{"id":36868,"date":"2017-03-15T12:09:55","date_gmt":"2017-03-15T06:39:55","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=36868"},"modified":"2018-10-23T17:07:59","modified_gmt":"2018-10-23T11:37:59","slug":"seminar-expressions-of-devotion-in-islam","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/divisionss\/janapada-sampada\/loka-parampara\/confluence-of-traditions-and-composite-cultures-2\/seminar-expressions-of-devotion-in-islam\/","title":{"rendered":"Seminar – Expressions of Devotion in Islam"},"content":{"rendered":"
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Seminar – Expressions of Devotion in Islam<\/strong><\/h3>\n

Seminar : 21 – 23 March 2007\u00a0<\/strong>– The tradition of oral transmission in Islam can be traced back to the concept of\u00a0wahi. Quranic verses were revealed to The Prophet through Jibrail, the messenger of God, through the word of mouth and certain other ways such as :\u00a0Roya-e-sadiqua\u00a0(revelation through dreams) and\u00a0salsalutul\u00a0jars (sound of ringing bells) and direct dialogue with the God. The Prophet spread these verses to the masses through oral recitation. Quran was compiled in a book form as available today during the time of the first pious Caliph. Another oral tradition is that of\u00a0Hadith, which contains advice and solutions provided by The Prophet to his followers.<\/p>\n

Oral transmission of the Quran by the Hafiz, the traditional reciter is another significant institution in the spread of Islam. Hafiz memorises (hifz), the verses and renders them verbatim. The process of oral rendition of Quran is called\u00a0quirat. There are different styles of\u00a0quirat\u00a0called\u00a0quirat-e-saba. Quirat may have some regional variations.<\/p>\n

During the month of\u00a0Ramzan\u00a0there is a tradition of reciting the Quran in mosques after the\u00a0Isha\u00a0prayer (night prayer). This is called\u00a0taravih. In\u00a0taravih\u00a0the entire Quran is recited within the period beginning with the visibility of moon of\u00a0Ramzan\u00a0and ending with the visibility of moon announcing the festival of\u00a0Id-ul-fitr.<\/p>\n

Apart from\u00a0quirat, oral rendition of devotional poetry is also very strong in Islam. Various literary forms such as\u00a0hamd\u00a0(poetry in praise of Almighty God),\u00a0na\u2019at\u00a0in praise of the Prophet)\u00a0manquabat\u00a0(poetry in praise of the family of the Prophet, his companions, associates and other religious figures) are very popular.\u00a0Marsia\u00a0is a form of lament poetry which came to be mostly associated with\u00a0mersias\u00a0of the memory of tragic happing of Karbala. This poetry acquired an indigenous hue in India. It became a strong metaphor against exploitation, dictatorship and misrule. Indian poets used local linguistic idioms and symbols to bring out the pathos in the poetry. This syncretism gave rise to\u00a0dahe\u00a0in\u00a0Awadhi,\u00a0ashurkhana\u00a0in\u00a0Deccani,\u00a0kabad\u00a0in Panjabi. etc.<\/p>\n

The seminar will also look at different styles of recitation such as\u00a0sozkhani. Different literary forms like\u00a0mersia, salam, manquabat, noha, kasida\u00a0etc. are recited in this style. Influence of local traditions also impacted the style of recitation e.g.\u00a0durud khani\u00a0in Kashmir, which clearly demonstrates the Buddhist chanting tradition.<\/p>\n

Next comes the tradition of devotional music. Some form that need mention here are\u00a0qual\u00a0and\u00a0quawali, munajat, baulgiti\u00a0and\u00a0nazrulgiti\u00a0of Bengal and\u00a0Chaharbait\u00a0from Tonk and Rampur. Women have played a great role in preserving the tradition of oral recitation in Islam. Forms such as\u00a0milad, salam, dua, kasida\u00a0and\u00a0zikr\u00a0will be in focus here. Zikr is a form through which one remembers Almighty Allah and the Prophet individually and in a group. The form of zikr varies from region to region.<\/p>\n

Among the Shia Muslim the tradition of\u00a0kahani\u00a0also present us with interesting syncreticism of classical forms with the indigenous tradition.\u00a0Koshkol\u00a0songs sung by Takiya Faquirs are another important dimension of folk music.\u00a0Quissa goi, though not religious in character, is also an important part of Islamic culture in India and the Seminar will include this as well in its ambit.<\/p>\n

In order to project different colours of devotion and dedication in Islam, with special reference to its Indian rootedness, the IGNCA is organizing a three-days Seminar.<\/p>\n

The Seminar has been divided into four broad themes:<\/p>\n