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Cholland Masters Thesis Final Draft
Copyright By Christopher Paul Holland 2010 The Thesis committee for Christopher Paul Holland Certifies that this is the approved version of the following thesis: Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India APPROVED BY SUPERVISING COMMITTEE: Supervisor: __________________________________ Syed Akbar Hyder ___________________________________ Gail Minault Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2010 Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland, M.A. The University of Texas at Austin, 2010 SUPERVISOR: Syed Akbar Hyder Scholarship has tended to focus exclusively on connections of Qawwali, a north Indian devotional practice and musical genre, to religious practice. A focus on the religious degree of the occasion inadequately represents the participant’s active experience and has hindered the discussion of Qawwali in modern practice. Through the examples of Nusrat Fateh Ali Khan’s music and an insightful BBC radio article on gender inequality this thesis explores the fluid musical exchanges of information with other styles of Qawwali performances, and the unchanging nature of an oral tradition that maintains sociopolitical hierarchies and gender relations in Sufi shrine culture. Perceptions of history within shrine culture blend together with social and theological developments, long-standing interactions with society outside of the shrine environment, and an exclusion of the female body in rituals. -
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P6school Celebrated P20of the Most Popular Their 15Th Annual Courses from the Last Day Recently with a Season Plus Some Cultural Extravaganza
Community Community The senior wing At VCU-Q, of the DPS- Spring 2016 Modern Indian features some P6School celebrated P20of the most popular their 15th Annual courses from the last Day recently with a season plus some cultural extravaganza. fresh additions. Wednesday, December 23, 2015 Rabia I 12, 1437 AH DOHA 17°C—24°C TODAY LIFESTYLE/HOROSCOPE 13 PUZZLES 14 & 15 COVER STORY Kite flight Filmmaker Hardik Mehta on reaching out to the skies and what Al Jazeera Jury Award means to him. P4-5 2 GULF TIMES Wednesday, December 23, 2015 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 4.54am Shorooq (sunrise) 6.16am Zuhr (noon) 11.33am Asr (afternoon) 2.30pm Maghreb (sunset) 4.52pm Isha (night) 6.22pm USEFUL NUMBERS Emergency 999 The Good Dinosaur McDormand) and his two siblings, the meets Spot (Jack Bright), a Neanderthal Worldwide Emergency Number 112 GENRE: Animation, Adventure mighty dinosaurs were not wiped out boy who off ers his help and friendship. Kahramaa – Electricity and Water 991 CAST: Jeff rey Wright, Frances 65mn years ago. When a rainstorm Together, the unlikely duo embark on an Ooredoo Telephone Assistance 111 Mcdormand, Maleah Nipay-Padilla washes poor Arlo (Raymond Ochoa) epic adventure to reunite Arlo with his Local Directory 180 DIRECTION: Peter Sohn downriver, he ends up bruised, battered beloved family. International Calls Enquires 150 SYNOPSIS: Luckily for young Arlo, and miles away from home. Good fortune THEATRES: Landmark, The Mall, Time 141, 140 his parents (Jeff rey Wright, Frances shines on the frightened Dino when he Royal -
· Cal Souiets
The Unive ·cal SouietS The Presents The Sabri Brothers in Qawwali Music from Pakistan GHULAM FARID SABRI AND MAQBOOL AHMED SABRI Singel's and H ann onium Playen Singers: KAMAL SABRI, MAHMOODGHAZNAVI, UMER DARAZ, ABDUL AZIZ, MASI HUDDIN Nal and Tabla: MOHAMMAD ANWAR Dholak: ABDUL KARIM TUESDAY EVENING, MARCH 28, 1978, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAIVI Poetry by: Qaul and Tarana . AMIR KHUSRO Sar-E-Lamakan ("The Ascent" ) SHEIKH SAADI AND AMBER SHAH WARSI Girte Howe Jab Maine Tera Naam Liya Hai ("As I was Falling") KAUSAR NIAZI INT E RMISSION Na Samjho Khak Ka Putla ("Do Not Take Me for a Figure of Clay" ) AMBER SHAH W ARSI Khwaja Ki Diwani ("Enchanted by Khwaja" ) SAHRAI SANBHARI Tu Rehnawarde Shoq Hai Manzil Na Kar Qobool ("The \V anderer") IQBAL Coming in April-announcem ent oj 1978-1979 season oj Intemotional Presentations, the 100t,1l year oj the Ul1i versity Musical Society, to illclude the Eighth Annual Asian Series . Third Concert Seventh Annual Asian Series CompleLe Programs 4119 About the At,tists Ghulam Farid Sabri, troupe leader, and his brother Maqbool Ahmed Sabri, assistant troupe leader and music director, were taught the art of Qawwali as children by their father, also a famous Qawwal. The Sabri Brothers' Qawwali troupe is the only troupe which has a "first class" status in the Pakistan Television Corporation. Popular film and recording artists in Pakistan, the Sabri Brothers' troupe has toured Europe, Asia and the Middle East. In 1970 the Government of Pakistan sent them to Nepal as representatives for the royal wedding. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction .................................................................................. -
Poem for Nusrat Fateh Ali Khan Ending in a Beginning
Poem for Nusrat Fateh Ali Khan ending in a beginning Yours is the music of quiet 4am, of solitary afternoons that seem unending. Yours the music of desire, the exhale of the Urdu word for ‘need’, like the sound of a lung first learning breath. Yours the shape of my father’s mouth turning into song. Yours the voice of sandpaper and husk, like the call for God coming out of a garbage truck throat. Yours the voice of surrender, surrender, surrender to the longing of the living, to all bottomless need to be filled, to find another, to be whole. Yours the poet’s knowledge of how to moan a word, yours the low humming of all the world’s restless stirring. Yours the yearning, the always and forever yearning, yours the trembling lips of a muted string waiting to burst into passion. Yours the hunger of a fakir who has forsaken begging to shout from the rooftops. Yours the sweet wine of grief, the unbridled intoxication which you deliver like a lover’s return. Yours the lust. Yours the notes that land like a hand tapping on the tight drumskin of my heart, then the strum of the harmonica which struggles to keep up with your voice soaring into the sky. Yours the utterance of devotion, yours the prophet’s chant, yours the treacherous winding road harmony, yours the fevered ecstasy. Yours a wild animal wail from before words, the sound of the soul freed of the ribcage, from some ancient deep forgotten history, yours every exuberant end yours every troubled beginning. -
Of Cold Countries
of Cold Countries iy hifcvests, sometimes moneylenders, £ sometimes calamities, self-styled masters arrive. to hate my torrid country, i dry my wet clothes in these courtyards let me plant gold wheat in its fields let me quench my thirst at its rivers let me rest beneath the shade of its trees .let me wear its dust and wrap its distances around me i«: The sun and you can not walk side by side. The sun has chosen me for company. J Kishwar Nahecd, translated by Rukhsana Ahmad. Introduction ocated in the north-west of the South LAsian sub-continent, Pakistan is a relatively new political entity. Comprising four provinces (North West Frontier Province, Sindh, Punjab and Baluchistan) and the tribal areas, northern areas, and the state of Azad Jammu and Kashmir, Pakistan represents a great diversity of topography, bio- climates, peoples, and cultures. The rural-urban division is sharp, as are the disparities between the rich and the poor. The land was the home of ancient civilisations and the meeting point of great cultures: Buddhist, Greek, Muslim, and Hindu. Consequently, Pakistan has a rich heritage of architecture, folklore, art, and music. Its people share the common traits of hospitality, warmth, and Village in Sindh province. Life in the villages of Pakistan has changed friendliness, and a strong sense of dignity. little over the centuries. Born in the ferment of change that accompanied the collapse of colonialism, Pakistan is still a society in transition. Busy street scene in Karachi, the largest city in Pakistan. Older forms of economic, social, and political organisation are under challenge, while new ones have yet to evolve. -
Soulful SUFI Booklet Copy
SOULFUL 09. Akh Artistes : Sai Zahoor Ahmed & Laaj 10. Maula Mere Maula Artiste : Roop Kumar Rathod 01. Sufi Kalaam 11. Japde Ne Tera Naam Artiste : Manoj Bajpai Artiste : Javed Bashir Ahmed 02. Ishq Anokha 12. Mann Ki Lagan Artiste : Kailash Kher Artiste : Rahat Fateh Ali Khan 03. Mast Aankhain 13. Main Sufi Hoon Artistes : Javed Bashir & Richa Sharma Artiste : Saif Samejo 04. Maahi 14. Meharbani Teri Artistes : Sultana Nooran (Nooran Sis) Artiste : Kailash Kher & Jyoti Nooran (Nooran Sis) 15. Zaahid Ne ** 05. Malang Artiste : Abida Parveen Artiste : Javed Bashir 16. Yaar Di Masti 06. Afreen Afreen Artiste : Javed Bashir Artiste : Nusrat Fateh Ali Khan 17. Sufi Kalaam 07. Sang Har Shaqs ** Artiste : Manoj Bajpai Artiste : Abida Parveen 18. Vaari Vaari 08. O Jogi Artiste : Kailash Kher Artiste : Kailash Kher 1 2 19. Bulleya Ki Jaana Main Kaun ** 28. Siyah Tara Artiste : Wadali Brothers Artiste : Kailash Kher 20. Bulleh Shah ** 29. Aaj Hona Deedar Mahi Da Artiste : Shafqat Amanat Ali (Medley) ** Artiste : Saleem 21. Mast Qalandar Artiste : Javed Bashir 30. Tere Ishq Nachaya ** Artiste : Wadali Brothers 22. Berukhiyan Artiste : Kailash Kher 31. Ranjha ** Artiste : Jasbir Jassi 23. Tere Ishq Nachaya ** Artiste : Hans Raj Hans 32. Turiya Turiya Artiste : Kailash Kher 24. Nadana Artiste : Javed Bashir 33. Sufi Kalaam Artiste : Manoj Bajpai 25. Dagar Panghat Ki ** Artiste : Shahid Ahmed Warsi 34. Alif Allah Chambey Di Butti Artiste : Chintoo Singh 26. Guru Ghantaal Artiste : Kailash Kher 35. Chhaap Tilak ** Artiste : Zila Khan 27. Sanu Ik Pal Artiste : Javed Bashir 36. Maula Maula - 2012 Artiste : Ustad Shujat Khan 3 4 37. Tumba- Prince Ghuman Feat. -
Rethinking the Authority of Muslim Religious Scholars and Mosques in Shaping Religious Discourse in Pakistan: an Ethnographic Account
Muhammad Bilal: Rethinking the authority of Muslim religious scholars and mosques in shaping religious discourse in Pakistan: An ethnographic account Rethinking the authority of Muslim religious scholars and mosques in shaping religious discourse in Pakistan: An ethnographic account Muhammad Bilal Fatima Jinnah Women University, [email protected] Abstract The mosque is the fundamental institution in any Islamic society, its role extending far beyond its function as a religious centre. The question that arises for this ethnographic study in Pakistan is whether the mosque is still as central as it was in the past, or as it is understood to be. A similar question can be raised for those Muslim religious scholars trained in Islamic law who frequent the mosque and serve the religious community as prayer leaders. This study explores the part played by the mosque – and by the Muslim religious scholars – in the life of worship and, beyond that, in the everyday social struc- ture. The study suggests that no longer can the Muslim religious scholars or mosques be called representative of Pakistani society. KEYWORDS: Muslim religious scholars, mosque, Islam, everyday life, religious schools, Pakistan Introduction In each neighbourhood (maHallah)1 of Muslim Town, there are mosques affiliated with rival tendencies of practice within Islam. In ordinary everyday speech, these tendencies are referred to as sect or school of thought (maslak; plural masaalik). The sectarian af- filiations of the mosques are typically indicated at their main doors. Two principal divi- sions within the Sunni branch of Islam (which are also referred to as the people of the Sunnah (Ahl-e-Sunnat) are identified at the mosque (masjid; plural masaajid) doors as Deoband and Barelvi. -
Musafir Atif Aslam Mp3 Download
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Coke Studio Pakistan: an Ode to Eastern Music with a Western Touch
ISSN (Online) - 2349-8846 Coke Studio Pakistan: An Ode to Eastern Music with a Western Touch SHAHWAR KIBRIA Shahwar Kibria ([email protected]) is a research scholar at the School of Arts and Aesthetics at the Jawaharlal Nehru University, New Delhi. Vol. 55, Issue No. 12, 21 Mar, 2020 Since it was first aired in 2008, Coke Studio Pakistan has emerged as an unprecedented musical movement in South Asia. It has revitalised traditional and Eastern classical music of South Asia by incorporating contemporary Western music instrumentation and new-age production elements. Under the religious nationalism of military dictator Muhammad Zia-ul-Haq, the production and dissemination of creative arts were curtailed in Pakistan between 1977 and 1988. Incidentally, the censure against artistic and creative practice also coincided with the transnational movement of qawwali art form as prominent qawwals began carrying it outside Pakistan. American audiences were first exposed to qawwali in 1978 when Gulam Farid Sabri and Maqbool Ahmed Sabri performed at New York’s iconic Carnegie Hall. The performance was referred to as the “aural equivalent of the dancing dervishes” in the New York Times (Rockwell 1979). However, it was not until Nusrat Fateh Ali Khan’s performance at the popular World of Music, Arts and Dance (WOMAD) festival in 1985 in Colchester, England, following his collaboration with Peter Gabriel, that qawwali became evident in the global music cultures. Khan pioneered the fusion of Eastern vocals and Western instrumentation, and such a coming together of different musical elements was witnessed in several albums he worked for subsequently. Some of them include "Mustt Mustt" in 1990 ISSN (Online) - 2349-8846 and "Night Song" in 1996 with Canadian musician Michael Brook, the music score for the film The Last Temptation of Christ (1988) and a soundtrack album for the film Dead Man Walking (1996) with Peter Gabriel, and a collaborative project with Eddie Vedder of the rock band Pearl Jam. -
Economic Impact of the Recorded Music Industry in India September 2019 Economic Impact of the Recorded Music Industry in India
Economic impact of the recorded music industry in India September 2019 Economic impact of the recorded music industry in India Contents Foreword by IMI 04 Foreword by Deloitte India 05 Glossary 06 Executive summary 08 Indian recorded music industry: Size and growth 11 Indian music’s place in the world: Punching below its weight 13 An introduction to economic impact: The amplification effect 14 Indian recorded music industry: First order impact 17 “Formal” partner industries: Powered by music 18 TV broadcasting 18 FM radio 20 Live events 21 Films 22 Audio streaming OTT 24 Summary of impact at formal partner industries 25 Informal usage of music: The invisible hand 26 A peek into brass bands 27 Typical brass band structure 28 Revenue model 28 A glimpse into the lives of band members 30 Challenges faced by brass bands 31 Deep connection with music 31 Impact beyond the numbers: Counts, but cannot be counted 32 Challenges faced by the industry: Hurdles to growth 35 Way forward: Laying the foundation for growth 40 Concluding remarks: Unlocking the amplification effect of music 45 Acknowledgements 48 03 Economic impact of the recorded music industry in India Economic impact of the recorded music industry in India Foreword by IMI Foreword by Deloitte India CIRCA 2019: the story of the recorded Nusrat Fateh Ali-Khan, Noor Jehan, Abida “I know you may not At the Indian Music Convention: Dialogue Not everything that counts can be music industry would be that of David Parveen, Runa Laila, and, of course, the in August 2018, IMI had announced counted.