation, prayers, to demonstrate even more enthusiasm for their saint. more enthusiasm for their saint. to demonstrate even

Celebrating Qalandar Celebrating Festival The Urs In the every year on the occasion of his urs. The celebration of Qalandar reaches its apogee the urs Asian Sufi tradition, South Hindus Christians, Sunnis, That each other onward. urging others’ limbs, massaging each helping each other up, in 2010, \l, after the dhama exhausted but glowing collected themselves, the Qalandaris slowly evening, renewal. Qalandar for this eager to thank how- They have, Qalandaris. to interrupt the devotion of the resorted to extreme violence the measures have been unable to stem failed in this endeavor and even desperate largely ever, images after the gruesome bombing in 2017, The day of Qalandar. rapidly expanding culture that had by the hundreds to perform the dhama\l in the same courtyard of devotees lining up the lovers of Qalandar will not be sent a loud message: 20 hours before, been bombed less than deterred by violence. Pakistanis. The event acted as a cosmopolitan canopy (Anderson 2011) under which Pakistan’s under which Pakistan’s (Anderson 2011) as a cosmopolitan canopy The event acted Pakistanis. and religious groups many ethnic Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

26 Amen Jaffer leisure activitieswherepeoplecanforgeandstrengthensocialbonds. celebration offersawidearrayofnonreligiousoptions, suchasmarketplaces, entertainment, and erable timerenewingfriendshipsandestablishingnewones. Likemanyotherlargemelas, this ity, sangatmembersoftendevelopclosebonds. Beyondtheirsangat, visitorsalsospendconsid- Sehwan inlargegroups, calledsangats. Giventheextendedtimetheyspendincloseproxim- site forrekindlingoldrelationsandestablishingnewones. Manyoftheparticipantstravelto sity, anddiversityofpracticescanfeelquiteoverpoweringformanyattendees(Frembgen2011). together andcreateaneclecticfestival, moresothanatanyothermela. The sheerscale, inten- presence. This flexibilityallowsabewilderingassortmentofactivitiesandexperiencestocome ritual Islamicprayerstocallouthimwhileotherswillsmokehashishinhisnamefeel urs, explainedthatallfollowershavetheirownwaytoconnectwithQalandar among anumberofotheractions. SaeenKhokhar, adevoteewhoregularlyparticipatesinthis gious musiceventscalledShaam-e-Qalandar, Shahbaz Qalandar. The largest, andarguablythemostoriginalamongthese, areaseriesofreli- been especiallyvisibleinPunjab, whichhostsagrowing calendaroffestivitiescelebratingLal orative eventsthathaveintroducedaslewofnoveldevotional practices. This expansionhas and temporalextensionoftheQalandarmelahasalsoledto inceptionofnewcommem- crowds itattractsanditsreputationforofferingnovelexperiences. Importantly, thegeographic ticipants. The cosmopolitanismthattheeventexudes is aproductofboththediversity of newnessandsurprisesthatcanbeoverwhelmingevenintimidatingforsomethepar rooted inanunchangingvisionofthepastbutadynamicandunpredictablephenomenon, full ally disappearwiththespreadofmodernity. The ShahbazQalandarmela, however, isnotjust rational discoursethatQalandarfestivalsareatraditionalrelicofthepastwilleventu- ing Qalandarpractices. Lahore extendsscholarshiponthesubjectbyexpandinggeographicalscopeforinvestigat- research isbasedontheeventsatshrineinSehwan. MyresearchontheQalandarmelasin Qalandar devotioninPakistan(Boivin2011;Kasmani2016, 2017;Mokhtar2012), mostofthis While thereisnowanexpandingbodyofscholarshipthatexploresimportantdimensions province, Punjab, haveemergedasespeciallyimportantnewsitesforhostingQalandarevents. tees fromalmosteveryregionofPakistanparticipating, theurbancentersofPakistan’slargest by theSouth Asian diaspora. Eventhoughthemelaisnowatrulynationalaffairwithdevo- sary, andisheldindifferentpartsofPakistanhasevenbeentransportedbeyonditsborders ebrated throughouttheyearratherthanjustfewdaysaroundQalandar’sdeathanniver this melahasrapidlyexpandedinbothgeographicalandtemporaldimensions. Itisnowcel- this urs. The festivitiesarenotjustlimitedtoShahbazQalandar’sshrine;overthepastdecade, The devoteeswhomakethejourneytoSehwanuponlyafractionofthosecelebrate The ExpansionofQalandarPractices Shaam-e-Qalandar turing thedouble-sideddhol include religioussongsdedicatedtoShahbazQalandarbutalso afewpercussionsequencesfea- orate ShahbazQalandar. Each eventfeaturesaseriesofshortmusicalperformancesthatmostly of celebratingQalandarsincetheiremergenceintheearly1990s. amplify thegloryofQalandarand extolhisdevoteesandritualsfeaturinghonoringevent are punctuatedwithshortannouncements andstatementsbythemasterofceremoniesthat 6. Another importantdimensionoftheQalandarmelaisitssocialsignificance. Itisakey It isimportantfirsttodispelthenotionprevalentinmanyquartersofPakistan’smediaand Shaam-e-Qalandar areorganizedinurbanneighborhoodsand concertvenuestocommem- The literal meaning of Shaam-e-Qalandar is “the evening of Qalandar.” drum and thelargerpot-shapednobat 6

which havebecomeanincreasinglypopularform that sitsonthefloor. These — some engagein - - Shaam-e-Qalandar 27 - (Glory of studio offices, studio offices, — who regularly attends and 8 so that they could cash in on the popular — Both belonged to the city’s Shia community and were asso- Both belonged to the city’s Shia community 7 (Celebration of Qalandar) though Shaam-e-Qalandar remains (Celebration of Qalandar) though Shaam-e-Qalandar where they would assemble daily to consume hashish, opium, and other drugs opium, hashish, where they would assemble daily to consume —

This information was given to me by Hasnain Shah and also verified by Latif and Muhammad Raza. Hasnain Hasnain Raza. Muhammad and Latif by verified also and Shah Hasnain by me to given was information This the across Hotel Sabir at place took that circles film participant of Punjabi gatherings the in regular a was Shah Studios. Evernew from road is He Shia. a as identifies who Lahore, neighborhood of Gawalmandi the of resident class lower–middle a is Raza he education, religious or formal little has Raza While windshields. auto installs that business small a in employed events. religious organizing for Lahore in circles Shia lower-class among prominent become has It is important to note that these social gatherings, from which Shaam-e-Qalandar emerges, from which Shaam-e-Qalandar emerges, It is important to note that these social gatherings, Unlike other organizers, who schedule their event a few days before Shahbaz Qalandar’s who schedule their event a few days before Shahbaz Qalandar’s Unlike other organizers, 7. 8. ciated with Lahore’s film industry. In fact, the very first iterations of Shaam-e-Qalandar were the very first iterations of Shaam-e-Qalandar fact, In ciated with Lahore’s film industry. Muhammad Raza, Lahore. held inside the Shahnoor Film Studio in

Origins and Development of Shaam-e-Qalandar Origins and Development Asad Bokhari, Lahore by an actor, initially organized and popularized in Shaam-e-Qalandar was Ali. Nazir and a music composer, organizers, sponsors, and other notables of this hierarchically ordered community. The defin- The community. ordered notables of this hierarchically and other sponsors, organizers, through of Shahbaz Qalandar is their celebration of these dhama\l performances ing feature express love for him. and his powers, describe sing his praises, poetry; performers melody and for ecstatic desire to evoke and cultivate \l are designed and rhythms of dhama The words or chanting praises by dancing at times join in the performance listeners who Qalandar among with practices connected element of many devotional dhama\l is a central While of Qalandar. - possess a number of qualities that distin the performances at Shaam-e-Qalandar Qalandar, and musical form incorporate Their visual aesthetics Qalandar practices. guish them from other they are highly be specific, To from outside the dominant shrine culture. a number of elements I would and middle-class weddings. the Lahore-based film industry, influenced by Lollywood, are signs of a shifting religi- innovations in Shaam-e-Qalandar argue that these performative structure of sacred expression entry of new discourses and actors in the osity as they signal the are key to defining this emerg- performative features of Shaam-e-Qalandar The and authority. ing religiosity. also organizes Shia religious events, relates that in these early years, the Shaam-e-Qalandar was relates that in these early years, also organizes Shia religious events, because it was held on the 21st day of each month actually known as the 21st of Moon event was Shaam-e-Qalandar, The name, is based on the lunar cycle. which in the Islamic calendar, coined by music groups for branding purposes are also critical to shaping its form. They are characterized by a particular sociability that is are also critical to shaping its form. This sociability consists of repeated social encoun- common across many Sufi shrines in Lahore. come together on an almost daily basis to consume drugs who ters among a large group of men, the denizens of Belonging to mostly lower classes, and share a relaxed and warm bonhomie. and also to create and perform music. Nazir Ali, who had made a name for himself as a com- who had made a name for himself Ali, Nazir and also to create and perform music. the culture of performing poser of Qalandar dhama\ls for Lollywood films and for pioneering Abbas was at the center of many of these gatherings. the pilgrimage to Sehwan among Punjabis, setting as Ali’s music can only be understood in the context of this social emphasizes that Nazir and tested in this very milieu. refined, his compositions were crafted, ity of the event by selling audio and video recordings of their performances. Today, people Today, recordings of their performances. ity of the event by selling audio and video Shaan-e-Qalandar Shaam-e-Qalandar, refer to this celebration by different names: Qalandar) or Jashn-e-Qalandar the popular choice. to the Shaam-e-Qalandar at Shahnoor Studios continues urs in the Islamic month of Shaban, who is a man- Ali, Abbas month throughout the year. be organized on the 21st of every Islamic of says that Shaam-e-Qalandar grew out of informal gatherings ager at Shahnoor Studios, There were a number of locations Qalandar devotees connected to Lollywood. etc. tea cafes, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

28 Amen Jaffer qasida tradition. of Lahore, wheretheywerejoinedbyamateurmusicians andpoetryreciterstrainedintheShia was agatheringoffriendsandfamilyinRaza’ssmallhouse theGawalmandineighborhood a Qalandarcelebrationthemselves. Unabletoafforda large event, theirinitialeffortin1999 in theearlyyearsofthiscelebration, heandothermembersof hissangatwereinspiredtohost hoods. Razarelatesthatafterattendinga21stofMoon eventinsidetheShahnoorFilmStudio it hasmultiplebeginningsthatalsoincludeShiagatheringsinpeople’shomesandneighbor e-Qalandar asalineardevelopmentfromeventsorganizedwithinthefilmindustry. Rather, tral roleinshapingthem. However, itwouldbereductivetoseethegenealogyofShaam- associated withShahbazQalandar. mately 3,000participatedinthe2013editionofevent. Manycamedressedinred, thecolor that usuallyshowcasespopularmusicians. EntrytoRaza’seventisfreeandacrowdofapproxi- bers inRaza’sneighborhoodtoaraucouscelebrationLahore’slargestopen-airconcertvenue Shaam-e-Qalandar hadgrownfromanintimategatheringofamateursingersandsangatmem- Qalandar. Hence, theeventhasrapidlyincreasedinpopularityoveryears. By 2013, Raza’s these Shaam-e-Qalandaristheclosesttheycancometopubliclycelebratingtheirdevotion brations inSehwan. However, forthemanywhoareunabletotravelSehwan, participatingin urs inSehwan, thiseventcanbeunderstoodasapreludeorcomplementtothemainmelacele- in Lahorewiththehelpofsomesangatmembers. Scheduledafewdaysbeforetheeventsof to SehwanontheoccasionofQalandar’surs. HealsoorganizesaShaam-e-Qalandareveryyear one ofthedaysbeforeQalandar’surs. this practicespreadtootherdevoteegroups, butmostofthemonlyorganizeditonceayearon songs thatinvokedandpraisedQalandar, andthuswasborntheShaam-e-Qalandar. Quickly shared witheveryoneinthenameofQalandar. This wasaccompaniedbythesingingofdhama\l cussion followedanditwasdecidedthatalargepotoffoodwouldbepreparedthisnight when manyMuslimsseektheblessingsofsaintsbycookinganddistributingfood. A briefdis- The replycamethatitwasthe21stofmonthinIslamiclunarcalendar, whichisaday of ShahnoorStudios. At onesuchgettogether, someonecasuallyinquired, “What dayistoday?” event emergedspontaneouslyfromsocialgatheringsofQalandardevoteesintheneighborhood Shaam-e-Qalandar’s originbutplacesitsomewhereintheearly1990s. According tohim, this socializing intoaccountandrelateittothebeliefsystemconnectedwithSufishrines. ing ofthestructureShaam-e-Qalandaranditsexclusionsneedstotakedynamicsthis The spaceofthisgatheringisalsohighlychargedwithmasculineovertones. Any understand- care ofdomesticworkandotherresponsibilities, whichallowsmentopursuethislifeofleisure. sociability asitmostlyexcludeswomenwhohavetobeartheburdenofthislifestylebytaking ket andfamily, andvaluesextensivesocializingaboveallelse. This isbynomeansaninclusive this leisurelylifestyleappeartoexistinaparalleluniversethatrejectsthedemandsofmar 9. of Raza’sneighborhoodcould no longercontainit. The organizersattemptedtoshift theevent was usedtoamplifythesongsofprofessionalmusicianswho nowgracedtheoccasion. second editionofthiseventspilledoverintothestreetoutside Raza’shouseandasoundsystem get-together wherealmosteveryonecontributes. However, thisformdidnotremainstable;the members whokneweachotherwell, itwasfarmoreintimate. Ithadthefeelofaneighborhood scale butalsoinformfromthemuchlargergatheringsShahnoor. Comprisingmostlysangat The originsofthiscelebratoryeventinLahore’sfilmcircleshavecertainlyplayedacen- Like manyotherdevotees, Razaisaleaderofsangatthat Like everyoneelseIinterviewedforthisarticle, Abbas isunsureabouttheexactdateof harmonious and narrative form (D’Souza 2004). stories of central figures in Shiite is distinguished Islam and theirby performance a constant switching between of praise that is genrea key performative Qasida of South is a melodic poetry Asian Shiism. Shia qasidas recount By 2005, thescaleofthis annualeventhadexpandedtosuchanextentthatthenarrow lanes 9 Itisimportanttoemphasizethatthiseventwasquitedifferent notonlyin undertakes theannualpilgrimage - - Shaam-e-Qalandar 29 - and in the fashion and style of 11 film, folk, and pop. The impact of the film industry and pop. folk, film, objected to these plans. Choosing to avoid a sectar Choosing these plans. objected to 10 —

introduces the performers and invites them on the stage. In Shaam-e-Qalandar, they also make make also they Shaam-e-Qalandar, performersthe In stage. the on them introduces invites and compère

Members of the Ahl-e-Hadis sect are quite conservative in regards to music and also critical of the role of shrines shrines of role the critical of also and music to conservativequite regards in are sect Ahl-e-Hadis the of Members even Galwalmandi in event Shaam-e-Qalandar the opposing sect this of men The Islam. in practices ecstatic and convince to able was he when dismissed was which Raza, against case police a registering of extent the to went of what limits the reveals of sort incident This nature. religious a of was event their that officer investigating the - var of gatherings religious While contemporaryof space urban the in permitted are gatherings public Pakistan. concertmusic secular a tolerated, is This permitted. be not would are religions other as well as sects Islamic ious only are events secular while streets, and roads block even that observe events frequently can religious one why street. the in allowed usually are weddings and funerals, gatherings, political However, areas. designated in held audience. the control to attempt generally and announcements With the decline of Lollywood in the 1990s (Kirk 2016), many of the musicians associ- of Lollywood in the 1990s (Kirk 2016), the decline With - gathering of ama The intimate marked transformations. the event experienced As it moved, the performers. 10. 11. A l into Lollywood music, particularly in Punjabi Ali is credited with introducing dhama\l into Lollywood music, Nazir best-known film Pakistan’s he teamed up with Noor Jehan, Beginning in the late 1960s, cinema. Ali’s genius lay in creatively incorporat- super hit filmi dhama\ls. to produce a series of singer, combin- the songs of Pakistani films (Cineplot 2009), music into “folk” ing Punjabi and Sindhi from the Sufi dhama\ls with the melodies and form of film and sensibilities rhythms, ing themes, a new trend in Punjabi film music that eschewed global This cross-fertilization fomented music. Ali garnered locally rooted genre called filmi dhama\l. influences in favor of creating a new but and became one of the most sought after much popular acclaim for this creative juxtaposition the 1960s and ’70s (Cineplot 2009). music composers in Pakistan throughout Shaam-e- Around the same time period, for work. ated with it were forced to look elsewhere linked to the many likely source for some of them, Qalandar emerged as an alternative income by many Qalandar devotees as the founding figure who is identified Ali, event through Nazir also praised for playing a key role in mobilizing Punjabis to form He is of Shaam-e-Qalandar. it is not surpris- Therefore, mela in Sehwan. sangats for participating in the Shahbaz Qalandar Ali’s imprint. at Shaam-e-Qalandar bear Nazir ing that the contemporary musical performances and the variety of musical styles of the other His own compositions are featured prominently musicians reflect his eclectic inspirations Lollywood Religiosity Religiosity Lollywood (MCs) is also visible in the distinct vocal delivery of the compères to a larger road running through Gawalmandi but other residents and shop owners of the area, owners of the area, residents and shop Gawalmandi but other road running through to a larger sect, Ahl-e-Hadis to the mostly belonging ian confrontation, the organizers decided to move the celebration to the Open Air Theatre in Theatre Air Open the celebration to the decided to move the organizers ian confrontation, in 2008. Cultural Complex Alhamra to the Gardens and then finally Lawrence - a musical con that now creatively combines staged celebration way to an elaborately teurs gave This atmosphere is and form of Lollywood and Punjabi weddings. cert with the aesthetics combines Shia and Sufi tradi- a particular religious sensibility that itself further imbued with Shaam- as popular entertainment. by rock music concerts and serves It is also informed tions. Male teenagers and genres. unique amalgamation of multiple traditions e-Qalandar is thus a with malangs clothed in rub shoulders T-shirts Armani and imitation dressed in tight jeans City York out of place in a New Dance steps that would not be red cloth. unstitched pieces of Rather than reading these styles with Sufi-inspired body movements. nightclub vie for attention abil- The with each other. I contend that they work in conjunction in opposition or tension, suggests that it is informed by to accommodate such a mixing of styles ity of Shaam-e-Qalandar Broadly speaking, and content. permits experimentation with both form a fluid religiosity that discerned in Shaam-e-Qalandar performative genres can be overlapping, though four distinct, and weddings, music concerts, cultural domains of film, These originate from the celebrations. Sufi urs. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021 2013. (Photo by Amen Jaffer) Figure 3. The Open Air Theatre at the Alhamra Cultural Complex, 12 June 30 Amen Jaffer a sectionoftheaudiencereserved for VIPs, butthepirsandworking-middle-class orga a fewpirs VIPs: theorganizers, theirfamilyandfriends, celebrities fromthefilmandmusicindustries, and is convertedintoahierarchicallyarrangedseatingarea. Those onthestagearerecognizedas middle issetasideformusiciansandsingersinShaam-e-Qalandar events. The restofthestage performers andassociatedcrewmembersinmusicconcerts, onlyasmallraisedplatforminthe this setupandthatofmusicconcertsatthesamevenue. While thestageisoccupiedentirelyby spatial designthatseparatestheaudienceandperformers, thereisamajordifferencebetween then isShaam-e-Qalandarlocatedintermsofthisrelation? a shrinemelastemfromandenableentirelydifferentspectator-performer relations. Where loudly fromitsperiphery. Clearlythen, the spatialorganizationofamodernmusicconcertand than thedemarcatedstageandwell-defined, policedseatingzonesat Alhamra. Theaudi- shrines duringmelas. Inshrineevents, theperformancespaceisfarmoreintimateandfluid to policetheboundary. maintain thisdivisionbetweenperformersandspectatorsusuallydeploysecuritypersonnel Organizers ofthemusicconcertsIhaveattendedat Alhamra overtheyearstakegreatcareto aration isfurtheremphasizedthroughlighting, decor, props, andsound/videoequipment. from theelevatedstadiumseatingwhereaudiencesitssurroundingstage. This sep- focusesattentiononthestagelocatedincenter.(fig. 3) Atwo-stepstairseparatesthestage aesthetics associatedwithsuchevents. The circulardesignofthe Alhamra CulturalComplex music concertsandtheatreproductions, itisnotsurprisingthatShaam-e-Qalandarreflectsthe Given thatthevenuesformanyofShaam-e-Qalandareventsaredesignedpopular “Concertifying” theSacred of beingobserved andperhapsnotentirelycomfortable inthissituation. At thesametime, their ful andcalculatedbutslightlyuneasy bodymovementssuggestedthattheywereratherconscious importance. Inthetwoevents thatIobservedinthe Alhamra CulturalComplex, the VIPs’ care Shaam-e-Qalandar VIPs display theirstatusanddemandthatthespectatorsacknowledge cal musicconcert. Seated onthestageaspartofperformanceratherthanaudience, the nizers andguestsattheShaam-e-Qalandar usuallywouldnotqualifyfor VIP statusat atypi This isofcourseentirelydifferentfromtherelationbetweenperformersandspectatorsat Even thoughtheShaam-e-Qalandarcelebratedat Alhamra CulturalComplexfollowthe (Sufi spiritualleaders)andtheirentourages(fig. 4). Mostconcertsinthisvenuehave of thecircletodanceorchant moving inandoutofthecenter often jointheperformanceby not completelyfixed. Spectators performer andspectatorsisalso a setting, thedistinctionbetween dhol playersanddancers. Insuch ence backtocreatespaceforthe ers repeatedlypushingtheaudi- see theassociatesofperform- night, itisacommonsightto is performedevery Thursday Jamal inLahore, wheredhama\l formance. At theshrineofShah pletely engulfedduringtheper that theperformerisnotcom- from theaudienceandensuring collecting voluntaryofferings performer playsthedualroleof former andanassociateofthe ence usuallyencirclestheper - - - - - Shaam-e-Qalandar 31 (seated center) on the stage with his entourage for a Shaam- a for entourage his with stage the on center) (seated pir doing little to maintain it in the first place. If anything, If anything, doing little to maintain it in the first place. Figure 4. A 4. Figure by (Photo 2013. June 16 Complex, Cultural Alhamra the at e-Qalandar Amen Jaffer) —

Despite these careful arrange- Despite these the organizers and volunteers to enter the Others relied on someone they knew among nuisance to be halted, which sums up the general attitude towards such transgressions. Not general attitude towards such transgressions. which sums up the nuisance to be halted, ments for imposing a hierarchy, imposing a hierarchy, ments for in Shaam-e-Qalandar spectators In to it. do not always conform the distinction between fact, - the crowd and the perform seated VIPs ers (including the onstage) became increasingly wore on blurred as the night at in the events that I attended the two While initially Alhamra. and were strictly demarcated peo- zones, restricted to separate particu- ple in the audience, increasingly larly male youths, invaded the stage by jumping over the divide meant to keep I witnessed a dra- them at bay. when a visibly intoxicated and heavy-set matic example of this at Raza’s Shaam-e-Qalandar to climb He decided stage from the audience area. middle-aged man attempted to get to the partly cut- the speakers tumbled over, Predictably, onto the audio speakers in order to do so. somehow managed to cling to a railing just as The perpetrator ting off the sound for the event. He was eventually comically left dangling in mid-air. the speakers gave way under him and was who were in fits of laughter themselves. helped onto the stage by a dozen young men, even easier to it became As the night wore on, spaces. stage using the stairs connecting the two as the few volunteers stationed to prevent such move back and forth between the two regions The result was likely joined the revelers on the stage. breaches abandoned their posts and most the audience. it was impossible to separate the performers from that a few hours into the event, were ecstatically dancing and swaying to the music Those who had clambered onto the stage (a popular Punjabi music and dance style) Punjabi bhangra from A range of dance moves, 5). (fig. Some were unleashed. improvisations, and dhama\l movements to comical disco and hip hop The revelers would momentarily be for their antics. even grabbed floor cushions to use as props one compère In fact, respect the sacrality of the event. calmed by the compère’s exhortations to and other religious figures to clear the area even pleaded with them in the name of Qalandar in momentary respite as these invocations would only result However, around the performers. the maniacal dancing invariably erupted again. Ultimately, any attempt to impose the conventions of a modern music concert on these Shaam- any attempt to impose the conventions of a modern music concert Ultimately, how committed are the organizers to enforcing these But the question is: e-Qalandar failed. the principle orga- Atif, smiles of Danyal and The beaming conventions in the first place? Alhamra Cultural Complex in 2013, nizers of an especially raucous Shaam-e-Qalandar at the They did not appear overly con- clearly indicated that they considered the event a big success. cerned with the breakdown of order when the organizers appeared to revel in the raucous atmosphere and only showed concern The breakdown of order has the revelers got a little too close to the dignitaries on the stage. or even become a part of the audience’s entertainment rather than an act of criminal trespassing a Organizers and Their Motivations and Organizers restrained smiles indicated that smiles indicated that restrained were enjoying they nonetheless this attention. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

32 Amen Jaffer at the Alhamra Cultural Complex, 16 June 2013. (Photos by Amen Jaffer) Figures 5 & 6. Audience members celebrating a Shaam-e-Qalandar on the stage able andwell-organized pilgrimagetriptoSehwan. Itconveystheimpression thatbecausethe Shaam-e-Qalandar raisespotential recruits’confidencethatthesangatcandeliveranenjoy- become quiteasignificantpublic platformforRaza. effective publicrelationsarecentral tothesuccessofasangatleader, theShaam-e-Qalandarhas ing andstrengtheninghissocial influence. Sincesocialconnectionswithinfluentialfigures and can raisetheprofileandstandingofsangatitsleader andthusplayakeyroleinexpand- the status, generosity, andconnectionsofthe sangatmembers. Entertainingtherightaudience event. These efforts, ifsuccessful, enhancethe capacity ofaShaam-e-Qalandartoemphasize distribute invitationcardsaswelldisplaybannersandposters aroundthecitytopublicize mobilized toattractupper-class andinfluentialindividuals andgroups. Theorganizerswidely resources arespentonadvertisingtoattractalargeaudience and personalsocialnetworksare bers. This isreflectedintheinvestmenttheymake organizing thisevent. Alotofenergyand as animportantforumforRazaandhissangattogainvisibility andattractfundingmem- but theyarecertainlydrivenbymaterialdesires. Forexample, theShaam-e-Qalandarserves It isalsocriticalforthesangat to attractadditionalmembers. An agreeableexperience atthe celebrations intomusicconcerts not wanttotransformQalandar objectives, itisclearthattheydo of religiouspropriety. sometimes evenattheexpense and rememberthiscelebration, to ensurethatparticipantsenjoy ity atwhatevercost. They want seem bentongainingpopular dentials; ontheother, theyalso further theirownreligiouscre- On onehand, theyarekeento putting thiscelebrationtogether. alent abouttheirmotivationsin even theorganizersareambiv- Sufi shrinepublic. Interestingly, pants andmembersofthelarger taken moreseriouslybypartici- future astheeventbeginstobe dict thatthiswillchangeinthe dition. However, Iwouldpre- be fullyacceptedintheSufitra- many ofitspracticesareyetto in thecurrentmomentbecause have limitedreligiouslegitimacy Shaam-e-Qalandar appearsto ified sacredlight. Rather, the event isnotheldinthesamerar shrines thatIhaveobserved, this most ritualperformancesinside conclude thatcomparedto more memorable. the funandmakeexperience organizers butbecomepartof only aretheytoleratedbythe In discussingorganizers’ This evidenceleadsmeto - - Shaam-e-Qalandar 33

- Figure 8. An elaborately decorated stage reflecting middle-class wedding wedding middle-class reflecting stage decorated elaborately An 8. Figure by (Photo 2016. May 21 Gawalmandi, in Shaam-e-Qalandar a at aesthetics Hassan Khan) Saad Figure 7. Muhammad Raza, a Shaam-e-Qalandar organizer, showering a a showering organizer, Raza, Shaam-e-Qalandar a Muhammad 7. Figure increasingly an is This 2016. May 21 Gawalmandi, in cash with musician Khan) Hassan Saad by (Photo generosity. and wealth display to practice common

Besides building religious Besides building religious Atif do While Danyal and capital, this event also enables this event also capital, more the mobilization of far It serves as a worldly interests. stage to display one’s wealth, which and influence, power, begets legitimacy in the form to establish con- This in turn allows the organizers 7). and honor (fig. respect, of recognition, Atif and The example of and symbolic capital. nections that can further enhance their material is instruc- who have organized a number of Shaam-e-Qalandar over the past decade, Danyal, who appear to have experienced Both are brash young men in their early 30s, tive in this regard. neighbor Though they continue to live and socialize in the low-income economic mobility. they hoods where they grew up, are considerably wealthier than and neighbors, their friends, Danyal’s other family members. “black oblique references to and gloating descrip- money” tions of his weapons collec- suggests that his newfound tion, wealth was perhaps not acquired by legal means. not organize a sangat for the they spend Qalandar mela, far more on the Shaam-e- Qalandar than probably any The other organizer in Lahore. performance stage for their events is elaborately decorated in a style that is much closer or middle-class to an upper- Punjabi wedding than a shrine Both of them dress up 8). (fig. much like specially tailored outfits and matching footwear, expensive, for these events in shiny, Their photographs are prominent in the posters 9). wedding (fig. one might for an upper-class The massive flex banners hanging in prominent locations and banners advertising the events. for inside the venue of the 2013 edition of their Shaam-e-Qalandar are especially interesting sangat and its leader enjoy some its leader enjoy some sangat and they will offer social standing, - that is commensu an experience perceived status. rate with their a Shaam-e-Qalandar Organizing for affirming is also important com- status within the religious serve as a munity because it can reli- platform for highlighting Spending gious credentials. celebrat- money and effort on for exam- ing Shahbaz Qalandar, as a is viewed by participants ple, Sufi saints. sign of dedication to Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

34 Amen Jaffer picture. Furthermore, includingsomeoneinthiscollageservesasamechanismtobestowhonor play, wherethesizeandplacementofphotosindicatesimportancepersonin members, andtheiracquaintances. The pirsofDanyaland Atif arealsoprominentinthisdis- of themselves. The bannersdisplayphotographsandnamesoftheorganizers, theirfamily their visualrepresentationsoftheorganizersandattemptstopromoteaparticularimage 12. ing aprivatejokeandsometimesshoweringthemwithcashnotes. repeatedly interactandshareintimacywiththepirsbywhisperingintheirearsorexchang- organizers expendsignificantenergyindisplayingtheserelations. Duringtheproceedings, they affiliations withpirs, whoattempttoaccordreligiouslegitimacytheproceedings. Thisiswhy their arrivalaspowerfulplayersamongshrinepublics. display. Itenablesindividualstousetheirwealthacquireahighersocialstandingandsignal while attractingmostlythelowerclass, alsorepresentsanewsiteforconsumptionandstatus their desireforbeingmodernbyindulginginreligiousconsumption. The Shaam-e-Qalandar, 2013. (Photo by Amen Jaffer) player Rani Taj (center) at the Alhamra Cultural Complex, 16 June Figure 9. Organizers of a Shaam-e-Qalandar posing with event yieldedaclearshiftinthe statusandreputationoftheorganizers. notion oftheconversioneconomic capitalintosocialcapital. The moneyinvested intothis ers ofthisevent. Iviewthisperformativepracticeasavivid exampleofPierreBourdieu’s(1984) Shaam-e-Qalandar context, apracticelimitedtotheSufi eliteisappropriatedbytheorganiz- tion inwhichdastarssignifyspiritualdominionoverashrine and itsfollowers. However, inthe ing namesandcommentingontheproceedings. These tokenritualsborrowfromtheSufitradi- received anespeciallyenthusiasticwelcometothestagefrom thecompèrewhowasannounc- symbolizes honorandstatus. The organizerswereamong thefirstonestobethusanointedand viduals, includingtheorganizersandtheircloserelatives, withheadwearcalledadastar performances. Oneimportantsuchritualwasdastarbandiinwhichthepirpresentedselectindi - fig. 4). Hewasinvitedtoconductanumberofrituals duringtheintervalsbetweendhama\lsong seated onaslightlyraisedplatformdirectlyfacingthestagein thecenterofasemicircle(see event,nificant rolesintheproceedings. theirpirwasconspicuously DuringDanyaland Atif’s er’s connectionswithholyfigures. Theseassociationsarealsopublicizedbygivingthepirssig- are partofacalibratedperformancetoimpresstheaudiencewithclosenessorganiz- The religiouscredentialsorganizersofShaam-e-Qalandarhopetogaincomefromtheir a common practice in wedding site for the display of wealth celebrations, which is another important and status. Showering someone with cash bills demonstrates your love, respect, and appreciation for that person. This is also dhol

Qalandar culture. exclusions andhierarchiesofthis ners, whichpointstothegender pletely absentfromtheseban- noted thatwomenarecom- on theindividual. Itshouldbe class MuslimsinLahoreexpress has arguedthatmanymiddle- 2004). Ammara Maqsood(2014) weddings (Bloch, Rao, andDesai in “traditional” eventssuchas (Veblen 2006)thatisdisplayed spicuous publicconsumption follow atrendofhighlycon- working-class crowd. Inthisthey who clearlystandoutfromthe mobile middle-classPakistanis resentations portrayupwardly 12 These carefullymanagedrep- These gesturesofintimacy that Shaam-e-Qalandar 35 - - - - - all these ges — a yardstick of success for most public perfor a yardstick of success —

The design and organization of the stage in Shaam-e-Qalandar is also a tool for display- is also a the stage in Shaam-e-Qalandar and organization of The design While Shaam-e-Qalandar exhibits openness to performative innovations, it is not very flex- While Shaam-e-Qalandar exhibits openness to performative innovations, The Shaam-e-Qalandar takes this intimacy in new directions because it joins the perfor The Shaam-e-Qalandar takes this intimacy ing social hierarchy. Who gets invited to grace it, their proximity to the stage, visibility to the visibility to the stage, their proximity it, gets invited to grace Who ing social hierarchy. to lean on are given a cushion whether they location within the stage, audience, tures are designed to convey status. However, the audience does not passively accept this visual does not passively the audience However, to convey status. tures are designed - the efficacy of bifurcat significantly reduce the stage they By invading hierarchy. ordering of response to the invasion nonchalant the organizers’ Still, status. in order to display ing the space their status upon the not purely driven by the objective of impressing indicates that they are seeking social legitimacy with are seeking to balance the twin goals of Rather they spectators. two these as I have argued earlier, In fact, to a charged-up audience. providing entertainment it is not surprising that organiz- Therefore, each other at times. motives can even complement It certainly indicates that the event in the chaotic stage invasion. ers find something appealing and raised their passions has rallied the crowd mance of sacred Qalandar songs with self-indulgent dancing. It becomes a site for working-class It becomes a site for dancing. mance of sacred Qalandar songs with self-indulgent to note in pass- It is interesting dance moves. youth to seek pleasure by performing exaggerated British youth and other punks, unlike the mods, ing that Pakistani urban working-class youth, do and Chen 1996; Hebdige 1974), Morley, groups studied by cultural studies scholars (Hall, is firmly connected to melas and other mainstream Rather their culture not create subcultures. It is thus a testa- their own distinctive style and energy. which they infuse with religious events, desires, traditions, ment to the flexibility of the mela that it can accommodate a range of styles, and dispositions. many religious gatherings where women are com- Unlike ible in terms of gender dynamics. their participation is limited and most However, entry. they are at least allowed pletely absent, They play little role in the rituals and are confined to a small section in the audience area. Nor are they found traversing the do not have much of a say in how the event is organized. A few professional female singers do perform audience-stage divide to join the performance. These female but they are token representatives of their gender in a male-dominated space. ated and even enjoyed because there is room for secular fun in the urs celebrations of many ated and even enjoyed because there is room it always has space for activities that are not religious Because the urs is also a mela, Sufi saints. and enter stalls, food and drink Asia include markets, Urs at large shrines in South in nature. one of the defining characteristics of various In fact, tainment such as peep shows and circuses. you At one moment, of the sacred and the profane. urs around Pakistan is the close proximity watching a you might find yourself at the very next, will be inside the tomb of a Sufi saint and motorcycle driven around a well of death. Marking the Boundaries of Qalandar irreverent and contrary to the sacred spirit of These Qalandar celebrations may appear fluidity and flexibility in Qalandar practices; devotees gen- but there is an inherent Qalandar, there is not However, to reach out to their saint. erally accept that there are multiple ways as religiously legitimate ways to celebrate a blanket acceptance of all performative practices are accepted While the songs and other musical performances at Shaam-e-Qalandar Qalandar. not attached such meanings are at the event, as sacred by the majority of those in attendance this practice is toler Nonetheless, the audience. to the onstage dancing of young men from mances. But I also suspect that as born-and-raised Lahoris who continue to live in Gawalmandi, continue to live in Gawalmandi, that as born-and-raised Lahoris who But I also suspect mances. share the Lahori cultural tra- the organizers of their ancestors, the low-income neighborhood their affec- Thus, celebration. frenetic charged-up, in wholehearted, dition of seeking pleasure triumphs over attempts to and the raucous atmosphere eventually tive response to the music than getting upset over the stage Rather divisions along status lines. maintain orderly spatial who are they eventually end up celebrating with the energized working-class youth, invasion, own particular style. remembering Shahbaz Qalandar in their Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

36 Amen Jaffer established sacredroles, suchas thatofthepir, are presentedinanewlightthisevent. They e-Qalandar thussymbolizesanew formofpublicreligionthatisyokedtothemarket. Even allow religiousentrepreneurstoacquirepositionsofleadership insacredcommunities. Shaam- ence ofmarketforcesinthereligioussphere;economiccapital andskillshonedinthemarket nificant shiftinthedistributionofreligiousauthority. Itisindicativeoftheincreasinginflu- this position. ing themarket, andattractingsizableaudiences, ratherthan their religiosity, thathasconferred ability toorganizesuccessfulreligiouseventsbydrawingupon avarietyofnetworks, navigat- enabled themtoforgeassociationswithpirsandshrinemanagement. Importantlyitistheir as organizersofeventstocommemorateShahbazQalandarhas giventhemrecognitionand abilities inorganizingreligiouseventshavebroughtthemacertain legitimacy. Their position ditional sacredrolesassociatedwithshrinesorimpresstheir knowledgeofSufism, their social networksassociatedwiththesacred. This momentsuccinctlycapturedRaza’sprideinhisstatusasarespectedindividualamongthe smile illuminatinghisface, exclaimed: “see howmuchrespecttheygaveus, wasn’tthatnice.” was invitedtositnextthepir. Onleavingthefestival, Razaturnedtome, andwithasizable was mostlystanding, wewerequicklyseatedonchairsandimmediatelyservedfoodwhileRaza this particularshrinetreateduswithmuchattentionandrespect. Despitethedensecrowdthat members ofhissangathadinvitedmetoaccompanythemashrinefestivalwherethepir played bymen an instrumentthathashighlymasculineovertones Qalandar Taj singers havelimitedpossibilitiestoinfluencethegenderdynamicsofShaam-e-Qalandar. Rani 13. was broughthometomeontheoccasionofashrinefestivalinLahore. standing inhisneighborhoodandthelargerShiaSuficommunities. Thisobservation ber ofRaza’ssangataswellhisnephew, claimsthatorganizingthiseventhaselevatedRaza’s display statusandpower, toearnhonorandestablishconnections. Latif, alongstanding mem- For men, especiallythoseinvolvedinorganizingShaam-e-Qalandar, theoccasionisachanceto Claiming Statusand Authority tunity topubliclyexpressoraffirmthemselves. mances andthebreakfromtheirdailyroutines, theeventdoesnotofferthemsameoppor might besurveilledandevenverballyharassed. While manywomenclearlyenjoytheperfor language suggestsadiscomfortincrossingtheborderintoperformanceareawherethey section oftheseatingareaandrarelyleaveitduringtimetheyareatevent. Their body rent toevenventuringintosuchspaces. They tendtohuddletogetherinclusterstheirown suggests, themasculineboisterousnesscanbequiteintimidatingforthemandactsasadeter women remainsubjectedtogenderedrestrictions. Infact, asthebodylanguageofwomen So whilemen, especiallyworking-classyouth, canpubliclyletlooseinShaam-e-Qalandar, who couldroamaroundandperformtheirmasculinityforacaptivemalefemaleaudience. she wasinhostileterritory. repeated requeststoappearinphotographswhichshewassubjectedservedasremindersthat and curiosityshegeneratedintheaudiencequicklyturnedintoharassment. The catcallingand The emergenceofthesenewfiguresinthereligiouslandscape ofLahorerepresentsasig- For individualslikeRaza, Danyal, and Atif, eventhoughtheydonotfitintoanyofthetra- The treatmentofRani Taj wasinsharpcontrasttothefreedomsaffordedmaleparticipants, The festival took place at a shrine in the Kot Lakhpat area of Lahore on 13 July 2013. — a female British Pakistani musician who played the dhol in Danyal and Atif’s Shaam-e- a femaleBritishPakistanimusicianwhoplayedthedholinDanyaland Atif’s — was forafewbriefmomentsanexceptiontothisrule(fig. 9). Confidentlyplaying — she waschallengingentrenchedgenderboundaries. However, theexcitement — it isseenasloudandpowerfulusually 13 Razaandafewother - - - Shaam-e-Qalandar 37 - he - 14 parking

See Heera Lal Qalandar’s Facebook page, maintained by his followers, for photos and videos of the various various the of videos and photos for followers, his by maintained page, Facebook Qalandar’s Lal Heera See organized. has he that Shaam-e-Qalandar This forced change in venue had a significant impact on the social and performative dynam- This forced change in venue had a significant impact on the social and performative Faced with these restrictions, Raza and Atif decided to hold their 2016 event in a Raza and Faced with these restrictions, Since Pakistan’s entry into the so-called War on Terror in 2001/02, Lahore has witnessed a in 2001/02, Terror on War Since Pakistan’s entry into the so-called An illustrative example of this is the influential pir, Heera Lal Qalandar, patron-in-chief of patron-in-chief Lal Qalandar, Heera the influential pir, example of this is An illustrative ics of Shaam-e-Qalandar. First of all, there was a marked difference in the audience. The 2013 there was a marked difference in the audience. First of all, ics of Shaam-e-Qalandar. many of whom had citywide crowd, events were far more public affairs and attracted a large, but also less diverse, only were the 2016 events smaller, Not no connection with the organizers. This comprising mostly people known to the organizers or one degree removed from them. out to change in the makeup of the audience certainly limited the organizers’ ability to reach lot in their own neighborhood of Gawalmandi. Located across from a women’s college, this college, Located across from a women’s lot in their own neighborhood of Gawalmandi. dense locality and is used by residents for hold lot is one of the largest open spaces in this 14. ing weddings and other events. Danyal, who had had a falling out with Atif, also organized a Atif, who had had a falling out with Danyal, ing weddings and other events. also located in Gawalmandi, Shaam-e-Qalandar but he chose the street outside his own house, as the venue. The Toll of Securitization of Toll The After miss- in the summer of 2013. I conducted the bulk of my research on Shaam-e-Qalandar It was surprising to learn that instead of I attended again in 2016. ing the next two seasons, where it the event was actually forced to cut back and retreat to the neighborhoods expanding, I knew had been refused permission by the Lahore The organizers had started some years ago. smaller Alhamra Cultural Complex or even in the city government to host the event in the and Danyal, who occasionally assists Raza, Latif, amphitheatre inside the Lawrence Gardens. did not confessed that the organizers their events, Atif in getting government permission for explana- which simply gave a one-word decision, have the political clout to influence the state’s tion for their refusal: security. includ- Many of these have targeted religious minorities, number of bombings in public places. the gov- Even though such incidences of violence in Lahore had declined by 2016, ing Shias. be argued that It can restricting public cultural events. ernment continued to pursue a policy of to shirk its responsibility of ensuring the security is also used as a pretext by the government accuse the gov- Some participants in religious events even safety of its citizens at public events. hide their real motives for refusing to grant permis- ernment of using security as a pretext to who is ideologically opposed to Shaam-e-Qalandar can a government officer For example, sion. use security as an excuse to prevent this celebration. mingling in the world of wealth and power. and power. the world of wealth mingling in This extravagant affair of Gujar Khan. near the city organized a massive Shaam-e-Qalandar other of lights and is illuminated by thousands which set, in an elaborately designed takes place of one such event, In a video Heera Lal. this production sits At the center of decorations. appear as theatrical props endowed with the airs of glamorous celebrities, comfortably inter glamorous celebrities, with the airs of props endowed appear as theatrical lounges all by himself on a throne placed atop a raised platform for all to see. Elaborately pro- for all to see. on a throne placed atop a raised platform lounges all by himself and extensive postpro- spectacle that use expensive media technology duced videos of this The with those of Heera Lal. of performers and an ecstatic audience duction juxtapose shots while at other times it pans out to in to rest on his contemplative face camera sometimes zooms and edited in a format Choreographed position in the unfolding drama. highlight his elevated successfully portray Heera Lal these media productions of live concerts, favored in music videos these clips conveys Watching to thousands of viewers on social media. as a charismatic celebrity celebrations have arrived in actors engaged in Shaam-e-Qalandar a strong sense that religious to inaugurate a neoliberal religiosity. the social media age Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

38 Amen Jaffer Gawalmandi, 21 May 2016. (Photo by Saad Hassan Khan) Figure 10. An unusually sedate audience at a Shaam-e-Qalandar in from theirview ofQalandarcelebrationsasheretic innovationsinIslam. Razarelatedthathe bors belongingtotheSunni Ahl-e-Hadees sect. According toLatif, theirobjections stemmed lier thanplannedbecauseofrepeated objectionsandeventhreatsofviolencefromneigh- potential flaringupofsectarian tensions. In2016, Razaand Atifhadtoendtheevent ear effectiveness astoolsforacquisition ofsocialcapital. the scale, drama, andforceofthe2013events. These deficienciesclearlycompromisedtheir guests. Suchpracticessoughttoconveythestatusofcertain individuals, however, theylacked headwear wasorganized;andthecompèreinstructedtoannounce thearrivalofparticular (Photo by Saad Hassan Khan) stands out from those around him. Gawalmandi, 21 May 2016. Figure 11. Seated on a chair, at a Shaam-e-Qalandar this dignitary A keyconcerninorganizingShaam-e-Qalandar insideresidentialneighborhoodsisthe presenting themwithhonorific select individualsonstageand (fig. 11);aceremonyofinviting bers wereseatedonthefloor while mostaudiencemem- seated thedignitariesonchairs and performativepractices:they through certainpresentation selves andtheiranointed VIPs managed todistinguishthem- restraints ofspace, organizers forming onit. Despitethese the musiciansandsingersper to coalescearoundthestageand attention oftheaudiencetended ments (fig. 10). selves throughtheirbodymove- young mentoexpressthem- opportunities totheassembled audience divideandofferedfew further solidifiedtheperformer- because oflackspace, which dancing wasalsogreatlycurbed Qalandar spectacle. The ecstatic a componentoftheShaam-e- bers oftheaudienceratherthan made themappearasmem- dignitaries andtheirplacement ibility oforganizersandother cert venue. Itrestrictedthevis- distinction comparedtothecon- ties forthedisplayofstatusand setup affordedfeweropportuni- end thatservedasastage. This a smallraisedplatformonone pied byaudienceseating, with and almostallofitwasoccu- ent. Itwasamuchsmallervenue the spacewasalsoquitediffer Secondly, theorganizationof their standinginthecity. new socialnetworksandenhance Due tothisarrangement, the - - - Shaam-e-Qalandar 39 The 16 expression Raza did end up 15 including Raza, Danyal, Danyal, including Raza, — one that seeks to use it as a vehicle for acquiring social capital — to hold the event at all in Lahore, even in its scaled-down form. in Lahore, to hold the event at all

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I did hear from Jaani, a regular participant in this event, that at least a few events were still organized in 2017 but but 2017 in organized still were fewa least at participantthat events event, this in regular a Jaani, from hear did I Lahore. of neighborhood Mandi Chamra the in celebration such one attended He scale. small a on major a of final the in team cricket men’s victorythe at Qalandar of chants Pakistan the of celebrations heard I Lahore. Liberty2017 in Chowk, June 18 on tournament cricket The result of these mounting challenges was that Shaam-e-Qalandar suffered from a con- suffered was that Shaam-e-Qalandar of these mounting challenges The result The most memorable element of my first experiences of Qalandar celebrations, with which experiences of Qalandar celebrations, The most memorable element of my first 15. 16. Given the challenges I have outlined, it is legitimate to pose a question about the survival of it is legitimate to pose a I have outlined, Given the challenges This is because it is here to stay. My own sense is that the event Lahore. Shaam-e-Qalandar in religion and conspicuous con- ideals of performing status through resonates with hegemonic which chimes with practice, this is an increasingly popular age, In the neoliberal sumption. rapidly in the religious sphere (Carrette and the dominant logic of capital that is spreading repre- events such as Shaam-e-Qalandar Thus, King 2005; Gauthier and Martikainen 2016). influ- Asia and are bound to only increase their sent the new face of public religion in South practices associated with Qalandar have now widely the performative Furthermore, ence. The performative gesture of chanting Qalandar’s permeated the cultural landscape of Lahore. celebration of victory in a cricket tournament. name can now even be heard in the public The Future of Qalandar siderable loss of intensity and boisterousness. In 2013, it seemed that the event was all set to the event was all set it seemed that In 2013, of intensity and boisterousness. siderable loss the event in 2016, calendar of Lahore; religious and cultural fixture in the become a major for the worse in 2017, took a further turn Things standing. diminished in its appeared much refused permission to many organizers when the city government Atif and had faced such sectarian issues in the past as well when he had tried to organize a Shaam-e- he had tried to organize in the past as well when sectarian issues had faced such his own neighborhood. Qalandar in organizing a small Shaam-e-Qalandar in Sehwan but Latif admitted that it had nowhere the in Sehwan but Latif admitted organizing a small Shaam-e-Qalandar in Lahore. same impact as past events current challenges faced by organizers of Shaam-e-Qalandar, I would suggest, are therefore I would suggest, Shaam-e-Qalandar, current challenges faced by organizers of which is quite likely As soon as the government relaxes its security policies, quite temporary. over the past two decades usually has been fol- given that the tightening of security measures larger and I expect the event to be back in full force and grow even lowed by a slow relaxation, more significant. was my brush with the ecstasy that pervades this religious phenomenon. I begin this article, outpouring of collective devotional energy at the Overwhelmed by the seemingly spontaneous I initially identified shrine culture as a liminal site for self- dhama\l dance in Sehwan, I would argue that the intensity of in retrospect, However, of the marginalized and voiceless. in which societal power dynamics penetrate this cul- Qalandar devotion blinded me to the ways it became practices associated with Qalandar, As I delved deeper into the performative ture. Conspicuous was very much shaping this culture. clear that the dominant logic of the market is a key element of Shaam-e-Qalandar events and serves to for example, presentation of the self, there is a limit Nonetheless, resources in them. enhance the status of those investing economic It still manages to maintain an ecstatic of Qalandar. to the power of capital to shape the culture the dimension that not only belies common notions of Islamic propriety but also challenges this new event emerges from the negotiation of Thus, careful arrangement of status hierarchy. two oppositional tendencies Nonetheless this opposition, and the other that views it as an opportunity for ecstatic devotion. tension for devotees rather than a debilitating is more of a productive as I have demonstrated, flourishing condition and it is within this productive tension that I see Qalandar celebrations in Pakistan. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00791 by guest on24 September 2021

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