Qawwālī as the Musical Manifestation of Spiritual Ecstasy: The Case of the Indian Subcontinent

Authors : İsa Yalçın

Pages : 103-122

Doi:10.33718/tid.1762306

View : 1750 | Download : 1618

Publication Date : 2025-11-30

Article Type : Research Paper

Abstract :Qawwālī, which took shape in the Indian subcontinent in the 13th century particularly within the circles of the Chishtiyya order, was institutionalized under the leadership of Amir Khusrau (d. 725/1325) through the blending of Persian-Islamic elements with local languages and melodic traditions. Its primary function is to direct listeners toward divine love in samā‘ gatherings, leading them to states of ecstasy (wajd) and annihilation in God (fanā). In this context, qawwālī possesses a poetic structure that begins with praises of God, panegyrics (na‘t) for the Prophet Muḥammad, and narratives of Sufi saints, and then deepens with ghazals dealing with metaphorical love and the quest for divine truth. The Chishtiyya tradition’s close engagement with the public, along with its inclusive mission, has transformed qawwālī into a medium for interfaith dialogue and cultural interaction between Muslims and Hindus. In particular, its discursive similarities with the Bhakti movement have fused it with local mystical understandings. Musically, qawwālī adopts the system of Hindustani classical music and is performed as a collective act accompanied by the harmonium, dholak, rhythmic handclaps, and improvisations, evolving in direct interaction with the audience. Over time, however, qawwālī moved beyond the spiritual framework of shrines and khanqāhs, entering courts, fairs, stages, and the sphere of popular culture. In the 20th century, especially under the leadership of Nusrat Fateh Ali Khan (d. 1418/1997), it evolved toward secularization, taking a new shape within Indian cinema and the world music scene. This study addresses the historical origins of qawwālī, its functions within the context of the Sufi order, its spiritual role, its linguistic and musical features, and its transformation in the process of secularization. Presenting a comparative framework with international literature, the research highlights qawwālī’s significance for Sufi studies. Furthermore, through an interdisciplinary approach, it reveals qawwālī’s position today as a dynamic cultural heritage that represents the balance between spiritual ecstasy and aesthetic pleasure. The findings obtained through an interdisciplinary approach reliably support, from a methodological perspective, the importance of the qawwālī in Sufi studies and its position within the context of contemporary cultural heritage. The fundamental problem of the study is the extent to which spiritual enthusiasm has been preserved or lost in the process of qawwālī evolving into an aesthetic and popular identity, distancing itself from its Sufi origins.
Keywords : Tasavvuf, Hint Alt Kıtası, Çiştiyye, Kavvâlî, Mânevî Coşku

ORIGINAL ARTICLE URL