Pir Hasan Kabirdin’s humble entreaty to Ali, or the Imam of the Time: Beautiful recitation and translation of Ginan Sahebe Farman Lakhi Mokalea

(Note: The following recitation by Late Shamshu Bandali Haji includes a few verses at the end, which may not be part of the same Ginan. We will try and identify the source of the verses. When you start playing the recording, please scroll down to follow the transliteration and meaning of the Ginan. The recitation is from the superb and must visit Ginan Portal website at the University of Saskatchewan containing hundreds of recitations by Shamshu Bandali Haji and other members of the Ismaili community.

Ginan Sahebe Farman Lakhi Mokalea by Pir Hasan Kabirdin; recitation by Late Alwaez Shamshudin Bandali Haji

Transliteration and Translation of Ginan Eji Sahebe Farman Lakhi Mokalea

Transliteration source: PYARALI JIWA; English translation by ZARINA KAMALUDDIN and KAMALUDDIN ALI MUHAMMAD

Editor’s note: Ismaili Pirs, Dai’s and poets in their Ginans and Qasidas referred to the Imam of their era as Ali (a.s.), the first Imam who succeeded the Prophet Muhammad (S.A.S.), thus emphaszing the principle of the Unity of Imamat. For Shia Ismailis, each Imam is the same irrespective of his own age or the time he lives in, as he is the bearer of the same Noor (Light).

VERSE 1

Eji Saahebe faramaan lakhi mokaleaa suno maaraa nar hari yaa Ali; sevak sa(m)bhaa aa vaale aajman maa(n)he mayaa dhari ya Ali

O brother! Listen, My Lord Ali has written and sent a Farman. The beloved Lord has remembered this servant today with kindness in his heart

VERSE 2

Eji Mananaa manorath purajo suno maaraa nar hari yaa Ali deshe vaalo ati sukh raaj siri-a saara(n)g dhani yaa Ali

O my Lord Ali! Listen! Fulfill the hopes of my heart. The beloved Lord will grant much happiness and kingdom

VERSE 3

Eji Ame umaayo tere darage suno maaraa nar hari yaa Ali mayaaa karo maahaaraaj vaiku(n)th naath dhani yaa Ali

O my Lord Ali! Listen! We beseech hopefully at your door. O Lord of paradise! O Ali the great king! Have mercy

VERSE 4

Eji Charan te aapanaa bhetaadajo suno maaraa nar hari yaa Ali najar karo moraa shaam akhiyu(n) amia bhari yaa Ali

O my Lord Ali! Listen! Grant (me) the favor of expressing obeisance to you. O my Lord Ali! Look at me with eyes full of love

VERSE 5

Eji Dukh doyaalaa sarave taalajo suno maaraa nar hari yaa Ali puri karo maahaaraaj aparam paar dhani yaa Ali

O my Lord Ali! Listen! Remove all my sorrows and troubles. O Lord Ali, the great king! O Lord of infinity! Fulfill all my wishes.

VERSE 6

Eji Bahu aparaadh kari jivaddo aavyo tere darage suno maaraa nar hari yaa Ali mayaa karo mahaaraaj vaiku(n)th naath dhani yaa Ali

O my Lord Ali! Listen! After committing many sins this servant has come to your door. O Lord of paradise! O Ali the great king! Have mercy

VERSE 7

Eji Pir Hasan Kabirdin boleaa venati suno maaraa nar hari yaa Ali chade tu(n) tribhovar shaam parane visav ku(n) vaari yaa Ali.

O my Lord Ali! Listen! Pir Hasan Kabirdin (r.a.) has made this entreaty. O Ali! O king of the three worlds! Manifest yourself and marry the virgin earth

Date posted: April 1, 2020.

Before departing this website please take a moment to review Simerg’s Table of Contents for links to hundreds of thought provoking pieces on a vast array of subjects including faith and culture, history and philosophy, and arts and letters to name a few.

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Beautiful recitations of the 16th century Ginan "Navroz na din Sohamna," and composer Sayyid Fatehali Shah's fervent search and illuminating meeting with his Spiritual Master, the Imam of the Time

Conceived and created by Ottawa’s Dr. Nurin Merchant, this Navroz greeting incorporates the rose and jasmine flowers which are extremely popular in Iran during the celebration of Navroz. The base of the picture shows shoots of wheat grass signifying robust evergreen health throughout the year.

Abstract: Two beautiful recitations of the Navroz Ginan by Shamshudin Bandali Haji and Mumtaz Bhulji followed by an explanation by Sadruddin Hassam. In the Ginan, Sayyid Fatehali Shah relates the combined experience of the zahiri deedar (exoteric or physical glimpse or meeting) that he was granted by the 45th Ismaili Imam, Shah Khalilullah (peace be on him), and the inner joy of contentment and ecstasy that he experienced with the bestowal of Noorani (spiritual or esoteric) grace.

Were it not for the shutting down of Jamatkhanas because of the COVID-19 pandemic, tens of thousands of Ismailis around the world would be making their preparations for the Navroz celebrations in their respective Jamatkhanas on Saturday, March 21, 2020. The beautiful occasion of Navroz generates immense happiness and makes our hearts jump with joy as we receive blessings from Mawlana Hazar Imam together with roji and Ab-e-Shifa.

Included in the Navroz Jamatkhana ceremonies, is the recitation of selected verses of the traditional Navroz Ginan and verses from Qasidas.

We once again provide an explanation of the Ginan that many readers have read over and over again but still like to return to it because of its significance in the context of a murid’s yearning to be close to the Imam of the Time. We are pleased to include a full recitation of the Ginan by (Late) Alwaez Shamshudin Bandali Haji of Edmonton as well as a shorter recitation by Mumtaz Bhulji. At the beginning of his powerful recitation, Alwaez Shamshu Haji has incorrectly attributed the Ginan to Pir Shams. This misunderstanding is clarified in the piece on Navroz by Sadruddin Hassam that is produced below.

Navroz Ginan recitation by Shamshu Bandali Haji

Recitation of Navroz Ginan by Late Shamshudin Bandali Haji

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Navroz Ginan recitation of selected verses by Mumtaz Bhulji

Recitation of selected verses of Navroz Ginan by Mumtaz Bhulji

These 2 recitations have been retrieved from University of Saskatchwan’s Library webportal Ginan Central. Click on the link, and you will be able to hear many more recitations of the same Ginan by other Ismaili members of the Jamat.

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Explanation of Navroz Ginan

By SADRUDIN K. HASSAM

Introduction

An attempt is made in this article to give an interpretation of the devotional Ginan Navroz na din Sohamna, which is recited by Ismaili Jamats in many parts of the world on the occasion of the celebration of the Persian New Year which falls on March 21st. In this ginan the composer, Sayyid Fatehali Shah, relates the combined experience of the zahiri deedar (exoteric or physical glimpse or meeting) that he was granted by the 45th Ismaili Imam, Shah Khalilullah (peace be on him), and the inner joy of contentment and ecstasy that he experienced with the bestowal of Noorani (spiritual or esoteric) grace. At the same time, he gently persuades the mu’min (a believer) to always strive for esoteric understanding as well as to develop a lasting spiritual relationship with the Imam of the Time. It may be noted that in Shia Imami Ismaili theology each Imam is the bearer of the same Divine Light (Noor). The Divine Institution of Imamat has its origins in the first Shia Imam, Hazrat Ali (peace be on him), who was declared as the successor to Prophet Muhammad (may peace be upon him) at the famous historical event at Ghadir-e-Khumm.

As the composer has to narrate the exoteric experience as well as the ineffable esoteric relationship, the ginanic diction that he uses has to resort to the traditional and familiar imagery and symbolic expressions in order to convey his message. The words, the imagery and the symbolic expressions, however, blend beautifully in this ginan. This beauty, unfortunately, cannot be recreated in this prosaic interpretation. Nor can we go into the prosody of the ginan.

In this reading we shall first address a common held misunderstanding about the identity of the composer. We shall then make an attempt to describe the exoteric experience of the composer’s meeting with the Imam, as so wonderfully narrated in the ginan, and finally we shall examine and interpret some of the key words and expressions to convey the ineffable spiritual experience as well as the composer’s gentle persuasion to the mu’mins. One hopes that this brief reading will heighten the reader’s appreciation and understanding of this ginan.

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A clarification about the composer and the period of composition

The composition of this ginan is sometimes wrongly attributed to Pir Shams al-Din who lived more than four centuries before the actual composer of this ginan, Sayyid Fatehali Shah. This mistake may have arisen because of the pen-name he has used in the second line of the last verse which reads:

Bhane Shamsi tamme sambhro rookhi.

It was a normal practice for the composer to mention his own name in the concluding verses of the ginan. But Shamsi here does not refer to Pir Shams al-Din  – rather it was the pen-name of  Sayyid Fatehali Shah.

He, like a number of other Sayyids, who did the work of da’wa (propagation and teaching) in India, may have been a descendant of Pir Hassan Kabirdin. Sayyid Fatehali Shah himself preached among the communities in Sind. He eventually died there and was buried near Jerruk which is south of Hyderabad in Pakistan.

The first two lines in verse seven give us the clues as to the period when this ginan was composed as well as validate the real name of the composer. These lines read:

Eji gaddh Chakwa ne kille Shah Khalilullah ramme
Tiyaan Fatehali ne mayya karine bolaawiyya

Shah Khalilullah here refers to the forty-fifth Ismaili Imam, whose Imamat was from 1780 to 1817 A.C. He lived in Iran in the town of Mahallat, which is located approximately 362 kilometers from Tehran. The town is situated on the slope of a mountain. Mahallat is also amongst the most ancient residential areas in Iran and was an important base of the Ismailis; hence the many references to the 46th and 47th Imams (Aga Khan I and II) as Aga Khan Mahallati. Sayyids and murids of the Imam from various parts used to come to Mahallat to pay their respects. This ginan is therefore fairly recent, having been composed either towards the end of eighteenth century or early in the nineteenth century.

It appears that like many other murids, Sayyid Fatehali Shah travelled from Sind to Iran to meet Hazrat Imam Shah Khalilullah.

On arriving in Mahallat on the day of Navroz, he learns that the Imam has gone to the woods on a hunting expedition. The Sayyid naturally feels disappointed that having come all the way, he did not have the opportunity for the deedar. This feeling of sadness is lamented in the first stanza of the ginan. Despite this, there is an undercurrent of inner hope at the prospect of having the deedar by the mercy of the Imam.

The pangs of separation from the beloved and the yearning for reunion are a recurrent theme in Ismaili ginans and also in Sufi mystical poetry. In this ginan, there is the lament of this separation, but in keeping with the traditional ginanic function, there is also gentle persuasion and hope of spiritual union.

We shall now examine how Sayyid Fatehali Shah relates his zaheri deedar of the Imam and how this blends with his esoteric experience.

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The meeting with the Imam of the Time in the woods and at the fort 

In the following four verses (1, 2, 3 and 7), Sayyid Shamsi relates his quest for the Master which leads to his meeting with Imam Shah Khalilullah. The meetings (deedar) fulfilled his intense yearning.

Transliteration:

Eji Navroz na din sohamna,
Shah Ali Qayam shikaar ramwa vann gaya,
Sevak na mann thaya oodassi,
Praan Ali charne rahiya…..1

Interpretive Translation and Explanation

On a beautiful day of Navroz,
Imam-e-Zaman had gone to the woods to hunt.
(I) His murid (disciple) became sad at heart (for missing my Master),
as my soul was yearning to be at the feet of the Imam. (An expression of respect and – obedience to the Imam)….1

Navruz (Navroz – Gujrati variation) is a Persian word meaning ‘New Year’s Day’ (twenty-first March). This is the first day of spring, hence the day is beautiful (sohamna).
Shah Ali Qayam refers to Imam-e-Zaman (Imam of the Time) because Noor-e-Imama is everpresent (qayam).
Shikaar ramwa gaya  means ‘went hunting’ and vann means ‘woods.’
Sevak is ‘one who is ready to serve or obey,’ in this case a ‘disciple’ or a ‘murid.’
Praan means ‘inner life’ or ‘soul.’

VERSE 2

Transliteration

Eji Shah Qayam preete jo chint baandhi
Nar ne preete amme vann gaya
Eva vann sohamna Nar Qayam ditha,
Dela dai devanta rahiya …..2

Interpretive Translation and Explanation

Impatient because of my ardent and deep loving desire to meet the Imam,
I also went into the woods,
which in the presence of the Imam
unfolded like heavenly gates looking angelically beautiful….2

The expression preete jo chint baandhi literally means ‘with love when (one) focuses on the remembrance (dhikr).’
Dela dai devanta rahiya is an idiomatic expression implying ‘the unveiling of angelic (devanta) beauty with the opening of gates (dela).’ When the murid (devotee) searches inwards  for the murshid (master), spiritual insight keeps on unveiling the gates with ever-increasing beauty.

VERSE 3

Transliteration

Eji bhalu thayu Saahebe soomat aali,
Shah Ali Qayam saathe ramwa amme vann gaya.
Anant aasha poori amaari
Shah dil bhaave gamya….3

Interpretive Translation and Explanation

It was a blessing that the Master inspired in me the wisdom
so that I went into the woods.
My intense yearning was fulfilled
because  true bliss had blossomed in my heart…..3

Saahebe soomat aali means ‘the Master inspired in me the wisdom.’
Anant asha poori amaari
means ‘my intense yearning (for deedar, both zahiri and batini) was fulfilled.’

VERSE 7

Transliteration

Eji gaddh Chakwa ne kille Shah Khalilullah ramme,
Tiyaan Fatehaline mayya kari ne bolaawiya,
Anant aasha poori amaari
Neet Ali Noore oothiya….7

Interpretive Translation and Explanation

Shah Khalilullah, pleasantly relaxing at the fortress in Chakwa,
graciously summoned me (Fatehali) in his presence;
then with the constant overflowing of His Noor,
fulfilled my many ardent wishes (for spiritual growth)….7

The expression Neet Ali Noore oothiya implies ‘the mystical experience of the overflowing of the Noorani Deedar of Ali (The Imam Eternal) which was granted (to him).’

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The inner search and experience

In the remaining four verses (4, 5, 6 and 8 ) of the ginan, Sayyid Shamsi, touches upon his own inner yearnings and gently persuades the listener to seek out the spiritual vision through the love and grace of the spiritual lord.

VERSE 4

Transliteration

Eji hette Alisu hirakh baandho,
Avichal ranga Sahebse girahiya,
Evi chint baandhi Nar Qayam saathe,
Sat bhandaar motiye bhariya….4

Interpretive Translation and Explanation

Be joyfully bound in the love of Ali
And attain the unfading spiritual color (the state of bliss) from the Master;
When my mind was bound to the Ever-Living Lord in contemplation
Reality adorned (the Soul) with priceless treasure of (Noorani) pearls….4

Avichal ranga Sahebse girahiya means ‘the permanent state of bliss from the Lord’ and refers to the nafs-i-mutmainna or ‘the contented self’ (Holy Qur’an, 89:27). It is a state of mind which is serene because the self has understood the Reality. The verse of the Holy Qur’an reads: But ah! thou soul at peace! (translated M. Pickthall).

VERSE 5

Transliteration

Eji amme Saheb saathe sahel kidha,
Riddh siddhaj paamiya,
Ek mann ginan je saambhre
Aa jeev tena odhariya….5

Interpretive Translation and Explanation

I (Fatehali) relished the spiritual journey with the Master (the Imam),
and (as a result) I was blessed with spiritual elevation and gnosis (spiritual insight).
He who listens to the Ginans attentively (and strives for the contemplative knowledge),
his soul finds the path to salvation….5

Here the Sayyid implies that a mu’min should strive for the batini deedar (spiritual reality of the Imam). One may achieve this with the blessing of the Imam.

VERSE 6

Transliteration

Eji jeev jiyaare joogat paame,
Praan popey ramm rahiya,
Agar chandan prem rasiya,
Hette hans sarowar zeeliya…..6

Interpretive Translation and Explanation

When the self understands reality,
the soul blends beautifully like a flower
and experiences musk and sandalwood-like fragrance.
The self floats in ecstasy of love as a swan swims in a lake….6

This verse contains symbolic expressions and imagery to convey the ineffable serenity and the inner joy of the fortunate one who has been graced with the the batini (esoteric) experience. The life of such a person becomes beautiful like a flower.

The fragrance of musk (agar) and sandalwood (chandan) symbolizes good behavior of the gifted one through speech and good deeds.

The swan (hans) represents the soul that is pure. Through esoteric and ecstatic experiences it remains liberated and is in abiding love for the beloved.

VERSE 8

Transliteration

Eji bhai re moman tamey bhaave araadho,
Bhane Shamsi tamey saambhro rookhi,
Saaheb na goon nahi wisaare,
Tena praan nahi thashe dookhi….8

Interpretive Translation and Explanation

O momin brothers! With deep affection remember the Lord.
Take heed and listen to what Shamsi says:
“They who do not forget the batin of the Imam (realizable through Imam’s grace),
their souls will never ever be miserable or unhappy”…..8

Sayyid Shamsi gently reminds his momin brothers (rookhi) always to remember the Lord with affection. Here, rookhi is probably the intimate form of the word rikhisar which is used in the ginans to refer to mu’min brothers. The word has been used thus to rhyme with the last word of the stanza dookhi (miserable).

The last two lines are to remind us not to forget the batin of the Imam but to strive towards it through regular prayers. Those who carry out these responsibilities with dedication and devotion can never  be unhappy whatever the worldly life might impose upon them. Thus the souls of the true mu’mins will always be at peace within themselves, knowing that they are under the protection and guidance of a living manifest Imam.

“Remember the Day when we will summon all human beings with their Imam. …” – The Holy Qur’an 17:71

From the above discourse, we can see why the ginan is appropriate for the occasion of  Navroz, which marks the commencement of a new year. The glorious transformation of nature in spring reminds us of the creative power of Allah, who continually showers His bounties for us. Thus, the festival of Navroz should effect a spiritual renewal in each one of us. It should inspire greater love for Imam-e-Zaman as is enjoined upon us by Allah and our beloved Prophet Muhammad (may peace be upon him).

This Navroz ginan by Sayyid Fatehali Shah reminds us of our spiritual obligations for continuous search for enlightenment through the Ta’alim (teachings and guidance) of the Imam of the time.

Date posted: March 19, 2020.

Before departing this website please take a moment to review Simerg’s Table of Contents for links to hundreds of thought provoking pieces on a vast array of subjects including faith and culture, history and philosophy, and arts and letters to name a few.

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This reading has been adapted by Simerg from the original article, “Eji Navroz Na Din Sohamna – An Interpretation,” by Sadrudin K. Hassam, which appeared in Ilm, Volume 9, Number 2, (March 1985).

In worrying time of Covid-19 pandemic, let us seek compassion, help and hope from our scriptures and Mawlana Hazar Imam's Farmans that he is present with his murids all the time

Mawlana Hazar Imam, His Highness the Aga Khan, in Booni Chitral.
Mawlana Hazar Imam in Booni Chitral during his Diamond Jubilee visit to Pakistan in December 2017. Photo: The Ismaili/ Karim Sadruddin.

By SHIRAZ PRADHAN

As the world struggles to cope with the novel coronavirus pandemic, it is natural to become anxious. We live in extraordinary times. The closure of Jamatkhanas in almost all countries accentuates our anxiety.  I do not intend this article to be doom and gloom. To the contrary, I want to portray hope from our faith.

The emergence of this new virus and its global impact has demonstrated the intricate ways in which humanity is interconnected and how it has brought entire humanity to its knees and shown us the vulnerability of the ‘House of Cards’ that is our civilization. There is no ‘foreign virus’ as some have chosen to describe it. This virus is brutally merciless and does not recognize race, colour, gender, religion or national boundaries.  

There is already a disruption of social care and communal services as the pandemic progresses in Europe, North America and elsewhere. This will transfer the burden of care of the aged, less able and vulnerable to younger, and healthier family members who may ride through the illness with minor discomfort. The projected time periods are likely to be several months.

Bearing in mind all these factors, how should we react to the pandemic? Ours is an intellectual tradition. Allah possesses the power of miracles, but we do not relay on Allah’s miracle alone.

At this very moment, there are laboratories around the world racing against time to come up with a vaccine against the virus. Indeed, one was tested on a few patients a few days ago. May be the virus is temperature sensitive and as we, in temperate zones transition to spring and rising temperatures, it may abate the virus. May be the ‘herd immunization’ strategy that is talked about will work and lessen the impact of the new virus. As ordinary citizens, we sometimes feel helpless. Under such circumstances, after following all the advice we are given to protect ourselves and our beloved ones, the next tendency in people in troubled times is prayers.

Psychologists have long known this fact. It gives people tremendous hope and alleviates stress in face of adversity. Prayers work, and in this I am reminded of a Farman Mawlana Hazar Imam had made in the 1960’s when he said that those who prayed in difficult times knew how prayers had helped them during their difficulties. At the same time, he reminded us that we should not only pray when times are bad but also when times are good.

Our Ginans can also give us help during these difficult times. Several Ginans have powerful verses of supplication and pleading for Allah’s mercy and compassion and help. These verses are not parochial but are pleadings for Allah’s compassion and mercy for the entire humanity.  In the context of the pandemic, this fact comes out clear. It is our hope that this ‘One Humanity’ idea endures beyond the pandemic.

Some of the verses I present are well-known, but I include them for completeness. First is a verse that extols the virtue of congregational prayers. It is from Pir Hasan Kabir’s Anant Akhado, verse 115.

Aashaaji til dharam ne hasti paap
sohi gat utaare ji
Gat naa vachan te Nar ji maane
te maahaadan maanhe nahi puchhaaye.

Translation:

O Lord, our good deeds are minuscule, our sins monumental. These are forgiven in congregational prayers
The Lord listens to congregational prayers and spares the questioning on the Day of Judgement.

The physical separateness due to the closure of our Jamatkhanas does not preclude us from offering prayers for humanity in our hearts and/or with our families.

In Pir Hasan Kabir’s Ananta Akhado, verse 32, Pir says that in Lord’s Assembly, He grants you whatever you wish.

Aashaji jiya jem mango, tiya tem verse,
Satgur gher anand ji

Translation:

Whatever you ask for in His assembly, He grants.
There is joy and no one returns disappointed from His assembly.

In verse 127, the scope of the pleading and supplication expands and encompass the entire humanity.

Aashaji, Sansar serve Shrusti tamari, ane serve mankha jiv ji
Daya kari teme amne taaro, Sami serve jiv tamara ji

Translation:

O Lord, the entire creation is Yours,  as are the souls,
With compassion, save us, O Lord, we all are Your souls.

In Pir Hasan Kabir’s Venti Eji Aash Tamari Shree Ho, which is full of supplications and pleadings, the opening verse portrays the congregation, standing with hands folded, asking for Lord’s compassion:

Eji, Aash tamari Shree Ho Kayam Sami, 
Saheb Chinta kee je, Ya Shah
Sab Gatie Shah ke khde re umayo Shah
Raj Rikhisar Ghar Dejo

Translation:

O Lord, we are hopeful of and dependent on your compassion; O Lord, we beseech you, spare your thought for us; the entire congregation is standing in submission; O Lord, bestow prosperity and happiness upon us…

Next is a beautiful venti of sincere submission and heart rendering plea for help by Pir Hasan Kabir in Hum Dil Khalak ya Ali tu(n)hij:

Hum dil Khalak ya Ali tu(n)hij vase,
Ya Mawla tu(n)hij vase,
avar na dhuja koi,
jive pi(n)dhe jo tun(n)hij dhani;
Ya Mawla tu(n)hij dhani.
Jia(n) kari(n) tiya hoi
Maher karo mora saai ya
Ali hum tere aadhar
Tere aadhar ya Mawla tu(n)hij daatar
Maher karo mora saai ya
Ali hum tere aadhan

Translation:

Only you reside in my heart O Ali,
O Mawla only you,
Non-other I think of
You, who are master of my soul and body
O Mawla, truly you are the Master
Your wish and command prevail
Show mercy O Lord
Ali you are my support,
I am dependent in You;
O Mawla you are the provider (of all my needs)
Show mercy O Lord,
Ali you are my only support

The next powerful verse that we often recite to seek divine help  is  from Seyyad Imam Shah’s Ame Saaheb Saathe, Verse 6

Eji Tuj vinaa koi avar na dise,
Saami amne chhe tamaaro aadhaar-ji;
Tuj vinaa ame eklaa Saami,
Saami tame thaajo rakhvaarr-ji

Translation:

O Lord, You alone we see,
O Lord, we rely upon You
Without You we are all alone
Please be our protector (In these troubled times)

In addition to the Ginans, our daily Arabic Du’a has powerful pleas for help.  In part two we recite:

“O Allah, O our Lord from You is my help, upon You is my reliance. You alone we worship and You alone we seek for help. O Aly help me with your kindness.”

In part three of our Du’a, we recite:

“Seek at times of difficulty, the help of your Lord, the present living Imam, Shah Karim al Hussaini.”

In part 4 of our Du’a, we recite:

“O Allah: Forgive us our sins, give us our daily bread and have mercy upon us….”

In part five of our Du’a, we recite:

“Ya Shah Karim, O Mawla, from you is my strength…”

As we go through this difficult time we should take comfort from these Ginanic verses and our Holy Du’a as well the Farmans of Mawlana Hazar Imam that have been published recently. Repeatedly, he assures his murids of his constant presence with them. For example, in his Diamond Jubilee Farman made in Booni, Chitral, Pakistan, he lovingly tells us that he is always with his Jamat, every day, every minute, every second (Diamond Jubilee Farman book, page 57, also pages 51, 62). As such, we should seek to keep his enduring blessings for mushkil-asan (protection from difficulties) alive in our hearts all the time.

I pray that these trying times pass and that Allah in His compassion listens to our plea for help for humanity. His compassion and mercy know no bound.

Date posted: March 18, 2020.

Before departing this website please take a moment to review Simerg’s Table of Contents for links to hundreds of thought provoking pieces on a vast array of subjects including faith and culture, history and philosophy, and arts and letters to name a few.

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Shiraz Pradhan

Shiraz Pradhan, in parallel with his work as an international engineering consultant, has contributed for several years to furthering religious education among the Ismaili community in the UK, Canada, USA and Japan. He is the author of several articles published on this website and was a regular contributor to UK’s flagship Ismaili magazine, Ilm. Currently he is concluding the script of a full-length play of the 10th Century trial of the Sufi Saint Mansur al-Hallaj in Baghdad based on historical facts.

The author wishes to thank Platinum Rahemtulla for references to Ginanic verses and their translations that are quoted in the article.

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The publication of authorized Farman Mubarak books brings joy to Murids: In reading Mawlana Hazar Imam’s Farmans, we must be conscious of his enduring blessings and seek to apply his perfect guidance for our well-being

His Highness the Aga Khan, Simerg, Mawlana Hazar Imam.
Mawlana Hazar Imam, His Highness the Aga Khan. Photo: The Ismaili.

By MALIK MERCHANT
(Publisher-Editor, BarakahSimerg and Simergphotos)

I was in Ottawa when a set of two Farman books first went on sale recently. I was glad when the literature counter officer told me 300 sets had been received for sale in Ottawa. There was no reason to panic — everyone who was in the queue that began forming immediately upon the completion of Jamati announcements was able to obtain copies for themselves and their families. My daughter and I had a deep sense of joy as we acquired our copies, and we also saw everyone’s faces lighted up with joy — it was the fulfillment of a wish of many many years. For the first time in more than 40 years, the guidance given by Mawlana Hazar Imam, His Highness the Aga Khan, to his spiritual children had been authorized by him for publication in printed form.

The last such volume was published in 1976-77 when the Ismailia Association for the UK (now known as the Ismaili Tariqah and Religious Education Board or simply ITREB) and other Associations published Farmans that Mawlana Hazar Imam had made in Mumbai, India, and Kenya in 1973 and 1976 respectively. The writer of this piece was very much involved with his late father, Alwaez Jehangir Merchant, in that exquisite publication in London.

The new set of two books ($10.00 per set) contains Farmans made by Mawlana Hazar Imam from 2011 to 2018. The first book (116 pages) contains a total of 24 Farmans made by Mawlana Hazar Imam during his mulaqats with the Jamats in Tanzania, Uganda, Kenya, Singapore, Bangladesh and India between July 5, 2011 and September 27, 2013. The second book (236 pages) consists of 45 Farmans starting with the Farman made on the inauguration of Mawlana Hazar Imam’s Diamond Jubilee in Aiglemont France on July 11, 2017 — the 60th anniversary of his Imamat — and concludes with the Farman Mubarak made on July 11, 2018 at the Darbar in Lisbon, Portugal, which was attended by more than 40,000 murids from around the world (seated in 3 separate halls). During his Diamond Jubilee year, Mawlana Hazar Imam visited Uganda, Tanzania, Eastern Canada, Pakistan, United Arab Emirates, India, USA, Kenya, Western Canada, France, the UK and Portugal.

The Farmans in both the books are published in chronological sequence and there is a table of contents at the beginning of the book. However, there is no index in the two books and we hope that it will be incorporated in future volumes that are expected to be published in the foreseeable future. We are here referring to Farmans made before 2011 that have been authorized and are read out in Jamatkhanas. Among those are Farmans made (1) during the Golden Jubilee in 2007-2008; (2) Farmans made in Pakistan in 2000; (3) Farmans made during Mawlana Hazar Imam’s first visits to Moscow and the Central Asian Jamats in 1995 and later; and (4) Farmans made during his Silver Jubilee in 1982-83 as well as other selected Farmans during the course of the Imamat from 1957 onwards.

The latest Farman books have been published by Islamic Publications Limited which is based at the new Aga Khan Centre in London. A note has been made that the Farmans are published under exclusive licence from Mawlana Hazar Imam.

Many of us will recall our childhood years during the 1960’s, when our parents would advise us to read a Farman every night before going to bed. At that time we had the benefit of short excerpted Farmans by subject category in tiny books such as Precious Pearls and Precious Gems. In the absence of such books, parents can utilize the newly released Farman books by reading out short excerpts to their babies and young children on a regular basis. The Australian website raising children mentions that reading to babies and children help them to get to know sounds, words and language, and they develop early literacy skills. The website reading rockets states that when the rhythm and melody of language become a part of a child’s life, learning to read will be as natural as learning to walk and talk. It has been recommended that reading should take place at least once everyday at a scheduled time and if this cannot be done, then read to your child as often as you possibly can.

In our particular case of reading out Farmans to children, we are also building the young murids’ attachment, affection and love for Mawlana Hazar Imam. The typeset in the Farman books is large enough for grown up children to comfortably read the Farmans by themselves. Parents and older siblings must encourage and motivate them to do so.

In addition, we urge every member of the Jamat and especially the youth and professionals to devote a few moments on a regular basis to the reading of Farmans, reflecting on them, applying Mawlana Hazar Imam’s guidance in our lives as well as seeking out the blessings that the Imam is conveying. Encouraging friends and family members to do likewise is a very important step in fulfilling our role as a dai, that is, a communicator of matters of faith.

The obedience to the Imam-of-the-Time is a time honoured Ismaili tradition, and Imam Sultan Mahomed Shah had once observed that heaps of pearls are scattered when Imams give Farmans. When a murid of the Imam consciously listens to Farmans in Jamatkhana or reads them in the books such as the ones that have just been published, the listener or reader should treat the blessings conveyed by Mawlana Hazar Imam for all times, and not treat the blessings as if they were for the occasion when the Farman was delivered. Indeed, as we read through the two Farman books, we will come across references to the enduring nature of the Imam’s blessings in his own words.

In her wonderful piece published in Ilm in 1979 and reproduced on this website, Nadya Kassam contextualized the importance of Farmans through a verse of the following ginan by Pir Shams:

Satagur kahere amara vachan je manshe,
Te chhe amare galeka har.
Tene galeka har kari rakhasu,
Tis momanke sukhaka anta na par-re.

The Pir in the verse says that a murid who obeys the Imam’s Farmans is like a garland (around the neck of the Imam). Hazar Imam keeps such a person very near to him, and that the mu’min will be very happy in this world and the next.

Mawlana Hazar Imam has always spoken to his spiritual children in plain language, always maintaining a joyful and warm demeanor. As we read through Mawlana Hazar Imam’s Farmans, his inspiring and perfect guidance as well as munificent blessings will touch our hearts, and raise and renew our hopes and spirits every single day.

It is thus with immense joy and unbounded happiness that we welcome the publication of the Farman set, and express our profound and humble shukhrana to Mawlana Hazar Imam for his constant guidance and blessings for our spiritual and material well-being and advancement.

Finally, in the context of the relationship of the Imam with his murids and the guidance that the Imam gives to his spiritual children, it is appropriate to quote a clause from the preamble of the Ismaili constitution which was ordained on December 13, 1986 by Mawlana Hazar Imam on the occasion of his 50th Salgirah (birthday). It states: “Historically and in accordance with Ismaili tradition, the Imam-of-the-Time is concerned with spiritual advancement as well as improvement of the quality of life of his murids. The Imam’s ta‘lim lights the murid’s path to spiritual enlightenment and vision. In temporal matters, the Imam guides the murids, and motivates them to develop their potential.”

Date posted: February 6, 2020.

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A Post Didar Reflection: Using Avicenna’s Realm of Active Imagination for Keeping Evergreen the Consciousness of the Holy Encounter with Mawlana Hazar Imam

Aga Khan departure 2017

Mawlana Hazar Imam, His Highness the Aga Khan, waves goodbye at Montreal airport at the end of his recent visit to Canada. Photo: The Ismaili/Moez Visram.

By SHIRAZ PRADHAN

It is natural that as we reflect and interiorize the joys of sights and sensations of mulaqats with Mawlana Hazar Imam including the most recent ones in Toronto and Montreal, the post-mulaqat vacuum may create a sense of post-padhramni sadness or what we call blues. The chores and demands of daily life which are put in abeyance during the anticipatory period of the mulaqat, once again begins to claim our attention and the bliss of mulaqat may begin to fade from the minds of some. The “presence” that had given joy to the heart begins to fade. These are the precursors to the onset of a sense of sadness. Lose not hope. There is a remedy. Glittering gems are scattered around to light our path, away from the blues. Let me explain.

In his commentary on the Visionary Recitals of Avicenna [1, 2], the renowned Orientalist Henry Corbin has recognized an essential bridge that gives rise to religious or mystical/spiritual consciousness. Corbin call this the faculty of Active Imagination. What does this term “Active Imagination” mean? In ordinary language, Active Imagination is the sum total of our mental faculties with imagination as its chief driver that allows us to configure the existence of a spiritual universe as a concrete reality. Without it the existence of such universes becomes doubtful. Visionary Recitals of Avicenna are renowned for promoting the realm of this Active Imagination which allow the flowering of spiritual symbolism in the heart that prepares it for an adventure into the unknown.

Sufism recognizes two different conditions of consciousness on the mystical path: the first of these known as al-Hal is a state of consciousness which is transient or passing. It could be a state of sadness, ecstasy, happiness or any other state dictated by the mind. Pir Sadardin’s epic granth Buj Niranjan (Chapter 20, Verse 4) describes such a state when a soul, intoxicated in divine love, vacillates between state of happiness and sadness:

Kabuek hanse aur kabuek rove
Kabuek lag piya gal sove……(4)

Translation:

Sometimes she cries, at others she laughs
Sometimes she is as if in embrace of the beloved……(4)

The other condition known as al-Maqam is a permanent station achieved by the desire and effort of the seeker and grace from above. These stations (pl. maqaamat) are necessary stages of progress along the path to spiritual enlightenment. At a deeper level, Active Imagination is at work in the attainment of the various states and stations of the path. The aim of those who are on the esoteric path is not to get bogged down in the transient, passing states but to steadfastly continue on the path to the encounter with the Higher Reality.

With this background we turn our attention to the post padhramni sadness we referred to earlier and to its cure(s). One Ginan that help us in this regard is Aji Hete Sun Milore Mara Munivero. [3] The beauty of this Ginan is that it does not require a complex philosophical project or spiritual mumbo-jumbo to deliver a simple elixir for the heart. The messages it conveys are profound truths of spiritual search and the practical engagement of the Active Imagination. The verses of our interest are 4, 5 and 8.

The key points of verse 4 are that Lord’s name is pure and divine; that one needs to invoke Him by this “Name” with regularity; that His “presence” is mingled intimately with the heart just as fragrance is an intimate essence of the flower.

Aji Paak saajeb ji nun naam chee
Tene jampi-e saas ussas
Dur ma dekho dil maahe vase
Jem chaampa phool mahe vaas……(4)

Translation:

Divine is the “Name” of the Lord
Invoke this “Name” with regularity,
Do not see Him far, He is intimately mingled in your heart
Just as fragrance is intimate with the Flower……(4)

Verse 5 reinforces what has been stated in Verse 4 and exemplifies and demands the engagement of the Active Imagination in the practice of the invocation of the “Name.” It states that every atom of the body is imbued with the divine presence.

So, in essence the “presence” never left! It is always there. The last line of the verse capitulates one of the remedies to counter the sadness: Perform devotion with the understanding that He, the Lord is always seated in the heart.

Aji rome rome maaro Shaah vase,
Ane antar nahi ek til
Evun jaanni bhgaataai kij-e
Shaah partake bethaa dil……(5)

Translation:

The Lord is mingled with every atom of your body.
Do not harbor delusion that you are separate from him
Perform your devotion with the knowledge that
He is forever seated in your heart……(5)

Faith is the ultimate essence of Active Imagination. In verse 8 of Hetesun Milore Mara Munivero we see this at play:

Aji raini ajvari chaand sun,
ane divas ajvaro sur
Tem Ghat ajvaro Iman sun……(8)

This verse provides an added,  joyful ingredient to the uplifting elixir provided by verses 4 and 5. It states that just as night is lighted by the moon and sun lights the day, so faith lights the heart. And such a heart is in continual bliss of rain of Nur (light).

What these verses of the Ginan indicate is that the “presence” of the Imam never left the heart. It is always there. A combination of faith and Active Imagination provides a continual reinforcement of the “presence.” But this requires the necessary action of continual remembrance with the understanding that He is ever present in the heart.

Date posted: November 29, 2017.

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Notes:  

[1]. Avicenna and the Visionary Recital, translated from the French by Willard R. Trask, Bollingen Series, LXVI, 1960.
[2]. All the World an Icon: Henry Corbin and the Angelic Function of Beings by Tom Cheetham, North Atlantic Books,  Berkeley, California, 2012. Available also as a Kindle book.
[3]. http://ginans.usask.ca/.

Shiraz Pradhan

Shiraz Pradhan

Shiraz Pradhan, in parallel with his work as an international engineering consultant, has contributed for several years to furthering religious education among the Ismaili community in the UK, Canada, USA and Japan. He is the author of several articles published on this website and was a regular contributor to UK’s flagship Ismaili magazine, Ilm. Currently he is concluding the script of a full-length play of the 10th Century trial of the Sufi Saint Mansur al-Hallaj in Baghdad based on historical facts.

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Mawlana Hazar Imam, His Highness the Aga Khan, to Bless Ismailis in Eastern Canada with Didar in November 2017

2017 Aga Khan Tanzania Darbar zr1_web_4823

His Highness the Aga Khan, Mawlana Hazar Imam, at the Dar es Salaam Darbar in October 2017. He will grace the Eastern Canadian Ismailis with his didar in November 2017.

Ismailis gasp in delight and shed tears of joy at announcement of Mawlana Hazar Imam’s visit to Canada in November 2017

By Malik Merchant, Editor

(Note: We will have regular updates leading upto the visit; here are the latest updates for this blog):

 

 

Ismailis in Eastern Canada will, inshallah, be graced with the holy visit of their beloved 49th Imam, His Highness the Aga Khan, during the month of November 2017. The announcement of the visit by the Ismaili Leadership International Forum (LIF) came as a big surprise, and thousands who were present in Jamatkhanas across Canada on Friday, October 27,  gasped with delight when the news of the visit was read out. At the Ismaili Centre in Toronto, the Jamat was informed about the visit  by the Chairman of the LIF, Mahmoud Eboo, who is also the representative of the Aga Khan Development Network (AKDN) in Canada.

The exact dates and details of the visit were not announced on Friday. However, an update on Saturday October 28th, stated that Mawlana Hazar Imam’s mulaqats with the Eastern Canada Jamat, which will include religious work, will take place in Toronto for the Ontario region and in Montreal for the Quebec and Maritime Provinces.  Although located in Ontario, the Jamat in Ottawa, Canada’s capital, will join hands with the Jamats of the Quebec and Maritime Provinces in Montreal.

This will be the third visit by the Aga Khan to his followers during his Diamond Jubilee year that commenced on July 11, 2017, when he completed 60 years of his reign. Earlier in October, he made official visits to Uganda and Tanzania at the invitation of the two governments. During the five day tour that began on October 8th, Mawlana Hazar Imam graced the Ismailis with momentous Darbars (lit. a court or audience chamber where kings had formal or informal meetings) in Kampala and Dar es Salaam.

On this most auspicious and joyous news of Mawlana Hazar Imam’s forthcoming visit to Canada, we convey our heartiest felicitations to Ismailis in Canada and around the world and offer a humble supplication with the following words taken from a Ginan by Pir Hasan Kabirdin (14th century).

Transliteration

Eji, Aash Karine Ya Ali* hun tere dar ubhi,
Kar jodine em mangu Ya Shah;
Dejo didar tusi mahavar datar Shah,
Hama tere charane lagu.

Translation

With hope O Ali I stand at Thy door,
With palms joined I sincerely beg of Thee;
Bless me with Thy Holy Didar, O Great Lord and Benefactor!
At Thy Feet I fall to prostrate.

*Ismaili doctrine emphasizes the principle of the Unity of Imamat under the superficial diversity exhibited by each Imam of the Time. It is in this sense that the Ismailis believe that Imam is the same irrespective of his own age or the time he lives in. Thus, the name of the first Imam, Hazrat Ali, is commonly invoked for each Imam of the Time.

The proverbial valour and exemplary statesmanship of Imam Mawla Murtaza Ali, the encyclopaedic erudition of Imam Ja’far as-Sadiq, the extraordinary intellectual brilliance of Imam al-Hakim bi Amrillah, the administrative ability of Imam Mustansir Billah (during the first half of his Khilafat), the political acumen of Imam Sultan Mahomed Shah, Aga Khan III (he defied geography and created history), the organizing genius of the present Imam, Mawlana Shah Karim al-Husayni, are only some of the more spectacular characteristics exhibited by the Imam of the Time in accordance with the exigencies of the situations facing him.

Date posted: October 27, 2017.
Last updated: October 29, 2017.

Related updated post: Ottawa Celebrates Mawlana Hazar Imam’s Forthcoming Visit to Canada, @Barakah.com

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Ismaili Heritage and Traditions: Fascinating Insights into Early Recordings of Ginans and Geets

By ALNOOR JEHANGIR MERCHANT

Simerg’s recent post titled Awesome and Rare Collection of Ismaili Ginans with Music at the British Library and a number of related online contributions, especially Aly Sunderji’s sharing of the equally rare and exceptional audio recordings of devotional songs produced in Tanganyika in 1946 commemorating the Diamond Jubilee of Imam Sultan Mahomed Shah, Aga Khan III (link https://www.youtube.com/watch?v=KqxUDlY_pis&index=1&list=PL8-KGtAvEpq5s1nBIplLQA3j1RDptQ5GJ) is an opportune moment to add some further remarks on the recordings of ginans and geets* produced during the first half of the 20th century. It is hoped that these remarks and, more particularly, the recordings themselves, will provide an impetus in documenting and preserving the diversity of the Ismaili community’s musical heritage and traditions.

Original disc labels of four ginan recordings that are part of a digitization project being carried out by the British Library (clockwise from top left): Satgur miliya mune aje composed by Bibi Imam Begum and sung by Rama and Rahim Ali; Ho jire mara hansa composed by Pir Sadardin; Ab teri mohobat lagi composed by Pir Shams; and Marna hai zarur composed by Pir Imam Shah and all sung by Master Juma Kakali. Images: The British Library (collage by Simerg).

It is difficult to give a precise dating as to when the ginans digitised by The British Library as part of their Endangered Archives Programme (EPA) Project were originally recorded. The ‘Young India’ record label which, according to the British Library catalogue, published these recordings was established around 1935 and continued for approximately 20 years; thus, the recordings should be dated to the period 1935-1955. An examination of the images of the disc labels, however, provides additional information that seems to have been overlooked in the cataloguing process.

On three of the ginan recordings, the disc label states ‘Ismailia Record’, along with the following: Manufactured by National Gramophone Record Manufacturing Company, Bombay, India [and] Sole Distributers [sic], The King Record Company, Kalbadevi, Bombay. The ‘Ismailia Record’ ginan recordings are in the voice of Master Jumma Kakali. On the fourth ginan recording, the disc label states ‘Best Ismaili Record’, along with the following: Manufactured for the Bombay Record Company by the National Gramophone Record Company Limited, Bombay.

As all four ginan recordings do not mention ‘Young India’ on the disc label, it may be that ‘Ismailia Record’ and ‘Best Ismaili Record’ were independent record producers. Unfortunately, the disc labels do not contain any information on the date of production of the records. However, according to Hussain Jasani, who has undertaken some research, there is evidence to suggest that these recordings were produced during 1938. According to Jasani, one of the volumes of the community’s magazine, Ismaili, published during that year, refers to these recordings. [Paper presented by Hussain Jasani, “Preserving Community Heritage; The Oldest-known Ginan (Audio) Recordings”, IIS Alumni Association, European Chapter Group, Annual Meeting, London, 29th September 2017].

Are these the earliest recordings, musical or otherwise, of ginans? In her essay titled “Sacred Songs of Khoja Muslims: Sounded and Embodied Liturgy and Devotion”, (published in: Ethnomusicology, 48, 2 [Spring/Summer 2004]: 251-270), Amy Catlin-Jairazbhoy suggests that a number of ginan recordings made by the Dutch ethnomusicologist and pioneer in the study of South Asian music, Arnold Adriaan Bake, are the earliest. She states (p. 256):

“Probably the earliest ginan recordings were made by Arnold Bake in Karachi in 1939. These as yet unpublished field recordings were sung individually by teenaged boys, presumably found at the Karachi jama‘at (community) school.”

Three of Bake’s Karachi recordings dated 11 March 1939, which he catalogued as ‘Khoja devotional song’ have been identified as:

  • Satgur avya kai apne dwar, sung by a 14-year old boy, Karim Ali Muhammad
  • Hamdil khaleq, sung by a 14-year old boy, Rahim Ali Muhammad
  • Haq tu pak tu, sung by Sadulli M. Abdulla.

Jasani’s research suggests that the Bombay recordings, and not the Karachi ones, are the earliest. While the ginan recordings produced (most likely in 1938) as part of the ‘Ismailia Record’ and ‘Best Ismaili Record’ labels or those in the Bake collection (recorded in March 1939) may be among the earliest, it would not be out-of-place to suggest that there could be earlier recordings of ginans, musical or otherwise, which remain to be ‘discovered’.

It is known that sound recordings from South Asia began to be produced at the turn of the 20th century, with the earliest known dating to around 1899. The foremost researcher of early Indian sound recordings is Michael Kinnear. His two books, The Gramophone Company’s First Indian Recordings 1899-1907 (Bombay, 1994) and The Gramophone Company’s Indian Recordings 1908-1910 (London, 2000) document not only the history of the Gramophone Company and its successor companies’ activities in India, as well as the recording expeditions it undertook in the country, but the two volumes also provide complete listings of all known and traceable recordings taken on those expeditions. In one of his other encyclopaedic works titled The 78 RPM Record Labels of India (Apollo Bay, 2016), Kinnear covers all known record labels and histories of the companies from 1899 to the late 1960s. Perhaps, an analysis of the listings contained in Kinnear’s works will lead to the identification of ginan recordings from the first decades of the 20th century. Another important resource could be the various magazines published within the Ismaili community at the time. The Society of Indian Record Collectors may also be an avenue worth exploring. Indeed, it is from the collection of one of the members of the Society of Indian Record Collectors, Suresh Chandvakar, that some of The British Library’s ginan recordings have been digitised.

With respect to the recordings of geets, little research has been carried out. Ali Asani, in the chapter ‘The Git Tradition: A Testimony of Love’ in his work titled Ecstasy and Enlightenment: The Ismaili Devotional Literature of South Asia (London, 2002) writes (p. 71):

“The tradition of composing gits, as we know in its present form, has been associated particularly with Nizari Ismaili communities of South Asian origin….Unfortunately, we know precious little about its development. As is the case with many folk traditions that have been orally transmitted, its historical origins are quite obscure. Moreover, the gits themselves have never been systematically collected and documented.”

In his essay, Asani predominantly refers to geet recordings from the 1980s onwards. And, Amy Catlin Jairazbhoy, states that the Khoja geet emerged “at some uncertain time in the twentieth century” (p. 262). In her essay titled “Songs of Praise: the Git Tradition of the Nizari Ismaili Muslims”, in Gujarati Communities Across the Globe: Memory, Identity and Continuity, ed. by Sharmina Mawani and Anjoom A. Mukaddam (Stoke-on-Trent, 2012), pages 59-78, Sharmina Mawani writes that “few authors have focused on gits…. and the way in which this creative form of expression has flourished from one generation to another” (p. 59). Although her discussion focuses on post-1960 geets, Mawani does refer to a geet by Fateh Ali Ismail Ibrahim titled Aayi Aayi re Sakhi written specifically for the Diamond Jubilee of Imam Sultan Mahomed Shah in 1946, the original lyrics and tune of which “were inspired by the joyous and celebratory nature of the occasion” (pp. 71-72). Indeed, one of the recordings placed online by Aly Sunderji is of this geet (please click https://www.youtube.com/watch?v=E-GnZn4UC7A&index=5&list=PL8-KGtAvEpq5s1nBIplLQA3j1RDptQ5GJ)

The audio recordings shared by Aly Sunderji of devotional songs produced in Tanganyika in 1946 commemorating the Diamond Jubilee of Imam Sultan Mahomed Shah provide us with important information on the geet tradition. And, significantly, in Suresh Chandvakar’s collection, there are a number of recordings that are also most certainly part of this tradition, but which are slightly earlier date-wise.

Original disc labels of geet recordings that are part of a digitization project being carried out by the British Library. Images: The British Library (collage by Simerg).

An examination of the listing of the individual recordings from Chandvakar’s collection identifies five enigmatic entries: Aavo Sultan Raj, Golden Jubilee Part 01, Golden Jubilee Part 02, and two listed as Captain Lakhpati. Further, the disc labels on these recordings provide some fascinating information. The disc label for Aavo Sultan Raj states: Compiled by ‘Best Ismaili Record’; the disc labels for Golden Jubilee and Captain Lakhpati state: Compiled by ‘Captain Lakhpaty’. This, undoubtedly, refers to Abdullah Jaffer Lakhpati, who is considered among the founders of the H. H. the Aga Khan Bombay Volunteer Corps, and who was also a versatile poet and artist. It is known that Lakhpati was appointed as Captain of the Volunteer Corps in February 1936. With this reference date, as well as upon listening to the recordings, it is clear that these geets were most likely composed to commemorate the Golden Jubilee of Imam Sultan Mahomed Shah, Aga Khan III, in 1935-36. To date, therefore, these are the earliest musical recordings of geets.

As to the performers, Ahmed Dilawar and Prabhakar, it has not been possible, as yet, to locate any further information on these individuals. It is likely that the various publications issued by the community, such as Ismaili and Fidai, could shed more light on these specific compositions and the performer(s), as well as on the tradition and history of geets.

One final point: All the disc labels of the ginan and geet recordings identified in this article and that posted previously share a common feature. What may be considered as the ‘Headline’ banner in the top half of the disc label is either an illustration depicting an image of Imam Sultan Mohamed Shah in the centre with the red and green Ismaili standard on either side, or the Imamat Crest in the centre, again with the Ismaili standard on either side. Does this not suggest that the recordings were officially produced for circulation?

All the ginan and geet recordings, (links to the geets are provided hereunder), along with Aly Sunderji’s sharing of the Diamond Jubilee geets, provide a fascinating insight into the historical development of this tradition, and allow us to reflect anew on this musical heritage.

Link to Aavo Sultan Raj

http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection/025M-CEAP190X7X07-008ZV0

Link to Golden Jubilee Part 01

http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection/025M-CEAP190X7X06-001ZV0

Link to Golden Jubilee Part 02

http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection/025M-CEAP190X7X06-002ZV0

Link to Captain Lakhpati

http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection/025M-CEAP190X7X06-003ZV0

Link to Captain Lakhpati

http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection/025M-CEAP190X7X06-004ZV0

Date posted: October 1, 2017.
Last updated: October 5, 2017 (additional source(s) added by the author, Alnoor Merchant, in paragraph referencing Sharmina Mawani’s essay).

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*The term used to describe a devotional ‘folk song’ is git; however, the more commoner spelling form, geet, is used in this article.

About the author: Alnoor Jehangir Merchant is an independent researcher on Ismaili studies, and a specialist advisor on rare books, coins, photographs and objets d’art relating to the worlds of Islam.

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The Imamat and Didar of Hazar Imam

“With hope I stand at thy door, O Ali! And sincerely beg of thee, bless me with thy holy didar, O great lord and benefactor! At thy feet I fall to prostrate”….MORE

PLEASE CLICK: Simerg’s Imamat and Didar Series (pdf)

The Jamat of Hunza accept the gracious didar (glimpse) of Mawlana Hazar Imam, His Highness the Aga Khan, as he visits the Princely State in the Northern Areas of Pakistan in 1960. Photo: Abdul M. Ismaily (papa jaan). Copyright.

“I was taken near the place where from I saw the bright Light of the Prophethood. My eyes were dazzled by the Light. I shed tears of joy and felt as if I was looking at the face of the Prophet of Allah and of the Commander of the Faithful, Hazrat Ali. I prostrated myself before the one who is the fittest person to bow to. I wanted to say something, but I was awe-struck.”….MORE

The Jamat of Hunza accept the gracious didar (glimpse) of Mawlana Hazar Imam, His Highness the Aga Khan, as he visits the the Northern Areas of Pakistan in 1960. Photo: Abdul M. Ismaily (Papa Jaan). Copyright.

Date posted: September 28, 2017.

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Awesome and Rare Collection of Ismaili Ginans with Music at the British Library

1935-1955: Truly Inspiring Recordings of Ab Teri Mohabat, Marna Hai Re Jarur, Ho Jire Mara Hansa, Satgur Miliya Mune Aaj and Bhajan

By MALIK MERCHANT
(Material compiled from the British Library, Endangered Archives Project)

A Young India gramaphone record. Photo: The British Library, Endangered Archives.

Simerg has come across an extremely rare collection of ginans that were recorded on 78-rpm shellac gramophone records in Mumbai, India between 1935-1955. The ginans accompanied by music are part of a huge collection of almost 1427 original film, music, classical music, folk music, publicity and educational material that have so far been digitized by the  British Library in London, England as part of their Endangered Archives project. A 24 month grant of £21,300 (sterling pounds) for this project was awarded to an independent researcher, Dr. Suresh Chandvankar, in 2008.

During 1930-55, the British and German record manufacturing companies were well established and had a major share of disc manufacturing in India. The ‘Young India’ record label was an ‘indigenous’ effort at record production by ‘The National Gramophone Record Manufacturing Company Ltd. Bombay’ and during the twenty year period produced 10,000 titles on hundreds of 78-rpm shellac gramophone records in Mumbai. Mainly amateur and upcoming artists were recorded under the ‘Young India’ label. The company ceased to function in 1955 so these recordings were never reissued on audio tapes and CDs. Hence, the British Library felt it important and relevant to preserve these invaluable recordings and the associated documents.

Clockwise from top left: A Young India disk; Young India sign; a collector; and a collection of Young India record. Photos: British Library, Endangered Archives.

The repertoire covered music from different regions of India and sung in many different languages. During the long tenure of over twenty years, Indian citizens witnessed several important events such as the movement and struggle for freedom, Indian Independence in 1947, World War II and the beginning of the romantic period of independent India. This was also reflected in the records produced. Thus, there are speeches of great leaders, ballads, skits and dialogues on a number of subjects depicting changing social and political situations.

In late 1948, the ‘National Gramophone Record’ factory at Wadala was experiencing both technical and financial problems which severely curtailed its production capacity. The situation worsened slowly and by late 1955, the factory had closed down with stocks left over at the factory sold off at greatly reduced prices to a number of agencies. With time, the records and catalogues were either destroyed or scrapped. Slowly, all the material related to this company began to disappear.

It is estimated that over 1,000 records are available in the private collections of record collectors, located in Mumbai, Ahmadabad, Delhi, Chennai and Kolkata, and are only available on 78-rpm breakable shellac discs. In addition, over 100 catalogues, booklets and record sleeves are held by private collectors and it is possible to collect or borrow them for this project. These have never been sold commercially, with the result that very few copies have survived to the present.

Through the British Library project endangered archival material pertaining to ‘Young India’ record label will be restored, digitised and thus preserved for posterity.

The project succeeded in locating and digitising over 725 discs (1450 songs) of the ‘Young India’ record label. A large number of catalogues and advertising material was located at many places and more than 1,000 digital images have been taken of documents and disc labels. This will form a very valuable reference source for researchers in the future.

Here are the links to the recitation of Ginans performed by numerous individuals including Master Jumma, Rama, Kumari, and Rahemali.

(Note: Once you are on the British Library page when you have clicked on a Ginan link below, remain on that page and click under Related Items to listen to other Ginans – you need not use the back arrow to return to this page for links to other recordings).

Two recordings of Ab Teri Mohabat

Two recordings of Marna Hai re Jarur 

Two recordings of Ho Jire mara Hansa 

Recording of Satgur miliya mune aaj

Recording of Bhajan, Aavo Sultan Raj (possibly of Ismaili origin) 

Date posted: Sunday, September 24, 2017, 03:45 am

Last updated: September 24, 2017, 03:51 am) – Correction: In the first version of this post it was incorrectly mentioned on the title and elsewhere in the article that the archives are at the British Museum. The Endangered Archives Project is an initiative of the British Library and not the British Museum. We apologize for this oversight.

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