Poetry of Shah Abdul Latif Bhittai is composed in music specially in theSurs and the Ragas. By art it is composed in Baits and Vaaees. Each Sur starts with the Baits and ends with the Vaaees. The Bait is old form of Sindhi Poetry. Baba Fareed was the first Indus Valley Sindhi Poet of the Bait. The Baits are mainly composed in two forms: Doha and Sortha. After Baba Fareed; Qazi Qadan, Sheikh Hamad Jamali, Ishaque Aahangar, Lutufullah Qadri, Shah Kareem, Makhdoom Nooh and other Classical Poets composed the Bait. Shah Inaat Rizvi of Nasarpur was the first Poet of Vaaee. Vaaee is basically the call and cry of separation. There is big confusion between Vaaee and Kaafi. Some scholars have claimed that the both; Vaaee and Kaafi are the same. In upper Sindh the same form of poetry is called Kaafi and in lower Sindh (Laarr) it is called Vaaee. It is wrong claim as the both are different in their forms. In Vaaee there is repetition after every verse. While the Kafi by art; can be written in the Ghazal or in the Geet mode or form.

Shah Latif owned the both forms of Poetry such as, Bait and Vaaees as well as. Shah Latif adopted and sometimes invented the new Metres of Bait and Vaaee. In the poetry of ShahLatif, the both Bait as well as the Vaaee; seem on its peak.

This Book “VAAEE OF SHAH ABDUL LATIF BHITAI”: Origin, Evolution and Role of Mass Media’ written by well-known musician and scholar ZULFIQAR ALI QURESHI; is actually his PhD dissertation; which he presented in University of Sindh for Award of PhD degree. As scholar claims that ‘this research work focuses on Vaaee and its different singing styles with respect to electronic media. Vaaee is supposed to be an ancient form of music and poetry in Sindhi. These days; Poetry of Shah Abdul Latif is being spread in various parts of Sindh as well as world through mass media. Vaaee of Shah Latif is being sung in 11 different styles at his shrines. While in art of composition it may differ.

In mode of composition the Vaaee of Shah Abdul Latif Bhitai seem as the main and the middle of his poetry; while Bait seems as the preface to the Vaaees. In total his poetry witnesses the universal temporal at large scale. That’s why his poetry seems new in all ages and stages.

In this regard different scholars, Music composers, vocalists and Producers have contributed. Through its new experimentation media specially electronic and social media is being popularized day by day and the new ideas are being discovered and discussed. This Book is also the part of the same series. Mr. Zulfiqar Ali Qureshi has discussed different modes of the Vaaees of Shah Latif.  No doubt it is a Creditable contribution towards the poetry and music of Shah Latif the great.

We are glad to share this beautiful work with the lovers of Latif. He is the first qualified musicologist.

As it is unique work on Musicology, so we hope this will be recived with open arms by the students, scholars and the lovers of Latif.

Ghulam  Akbar Ali Laghari

Secretary culture, Tourism and antiquities

Government of Sindh

The dissertation on Vaaee of Shah Abdul Latif Bhittai-Origin,Evolution and the role of Mass Media by an eminent musicologist Prof.Dr.Zulfiqar Ali Qureshi is an innovative and pioneering work on the subject .The research work bears distinctive labour of love and painstaking inquisitive insight on an hitherto unchartered inscrutable field of Fine Arts and literature.This trail blazing indepth critical and analyatical quest is based on a vastly descriptive and a qualitative narrative of data and facts and predictably  commences with a  comprehensive  nuances of definition and meaning of Vaaee.This delineation and depiction slowly meanders through basic concepts of Vaaee and godly music,tracing the evolution of Vaaee with its inherent structure leading to an inherent evaluation of Kafi.The net analysis of Kafi ensues ,discussing threadbare the subject matter and and divergent forms and facets of Kafi.

The life and times of Shah Abdul Latif are briefly delineated with reference to his socio-political conditions in a patiently characteristic  and  articulate academic and objective  manner touching on the traditions at the shrine at Bhit Shah.The influence of Dr.N.A.Baloch's landmark research on the subject is so obvious and manifest .The litany of rites performed at the shrine are educative and enlightening for the uninitiated novices.The credit to Dr. Baloch sahib is so subdued.The entire ground breaking work has been done by him in his marathon Shah jo Risalo in Ten Volumes and the Music of Sindh and The Musical Instruments of lower Indus Valley.

The various singing styles of Vaaee  make an interesting reading as these enunciate  history of the numbers,special features,the vocalists and their musical analysis in an impassioned, detailed, professional elucidation for the lay reader.Here the the types of Vaaees according to the their musical structure  are presented with the innovation of Damboro ,an exclusive accretion from the great Poet. Allan Faqir's style is also deliberated with a comparative flair.

The latter chapters dwell on  Lok Vaaee, and describe this genre 's  intrusion in the film, and radio especially as so beautifully treated by the mosiqar Niaz Hussain.Susequent  metamorphosis of the genre in Bhagat,Dastan or Kissa Gooe,Qawali,Bada Khayal is discussed illustratively.The chapters on Electronic media, with disparate classification by male and female singers who have rendered Vaaees are informed and  extensively knowledgeable.The  vast plethora cache of Vaaees ascribed to Shah Latif  are separated here from the bonafide  genuine Vaaees of Shah Latif,this brings new vistas for the literary debate in future. The role of Mass Media to project,promote and preserve Vaaee is the finale of this learned dissertation and adequately highlights the solid contributions of this dynamic contemporary giant.With a comprehensive bibliography this dissertation is a valuable intellectual  work by Sindh's first genealogically original thoroughbred, academic,dedicated professional teaching musicologist.The book will go a long way to fufill the yawing gap in the discipline of Fine Arts and Sindhi classical and folk music.Godspeed Dr.Zulfiqar for your research tome.

This research work focuses on Vaaee and its different singing styles with respect to electronic media. Vaaee is supposed to be an ancient form of music and poetry in Sindhi. These days Poetry of Shah Abdul Latif is being spread in various parts of Sindh as well as world through electronic media. Vaaee singing has been identified as sung in different styles. We have 11 Vaaee singings up to date given bellow:-

1. Shah jo Raag شاهه جو راڳ ۾ وائي
2. Classical Style ڪلاسيڪل انداز۾ وائي
3. Vaaee sung by Allan Faqir علڻ فقير جي وائي  
4. Folk style of Vaaee لوڪ انداز ۾ وائي 
5. Vaaee in sung سنگ وائي
6. Vaaee in film فلم لاءِ وائي
7. Vaaee as presented by Mosiqar Niaz Hussain

موسيقار نياز حسين جي وائي 

8. Bhagat style of Vaaee ڀڳت انداز ۾ وائي 
9. Dastan goee style of Vaaee داستان گوئي وائي 

• Vaaee in qawali style قوالي وائي  
• Bada Khayal Vaaee بڙا خيال وائيءَ جو انداز

Apart from this the form of Vaaee has been examined and analyzed through sub-headings as follow:

1. Literary analysis
2. Historical background
3. Social analysis
4. Musical analysis

Shah Abdul Latif Bhitai’s Vaaee highlights the description o f women in the form of seven Soormees (Heroines), where as it is noticed that women are not at his shrine as yet.

Vaaee has been examined qualitatively as well as quantitatively as spread through the electronic media.

It is observed that electronic media has made marvelous role of spreading the message of shah Abdul Latif  Bhitai’s Vaaee among the masses.

Different people have contributed and participated in Vaaee singing like Music composers, Vocalists and Producers. Further more, we have interviewed different vocalists.

Media is popularizing itself day by day through new experiments and ideas have come, still it is admiring that after completion of this thesis it can produce new shape.  But the material researcher have provided can help vocalists, music composers, and media music producers.

In Pakistan the land of Sindh is considered as land of Sufis and saints. At Shah Abdul Latif’s shrine Shah Jo Raag is performed since last three hundred years continuously which continues even in the month of Muharram and Ramdan.

Every land has its own cultural-tradition, literature. music etc. which happen to be  the identity of that land to represent its people. Along with other well known forms of fine arts, music also represents particular people and lands. Sindhi music is as old as Sindhi civilization. The sculpture of dancing girl from the ruins of Moen jo Daro is an evidence of it. It shows that the inhabitants of this area loved music and dance since the time immemorial. It also proves the presence of music because without music and poetry there can be no dance (Samarat, Raju 2005). Music is mostly accompanied with some sort of poetry. Hence, Sindhi music has always enjoyed a particular form of Sindhi poetry.

There are numerous forms of sindhi poetry: Vaaeeوائي, Baitبيت , Ghazalغزل, Geet گيت , Kafi ڪافي  etc. which are usually sung in the accompaniment of its music. Out of all these and other forms, Vaaee has not yet been explored sufficiently for its nature, themes, structure and musicality. Vaaee is one of the ancient forms of Sindhi poetry expressed, sung or performed musically. The present research study focuses mainly on exploring the origin and evolution of Vaaee keeping in view the following facts:

1. A number of poets and singers have composed Vaaees so there is need to explore new vistas of understanding this form.
2. Shah Abdul Latif Bhitai’s Sufi vision was expressed through his poetry. He was a spiritual guide and guided the people who love and respect poetry. It has a great influence on their minds and souls so this form of poetry and music needs attention so that people could get more benefit from it.
3. Vaaee like a poetic composition can be sung in different ways. In this thesis Eleven different types of Vaaee singing styles are discussed and analysed. Every form of singing Vaaee has a unique musical flavor. There is ample room for further exploration and experimentation.
4. Another reason of choosing Vaaee is that it is sung both in classical and folk styles. A number of classical and folk singers have sung it in their respective styles according to their own understanding and experience. Much needs to be done on Vaaee regarding classical and folk styles of singing.
5. Shah Abdul Latif Bhitai’s poetry including his Vaaee expresses mystic/spiritual experiences. Some traditional folk singers have sung Sufi poetry in their traditional folk music to win the attention of the listeners .Thus Vaaee blended with mysticism and folk music can be analyzed.
6. There is need for the revival of Vaaee. The traditional form of music is losing its place and popularity day by day. The young generation is not exposed to the work their of ancestors. So this study can help the revival of interest in Vaaee.
7. Most importantly, Vaaee is the identity and recognition of our land. Its roots are very deep because as a mystic poet and musician, Shah Abdul Latif Bhitai planted this  tree of Vaaee and watered it with his pious and noble thoughts. Being an admirer of Shah Abdul Latif Bhitai and the high quality of his music, the researcher wants to contribute to reviving and strengthening this tradition.

Research Questions:

• What are the origin of and the evolutionary phases of Vaaee?
• What are the various styles of singing Vaaee?
• How and why did Shah Abdul Latif Bhitai sing it in his own style?
• How did the vocalists and composers improve the melodic lines through music?
• What is the role played by the electronic media in popularising Vaaee?

Hypothesis

Singing Vaaee in different styles other than Shah Jo Raag has raised people’s interest and awareness in the form of Vaaee. Mass (Electronic) Media has contributed positively towards popularization of Vaaee. The new generation is taking more interest in this poetic and musical form.

Shah Abdul Latif Bhitai divided his poetry into thirty Surs. The Surs are melodic patterns in which folk tales are sung. The surs depicting these folk tales are divided into various sections(داستان) . At the end of every section which contains baits in varying numbers and at the end of every (داستان) there are some Vaaees in varying numbers.

In his thesis three such examples are quoted. The details of which are given with the number of Vaaees sung.

Because of the unavailability of sufficient written sources,The researcher will use some oral references in the bargain. The researcher has interviewed poets, scholars, musicians, vocalists etc. for the first hand information.

The researcher has examined the form of Vaaee in the following analytical framework.

1. Historical Background
2. Socio-Musical Analysis
3. Technical or Structural Analysis

This work will provide information about the structural details of Vaaee as a genre of music and will fill the gap that exists in the literature available on Vaaee. Though present available literature, appreciation of Vaaee, in very generalized terms, does not focus on the musical structure and the various changes in the styles of singing Vaaee. It will, hopefully, pave the path for new dimensions and further inquiry.

Vaaee- As Sindhi Musical Genre

The most important era of Sindhi poetry’s development is the period of Soomro Dynasty (1050-1350). In this period Charans and Bhatts used to sing folk stories such as of Leela Chanesarr, Umar Maruee, Moomal Rano, Sorath Rai Diach and Sohni Mehaar etc. This poetic musical presentation form was called Ghahan san Gaalh (story with poetry intermixed). And this Gaalh gradually deloveped into Folk songs. With the pessage of time this Folk song adopted the pattern  of Vaaee. (Baloch  1993 p 84)

Vaaee is a literary and musical form . The litraral meaning of Vaaee is ‘to say’ or the “expression of inner voice”, “sorrowful and a painful voice”. It can also mean “a prayer” or “a curse” etc. Vaaee then became a part of literature, many scholars and intellectuals agree that Mian Shah Inat Rizvi (1619-1714) wrote Vaaee for the first time in Sindhi literature. According to  Baloch (1967. P-17).

“…the Vaaee was sung in some style that later cuaght the attention of the poets and became the part of our classical literature. Now an interesting aspect regarding Vaaee is that it is sung and written by popular and  not so popular singers and poets…..”

Most of  the scholars agree that the style in which the Vaaee was sung at the shrine of Shah Abdul Latif Bhitai (1689-1752) was the first one in the form of music. Shah Abdul Latif Bhitai was a both Sufi poet and musicologist. The style he introduced still continues to be sung at his dargah (shrine). Vaaee can be sung in different styles.

The first singing style of Vaaee at Dargah (shrine) of Shah Abdul Latif Bhitai that is traditional and second is classical music based. In this singing style classical gharanas like those of Gawaliar, Patiyala and Kerana contributed much and merged the traditional folk with classical music. Ustad Aashiq Ali Khan, Ustad Mubarak Ali Khan, Ustad Murad Ali Khan,Ustad Beebo Khan ,Ustad Jamal Khan,Ustad Khair Muhammad Khan, Ustad Allah Dino Noonari, Ustad Bare Ghulam Ali Khan,Ustad Manzoor Ali Khan, Ustad Fida Hussain,Ustad Rasheed, Ustad Arbab Khan Khoso, Khursheed Ali Khan Varyal Das , Saleh Mohammed  Sand, Ustad Mohammad Jumman, Gulzar Ali Khan Sanghrai, Gulzar Ali khan Dayo and Seengar Ali Saleem, Hameed Ali Sewani are the well-known exponents.

Now a days Abida Perveen, Ustad Fateh Ali Khan Gawaliari,Ustad Gulzar Ali Khan Sangharhai, Shafi Mohammad Faqir, Deedar Hussain and Mohabbat Ali,Iqrar Waheed Ali, Muhammad Hanif Lashari have continued  in this tradition of singing Vaaee.

The third singing style of Vaaee is Allan Faqir’s. Allan Faqir had a diverse and unique singing style. He borrowed songs from popular lore and presented them in performing style. It is difficult to analyze the depth, blessedness and vastness of Vaaee if we look into Allan Faqir’s songs, however, we find a blend of Alap, Sam and timbre in his work. Further more  the bolbant, zamzama and murki have added the ornamentations to this beautious and unique form.

The fourth singing style of Vaaee is Lok style. Literally Lasso means simple, Known as folk It is sung without improvisation or inclusion of poetic verses other than strictly from Vaaee.Singers Mohammad Yosuf Maachhi, Hussain Bakhsh Khadim, Faqir Abdul Ghafoor ,Sarmad Sindhi,Zarina Baloch,Ameena Sadiq, Zaib-u-Nisa, Master Chandar, Mohammad Ibrahim adopted this style and sang Vaaee, in this style, Vaaee in this style is close to Kafi style of singing. Now a days Deeba Sahar, , Humera Channa,Samina Kanwal sing in this style.

The fifth singing style is Sung style. Literally it means singing in a group. In this style of singing Vaaee, many Faqirs sing it in the accompaniment folk musical instruments and dance in their own style. The prominent names were Yaar Ali Faqir, Murad Faqir, Mor Faqir, Sohrab Faqir, Jamal Din Faqir. Shamman Faqir, Sajan Faqir. They have continued with this  style of  singing.

The sixth style of Vaaee singing is the Film style. This style has vast range of items and vocalists. Most of the Film Vaaees are borrowed from folk and popular tunes. Runa laela, Master Mohammad Ibrahim, Sushila Mehtani, Rubina Qureshi, Mohammad Yousuf and Abida perveen are famous singers of this style. Lata Mangeshkar, Muhmmad Rafi, Raam Panjiwani etc. Now-a-days this trend has caught on and Channals like, KTN ,Sindh ,Mehran, Awaz and Dharti Tv. They are playing an important role in promoting  this style of Vaaee.

Seventh  style is, Mosiqar  Niaz Hussain’s singing style of Vaaee. It has its own flavour of classical music and sweetness of folk music. In this singing style the three sons of Mosiqar Niaz Hussain, Zulfiqar Ali, Nazar Hussain and Mazhar Hussain sang in the above mentioned style the speciality of this style is the induction of interval pieces to make it more charming.

Bhagat style is eighth style of singing  Vaaee. This singing style is also called story telling style. A story is narrated consistently in certain Sur/Raga.Leading artist like Kanwar Bhagat, Naroo Baghat, Teoon Bhagat, Salu Ram earned fame in this style of Vaaee singing.

Ninth singing style of Vaaee is Dastan Goee, it was introduced by Kachhi brothers,Ustad Mithoo Kachchi, Usman Kachchi and Ustad Hashim Kachchi, who made it different from Bhagat style, this style of singing is common in lower sindh.

Now-a-days the grandson of Ustad Mithoo Kachchi, Khuda Bakhsh Kachchi along with Allah Dino Junejo are disciples of Ustad Usman Kachchi and Hashim Kachchi. They both are continuing with this tradition of Vaaee singing.

In a recent visit to Shah Abdul Latif Bhitai’s shrine, the researcher personally witnessed and heard a new form of a  very recent origin known as Vaaee in Qawali that will be tenth singing style of Vaaee.  It has been introduced for the first time by Najmuddin and Saifuddin belonging to Qawal Bachhon Ka Gharana and sons of late Bahauddin Qawal.This Vaaee Qawali for the frist time was sung in 2006  on the occasion of  262^nd  Urs of  Shah Abdul Latif Bhitai.

Eleventh styles of singing the Vaaee is researcher’s own creation this is singing the Vaaee in Sur Moomal Rano in  the Bilampat Bada Khayal Style.

Meaning and Definition of “Vaaee”

Number of explanation have been offered by different scholars regarding the origin of Vaaee.

It denotes different meanings:- voice آواز, to talk ڳالهائڻ, language ٻولي, expression اظهار, consideration خيال, kafi ڪافي, kalam ڪلام, Raag راڳ. (Baloch, 2007/1948-49)

It is commonly used in sindhi to denote:

Internal meaning وائيءَ جو ور towards understanding the techniques of speaking; knowing the secretes of communication; disclosing secrets راز کي کولڻ; understanding manners of speaking گفتگوءَ جي رمز سمجهڻ; positive sayingوائي سوائي ; nice action; nice speaking; nice wordings; nice expression; predict the truth وائي ڪن وجهڻ; not being able to utter وائي نه ورڻ; getting confused وايون بتال ٿيڻ; Shah Abdul Latif Bhitai has used word Vaaee at different places in his baits  بيتand Vaaees  وائيin his poetry.

وائي وڃيم شال

O, that I might not utter

(Baloch. 1999, P. 134) (Sur Kohyari)

وائيءَ ٻي مَ سک

Learn not another utterance

 (Baloch. 1999, P. 134) (Sur Kalyan)

بيت

وائي ٻي وسار

Forget other saying

(Baloch. 1999, P. 134) (Sur Kalyan)

وائي ٻي مَ ڀُل

Don’t get misled by other saying

(Mirza. 2012, P. 856)

وائي جنهنجي وات ۾

What he utters

(Mirza. 2012, P. 944)

وائيءَ واري ونگُڙِي

The crooked tale they repeat

(Baloch. 2012, P. 856) (Sur Khahori)

بيت

ٻي وارج مَ وائي

Don’t utter anything else

(Baloch. 2012, P. 134)

بيت

نه وايون وڻجارن جون

no talks of the traders
(Qazi I.I. 1961. P. 318)

وائي ڪيائين واتا

uttered by the words of mouth

(Mirza. 2012, P. 88) (Sur Sorath-III)

وڻ ٽڻ وائي هيڪڙي

The trees the shrubs say one thing

(Sayed, 1988. P. 251)

وائي ڪيائين وات
Her uttered

 (Baloch. 1999, P.96) (Sur Sorath-III)

سمي وائي وات ۾

Samo says so

(Mirza. 2012, P. 96)

ويرين ۾ وائي

The utterance among foes

 (Mirza. 2012, P. 34) (Sur Sassui Abri)

وڍيل ٿي وايون ڪري

The cut-off (reed) cries

(Sayed, 1988. P. 255)

وَرُ وائيءَ جو جي لَهِين
If you understand the torist of the talk

(Baloch, 1999. P. 136) (Sur Kalyan-1)

بيت

ڳائِي نه وائِي

Sang not the song.

(Mirza, 2012. P. 713) (Sur Sassui)

بيت

اڄ پُڻ وايون ڪن

(The traders) talk of (Leaving) today

(Baloch, 1999. P. 218) (Sur Samoondi)

وائيءَ ۾ ور گهڻا
As what they say has many turns and twists
(Mirza, 2012, P. 79) (Sur Marui)

ڪانهي ٻي وائي

There is no other tale

 (Mirza.2012. P. 96)

ورتي ايءَ وائي

They uttered thus

(Baloch, 1999. P. 412) (Sur Sorath)

ورنائي وائي

He responded

(Baloch. 1999. P.406) (Sur Sorath-II)

The origin of Vaaee is supposed have been derived from the cries of women on the death of their near and dear ones (Lanjwani, Basharat)

Vaaee and Music:

Vaaee–A Sindhi Musical Genre

Vaaee according to its musical lineage, is one of the ancient kinds of singing. In the chronology of music, it is related to Chant Music. Vaaee, according to its inherent characteristics, is one of the series of hymn songs. The pattern of words in this is like that of hymn. In Vaaee the Thal ٿل is repeated after every one or two verses, and the said Thal ٿل becomes the centre of Vaaee.(Bukhari 2008. P.307-308)

Dr. Abdul Jabbar Junejo and Muhammad Zaman Talibul Moula the Sindhi scholars are of the same thought that the structure of Vaaee is based on Hindi Thumri. In Thumri they call first line Asthae and we call it Thalhٿلهه  in Sindhi the next line is called Antra انتره which we call Hashoهاشو  or Bhara ڀراءُ . (Talibul Mola. 1900. P. 15)

Vaaee is a distinct and aesthetic genre of poetry and music because of its origin, style and tone as compared to other genres.

Critical anaylsis of vaaee

• Difference between Vaaee and Kafi
• Kinds of Vaaee:
• One kind of Vaaee is in which the last word of Thalh” ٿلهه  rhymes with the  last word of every line.

آيو لالڻ آيو

ٻڍو چئي ٻاجهه ٿي پريم تني گهر پايو

Transliteration:

Ayo Lalan Ayo

Budho Chai Bhajh Thi Preen Tine Ghar Payo

(Baloch  1998, P.209)

• The second kind of Vaaee, has two parts, both with little variations

ٿلهه: سڄڻ ٻاروچي جي ذات، دلبر ٻاروچي جي ذات.
اٺ گنگائي هليا، وائي ڪن نه وات.

Transliteration:

Sajan Baroche Ji Zaat, Dilbar Baroche Ji Zaat

Uth Gangai Halya, Vaaee Kan Na Waat

 The 3^rd kind of Vaaee, contains two parts and both parts rhyme with each other. Besides, after Thalh after every line one short line repeatedly comes as an other which does not rhyme with line.

 يار لڳ الله، اي ميان،
  شرم سميجا رک منهنجو
سپارس شريف جي، ڪرهو سين ڪتار،
   شرم سميجا رک منهنجو

Transliteration:

Sehar Yar Lag Allah, Ae Mian

Sharm Smeja Rakh Munhjo

Spars Shareef Je, Karho Seen Katar

Sharm Sameja Rakh Munhjo

(Baloch. 1993, P.175)

• The 4^th kind of Vaaee contains four lines, in which two lines rhyme with each other, First line rhymes with second, third with four and so on

ويڙهيچن  ڏي  ويندي،  مارُوئڙن ڏي  ويندي

  ڏيهه ڏاڏاڻين پکڙين

سڱر ساهيڙين سين، ساڻيهه منجهه سٽيندي

     ڏيهه ڏاڏاڻين پکڙين

Transliteration:

Werhichan De Weende, Maroaran De Weende

Deh Dadanen Pakhreen

sangar Sahereen Seen, Saneh Manjh Sateende

Deh Dadanen Pakhreen

 (Baloch. 1992, P.165)

In the Fifth kind of Vaaee, Thalh contains two parts. Rhyme is in the first part. After Thalh there is a two-line stanza, Lines of which rhyme with each other. After the two-line stanza, there is an answer or repetition, which rhymes with the first part of Thalh” ٿلهه  

وائي

ڀڳو ڀيريان نه ڀري، چرخي لڳڙي ڪاءِ،
واڍي ونگون واڻيون، ڪو ماءِ منهنجي لاءِ
ڀڳو ڀيريان نه ڀري، چرخو ڏئي نه چس،
ماءُ ڪتائينديس ڪيترو، من کي ماري نه مس.

Transliteration:

Bhago Bheryan Na bhire , Charkhe Lagre kaae,

Wadhe  Wanyoon, Ko Maae Munhje Laae

Bhago Bheryan Nh Bhire, Charkho Dai Na Chas

Maao Kataindys Ketro, Man Khe Mare Na Mas

(Baloch. 1991, P.105)

The meter of Vaaee, that of like copulet, is as per rules of prosody of “Chhand”ڇند  . In Vaaee, there is stanza after opening line “Thalh” ٿلهه  

Evolution of Vaaee

The oldest Vaaees, available today, were composed by Shah Inat Rizvi.Shah Latif is another poet of Vaaee it would be safe to say that Shah Inat Rizvi made the body of Vaaee but Shah Latif gave it soul and life. Here is one example of the Vaaee of Shah Inat Rizvi. (1656.1718)

وائي

منهنجي سيدُ سارَ لهندو،

مون کي آهي اميد الله ۾.
سجدي پئي سُپرين، زاري زور ڪندو،

مون کي آهي اميد الله ۾.
اُمتَ ڪارڻ احمد اُت، پرمل پاڪ پنندو،

مون کي آهي اميد الله ۾.
صُورَ ڌَڪاءُ ڏيندو، اکيون سڀ سج ڪڍندو،

مون کي آهي اميد الله ۾.
ميڙو ٿيندو مومنين، اُت محمد مير ملهندو،

مون کي آهي اميد الله ۾.
نَفسا نفسيِ سڀڪو ڪري، داتا در ڊوڙندو،

مون کي آهي اميد الله ۾.

مهلت ڏيندس مولو، اُت بديون بخشائيندو.

مون کي آهي اميد الله ۾.

(Khamisani Ameena. 2003. P. 296) (Sur Sarang)

(Syed, G.M, 1991, p. 36), (Daudpoto, 1994, p. 381)

Transliteration:

Muhnji Syed Sar Lahndo,

Moon Khe Aahe Umed Allah Men

Sajde Pai Supreen, Zari Zor Kando

Moon Khe Aahe Umed Allah Men

Umat karan Ahmed Achi Parmal Pak Pinado

Moon Khe Aahe Umed Allah Men

Soor Dika Dindo, Akhyoon Sijh Kadhndo

Moon Khe Aahe Umed Allah Men

Mero Theendo Momin Ut Muhammad Mir Malhando

Moon Khe Aahe Umed Allah Men

Nafsa Nafsi Sabh Ko Karey, Data Dar Dourando

Moon Khe Aahe Umed Allah Men

Mohlat Deendus Molo, Ut Badyoon Bakhshindo.

Moon Khe Aahe Umed Allah Men

(Khamisani Amena. 2003. P. 296) (Sur Sarang)

(Syed, G.M, 1991, p. 36), (Daudpoto, 1994, p. 381)

Structure of Vaaee

Themes/ Subject matter of Vaaee:

Beauty, love, pain, sadness and separation are the subject matters of Vaaee. The themes of mysticism are presented in pretty and elegant style. In the modern times the new subject- matters have been introduced in Vaaee. The social and political conditions of Sindh are also subject- matter of Vaaee. One example is given here:

وائي

ناوَ هلي آ گيت کڻي،
گهاٽ مٿان گهنگهور گهٽا ۾،
اڄ ڪلهه جو انسان، الو ميان
      ناوَ هلي آ گيت کڻي

تڙ تڙ تي طوفان الو ميان،
      ناوَ هلي آ گيت کڻي

ڪجهه نه وانجهي، موڙها مانجهي،
سانجهي سر گردان، الو ميان.
       ناوَ هلي آ گيت کڻي

Vaaee

Transliteration:

Naav Halee Aa Geet Khani,

Ghhaat Mathan Ghanghor Ghaeta men,

 Aj Kalh jo Insaan, Alo Miyan,

Naava Halee Aa Geet Khani,

Tarh Tarh Tey Toofan,Alo Miyan

Kujh Na Wanjhee, Morha Maanjhe,

Saanjhee sargardan, Alo Miyan.

(Junejo, 2010.P.304)

Strucurally speaking Shah Sahib’s Vaaee can be viewed in a vaiety of ways: Length-wise there is no fixed rule or number of verses in a Vaaee. Some of his Vaaees are as short as just two verses and the longest recorded Vaaee comprises 22 lines. It seems Shah Sahib has given importance to the completion and conveynance of  the thought may it be imparted in two lines or say in more than twenty; his longest and shortest Vaaees given as under:

The Longest Vaaee:

ڊگهي وائي

ساٿِيَن نندا بار، وو! تَنِ پانڌِينِ نندا بارَ،

توکي آرسُ اَکڙِيُنِ ۾

پاتا پاڙي وارِيين، پُکا مَنجهه پَاتار،

توکي آرسُ اَکڙِيُنِ ۾

پتڻ ٿو پُور ڪري، آئي تنهنجَڙِي وار،

توکي آرسُ اَکڙِيُنِ ۾

سڄيون راتيون سُمهين، کِيو منجهه خمار،

توکي آرسُ اَکڙِيُنِ ۾

ڪِ تو ڪَنين نه سئي، ڪَپَر جِي هاڪار،

توکي آرسُ اَکڙِيُنِ ۾

تائب ٿيو تڪڙا، پروڙي اِءُ پچار،

توکي آرسُ اَکڙِيُنِ ۾

ننڊ نه ڪجي ايتري، سُڻج، ادا يار،

توکي آرسُ اَکڙِيُنِ ۾

سائينءَ مُڪئي سچ کي، تون ڪوڙو منجهه قطار

توکي آرسُ اَکڙِيُنِ ۾

ڪا ڪنين نه سُئي ڪپر جي ڪوڪار،

توکي آرسُ اَکڙِيُنِ ۾

“ڪل نَفس ذَائِقَه اِلمَوت”، سچي اِيءُ سنڀار،

توکي آرسُ اَکڙِيُنِ ۾

شڪار تون شهباز جو، تون تان منجهه شڪار،

توکي آرسُ اَکڙِيُنِ ۾

لَکَ مِڙيئي لُٽيا، هُنهينِ ويا هزار

توکي آرسُ اَکڙِيُنِ ۾

ڏنئي جي الله کي هوند ٿيين پريين پار

توکي آرسُ اَکڙِيُنِ ۾

 جوٽَنِ مٿان جٽِڪِي، دُني تنهنجي دار

توکي آرسُ اَکڙِيُنِ ۾

جيفو آه حديث ۾، انڌي اي اَچارَ

توکي آرسُ اَکڙِيُنِ ۾

وٽيئي ڪين وِلَهنِ سين، ڪنبي ڀر قَهارَ

توکي آس آکڙين ۾

جئڻ جالَ نَه نبهي، سُڻج، ايءَ سچار

توکي آرسُ اَکڙِيُنِ ۾

جِمَ وِساريين ويٖسَرا، ڀِتينِ جي ڀُلڪارَ

توکي آرسُ اَکڙِيُنِ ۾

يَؤمَ يَفِرَ المَرءُ مِن اخيههِ، ڪت پڇندا ڀار

توکي آرسُ اَکڙِيُنِ ۾

تُرهو ڇنو تار ۾ اچج تُون، اوسار

توکي آرسُ اَکڙِيُنِ ۾

هو جو شڪ شارڪ جو تِئان رَکُ، ستار،

توکي آرسُ اَکڙِيُنِ ۾

آرس اکڙين ۾، آهي توگينوار،

توکي آرسُ اَکڙِيُنِ ۾

گهڙان ٿي گهڙي، الاهي تون آهار،

توکي آرسُ اَکڙِيُنِ ۾

سا ڪيئن هَلي توسين جا يڳي کان ڀتار

توکي آرسُ اَکڙِيُنِ ۾

 (Baloch. 1999, P.122) (Sur Sri Raga)

(Syed, G.M, 1991, p. 16-17) (Qazi, 1961, p. 298-99)

Transliteration:

Vaaee

Sathyan Nanda Bar Wo Tin Pandhyan Nanda Bar

Tokhe Aras Akhryan Men

Paryoon Areeyan, Paghh Manjhh Patar

Tokhe Areas Akhryan Men

Patan Tho Pur kare, Aai Tuhjri War

Tokhe Aras Akhryan Men

Sajhyoon Ratiyoon Samhyin, Khyoon Manjhh Khumar

Ka To Kaniyan Na Sai, Halan Je Hakar

Tokhe Aras Akhryan Men

Taib Thyo Takra, Sachi Aea Sawbhar

Tokhe Aras Akhryan Men

Nind Na Kaje Aetri, Sunj, Ada Yar

Tokhe Aras Akhryan Men

Nind Na Kaje Aetri Sunj Ada Yar

Tokhe Aras Akhryan Men

Saeen Mukai Sach Khey Toon Koro Mnjhh Qatar

Tokhe Aras Akhryan Men

Ke Ta Kaneen Na Suia Kapar Je Kookar

Tokhe Aras Akhryan Men

Ghran Thi Ria Ghrya Alahhe Tohaar

Tokhe Aras Akhryan Men

Ho Jo Shak Shark Jo, Taian Rakh, Satar

Tokhe Aras Akhryan Men

Kul Nafasin Zaikatu Al- Moat, Parho Ae Pachar

Shkiar Toon Shabaz Jo Toon Tan Mnjhh Shikhar

Tokhe Aras Akhryan Men

Yom Yafar Al Maroon Man Akheya, Jat Bhjhnda Bhar

Tokhe Aras Akhryan Men

Tarho Chhnoon Tar Meen, Achaj Toon, Osaar

Likhat Mayai Lutya, Hnheen Wiya Hazaar

Tokhe Aras Akhryan Men

Dinai Je Allah Khe, Hoond Theen Paryeen Par

Tokhe Aras Akhryan Men

Jotan Mathan Jatke, Duni Tunhnje Dhar

Tokhe Aras Akhryan Men

Jefho Aa, Hadees Meen, Andhi Ae Achar

Tokhe Aras Akhryan Men

Wateae Keen Walhen Seen, Kanbe Bhr Qahar

Tokhe Aras Akhryan Men

Saa Kain Hale Tossen, Ja Bhae Khan Bhtar

Tokhe Aras Akhryan Men

Jeean Jaal Na Nbhi Sunj, Aeea Snbhar

Tokhe Aras Akhryan Men

Jam Wisarian Wesra, Bhtan Je Blkar,

Tokhe Aras Akhryan Men

(Baloch. 1999, P.122) (Sur Sri Raga)

The Shortest Vaaee

ننڍي/ ڇوٽي وائي

وڃي سا رات وهاڻي، پسڻ ڌاران پرين جي!
ههڙا اوڏا سپرين، تو ڪيئن ننڊر رهاڻي

Transliteration:

Wajen Sa Raat Whani, Pasan dharaan Pireen Je
Hehra Oda Supreen, To Keen Nindr Rahani

(Baloch. 1999, P.534) (Sur Sohni-II)

(Syed, G.M, 1991, p. 31)

An analysis of Kafi

Comparison and Contrast betweenVaaee and Kafi:

Word Kafi means upto weight, complete, fixed or sometimes goodness too.

Kafi is like a genra of  music also. (Junejo Abdul Jabbar, 2003 p. 7)

Kafi has its births in early Muslim era. Ancient Indian history does not show any Kafi like genre at all. But still it is possible that history of Kafi may be older than early Muslim history. Our sufis had done lots of experiment with this genre. It has been genre of beloved. On the other hand many great singers sung the Kafi as ideal music.

In sindhi poetry Kafi had second position after music. (Baloch 2005, p. 1380)

Kafi is simple name of Arabic peom “Kafiyat”. It should be in our mind that Kafi is very important from the point of view of poem writing. (Baloch, 1985 p.1, 2, 3)

Kafi is a famous poetical and musical genre. Dr.Abdul Jabbar (2003, p-7) believes that Kafi is the oldest genre. In 10^th century Hijra, the genre of Kafi is found in Sindhi poetry. The editor of book "برھانپورکے سندھی اولیا", written in 10^th century of Hijra, writes “When Arghoons and Turkans forcibly occupied Sindh, the religious scholars, especially those who belonged to Paat, migrated to Indian city Burhanpoor. In their gatherings, Sheikh Laad Jeevo used to entertain scholars by singing them Kafi.This proves that the genre of Kafi was present in the time of Samas. But unfortunately we do not have any sample of Kafi of that time, which could have helped us to observe the poetic structure of the KAFIS of that time. Then in the late period of Kalhora dynasty, Mian Sahib Dino Farooqi has given the title of Kafi to some forms his Poetry. Here is one example

غافل ٿي نه گذار عاشق روز ازل جا، واحد کي نه وسار.

صيقل ساڻ شاءُ ذڪر جي، اندر قلب اچار،
لنؤ لنؤ منجهه ثَناءُ پرين جو، ديکين تان ديدار.

”فَاذڪُرُوني اَذِڪُرُڪُم“، ٻاهر نا ٻاڪار،
ياد ڪندن کي ياد ڪري ٿو، ثابت صدق بيهار. 

 ترس نه، توڪل ٻڌ تُرهو، سر سڄڻ کي سُپار،
پيهي اَنت عميق بحر ۾، اعليٰ امُل برار

مَن لَہ مَولا فَلہ الڪُل – پيهي ڏس پارتار
هوت گڏيو جن يار يگانو، حاصل تن هاڪار

صحي سڃاتم ته ساڻ وسئي ٿو، شڪ شبهه شمار،
“وَهو مَعڪُم اِينَمَا ڪنتم”. پيهي ڏس پاتار.

صاحب  ڏنا  سمجهه  صحي  سِر،  پاڙئون  ٽڪر ٽار.
“ليس في الدارين الاهو” پر مَ ڪنهن پار

Transliteration:

Ghafil  Thee na  Guzar Aashiq roz azal ja ,Wahid khey na visaar.

Saiqal Saan Shaao Zikr jey,Andar Qalb Uchaar,

Laoon Laoon manjh Sanaa pireen jo. Dekheen Taan Deedar.

“Fazkurooni Azkuro kum,”Bahir Na Baakaar,

Yaad Kandan khey yaad Karey Tho,Sabit Sidq Beehar.

Tars na, Tawakal Badh Taraho, Sir Sajan khey Supaar,

Pehee Annt Ameeq Bahar maen, Aalaa Amul barar.

Man Lahoo Moula Falah-ul-kul – Pehey Dis Patar

Hot Gadio Jin Yar Yagano, Hasil Tin Hakar

Sahee Sujjatam ta Saan Vasaee Tho, Shak Shubah Shumaar ,

“Wa Hua Ma,akum Aennnma kuntum”Pehee Dis Pataar.

 “Sahib Dina”Samjh Sahee Sir,Paadaoon Takar Taar.

“Less Fi-daaren Illahoo Parm kenhn par.

(Lakho 1990. P.115), (Qazi  ____ p. 80)

If we cast a critical eye on this Kafi,its structure matches with Vaaee. Till date, the research that has been made, gives us two view points:Hafeez Khan believes that Kafi and Vaaee are the two names of same genre (Khan Hafeez 2012.22). While Mehram Khan(1998, P-32) believes that Vaaee and Kafi are two different types of singing and Poetry. The difference is there, if both the genres are studied below.

Sayed Lutuf Ali Shah Naqvi in his research paper writes “Kafi aen Vaaee Jo Taqabuli Jaizo” (ڪافي۽ وائيءَ جو تقابلي جائزو)“Kafi is a name of a kind of music derived from Thaath“the arrangement of modes in a raga, Old Indian classical singing is divided into TEN Thaaths.” (Naqvi, Syed Manzoor, 1991. P.37)

Rashdi Zulfiqar (1984, p-19) argues that etymological origin of word KAFI is word KAFO which means two equal sides of a balance. Therefore idiomatically, some special poetry is called Kafi because every line of kafi is perfect and balanced as per rules of meter.

Subject matter of Kafi:

As Kafi is a pouplar genre of poetry, therefore its subject matters include traditions, norms, culture, love, request, pains of separation and many others. One kind of kafi by Bedil is given as under:

وائي

جوئي آهيان سوئي آهيان، ٻول نه ڪو ٻيو ڀانيان.
ويس لبيس دين ڪفر جا، ڪيئي لاهيان ڪيئي ئي پايان.
 رنگين رنگين ڀاتين ڀاتين، ٺاهه لکين ٿو ٺاهيان.
 مومل واري ويس ورن ۾، گهوٽ هزارين گهايان.
 رندن واتون وحدت وارو، سارو سُر سڻايان.
 هن مظهر ۾ ڪاڻ بهاني، ”بيدل“ نانءُ سڏايان.

Transliteration:

Vaaee

Joyee Aahiyan Soee Ahiyan, Bol na bio Ko Bhaanyaan.

Wess  Labess  Deen Kufar Ja,Keyee Laahiyaan Keaeen Paanyaan .

Rangeen Rangeen Bhaten Bhaten,Thah Lakhen Tho Thaahnyaan.

Moomal Vaare Wes Varan maen, Ghot Hazaren Ghayan.

Rindan Wataoon Wahdat Waro ,Saaro Sur Sunayaan.

Hin Mazhar Maen Kaan Bahaney,”Bedil”Naan Sadaayaan.

(Asim, 1995. P.90)

Few modern poets have also composed Kafis.A piece of Kafi of this period is given here:

وائي/ڪافي

تنهنجي ظلم ستم ڪري عمر ادا،
روئندي ڇڏيم پنهنجي مارن کي.
آئي مند مٺي ۽ بادل ڀريا،
جيئن بوند وسي تيئن هانءُ ٺري،
ڏسي ساوڪ سبزي جهنگ جهر ۾،
هوندي ٻيڻي خوشي ٻڪرارن کي.
پُڇ شريعت ڇو ٿي سمجهه وڃئي،
مان ڀيڻ تنهنجي تون ڀاءُ منهنجو،
هي جيئڻ نه آ پر موت اٿم،
جي وٺبو انهن ويچارن کي.
هڪ سوٽ سڳو، ٻيو ٻول ٻڌل،
ٽيون ويٺل ورکي ڪيئن ڇنان.

Transliteration:

Kafi

Tunhinjey Zulm Sitam Karey Umr Ada,
Rooande Chhadiam Panhinjey Maarun Khey
Aaaee Mund  Mithee Aeen Badal Bharya,
Jean Bood Wasey Teenya Haan Tharey,
Disee Sawak Sabzey Jhang Jhar Maen,
Hoondee Beenee Khushe Bakraran Khey.
Patt Poshakoon Zar Zewar, kanhn Ja Keen Disoon,
Nakee Rees Rakhoon,
Hik Rasm Abani Yaad Atham,
Chha Kandyas  Sars  Seengaran Khey.
Puchh Shariat Chho Thee Samjh Vajey,
Maan Bhen Tunhijee Toon Bha Munhinjo,
Hee Jeean na Aa Par Maot  Atham,
Jey Wathbo Unhan Vecharan Khey.
Hik Soat Sago, Bio Bol  Badhal,
Tioon Wethal  War khey Kaen Chhina.

  (Humayuni, Niaz. 1993, P.14)

Different forms of Kafi:

There are different forms of Kafi, depending on Thalh(ٿل) and number of lines in the stanza. For expamle, there is one-line Kafi, where every stanza contains one line only. Rhyme comes in the end of every stanza. Two-line Kafi; where Thalh and every stanza contains two lines; Two and half lines Kafi, in which every stanza contains two and half lines. Three lines Kafi  has every stanza of three lines. Four-line Kafi has Thalh and stanza. Five-line and six-line kafis are also there.

Examples:

 Kafi and Vaaee are the most popular genres of Sindhi poetry. No one has dialated yet on the historical importance and background of these two genres.

Same way there are different opinions about Kafi. Some maintain that Kafi is only a product of Sindh. Kafi is a kind of music, derived from old classical singing.

There are different poetic structures of Vaaee, like one line, one and half line, two lines, three lines etc. One example of one and half line Kafi , by  Sachhal Sarmast, is given here.

پاڻهين پارئون يار،قاصد مون ڏي آيو.

اچڻ سندي ان جي، ڇڏي ويا آزار!

ٿورو تن ڪيڏو لايو.

Transliteration:

Paanhey Paroon Yaar, Qasid Moon Dey Aayoo,

Achan Sandey Un jey, Chhady viya Azaar,

Thoro Kedo Tin Laayo

(Junejo Abdul Jabar. 2010, P.36)

The Vaaees, in the poetic collections of Shah Inaat Rizvi and Shah Abdul Latif, are the simplest proof.  One Vaaee of Shah Abdul Latif is given here as an example:

لوئيءَ ۾ لائون، مون ماروءَ سين لڌيون،

سون برابر سڳڙا، ٻانهن ٻڌائون،

سو ڪيئن پٽ پهريان سومرا!

گهوريو عمر جو آئون.

Transliteration:

Loee  maen  Laaoon , Moon Maarooa Seen Ladhioon,

So na Barabar Sagra , Bahan Badhoon.

So keeyen PatPehriyyan Soomra!

Ghorio Umar Jo Aaoon.

(Junejo Abdul Jabar 1988. P.310)

Sur of Vaaee

There are different views regarding Surs. It can mean tone,  note, melody. In Shah Jo Kalam, Sur means mode of singing, musical themes, musical thoughts,  hidden doctrine of Shah Abdul Latif’s Sufi ideology, or sequential thematic description of events, stories and Sufi Philosophy.

 The meaning of Sur can be best described as:

1. Thematic sequential description of events.
2. Symbolic, metaphoric Sufism

Surs in the Sindhi Music

  Sur means a melodic mode. Usually the folk tales are rendered in a particular musical mode like when Moomal Rano is sung it is called Sur Moomal Rano.

  In the Sindhi tradition the folk stories are sung in Surs. They have a particular shape and Dhun (tune). Moomal Rano was sung in a particular manner which with the passage of time has been established as Sur Moomal Rano.

Evolution of most of the classical ragas have taken place from the local ragas for example folk story, Dhola Maroo of Thar is sung in Maanjhh which is very close to Maand.

The Surs have evolved in such a way that they are totally woven into the texture of the folk tales and it is apparent that these musical forms have been created by expert musicians whose names have been lost to history.

These Surs are different from the classical ragas of North Indian music because they are not sung independent of the folk tales. There may be at times great similarity in the tonal structure of a Sur and a raga nevertheless these cannot be substituted for each other.

Sohni for example and Sur Sohni have the same tonal pattern but Sur Sohni is not sung independent of the folk tale Sohni while Sohni, the Raga, is sung for its own sake.

Shah Abdul Latif Bhitai reworked seven folk tales which already existed in history and then composed them in a particular melodic mode. These modes were named after the heroines of the tales like in the tale Sassi Pannu the melodic mode in which it is sung in is called Sur Sassi. In all the seven Soormioon are Leela,Maruee, Nooree, Sorath, Moomal, Sassui and Sohni.

The overriding concern of Shah Abdul Latif Bhitai, the composer poet must have been to capture the true essence of the situation,  or the feelings of a character rather than to stay faithful to certain model scheme. In this he must have been following the musical scheme as it existed in the land of Sindh which was different from the North Indian classical musical scheme.

According to Agha Saleem the tradition of Sama in Sindh can be traced to the chanting by Shaikh Abdul Jaleel who was the son in law of Ghaus Bahauddin Zakria. His nephew Shaikh Ali Bari also hosted sessions of Sindhi chanting and was different from Sama traditionof Chishtee Sufi. Usually the Qawali is associated with Chishtia tradition which includes the instrumental music, rhythmic as compliment by hand clapping and the expansion of the text according to the melodic structure. In Sindh no instrument was played, neither any clapping accompanied the chant.

This corresponded with another tradition of chanting Zikr-e- Jalee which was in praise of God, the Prophet as mentor. Shah Abdul Latif Bhitai was a musician, and a poet, he created his own form of Sama. The Sama of Shah Abdul Latif Bhitai is characterized by the absence of dance which according to some tradition was necessaryculmination of ecstatic abandonment as expressed in the following bait of Shah Latif.

بيت

رَڳُون ٿيون رَبابُ، وَڄنِ ويل: سڀڪهين،
لُڇنُ، ڪُڇَڻُ نه ٻي، جانِب ري جَبابُ،
سوئِي سنڌيندُمِ سُپرين، ڪِيسِ جِنهن ڪَبابُ
سوئي عينُ عَذاب، سوئي راحَتَ رُوحَ جِي.

Transliteration:

Ragoon Thioon Rabab Wajan Wail Sabh kaheen
Luchan, Kuchhan na Thio, Janib reea jabab
Soee Sandem Suopeen, Kayas junh Kabab.
Sooe Ainu Azab, Soee Rahat Roha Ji

(Baloch. 2012, P.452) (Sur Yaman Dastan-II)

بيت

جي تو بيت ڀانئيان، سي آيتون آهين

نيو من لائين، پريان سندي پار ڏي.

Transliteration:

Jey to Bait Bhaeen, Sey Aayatoon Aaheen

Neo Man Laeen Piryan Sandey Par Dey

(Allana 1983, P. 42) (Sur Sohni Dastan-VI)

What you dream to be poems or word – picture,

They are truly lines from the holy scriptures,

They take my hearts and soul away,

Where the Beloved over me has sway.

Shah Abdul Latif Bitai’s Sur

(Khamisani.2003.p.45,65,73,89,97,121,140,149,161,168,227,233,247,257,267,279,285,291,319,325,329,333,337,347)

References

1. Baloch, N A Dr. 2007. Jame Sindhi Lughat, Hyderabad, Sindhi Language Authority pp. 1948-49.
2. Baloch, Nabi Bakhsh Khan, Dr. 2012, Shah Jo Risalo, Karachi, Culture and Tourism. P. 856
3. Balcoh, Nabi Bakhsh Khan Dr. 2005. Naeen jame Sindhi Lughat, 2^nd Edition, Hyderabad, Sindhi Language Authority. pp. 1380.
4. Baloch, Nabi Bakhsh Khan Dr. 1985, Kafiyoon 1^st  Edition, Hyderabad, Sindhi Adabi Board.
5. Qazi I.I. 1961. P. 318
6. Syed, Durr-e-Shahwar. 1988. “The Poetry of Shah Abdul Latif Bhitai”, Hyderabad. Sindhi Adabi Board. pp. 255
7. Baloch, N.A Dr. 2012, Shah Jo Risalo, Karachi, Culture and Tourism., (Sur Sorath-III), pp. 96
8. Baloch, N.A Dr. 2012, Shah Jo Risalo, Karachi, Culture and Tourism. pp. 96
9. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism. 2006, (Sur Samoondi) pp. 96
10. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012 (Sur Kalyan-I) pp. 224.
11. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Sasui), pp. 713
12. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Marui), pp. 79
13. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Marui), pp. 96
14. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Sorath-II), pp. 96
15. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Hussaini-VIII), pp. 201
16. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Yaman Kalyan-VIII), pp.312
17. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Dahar-IV), pp. 239
18. Baloch, N.A Dr. Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Poorab-I), pp. 119
19. Baloch, N.A Dr. Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Mazoori-VI), pp. 99
20. Baloch, N.A Dr. Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Samoondi I-II), p.p. 98
21. Baloch, N.A Dr. Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Momal Rano-VI), pp. 809
22. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012, (Sur Sorath), pp. 1100
23. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012,  (Sur Dahar), pp. 38
24. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 2012,  (Sur Samoondi),  pp. 49
25. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 1993,  (Sur Samoondi), pp. 84
26. Khan 1967, p.17
27. Bukhari, Hakim Ali Shah. 2008. Desi Pardesi Sur .Hyderabad, Sindhi Language Authorty, P.307-308
28. Baloch, N.A Dr., Shah Jo Risalo, Karachi, Culture and Tourism,  2003, pp. 83
29. Baloch, N.A Dr .Shah Jo Risalo Hyderabad. Allama Qazi Risalo Tehqiqi Ritha Ain Isha’at, 1999. P.134, 136, 412, 406
30. Baloch, Nabi Bux Khan, Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 1998, P.209
31. Baloch, Nabi Bux Khan, Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 1993, pp.175
32. Baloch, Nabi Bux Khan, Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 1992, pp.165
33. Baloch, Nabi Bux Khan, Dr., Shah Jo Risalo, Karachi, Culture and Tourism, 1991, pp.105
34. Khamisani Ameena, 2003, The Risalo of  Shah Abdul Latif Bhitai. Hyderabad. Bhit Shah Cultural Centre Committee Sindh, pp. 45, 65, 73, 89, 97, 121, 140, 149, 161, 168, 227, 233, 247, 257, 267, 279, 285, 291, 319, 325, 329, 333, 337, 347.
35. Junejo, Abdul Jabar Dr., 2005, Shah Abdul Latif Bhitai Zindagi Aur Shaari. Mulatan.Bazm-e-Sadaqat, pp.90
36. Junejo Abdul Jabar, Dr., 2010, Zanbel. Hyderabad. Sindhi Adabi Board. pp. 304
37. Lakho Raheem Bakhsh Qamar 1990. P.115
38. Naqvi, Syed Manzoor, 1981. pp.37
39. Asim, Altaf 1995 Shah Joon Galhioon, Larkana, Popat Publication. pp .90
40. Humayuni, Niaz. 1993, pp.14
41. Junejo Abdul Jabar, Dr., 2010, Zanbel. Hyderabad. Sindhi Adabi Board, pp. 36
42. Junejo, Abdul Jabar Dr., 1988. Latif Jo Awaz, Hyderabad. Gulshan Publication, 1988. pp. 310
43. Junejo, Abdul Jabbar, Dr. 2003, Kafiyaan, Multan, Bazme-Saqafat, pp. 7.
44. Mirza, Mumtaz, 1995, Ganj (Shah Jo Risalo), Hyderabad, Culture and Tourism Department.pp. 133
45. Allana, Ghulam Ali Dr. 1983.Symbolism Latif’s Poetry. Jamshoro, Institute of Sindhology, University of Sindh. pp. 42
46. Samrat, Raju. 2005. Interview by author. Hyderabad, 15 Jan.
47. Talib Mola, Makhdoom Muhammad Zaman. 1900. Kachkol, Hala, Sarwari Islamia College. pp. 15

SHAH ABDUL LATIF BHITAI
1689-1752

Shah Latif: A Brief Life Sketch

Shah Abdul Latif was born in 1689. His father’s name was Sayed Habib Shah. Habib Shah had two sons: Jamal Shah and Shah Abdul Latif. He got earlier education from Akhund Noor Muhammad Bhatti, (Kalyan, Advani. 1993. P. 5). He got religious education from  the same teacher.

Habib Shah himself was a sufi. According to folk narration, Shah Latif was born with the prayer of a mystic Jogi Hashim Shah (Allah knows better).

Vishno Diyali (School for mystic learnings), (Advani, Kalyan. 1993. P. 6). Shah Latif’s learning had input of various famous institutes of that time. Result of all those learnings were:

1. Meditations and learnings
2. Serving the creartures
3. Prevailing the music of love and traditions

In childhood he was sent to a teacher, Noor Muhammed Bhatti. The teacher started teaching him with the letters; Shah Abdul Latif Bhitai recited only the first letter (alif) and then said “Allah”.The teacher went on with other letters but the pupil kept repeating alif. Finding no other way, the teacher took the child to his father, Shah Habib. The child narrated to the father, the meaning of his utterances, which the illustrious father understood and fondly embraced little Latif who was destined to become a big name in the world (Chang 2001: p.33).

“Latif was an unusual child. He spent days by himself beside flowers, birds and beasts in the courtyard of Halla Haveli. He loved solitude, a trait he inherited form his father Shah Habib. (Akhund, 1981, p. 39) He often left his hearth and home in order to live in fellowship with nature. He wandered about in the open. Once he was found, by his father, sleeping in a hollow of an old tree. At another occasion he was located in a sand dune lying in dazed stupor for three consecutive days. Incidentally a shepherd saw him lying in that state, and informed his anxious father Shah Habib, who rushed to the spot and brought him home.But Shah Latif could not  remain there for long, and one day disappeared again from his village without informing any one, as was his habit”.(Brohi 1981, p.226)

“…..Shah’s habits from his youth were solitary living. He was often subject to fits. He used to remain aloof in the jungle for days. In his youth he became well known as a wanderer and also fond to remain in the company of Sanyasis, Jogis,Kapris, Samis and Faqirs. Eventually, he himself attracted a substantial number of followers who constantly remained in his company. (Chang 2001,p.33)

It is on record that Shah Abdul Latif Bhitai visited an elder poet of Nasarpur, Shah Inat Rizvi, quite a number of times admired verses and held him in great respect, that is clear from the fact that he used to feel such an urge to go and meet him so that he would travel  miles, from his home town Kotri to Nasarpur without getting tired. There he recited to him his own verses composed on the model of his mentor Shah Inat. At that time his poetry was simple and he seemed to have the same relation with Shah Inat as a deciple with his mentor. He would do so in the same manner as a respectful and receptive pupil might recapitulate in other words what his master had said earlier. Shah Inat was delighted to see that Shah Abdul Latif Bhitai took to poetry quite naturally. Shah Inat also valued  his company because he saw a promising poet in him.

In the beginning, Shah Abdul Latif Bhitai’s poetry had an element of improvisation, and soon after a few years it gave place to vindication of his individual genius.

Shah Inat died when Abdul Latif Bhitai was around twenty. The fact that Shah Abdul Latif Bhitai was deeply influenced by him and that he lovingly admired his poetry, may be verified from the comparative study of Shah Abdul Latif Bhitai’s “Surs” and Shah Inayat’s “Suruds. Shah Inayat paved the way for emergence of Shah Abdul Latif Bhitai as the greatest poet of Sindhi language”(Jotwani 2006.p 24- 26).

“After his marriage at Kotri, Shah Abdul Latif Bhitai began to think of moving to a new place. In one of his solitary strolls, he had come to a spot, which he had found quite to his curious taste. There were the heaps of sand there and a thick jungle with pools of waters round about- a fit place for monastic. It was called Bhit, which literary means nothing more than heaps of sand”.(Qaleech 1980,p.20)

According to Raza Kazim, a well-known lawyer and music philosopher:

“Shah Abdul Latif Bhitai didn’t have any connection with a Mughal court. His connection was with the tradition of Sufis and the Rishis; with the tradition of truth seeking. So his sources of learning were such people, his learning was not of the darbar or sarkar (Government) .He made his Sur.Shah Abdul Latif Bhitai said that Sur are the themes of music; he called the themes Surs. So then he identified 28 or 29 Surs, in relation to his thinking, his circumstances/times. So he called them neither raga nor ragini he called them Surs. Out of those one Sur Shah Abdul Latif Bhitai called Sur Sarang. So for him Sarang has a different meaning and he says Sarang is of the rainy season. There is no mention of malhar anywhere”(Kazim  2006).

The first category of Surs are called Surs of Soormies (heroines) they are seven: Sasui Punhu, Noori JamTamachi, Sorath Rai Diyach, Leela Chanesar, Suhni Mehar, Umar Marvee and Moomal Rano. The second categaory of Surs are Ghatoo, Rip, Karayal, Samoondi, Dahar, and the third synonymous with the Indian Classical based Raga like Aiman , Kedaro, Kalyan , Sohni, Hussaini, KhamBhat, Sri , Kamod, Barvo etc.

Shah Abdul Latif Bhitai departed from this world at the age of 63, on 1165 Hijra, 1752 A.D . To commemorate his memory every year , on 14^thSafar, an Urs (fair) is held at Bhit Shah where he lived the last years of his life and where his mausoleum stands. The Urs lasts for three days.(Khamisani 2003, p.17)

Socio-political situations in Shah Latif’s era

Life, Works, Education, Influences Age of Shah Abdul Latif Bhitai

The Soomra reign lasted from 1050 AD to 1350 AD, comprising around twenty rulers. The romantic tales had become very popular among the masses in that period; (Qanasro, Manzoor, 2006, p. 54) the same theme is found in Shah Abdul Latif Bhitai’s poetry, like Sur Momal Rano, that reflects upon the peace and prosperity of that period.

Soomras were followed by Samma family, who ruled Sindh from 1351 AD till 1521 AD, with the span of around 170 years. They made Thatta their capital and adopted the title of Jam. Among them was the renowned Jam Tamachi, the protagonist of the illustrious romantic tale of “Noore-Jam Tamachi.” Another popular romantic tragedy “Sohni Mehar” belongs to this period. Shah Abdul Latif Bhitai has woven both of these tales in his poetry.

Apart from a couple of expeditions of Sultan Muhammad Tughlaq, and then by his brother Sultan Feroz Shah, very few invaders came to Sindh. Sultan Feroz Shah Tughlaq marched into Thatta from Delhi, it ended into a truce between the Samma ruler Jam Sadruddin and Feroz Shah.

The Mughals were the ancestors of the Arghons -  the rulers of Qandhar. After much brutality, Shah Baig Arghon – son of Zunnoon became the ruler of Qandhar in 1507.

“Before the arrival of Shah Abdul Latif Bhitai the poets and vocalists )Sugharسگهڙ  music practitioners) of that era sang the historical folk tales and love stories of Sindh and transferred them to the public. Those famous folk tales and stories were sung in peasants’ parties, and fairs by Bhat(ڀٽ), Bhaan (ڀان) and Sughhars  .(سگهڙ)When Shah Abdul Latif Bhitai came across these folk tales and love stories, he gave a vigour and inspiring touch to these tales that they became part and parcel of Sindh’s  history, culture and society.(Sindhi 2006.p.5)

Why did Shah Abdul Latif  Bhitai give a unique and powerful and sad touch to the old stories and tales? The possible answer to this question is given by Muallana Deen Mohammad Wafai. (Wafai 1991. p. 18)

H.T Sorely, in his book “Shah Latif of Bhit” writes about the conditions of Sindh.

“Before Shah Latif, Sindh was ruled by Mughal. Effective Mughal rule ended during the life of Shah Abdul Latif Bhitai with the death of Aurangzeb. Rule of Kalhora  started afterwards. Shah Abdul Latif Bhitai,  only 18 years old at the time, was a  witness to the attack of Nadir Shah Irani. Shah Latif was well aware of the atrocities of Ahmed Shah Abdali, who looted Sindh. Shah Latif was aware of Kalhora’s wars on petty issues. Shah Latif was the eye witness of social, political, moral and economic vices  and turmoil of its time. In spite of all these facts he did not participate particularly in any revolution. Shah spent most of his time in worship (Sorley 1992 p. 23)

Shah Abdul Latif Bhitai, being a tourist, musician and saint was deeply and mournfully affected by his environment, which is obviously depicted in his poetry  and songs.We can clearly see that Shah Abdul Latif’s era was full of tradegy  and pathetic mayhem. There was hunger and bloodshed in Sindh.

It is quite obvious that Vaaee could be produced only in those circumstances which Shah Abdul Latif Bhitai experienced.

If we analyze “Shah Jo Risalo” we conclude that only two of his Vaaees express joy while all of his work seems to be a mirror of his mental torture and suffering. Although his poetry contains a variety of subjects but the deep study of his work reflects his inner torments.   

The Sama (سماع) was the expansion of the text in praise of God, the Prophet or the mentor on any given classical or local model. Since  Shah Abdul Latif Bhitai  was a musician, a poet, he created his own form of Sama. The Sama of Shah Abdul Latif Bhitai is characterized by the absence of dance, which according to some tradition, was a necessary culmination of ecstatic abundance.

“The human voice is only a manifestation of an inner realilty. Instrumental and vocal music are only an appearance what needs to be realized is that inner intrinsic reality”. (Bukhari 1964: p. 49)

The raag tradition of Shah  Abdul  Latif Bhitai included both the voice and instrument.

In the beginning raag sessions were held once a week on the nights between Thursday and Friday but gradually the frequency of sessions increased till these sessions were held every day.

Tradition of raag at Bhit Shah Shrine

Larik writes about the cultural  aspects of Sindhi society about the beginning of Sama  (سماع) listening on Shah Abdul Latif Bhitai’s shrine that according to oral tradition passed from generation to generation. She further tells us that the raag was led by Mohammad Alam S/o Rab Rakhio Dero who was one of the best vocalist in the history of raag at Bhit Shah. Therefore Shah had a very close friendship with Mohammad Alam Dero who was also his  maternal cousin. Later on Dero also became Shah’s Faqir. Shah used to listen to raag before his marriage and even after he settled at Bhit  Shah village later in his life. He spent most of his time in the mosque for worshipping and at night he would attend raag ji mahfil. (Khameesani Ameena 1990)

Raag was a full night session. Faqirs lit a machch (bon fire) and sat around it sat in a circle chanted  the zikr (recited about Allah, Prophet, Quran and Saints). Because of Dero’s timbre and devotion Shah awarded him the title of “ Sachcho Salim“(true perfect) . After the death of Shah Latif, Mohammad Alam Dero became Khaleefo (Assistant) and got the title of Zikri and led  vocalists who sung at the shrine of Shah Abdul Latif Bhitai.  His name was well respected and reverred in the singing raag  later on.

Schedule of Singing Surs in Sama at Shah Abdul Latif Bhitai Shrine

Time discipline of singing

at Shah Abdul Latif Bhitai’s shrine (Dargah درگاهه)

Nowadays the singing pattern of Vaaee and Bait in Sama’s in this way.

First Round

1. First part of the round from Sur Bilawal 6 to 8
2. Second part of the round from Sur Sri Raga 6 to 8
3. Third part of the round from Sur Samoondi 6 to 8
4. Fourth part of the round from Sur Soorath 6 to 8 Bait.

Second Round fourth part

In the first fourth part of whole round Sur Moomal  Rano and Sur Hussaini’s 6 to 8 Bait.

Totally one and quarter round and total parts of six Surs are sung.

Contemporary trend for Eid day , after prayer of Eid three Surs are sung. Sur Bilawal , Sur Moomal Rano and Sur Hussaini only.

After the death of Shah Abdul Latif Bhitai , in 14, 15, 16^th of Islamic month Safar , when the celebration of Shah Abdul Latif ‘s Urs takes place,in the mehfil-e-sama on 14^thSafar ,SurBilawal, SurMoomal  Rano and Sur Hussaini , on 16^thsafar , Sur Poorab , Sur Kamod, Sur Karayal and Sur Hussaini are sung by expert Faqirs.

Rites observed at shrine of shah latif

SAMA- O (Mystic Music)

The meaning of Sama-o’ is Zaikr (recitation) in the name of God. It is said in Arabic that Al-Sama-oMairaj-ul-Aoliya, which means that recitation of mystic music is the spiritual elevation of saints. (Bukhari 1964: p. 70)

References

1. Akhund, Abdul Hamid. 1981. Shah Abdul Latif his Mystical Poetry. Shah Abdul Latif Bhit Shah Cultural Centre Committee.
2. Brohi 1997, Fikr-e-Latif.Jamshoro.Institue of Sindhology p.p.226
3. Bukhari, Syed Qadan Shah. 1964. Tamar Faqir ji Shaeree Hyderabad, The Institute of Sindhology, University of Sindh, Jamshoro. p.p. 49 & 70
4. Chang, Abdul Haque .2001. Shah Jo Raag A Sufi Musical Tradition of Sindh, (A case study in Ethnomusicology) M.Sc. Quaid-e-Azam University, Islamabad, p.p.33
5. Jotwani, Motilal Dr. 2006. Shah Abdul Latif. His life and work. Karachi. Children Publications, p. 24- 26
6. Kazim, Raza. 2006. Interview by author. Lahore , 5 May.
7. Khamisani Amena, 2003, The Risalo of Shah Abdul Latif Bhitai. Bhit
8. Shah Cultural Centre Committee Sindh, p. 17
9. Khameesani, Ameena. 1990 Interview by Auther, 7 Febraury
10. Qaleech Baig Mirza, 1994. Lughat-e-Latifi. Hyderabad. Sindhi Language Authority.p.20
11. Qanasro, Manzoor Ahmed. Ed. 2006.Bhitai Jo Saqafati VersoVejhrhaee varey arsey man dargah tey Mukhtalif Ratian men Shah jo kalam pesh kandar Ragi. Bhit Shah Saqafati Markaz. p.p 54
12. Sindhi, Hameed. 2006. Interview by Naseer Mirza,”Visariyan Na Visran”. Sindhi Program KTN, Karachi, 10 Sep, .p.p. 5
13. Sorley, H.T. 1992. “Bhit Jo Shah” translated by Ata Mohammad Bhambhro. Karachi. Sindhica Academy, p.p. 23.
14. Wafai, Maulana Deen Muhammad. Shah Jey Risaley Jo Mutalio. Hyderabad. Bhit Shah Culture Centre. p.p 18

STYLES OF VAAEE SHAH JO RAAG (SAMPLE)

Introduction

The Vaaee is a poetic genre in Sindhi Language musical form without percussion that is sung at Shah Abdul Latif Bhitai’s shrine and credited to be his unique invention. It is a devotional form in which the Shah Abdul Latif Bhitai’s verses are sung at different musical styles, and contains within it an intricate working of Ley, Sur and musical emotion. (Haroon 1988, p.19)

بيت

سَڱُ ڪَري سين سيِنهَن، ڪَنڌ مَ ڦيرِجِ ڪيڏهين،
رَمِجِ راڻي پُٺِ ۾، نِرِ تون مَنجهان نِينهَن،
اِئَن مَ وَسِجِ عامَ تي، جئَن مُومَلَ وَسَن مِينهُن،
سندي حَشَرَ ڏِينهن، سوڍو سارِيندِئن گهڻُون.

(Baloch 1999, P.124)

Bait

Sung karey Seen Seehn, Kandh Mapherij Kedahen,
Ramij Raney puth Me, Nirtaoon Manjha Neenh,
Aen Ma Waseejh Aam Tee, jean Moomal! Meenhn,
Sandey Hasher Deenhn Sadho, Soreedaen Ghanoo.

(Baloch 1999, P.124)

Transliteration:

You have attached yourself to a lion, don’t ever turn back,

Follow him with love and sincerity

O Moomal, never shower your charms on commoners.

On judgment day you will remember Sodho a great deal.

(Agha, 2005, p.110)

بيت

لُڊاڻئان، لطيفُ چَئي، کَٽُون کَنيائُون،
ڇَڏي حيلا هَليا، مُومَلَ ماريائون،
ڀيرو ڀَڳائُون، آسَڻِ آرامِي ٿيا.

Bait

Lundaina, Latif Chae, khattoon Khanyanoon,
Chhade Heela Halya, Momal Maryaaoon,
Bhero Bhagaoon, Aasan Aarami Thiya.

(Agha. 2005, P. 130)

Transliteration:

Latif says, they departed from Ludaano,

They ignored Moomal’s beseeches and Plunged her in sorrows,

Breaking their routione of visiting Moomal, they went to rest forever.

(Agha. 2005, P. 130)

بيت

ڀيرو ڀَڃُ مَ ڪاپڙي، لاهي وِهُ مَ لاڳَ،
تان مون هِينئَڙو ماڳِ، جان تون جوڳي جوءِ ۾.

(Dauod Poto. 1994, P.45)

Bait

Bhero Bhanj Ma Kapree, Lahe vehu Ma Lag.
Taan Moon Heenyro Mag, Jan Toon jogi! Joo’e Maen

 (Baloch 1999, P.45)

Transliteration:

O ascetic, break not your routine of visiting me,

nor sever relations with me,

so long as you are in proximity, my heart is at rest.

(Agha, 2005, P.130)

بيت

وَٺِيو وَڃج واٽِ، ڪَنڌ مَ ڦيرجِ ڪيڏهين،

لوڻي ڦير لَپاٽَ، متان لڳئي لطيفُ چَئي۔

(Baloch 1999, P.195)

Bait

Vathio Vanj Vaat, Kandh Ma Pherij Kedheen,
Lonen Pher lapat, Lagandia latif Chaey.

(Baloch 1999, P.195)

Transliteration:

Go straight on the path, never turn back,

Or you will be dealt a neck- twisting slap says Latif

(Agha, 2006)

وائي

تان تون وِهُ سَنبهِي، ساٿِي مِيان! پانڌي مِيان!
    ڪاڪ هَلِبو ڪَڏهين؟

لَکين لُڊاڻِيان مَڻيي، مَٿي واٽَ وِيا ٿي، ميان!
    ڪاڪ هَلِبو ڪَڏهين؟

جنهن کي پُڇان، سو چوي “آئيو ڪو نَه اُتان ٿي، ميان”
    ڪاڪ هَلِبو ڪَڏهين؟

ڪوٺائو ڪَريمَ جو، آئيو پَهي پرَيان ٿي ميان!
    ڪاڪ هلبو ڪڏهين؟

حُڪم ڏيندءِ هَٿ ۾ “هاڻي هَلُ هتان ٿي ميان”
   ڪاڪ هَلبو ڪڏهين؟

اديون! عبداللطيف چئي، پرين پاس پران ٿي ميان
    ڪاڪ هلبو ڪڏهين؟

(Baloch 1999, P.351)

Vaaee

Tan Toon Veh Sanbahee O sathee Miyan Pandhee

Kak Halbo Kadaheen

Lakhen Ladoonriyan Mane, Mathey Vat Viya Thee
Kak Halbo Kadaheen,

Kothao Karim Jo, Aayo Pahee Piryan Thee,
Kak Halbo Kadaheen,

Hukum Deenduee Hath Maen.Hane Hal Hian Thee,
Kak Halbo Kadheen,

Adioon Shah Latif Chey, Priyan Pas pran Thee,
Kak Halbo Kadheen,

(Baloch 1999, p.351)

Transliteration:

O my friend, my fellow traveler, get ready,

When would we depart for Kaak?

Millions have gone towards Ludaano

Who so I ask, replies, “None has  come back from there.”

The messenger from the Benevolent One has brought the call,

He will hand you a message: leave here now,

Abdul Latif says, “I am on my way to the Beloved”

(Agha,2006)

Desription

Vocalists    Syed Ghulam Shah

  Syed Noor Shah

Lyrics Tan Toon Veh Sanbahee

Dastan      Number 1

Sur     Moomal Rano

Poet     Shah Abdul Latif Bhitai

Ley     Medium

Tala    Do Tali    `

Instruments

Dambooro of Shah     Syed Ghulam Shah

  Syed Noor Shah

Venue   Studio-B, Pakistan  Broadcasting  Corporation  Hyd

Source  Institute of Sindhology Jamshoro

Year  1975

Duration    17:22

Interview by     Shaikh Ghulam Hussain

Recording by     Mohammad Anwar Baloch

Recording found with the help of Mohammad Qasim Maka, Noor Muhammad Khaskheli

 History of the number

This was the first interview and recording of Syed Ghulam Shah and Syed Noor Shah at Radio Pakistan Hyderad Sindh. Before it Shah Jo Raag was sung only at shrine of Shah Abdul Latif Bhitai. A Well known music producer Shaikh Ghulam Hussain produced on the Radio to introduce Shah jo Raag on Radio in his programme “Latifi Laat”.Syed Ghulam Shah was the first vocalist from the family of Shah Abdul Latif Bhitai who started to sing at media, after him Faqirs used to sing the Shah jo Raag.

Special features

1. The Shah Jo Raag is only sung at the shrine.
2. It is sung round the clock.
3. It does not follow the traditional time theory of the classical musical system.
4. It is also non seasonal.
5. Generally a song begins from kharaj (first note of saptak) of middle octave whereas in this style the singing begins from S’ of the upper octave.
6. It follows a special sequence and order.
7. There are no interval pieces in this type of Shah jo Raag
8. Except Dambooro, no other instrument accompanies this style.
9. The performance follows a tradition which is exclusively oral. Any text in written form or scripted is not allowed. The verses of the poetry are shared by all the tolees (groups) as a participatory token of devotion. Each tolee consists of minimum of three performers and maximum of twelve.
10. The style has always been performed by the male singers because female singers do not perform at the shrine.
11. This Vaaee begins with an introductory invocatory phrase O-Mian and Alo Mian
12. This style of Shah jo Raag has its own rhythmic cycles.

The Vocalists

Syed Ghulam Shah and his son Syed Noor Shah, the descendents of  Shah Abdul Latif Bhitai’s brother Allan Shah, are also considered as the great vocalists of Shah’s shrine. They expressed their views during an interview with the Radio Pakistan in 1975. They said that Shah Abdul Latif Bhitai’s Surs are actually a miracle.Syed Ghulam Shah said that Shah Abdul Latif’s music had a certain power,we feel ourselves totally absorbed in it during singing. He explained, more about the mystic power of Shah’s singing. He said.

”I am 80 years old but when I sing I never feel like an old man.“

Our singing is spiritual and mystical and it has no conern with any government It is sung at shrine not to please any more but it gives a univervsal message for the mankind.

When he was asked how old the singing style was? He said, actually this singing was started during Shah Abdul Latif’s life. The music was sung at the shrine of Shah Karim the grand father of Shah Abdul Latif.During Shah Abdul Latif’s life Tamar and Kehar Faqir led the other vocalists Faqirs and with the passage of time these roles were changed.He heard from elders that Shah Abdul Latif Bhitai loved very much the singing of Kehar Faqir,Tamar Faqir and his father,Baba Allan Shah because of their Timbre and devotion.

According to him singing on Shah Abdul Latif Bhitai’s shrine is historical and started during Shah’s life, seasonal or climatic changes  have never affected its schedule but on Thursday twelve Surs are sung ,while in  full-moonlight  Sur Moomal Rano and Sur Barvo were also sung. Singing on the shrine starts daily after Fajr and continues till Subah-u-Sadiq next morning, the singing groups (Toleeon) comprise 3,5,7,9 or 12 Faqirs.

SHAH JO RAAG

(Syed Ghulam Shah)

He said that they learned very much from their elders like Ibrahim Faqir, Allan Shah, Kehar, Yousaf Faqir and Laikan Faqir.

Telling about the changes which have been made in the Shah jo Raag with the passage of time, he said that there was a time when Shah jo Raag was sung in base (gram’s surs) only but during Ibrahim Faqir’s era he sang from nose in very high pitch. Now by mixing both the pitch.

1-Tandd   2-Chhed    3-Jhad

4-Sadd     5-Bait 6-Vaaee

Tandd means to play. It also means to introduce the sur in which is to be sung. It is usually done by playing just one string known as Zabaan when the sur becomes recognizable, the second part chhed starts which is playing the sur on more than one string. After exploring the sur further by playing all the strings the sam is earmarked by playing all the strings together which is called jhad. Then the vocalists begin to chant O Mian in teep surs (upper octave) This is called sad. After sadd bait is sung which is usually a prescribed one according to the dastan and the sur. The number of Baits are not fixed – actually up to thirty three baits can be sung depending upon the occasion and the mood of the performer. After the bait has placed the Dastan in a context to the satisfaction of the performer the Sur begins. This is the last phase of the Shah jo Raag performance and also its climax.

Musical Analysis:

They consider singing a sacred duty because they perform ablution before their singing.

Sit in a semi circle at the door of the shrine (Dargah), wearing black clothes and begin their performance by tuning the strings of Dambooro to the scale that they have chosen for the occasion. This takes a while and help in creating an ambiance.

Once the tonic note is fully tuned at least  three Dambooro are struck simultaneously, This is called Tandd, which literally means in Sindhi to strike the string .Then the lead performer plays the melody on the string which is called “Zuban” reputed to have been added to the Dambooro instrument by Shah Latif Bhitai himself.

All of the strings of the Dambooro act as the drone. The two middle strings (Musanna or Jarhioon) act as the sympathetic strings while the tonic of the middle register forms the base. A composition on the Dambooro is played in the same melodic line. All the strings struck simultaneously at regular intervals to establish the ley called “Jhad”.

They start singing with an invocation which is always O Mian referring to Shah Abdul Latif’s mentor Minyoon Shah Inat Rizvi. This is called sadd. Then the chanting of the bait begins, and the melodic line is cnriched by ornamentations on the Dambooro. These zamzama and murkee are only played on the zabaan of the Dambooro. This covers nearly half the duration of the performance, which helps in establishing the ambiance of melodic line. The Tala and Theka (rhythmiccycle) is also established by striking the strings at the Dambooro at the regular intervals of the tala.

All this while the Bait is being chanted, first in the upper register and the same musical phrase is chanted in the lower register.

After “O, Mian” Bait is sung in the melodic line that have been established .The numbers of Baits sung can vary from 5 to 33.These Baits are always of the same Sur of Shah Abdul Latif Bhitai. The Bait is sung in the upper register and only first half of the line is sung by the lead vocalist. The second lead singer repeats the same half of the line in the lower register. Then the lead singer in the upper register complete the verse, followed by the second lead singer completing the second half of the verse in the lower register. When a Bait is chanted or sung in the middle register it  helps in adding an other dimension to the melodic line. It is also a signal that a Bait  has ended .The next Baits and all following are sung exactly in the same manner, beginning from the upper register.These Baits can vary from 5 to 33 depending on the progress of the Dastan and its climactic necessity . Once this has been achieved, actually then the performance of Vaaee begins. It is usually sung in a rhythmic pattern established by striking the strings of the Dambooro .According to the rhythmic referainment, usually two Talas  “Dotali” and“Dedhi” are applied  After the Tala  have been established the singing of the Vaaee starts. The usual span of the composition covers “four beats”.Gradually the tempo is increased  till it reaches a crescendo.

Types of Vaaee according to the musical structure

Hekoni (هيڪوڻي): In this Vaaee first line is called thall (ٿل) and all other lines are equal in length to the thall (ٿل).

Dedhoni (ڏيڍوڻي): In this type of Vaaee, the first line is divided in two halves in which first half rhymes with the second line does not rhyme, neither does have the same number of syllables. But while singing it falls into a rhythmic pattern.

Benni (ٻيڻي ): In this third type of Vaaee, the first two lines have the same rhyme scheme and then every alternate line follows the same rhyme schemes like in the ghazal.Shah Abdul Latif’s Vaaee can consist of 2 to 20 couplets.

Dambooro of Shah Abdul Latif Bhitai

The musical instrument locally known as Dambooro was designed by Shah Abdul Latif for the new music institution that he himself had founded. The Dambooro was originally invented in Egypt and it travelled to the Indo-Pakistan sub-continent through the Middle-East and Persia. The instrument used by the early Arab musicians had four strings and so the conventional Dambooro of this sub-continent remained a chau-tara or four-stringed. Shah Abdul Latif made his new Damboora 5 –stringed instrument.

So far as the composition of notes is concerned, its five strings are tuned as follows: At one end, the outer string is tuned at the pancham note of the MadhSaptak or Middle Octave. This string is called ‘Zuban’ i.e., )the ‘tongue( of the

DUMBOORO

Dambooro spells out the melodies. Thus, pancham as kharaj becomes the basic performing note. This principle is in line with the original Arab-Persian tradition and even today the Arab-Iranian melodies are sung at a higher pitch. The remaining four strings of the Dambooro starting from the other end are tuned as: The first one, called ghore after the Baluchistan danbeera, tuning at the SA note of Mandar Saptak or the lower octave; second and third, the jarryoon or the ‘twins’ tuning at SA note of the Madh Saptak or the medium octave; and the 4^th one, the teep (adjacent to the ‘Zuban’) tuning at the SA note of the TarSaptak or the (higher octave.)

Tamar Faqir was the leader of the group of musicians who sang Shah Abdul Latif’s poetry in new Surs and in a new style devised by the poet himself. Fortunately, the Dambooro used by Tamar is still preserved at the poet’s mausoleum at BhitShah by the musicians who succeeded him. Every Thursday evening, it was taken out and its strings are touched first by the leading musicians, as a mark of respect to the first leader who lived and played during Shah Abdul Latif’s time. This Dambooro was the first one to be made under the personal supervision of Shah Abdul Latif at Thattha I have daubt which, having been the capital of Sindh, was still a centre of music tradition (which could be traced back to the reign of the Tarkhan, Mirza Jani Beg and his son Mirza Ghazi Beg, of the seventeenth century). Shah Abdul Latif frequently visited Thattha to meet his friend, the eminent scholar Makhdoom Mohammad Mo’in (d. 1161 A.H/1748 A.D) who used to listen to music. It was during those visits Shah Abdul Latif got the Dambooro made at Thattha and then handed it over to Tamar who was destined to play a leading role in the new music institution founded by Shah Abdul Latif at Bhit.

Tamar’s Dambooro is a5-stringed instrument like all the other Dambooros which have been used for Shah Latif Bhitai’s Sur, but it is simple in making and less decorated. Its main characteristic is that it has single-whole chamber (Yak-bhandyo) which is not pieced together but is carved out of a single piece of wood. After this first prototype, two more Damboors were made at Thattha, one of which remained with the associates of Tamar Faqir and the other was given to Khalifa Mohammad Aalum Dero, who was maternal cousin of Shah Abdul Latif. Subsequently, three more Dambooros were made and all these were also single-whole chambered (Yak-bhandya) instruments. Later on, and in more recent times, pieced chambered (phankdar) Dambooros were made (and are still being made) and these became more popular with the musicians specializing in Shah Abdul Latif Bhitai’s. However, Tamar Faqir’s Dambooro is historical in significance both as an instrument devised by the great poet himself and as a new kind of Dambooro that was invented in the sub-continent (Baloch,1988 p.156)

In Sindhi music sama means to sing the text of the Sufi Faqirs and Darvashis. Generally it is sung on the shrines of Sufi saints.

Classical style of vaaee

Introduction

Classical style of Vaaee refers to that Vaaee which is composed in a certain Raga selected from the repertoire of Indian Classical Music. Its singing style resembles with Kafi. It is also called the Classical Kafi School. According to Haroon Hameed, the classical Kafi school, which contains within it. The verses of Sufi Saints,especially Shah Abdul Latif Bhitai,  who sang in the Arohi/ Amrohi of  different ragas,with a variety of folk, classical and semi- classical Talas ( beat circle) woven into its structure.Latif’s poems are themselves mainly named after ragas -Sur Aasa ,Sur Kamod, Sur sarang and many others. (Haroon 1988, p.19)

In this recording, Manzoor Ali Khan is accompanied by his disciple, both well known best vocalists, Qamar Soomro and Waheed Ali. Qamar Soomro made his name as a ghazal singer and Whaheed Ali was a reputable kafi singer. This number is a good example of classical Vaaee singing. One fo the Best vocalists of Sindh Muhammad Yousuf also participated in the third item.

CLASSICAL VAAEE

(UstadManzoorAli Khan)

Description:

Vocal:     Ustad Manzoor Ali Khan Mohammad  Yousuf

Waheed Ali

Muhammad Qamar Soomro

Mohammad Urs

Harmonium: Ustad Manzoor Ali Khan

Tanpura:   Mohammdd Urs & Deen Mohammad Damsaz

Tabla:     Deedar Hussain

Dholak:    Bhalloos

Clarvent:   Imam Bakhsh

Lyrics:     (1) Aao Rana Raho Raat, Tunhinjay Changay Khay Chandan Charian,   (2) Adyoon Bhenar Maari Aanhyan Rane je Rusame (3) Munhinjey Ranal Khey Raham Pawey,    Door Wanjio Deenh Laaey

Sur:   Moomal Rano

Tala:  Keharva (Kalwarho)

Ley:   Medium

Source:    Audio Cassette vol: 6 AA companies

Marhoom Ustad Manzoor Ali Khan

Hik Nayab Mehfil

Duration:    16:14

Analysed by: Digital Number

Ustad Manzoor Ali Khan performed in his usual energetic voice. Ustad  belonged to Gwaliar Gharana of music. Since he performed with his three shahgirds (disciples) Qamar Soomro (vocalist), waheed Ali (vocalist) and Muhammad Yousuf  (tanpura) in this number, the three disciples had performed in such a way as to out-compete one another. Despite the fact that three of them were famous solo vocalists, Ustad Manzoor Ali Khan’s singing stood out as being the most passionate.

These items were recorded in1973, at Bhailar, village of Sindh. It was a marriage ceremony that’s why the quality of recording was not good enough. Since it is rare and price less musical rendition, of Sur Moomal Rano.

وائي

آءُ، راڻا! رَههُ رات، تنهنجي چانگي کي چَندنُ چاريان.
مون کي آهي مينڌرا، وائي تنهنجي وات،
تنهنجي چانگي کي چندَنُ چاريان
راتيان ڏينهان روح ۾، تَنَ تُونهين جيِ تات،
تنهنجي چانگي کي چندَنُ چاريان
ويٺي نِتُ نِهاريا، اچين جي پرڀات،
تنهنجي چانگي کي چَندَنُ چاريان.
اديون شاهه لطيف چئي، ڏاتر ڏيندم ڏات

(Agha,2005, P. 148)

Vaaee

Aao Rana Raho Raat, Tunhinjay Changay Khay Chandan Charian,

Raatian Deehan Rooh Maen Tan Tunhin Jee Tat,

Tunhinjay Changay Khay Chandan Charian,

Waytthe Nit Niharian, Acheen Jay Pir Bhat,

Tunhinjay Changay Khay Chandan Charian,

Moonkhay  Ahay, Maendhara, Vaaee Tunhinjee Vat,

Tunhinjay Changay Khay Chandan Charian,

Adiun! Abdul Latif Chhey,Datar Deen Dum Dat,

Tunhinjay Changay Khay Chandan Charian,

Translation:

Come Raana, stay night, I will graze your camel on sandalwood.

Day and night your thoughts pulsate in my whole  body,
All the night I gaze at the path you might come at dawn,
Mendhra, all the time I talk and think of you,

Abdul Latif says, the Munificent will bestow me with munificence.

(Agha,2005, P. 148)

وائي

اديون ڀينر ماري آهيان، راڻي جي رسامي
رويو رات وهامي

لوڏا لوهه نه نڪري چانگ هئي ڇانهه ۾
ويو رات وهامي

ٻاهر ٻاڦ نه نڪري، اندر کورو کائي
رويو رات وهامي

سرتيون شاهه لطيف چئي، مرشد ٿيندم ساڻي

(Anwar. 2007)

Vaaee

Adyoon Bhenar Maari Aahyan Rane je Rusame
      Royo Raat Wahame

Loda loha Na Nikre Chang Hoee chhain Men
     Royo Raat Wahame
Bahir Bhaph Na Nikre, Andar Khoro Khame
        Royo Raat Wahame
Sartyuon Shah Latif Chae, Murshad Thindam sanee

(Anwar. 2007)

Musical Analysis:

The performance starts with playing harmonium with beautiful resonance of Tanpura. From very beginning here Ustad matches both harmony and vibration towards Sur Moomal Rano.

Due to Sur Moomal Rano’s Vadi  `S` (Kharaj) and Samvadi `M` (Madham)

Ustad takes first Sur Moomal Rano’s Alap. The first sur for Alap  withDhevat and Pancham. These Sur make the mood of waiting and anxiousness. He elaborates very slowly and softly that (Behlava)makes  the environment of Sur Moomal Rano towards the waiting condition.In musical term we  make Suroop  of Sur Moomal Rano. So here is Da Pa used for lingering on. with musical Vowels 

Vo   Vo  Vo   Vo

Alo  Alo  Alo  Alo  Alo

Upper given musical alaaps(آلاپ) used by Shah Abdul Latif Bhitai in his Risalo but in the classical style of Vaaee it introduced by Ustad. Name not mentioned

This taan type behlawa comes in descending form .Ustad uses musical vowels which are erupting from his heart to express sorrow and gloom.

Technically it is called ( Sad’d) means calling and recalling to beloved and  spiritually it means calling to God for help and opulence.

Then the harmonium is played to make interval between the vocal and vocalist. Then Ustad starts Bait for expressing idea that “ I  always wait for you”  R’  S’S ‘  R’ S’ n D P  D D P D, D P m   R  g  R  S. Here fast murkee (little taan) expresses distress and inner pain.

Second time Ustad renders with sudden stay on teep kharaj  S’ for the expression of deep desire for meeting and waiting. Third time Ustad emphasizes on the musical idea that I am in trouble, feeling lonely and looking for your Vowels.

بيت

ويٺي نِتِ نِهاريان، راڻا! تُنهِنجي راہُ،
مَوٽائي ماڳَنِ ۾، آڻِيندوءِ اللهُ،
سوڍا! تو ڳَرِ ساهُ، نات راڻا گهڻا راڄَ ۾.

(Agha, 2005. P.135)

Bait

Vathee nit niharian Rana Tunhinji Rah,

Motaey Magan  Maen ,Aaninduee Allah,

Sodha To Gar Sah Na Ta Rana Ghana Hin Raj maen.

(Agha, 2005.P 13)

Translation

O raano, all the time I expectantly look for you,

Allah will bring you back to same old sites,

You are my life- breath, else there are many Sodhos in the world.

(Agha, 2005. P.135)

بيت

رس مَ رسڻ گهوريو، ڇڏ راڻا ريڏائي
منهنجي ميٽ مينڌرا، عاقل اڳلائي
پسيج لئون لطيف چئي ڪامل ڪچائي
ڪر معاف مدائي، ته سوڍا سکياڻي ٿيان

(Manzoor Ali Khan 1970)

Bait

Rus Ma Rusan Ghorio, Chhad Rana Ridaaee,
Munhinje Met Mendhra, Aaqil Aglaaee,
Passeg laoon Latif Chaey Kamil Kachaaee,
Kar Maaf Madaaee, Ta Sodha Sukhiyani Thiyaan.

(Manzoor Ali Khan 1970)

وائي

منهنجي راڻل کي رحم پوي ڏور وڃو ڏينهن لائي
ڏور وڃو ڏينهن لائي، تنهن کي ڪو سمجهائي
ڇنا منجهه ماڙيون، اوڏانهين اڏائي
ميڙ مدائتي مينڌري، پانڌ ڳچيءَ ڳل پائي
منٿ منهنجي مينڌرو، مانَ مَ موٽائي
ڦٽيل مينهن فراق جا، ويٺي وسائي
سوڍا سِر پڻ گهوريان، ڪَرَ هو ڪاڪ ورائي
سرتيون شاهه لطيف چئي ,ايندم واڳ ورائي.

(Agha, 2005. P.118)

Vaaee

Munhinjey Ranal Khey Raham Pawey, Door Wanjio Deenh Laaey

Door Wanjio Deenh Laaey, Tenh Khey Ko Samjhaaey
Minth Munhnnjee Mendhro, Maana Ma Motaaey
Merh Mudaetee Mendhry, Paand Gichy paaey
Sodha Sir Pin Ghoriayan, Karho Kaak Waraey
Sartioon Shah Latif Chey Endum Wag Waraey

(Agha, 2005. P.118)

Translation:

He goes away, overstays, some some one may dissuade him

O mates, My beloved may take pity upon me,

O Mendhro, I am sending a deputation to reconcile with me,

I wish Mendhro would not turn down my request,

The wounded one is shedding torrents of tears

I will make offering of my life if he brought his camel,

Latif says, he may come from ludaano to me, the wretched.

Notation

R  R  R  m  D D  P P

P __P D n D   D D  S’ D   S’ S’

S’  S’   R’ R’  S’  n  n D S’  D  S’  S D  P

R  m D  S  n    D  P  m g  R

R R  D P D  m g  R

R  P  m g  R  S

The vocalist expressed deep desire of Moomal for Rano by a full throated rendition of musical vowels.

D  D  P   D  n  D  P   D  n  D  Pu

P  P  D n  , D  D  n  S,   n  n  S  R,  S  S  R  g

S n  D  P  m  P  D  P

Khan Sahib consciously pauses at  D -- D –m-D----P in alap, which

Created the impression that Rano has come to meet Moomal. Then he started to sing the.

بيت

ڪاڪيان قاصد آيو، راڻي پاس رمي

چڙهيو محمد مصطفيٰ^صہ دوست دم دمي

اڳيان خوف نه خطرو نه ڪو غم غمي

ڪونهي ٻيو ڪَرمي، جيڏو تو جهان ۾

Bait

Kakiyan  Qasid  Aayo Raney Paas Ramee

Charhio Muhammed Mustafa  Dost DamdameeS

Agyan Khuaf Na Khatro  Na ko Ghamghamee

Koneh Beo Karmee Jedo To Jahan maen,

(Agha 2006. P.117)

Notation:

R R R m D D P P

D n D  DD  S’ D S’ S’

R’ R’ S’ n n D S’ D S’ D S’ S D P

R m D  S n D P m g R

RR D P D m g R

R P m g R S

The vocalist expressed deep desire of Moomal for Rano by a full throated rendition of musical wowels.

D D P  D n D P  D n D Pv

P P D n, D D n S,  n n s R, S S R g

SN D P m P D P

Khan Sahib consciously paused at D-D – m – D --- p in alap, which created the impression hat Rano has come to meet Moomal. Then he started to sing the Bait.

بيت

ڪاڪ رييا ڪُهي ڇڏيو، راڻا تنهنجي رنج
سڪون ۽ سرنج، سوڍا ڪان تنهنجي.

Bait

Kak Riya Kuhee Chadio, Rana Tunhinjey Ranja,

Sikoon Aen Saranj, Sodha Kan Tunhinjey.

Translation:

He successfully rendered the feeling of waiting and sorrow in Sur Moomal Rano. ustad stayed on D- P creating an expression of pain of separation by Moomal for Rano. The character of Moomal as sung by the Ustad implored Rano not to forget her because she was his wife.

Allan faqir’s style vaaee

Introduction

It was a performance based solo style. Allan Faqir was totally lost in his devotional performance through the apt use of ley, sur. The greatest living exponent of the modified Vaaee form is Allan Faqir, Vaaee singers can clearly be said to constitute a distinct school of Sindhi vocal music. (Haroon 1988, p.19)

VAAEE BY ALLAN FAQIR

The Vocalist

Allan Faqir was born in 1932 at Aamri, a village in district Jamshoro of Sindh. Dhamali Faqir, his father, was a Duhilari or Duhil (drum) player. in their family men used to play Sharnay or Shehnaee and Duhil so naturally. Allan Faqir became part of that musical system. Allan Faqir was considered a very popular artist and he had fans in area outside of Sindh. He was the first artist who popularized the singing of Vaaee of Shah Abdul Latif Bhitai on the Television of Pakistan. Basically he was roving minstrel who also did skits to make people laugh on trains. Mumtaz Mirza a famous scholar and producer of Pakistan Television introduced him on Pakistan Television Karachi. After Allan Appeared on television. he further improved his singing by formally learning music from various Ustad Like Muhammad Yousuf, Mosiqar Niaz Hussain and others. Allan died on 4^th  July 2000. (Faqir Dhol, 1993, P-7)

Special Features

1. Allan Faqir has timbre which is rare style in the field of music, he has very high pitch and very long breathing capacity.
2. He has new style of Dambooro,and own unique style of playing that.
3. He was the best performer and its look was a tradional native Sindhi face.
4. His style of making Pagrhi(Turban) was very different.
5. He renderedVaaee of Shah Abdul Latif Bhitai with devotion and passion.
6. He combined two things in his performance of folk rendition of tunes and nuances of Shah Abdul Latif Bhitai”s Faqirs which performed at the shrine of Shah Abdul Latif Bhitai.

بيت

هُو پُڻ ڪِينهِين هِن ري، هيُ نَه هُنهِان ڌارَ،
الانسانُ سِرِي وَ انا سِرُه، پَروڙج، پَچَارَ
ڪَندا وِيا تَنوارَ، عالم عارف اهڙي.

Bait

Hoo Pin Koney Hin rey Hiyu Na Hin han Dhar,
Alinsan Sari v aana Srohoa Paroorij Pachar,
Kanda Viya Tanvar,Aalim Aarif ehree

 (Sur Asa, Baloch, 1994 p. 268)

Translation:

 “That” is not far from “this”, nor “this” is without “ that”

“Man is my secret and I am his this” understand,

The seers and knowing ones went on repeating it.

بيت

محروم ئي مري ويا، ماهر ٿي نه مئا،
چڙيءَ جيئن چهنج هڻي، لڏيائون لئا،
حباب ئي هئا، انهيءَ واديءَ وچ ۾.

Bait

Mehroom ee maree Viya ,Mahir thee na mua,
Chidi Jain Chunj Hani, Ladyaoon Lua,
Habab ee Hua, Inheea Vadeea Vich Maen.

(Khamisani  p-272273)

وائي

مون ۾ تون موجود! آءُ اڳاهين آهِيان!

آءُ آسُونِهين آهيان!

اَکِيُون اَکڙِيُن کي، سِڪيو ڪَنِ سُجُود،

آءُ آسونِهين آهيان!

آءُ آسُونِهين آهيان!

تيلانهن رَسِيُون بُودَ کي، جيلانهن ٿِيوون نابُودُ،

آءُ آسونِهين آهيان!

آءُ آسُونِهين آهيان!

ماڙُهِن جي موَٽڻَ جو، صاحِبَ هَٿِ سُجُودُ،

آءُ آسونِهين آهيان!

آءُ آسُونِهين آهيان!

اِنَ دَرَ سيئي اُگِهيا، جَنِ وِڃايو وُجُودُ،

آءُ آسونِهين آهيان!

Vaaee

Moon Maen Toon Maujud,

Aoon  Agaheen Anhiyan,

Aoon Assunheen Anhiyan!

Akhrhion Akharian Khey ,

Sikio kan  Sujud,

Aoon Assunheen Anhiyan!

Telanha Rasion Bood Khey,

Jeelanh thioon Nabood,

Aoon Assunheen Anhiyan!

Marhun Jey Motan Jo,

Sahib Hath sujud

Aoon Assunheen Anhiyan!

Ina  Dara Sabheyee Agiya,

Jin Vijayo Vujud,

Aoon Assunheen Anhiyan!

(Baloch. 1999, P. 384) (Sur Sri Raga)

Concept: You are present inside me (which shows that) my existence was already there, I am without anyguide.

Eyes are bowing in wait as I am without any guide.

People couldn’t find their existence unless they mortified themselves.

People will come back to the right path when they bow to Allah

Only those discovered their desires who diminish themselves.(Sarwat Ali, 2006)

Description

Vocal  Allan Faqir

Lyric (Bol)  Moon Mein Toon Mojood

Shah Jo Rythem   7 beat

Sur & Dastan    Sri Raag

Dambooro  Allan Faqir

Harmunium      Mumtaz Ali

Dholak(1)   Achar

Dholak(2)   Ramzan

Flute   Qasim

Dambooro   Khair Mohammad

Surundo    Faqir Mohammad

Daff   Wajid Ali

Recording by     Habibullah Memon and Abdul Qadir

Duration     8:32 

Recording Year   1998      

Venue Musmtaz Mirza Studio Karachi

Musical Analysis

This number by Allan Faqir Sri Raga in popular parlance known as Sur Sri Raga is representative of the typical style of Allan Faqir as it echoes the folk musical style of the street singers of Sindh. Though the Vaaee was sung in sur samundi, it was traditionally associated with Sur Sri Raga. Allan Faqir created further musical complexity with a bait sung in Sur Asa.

He began by chanting O Alla, Ho Alla Hoo Alla, with the accompaniment of Benjo, Surunda, Harmonium and Flute which created the musical ambiance. He then chanted the bait usually based on the verses of the Quran, usually two in number and it formed the perfect setting of the Vaaee.

After O Alla, Hoo Ala, Hoo, he then repeated the same bols followed by the playing of the three main instruments. On the surunda usually the same melodic line which had been sung was played, the flute played in the pauses between singing, while the Benjo was played simultaneously with singing. The prescribed tala was played on the Dholak with khuley haath like in a pakhawaj. There was neither any improvisational spurt nor any Tehaee. The entire number was sung in bilampal ley. The harmonium accompaniment was based on chords and during pauses the interval pieces like film composition were also played.

The musical rendition was generally based on Bilaval Thath and Allan Faqir switched from Asa to Samoondi, the two scales derived from Bilawal Thath. While Alla Hoo Alla was sung the Surunda was played simultaneously but in an actave lower. He then ended the Vaaee by reverting to the upper register.

While performing Allan Faqir also played his own Dambooro which had been tuned in mandar asthan and establishing the drone of the tonic note. The flute was also played in the pauses where sustained its own individuality.

The tala on the dholak consisted of seven matras which added to the gravity and intensity of the rendition.

Folk VAAEE

Introducion

Lok style of Vaaee singing is closest to the Kafi style singing.

“The pure “folk” Kafi school which depends upon the monumental contribution of artists such as Kanwar Bhagat, Faqir Amir Bux, the Faqir Abdul Ghafoor , Mai Bhagi and Zarina Baloch. Their output consistes of compositions from villages and dargahs (shrine of any saint) reflect the juxtaposition of two or more ragas in a characteristic folk structure”.(Haroon 1988, p.20)

This style of Vaaee is very popular in Sindh, we can see many people singing Lok style of Vaaee in their common life at different occasions and places, like in common gatherings, in pleasant events of life, folk songs and also during their meetings which are enriched with the passions of love and pleasure. This kind of Vaaee depicts the emotions of common people.

LOKVAAEE

(Zarina Baloch)

Description

Vocal Zarina Baloch

Harmonium Liaqat Ali

Benjo  Ghulam Mohammad

Daff   Mushtaq Ali

Dholak(1)   Karam Hussain

Dholak(2)   Gulab Khan

Tala   Keherwa

Tabla Nazir Khan

Venue Mumtaz Mirza Auditorium, Hyderabad, Sindh

Socio-Cultural Back Ground of Lasso! Style of Vaaee

While singing this Vaaee the basic aspect of requesting and convincing to make beloved one happy is shown.

Socially this Vaaee is sung for broken heart, angry relatives to make them happy, to hug them while singing and finish all the complaints of each other.

Actually this Vaaee depicts the aspect of humbleness and passivity and love for others.

Example :

بيت

مُون ڀانيو، مِزمانَ، هَميشَههَ هُوندا پِرِين،
ڪُهِي ڪَمِيِڻي هَلِيا، ڪَهَلَ ڪِيائُون ڪانَ،
ڏيئِي وِيا ڏاههِ ۾، سُورَنِ جا سامانَ،
جورو راتِ جُوانَ، جيڏيون! جَتَ ڪَري وِيا.

Bait

Moon bhayon mizmaan, hamaisha honda pireen,
Kuhi kameenee halya, khaal kayaoon kaan,
Daee wiya dehh main, sooran ja saman,
Jo raat jawan, jaidioon jutt karey wiya.

 (Baloch 1999, p.181) (Sur Desi)

Concept:

I have been assassinated in a single night as my brothers in law took away my love (Punhoon) with them.

وائي

پيرين پوندي سانِ، چوندي سانِ، رهي وڃو رات ڀنڀور ۾،
روزو پاڪ رسول جو، چائنٺ چمندي سان،
اُٺ ته آريءَ ڄام جا، واڳون وٺندي سانِ،
چڙهي جبل چوٽ تي، سڏڙا ڪندي سانِ،
سرتيون“شاهه لطيف” چئي، لوچي لهندي سانِ.

Vaaee

Pairen Pavandi San, Chanvandee San,
Rahee Vanj Raat Bhanbhor maen,  Alla!
Rozo paka Rasool jo,Chanth Chumandee san,
Utha ta Aareya Jam ja,Vagoon Vathandee San,
Chharhee Jabala Chota Tey,Sadrha Kandee San,
Adioon Shah Latif Chaey, Lochey Lanhandee San,

(Sayad 1991. P.172)

This Vaaee has been selected from sur Sassi Punhoon, In this Shah Abdul Latif says while presenting himself as Sassi.

The Vocalist

Zarina Baloch (1937-2005) is considered to be one of the most popular performers of Vaaee. She is also very popular. She is the only professional female singer, being a teacher by profession, she had to seek her father’s permission to perform. In the Sindh’s folk voices hers was the foremost and gained great popularity. She was seen as a revolutionary songstress during 1964-65 as she sang for the haris (peasants) and the deprived women. Hers was considered a representative voice of the deprived and depressed community of that area.For her services to Sindhi folk music., she was awarded pride of performance by the Govrnment of Pakistan (Jamro 2003, p80) (Sindhi Hameed (19-08-2006) KTN

Musical Analysis

Though it is closer to the  Lassi Style of folk tradition where no bait is sung as the performance began directly by singing the Vaaee. In this number she starts her singing from a bait chosen from Latif’s Risalo.

The Vaaee is not ornamented with graces like zamzama/ murkee rather the lyrics are sung, reminiscent of the folk style of singing. Before the asthai is sung, the all instruments in an orchestral manner established the melodic line. In this particular number after singing the bait she sings the asthai and then repeats it. The melodic line is played on the instruments.Since there is no system of notation in our music, the instrumental music usually follows the melodic line established by the vocalist. The same patten is followed in the three antras. Except in the last antara word like Jeeay Latif, Jeeay Latif. Tunhinjo Latif. Munnhinjo meaning (long) Time Latif, Your latif, my Latif are added.

All the three antras of this Vaaee, thematically vary while musically they are the same. Themeticaly they are about the hopes and the joys of meeting the beloved. The folk tale sung in Kohyari is about the Sassui Punhoon romance. At times, it appears that the more vivacious rhythmic tempo doesnot match the mood of supplications that characterize the lyrics. There is also mention of paying homage to the prophet (peace be upon him). This composition has been sung probably from centuries in the same manner and can be considered closer to folk rendering.

Sung style of vaaee

Introduction

The Sung form of choral singing with various Faqirs dancing during  a musical rendering owes allegiance to the Chishtia school of Sufi Song. If one were to somewhat stretch a point, the late Pir Hisamuddin Rashdi distinguished between the followers of Maulana Rum in Sufi poetry. This distinction between contemplative Sufism and a militant iconoclastic Sufism is mirrored in the different approaches that characterized Sufi music in Sindh A waae of Shah Abdul Latif Bhitai follows the Rumi tradition.

The Vocalist

Sohrab Faqir is the leadig vocalist of Sung style of Vaaee singing. He belongs to a family of musicians His father Hamal Faqir played he dholak. Sohrab Faqir was born at Talpur Vada village, Khairpur, Sindh in 1934. He was the shahgird (disciple) of Khetey Khan, who was from the Patiyala Gharana. Sohrab started singing when he was only 8 years old. He being a versatile artist has performed in many languages. He sanger kafi, Vaaee and other  forms of regional music. For his services to music he has been bestowed upon with the Shah Abdul Latif Bhitai Award, Sachal Sarmast Award by the Government of Pakistan He is not only popular in Pakistan but has toured abroad as well. (Jamro 2003, P. 71)

VAAEE IN SUNG

(SohrabFaqir)

بيت

شمعَ ٻاريندي شَب، پِرِهَ باکُون ڪڍِيون
مَوٽُ، مَران ٿي، مينڌارا! راڻا ڪارَڻِ ربَّ
تِنهنجي تاتِ طلبّ، ڪانگ اڏايم ڪاڪَ جا.
Bait

Shama Bareendey Shab,Pirha Bakhoon Kadhioon,
Mot Maran Thee Mendhra ! Rana! Karan Rab,
Tunhinjee Taat Talab, Kaang Udarium Kaak Ja.

(Agha,2005, P. 103)

Translation:

I kept the candle burning till the rays of sun appeared,
Come back, Mandhro, for God’s sake, I am dying,
Yearning and longing for you, I flew crows of Kaak,

(Agha,2005, P. 103)

بيت

ميان مينڌرا مُوٽ، بخش ڪَرِ بُڇائيون
تُون گهڻين جو گهوٽُ، مُون وروتون ئي هَيڪڙو

Bait

Mian Mendhra Mot Bakhsh Kar Buchhaiyoon,
Toon Gharhin jo Ghot, Moon Var Toon ee Hekro

(Agha,2005, P. 134)

وائي

آءُ، راڻا! رَههُ رات، تنهنجي چانگي کي چَندنُ چاريان.
مون کي آهي مينڌرا، وائي تنهنجي وات،
تنهنجي چانگي کي چندَنُ چاريان
راتيان ڏينهان روح ۾، تَنَ تُونهين جيِ تات،
تنهنجي چانگي کي چندَنُ چاريان
ويٺي نِتُ نِهاريا، اچين جي پرڀات،
تنهنجي چانگَي کي چَندَنُ چاريان.
اديون شاهه لطيف چئي، ڏاتر ڏيندم ڏات

Vaaee

Aao Rana Raho Raat, Tunhinjay Changay Khay Chandan Charian,
Raatian Deehan Rooh Maen Tan Tunhin Jee Tat,
Tunhinjay Changay Khay Chandan Charian,
Waytthe Nit Niharian, Acheen Jay Pir Bhat,
Tunhinjay Changay Khay Chandan Charian,
Moonkhay  Ahay, Maendhara, Vaaee Tunhinjee Vat,
Tunhinjay Changay Khay Chandan Charian,
Adiun! Abdul Latif Chhey,Datar Deen Dum Dat,
Tunhinjay Changay Khay Chandan Charian,
(Baloch 1999, p,346) (Agha,2005, P. 148)

Description

Vocalists   Sohrab Faqir, Jamal Din Faqir, Maula Dino Faqir, Ghulam Hassan Faqir, Sajan Faqir, Ashiq Ali Faqir

Harmonium Sohrab Faqir

Dholak (1)  Karam Hussain

Daholak (2) Amb

Shehnai     Imam Bakhsh

Flute   Mohammad Qasim

Duhil (big)  Mohammad Hassan

Recording by     Habibullah  Memon, Abdul Qadir

Venue Bhit Shah Saqati Markaz

Duration    12:20

Ley   Fast

Tala   Sindhi Kalwado (keherva)

Tabla Nazeer Khan

Daff   Ghulam Rasool

Dambooro  Aarab

Special Features

1. There is no Talee (rhythm by clapping) ) as part of the performance Like in a Qawali.
2. The rhythmic beat was established by playig the chapper (wooden pieces) with ghangroos (small bells) tied to theinr hands.
3. It had no singing in bilampat ley but in a faster tempo.
4. The dance was not properly choreographed bt but based on improvised movements.
5. The Bedar improvisation especially in the Sur Moomal Rano was rare practice.
6. The performace was mostly in the Upper Tetra chord.
7. They wore a costume which was Kesaree (Saffron yellow) coloured.

Musical Analysis

This Vaaee has been sung by many singers but in this performance each Faqir had distinguished himself with indiviuduality of his peculiar timbre and expression.They sang Baits from various Dastans (Chapter) of Sur Moomal Rano which gave the performance a bigger range and greter depth. For example Rano’s daily visit to Moomal and then returning back to Raja Hameer’s prison. Rano’s implorations to the camel very evocatively described by the poet are usually sung by them .The most peculiar feature of the Vaaee of  Sur Moomal Rano is that various singers also apply the notes which are not of the prescribed Sur as laid down by Shah Abdul Latif Bhitai.

Sohrab Faqir in particular has rendered the phrase

Jeevein Jeevein Toon, Sada Jeevein Toon

جيوين جيوين تون، سدا جيوين تون

in very cajoling manner bringing  to life the emotional state of Moomal.Though Rano usually started from the upper register, Sohrab Faqir starts Jeevein Jeenvein toon from the lower register before  he started to sing the Bait

Halo Halo Kaak Tar

هلو هلو ڪاڪ تڙ

And then  sang  the second line of the bait before  returning to the refrain Jeevein Jeeveintoon .This gave  a  cue to  Maule Dino Faqir to continue with the singing the Bait. Jalmaldin started to sing from  the upper register, making the  Madham the tonic note which facilitates  his singing in the upper  register.

Shama Baareendey Shab Pirh Bakhoon Kadhoon   

شمع ٻاريندي شب، پرهه باکون ڪڍيون

This was followed by Rang Ali’s rendition from the middle octace with

Dhola Tolaey Dhat mein

ڍولا تولاءِ ڍٽ ۾

He stayed on the tonic of the upper register and wound up his performance at that note. The application of the note, not  prescribed in the sur, especially the alap in sindhda had been much appreciated. Before starting the Vaaee

Aao Rana Raho Raat,

Tunhinjey Changey Khaey chandan Chariyaan

آءُ راڻا رهه رات،

تنهنجي چانگي کي چندن چاريان

Sohrab Faqir chanted

Naaraa-ey- Latif

نعرءِ لطيف

And rest of his group reciprocated by singing Jeeay Latif. Most of the times, he was also joined by the audience. They then broke into a faster tempo, preparing the ground for singing the Asthai. He then renders a Taan in the ascending order and touching the tonic note of the upper resgister,and then sang a Bait which only exist in the oral tradition and may not befound in the  Shah Abdul Latif Bhitai’s  published Risalos.

Then the second Antra start

Kanwal Choondeendaen Kaak Ja

ڪنول چونڊيندي ڪاڪ جا

He applied Komal Gandhar , slid to Komal Madham and then back to Komal Gandhar, before reverting to the tonic note in the upper register. He then sang the  Asthai in the lower resgister which was  rare and difficult . He then followed it by:

Katiyun  Kar Morya

ڪتين ڪر موڙيا

In the upper register without waiting for the Tehaee of the previous a Bait.

He completed the Bait by singing the second line in the middle octave, ending with the Pancham.Then a crescendo was achieved by combining the alap ,taans and complicated musical phrases. Then an other Antra was sung. Since it mentioned of Shah Abdul Latif’s name nom de plume it was taken to be the last antara. Also the name Shah Abdul Latif was chanted as “Teef” in the upper register.He created impact by staying on the upper tonic note. In  the mean time Jamal din Faqir from Dhevat sang in a desecending  movements followed by all the  Soung Faqir chanting in unisole  

Jeeay latif Sindhree Aabad Hujeay

جيئي لطيف سنڌڙي آباد هجئي

Which meant long live Latif and his land of Sinfh.

The Antra was sung again three different variation of the prescribed notes and it culminated in a Tehaae تهائي .

Vaaee in film

Introduction

Mostly for film pupose a composer selected popular tunes and made well known singers sing it. Vaaee in film was composed and sung in such a manner as to fulfill the requirements of a composite art form like the situation in the film the requirement of the character is them.

Socio-Cultural Background of film style Vaaee

In the decade of the 1970, many attempts wre remade to film the legend of of Moomal Rano by Syed Dada Shah of Khair pur Sindh, a famous political figure and lover of arts. The basic aim of Syed Dada Shah of Khair pur in wanting to produce Moomal Rano was to revisit the story of Moomal and Rano and revive the particular musical style of Shah Latif classified as sur. The story for the film was written by the prominent poet Tanveer Abbasi, who was particularly sensitive to the poetical nuance of Sindhi while writing the dialogues. (Changezi, 2006)

CLASSICAL VAAEE

(Madam Noor Jhan)

The film, despite many attempts, was never completed but was shot in patches. The project came to a halt with the death of its producer Syed Dada Shah of Khair pur, the musical score, howeve, was recorded in he process, seven numbers in all which also included a Vaaee by Madam Noor Jahan. Only four songs out of the seven survived and are now available and all of these became very popular. These songs were sung by renowned singers like Medhi Hasan, Roona Laila and Madam Noor Jahan. Acually Madam Noor Jahan had sung two numbers, a Vaaee and another song, both are available now. Madam Noor Jahan had sung it in such a way that it still touches the hearts of Shah Abdul Latif Bhitai admirers. (Maka 2006)

Noor Jahan was chosen by Dada because she was the foremost singer of her times. Her rendition of the Vaaee of Shah Latif meant reaching out to vast sections of the population which otherwise did not listen to the music of Sindh. This was in line with the effort to bring the Sindhi cultural traditions to the people at large.

The Vocalist

Madam Noor Jahan (1926-2000) was born on 21^st  September in Muhallah Kot Murad Khan District Qasoor.Her father’s name was Madad Ali Jeevna and the name of her mother was Fateh Bibi.Noor Jahan’s Auant Ilahi Jan was a famous vocalist of her time. Being from  a family of Musicians, Noor jahan started to sing in her childhood and  also started appearing in bit roles and movies. She beame the most famous singer of films in the nineteen thirties and fourties and also played leading roles on the screen. After appearing in the some of the box office success she migrated to Pakistan at partition and appeared in many films till she bade good bye to acting and only concentrated on music, (Ali, 2002, P 116).

She sang ghazals, geet, film songs, Tarana, duets, chorus, (Mento 1975 P25)

Being a versatile, she sang Shah Abdul Latif’s Vaaee in sur Moomal Rana (Mughal 1990, P. 30).

وائي

آءُ، راڻا! رَههُ رات، تنهنجي چانگي کي چَندنُ چاريان.
مون کي آهي مينڌرا، وائي تنهنجي وات،
تنهنجي چانگي کي چندَنُ چاريان
راتيان ڏينهان روح ۾، تَنَ تُونهين جيِ تات،
تنهنجي چانگي کي چندَنُ چاريان
ويٺي نِتُ نِهاريا، اچين جي پرڀات،
تنهنجي چانگَي کي چَندَنُ چاريان.
اديون شاهه لطيف چئي، ڏاتر ڏيندم ڏات

Vaaee

Aao Rana Raho Raat, Tunhinjay Changay Khay Chandan Charian,
Raatian Deehan Rooh Maen Tan Tunhin Jee Tat,
Tunhinjay Changay Khay Chandan Charian,
Waytthi Nit Niharian, Acheen Jay Pir Bhat,
Tunhinjay Changay Khay Chandan Charian,
Moonkhay  Ahay, Maendhara, Vaaee Tunhinjee Vat,
Tunhinjay Changay Khay Chandan Charian,
Adiun! Abdul Latif Chhey,Datar Deen Dum Dat,
Tunhinja

SINDHI ALPHABETICAL ENTRY OF VAAEE OF SHAH ABDUL LATIF BHITAI SUNG BY MALE VOCALISTS FOR ELECTRONIC MEDIA

Sindhi alphabetical entry of Vaaee of Shah Abdul Latif Bhitai Sung by Female Vocalistis for Electronic Media