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Kafi
From Wikipedia, the free encyclopedia
For the raga, see Kafi (raga).
For other uses, see Kafi (disambiguation).

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A Lady Playing the Tanpura, ca. 1735 (Rajasthan)

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Kafi (Punjabi: (
), (
), Hindi: ), Sindhi: )is a classical form of Sufi poetry, mostly in Punjabi and Sindhilanguages and originating from
the Punjab and Sindh regions of the South Asia. Some well-known Kafi poets are Baba Farid, Bulleh Shah, Shah Hussain, Shah Abdul Latif Bhittai, Sachal Sarmast and Khwaja Ghulam Farid.
This poetry style has also lent itself to the Kafi genre of singing, popular throughout South Asia, especially Pakistan, Bangladesh and India. Over the years, both Kafi poetry and its rendition
have experienced rapid growth phases as various poets and vocalists added their own influences to the form, [1] creating a rich and varied poetic form, yet through it all it remained centered on
the dialogue between the Soul and the Creator, symbolized by the murid (disciple) and his Murshid (Master), and often by lover and his Beloved.
The word Kafi is derived from the Arabic kafameaning group. The genre is said to be derived from the Arabic poetry genre, qasidah, a monorhyme ode that is always meant to be sung, using
one or two lines as a refrain that is repeated to create a mood. Kafi poetry is usually themed around heroic and great romantic tales from the folkfore, often used as a metaphor for mystical
truths, and spiritual longing.[2][3]

Kafi singing[edit]
In musical terms, kafi refers to the genre of Punjabi and Sindhi classical music which utilizes the verses of kafi poets such as Bulleh Shah and Shah Hussain. Kafi music is devotional music,
normally associated with the Sufi orders or Tariqah of Islam in South Asia, and was sung by dervishes or fakirs (Islamic mendicants), solo or in groups, as an offering to their murshid, spiritual
guide.
It is characterized by a devotional intensity in its delivery, and as such overlaps considerably with the Qawwali genre. Just like Qawwali, its performances often took place at
the dargahs(mausoleums) of various Sufi saints in the region. However, unlike Qawwali, the musical arrangement is much simpler and may only include one harmonium, one tabla,
one dholakand a single vocalist. The emphasis remains on the words rather than the music itself, since the central aim of Kafi music is to convey the essence of the mystical lyrics. The central
verse is often repeated. There are no fixed styles of singing of Kafi. Traditionally dervishesin Sindh used instruments like Yaktaro, a one-stringed plucked instrument, and wooden
clappers, chappars, though many contemporary singers have chosen their own variations [2]

Rise of Kafi singing[edit]

Some of the early notable exponents of this form in the 1930s, when classical singing became highly popular, were Ustad Ashiq Ali Khan of the Patiala gharana, who used the dhrupad style in
his rendition of Sindhi Kafis, and his contemporary in Sindhi kafi singing, Ustad Allahdino Noonari, who used the fusion form. [1]
Kafi has gained a higher profile in the West in the late 20th century, thanks to the Pakistanisinger Abida Parveen, who, like qawwali maestro Nusrat Fateh Ali Khan, has performed in front of the
Western audiences.
Sanam Marvi from Hyderabad is another singer and vocalist, performing Kafi based Sufi songs.

References[edit]
1.

^ Jump up to:a b Tribute: The legendary maestro by Shaikh Aziz, Dawn (newspaper), 05 Jul, 2009.

2.

^ Jump up to:a b Kafi South Asian folklore: an encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka, by Peter J. Claus,
Sarah Diamond, Margaret Ann Mills. Taylor & Francis, 2003. ISBN 0-415-93919-4. p. 317.

3.

Jump up^ Kafi Crossing boundaries, by Geeti Sen. Orient Blackswan, 1998. ISBN 8125013415. p. 133.

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This page was last modified on 15 October 2016, at 09:44.

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