Religious 'Music'- Sozkhwani

 

 Sozkhwani being recited at a Majlis-e-Aza

 Dr.Mazhar Naqvi

Sozkhwani, considered as a prelude to mourning assembly (Majlis-E-Aza), is a refined form of Marsiyakhwani (elegiac recital).It developed during the Nawabi era in Lucknow as a sad and somber but permissible style of music associated with Marasim-E-Azadari( Muharram rituals) .  The term was unheard till 19^th century .Before the advent of Sozkhwani as a distinct art based on Ragas, Marsiyakhwani dominated mourning assemblies arranged to recall the martyrdom of Hazrat Imam Hussain and his companions. When Neshapuri Nawabs firmly established their rule in Awadh and patronized Azadari being the descendants of seventh Imam Musa Kazim, Marsiyakhwani witnessed several developments and earned the status of an established art. These marsiyas were rendered in Dhrupad form and Syed Mir Ali was one of its great exponents. In Lucknow, Khwaja Hasan Maududi was the first musician who experimented with the traditional rendering of marsiyas and set some of them in different rags.

A great musician Haideri Khan, popularly known as Sirri Haideri in view of his qalandar like lifestyle, pursued the innovation introduced by Maududi. He set Nauhas in sad rags and the composition came to be known as Soz. The new setting included both marsiyas and salams with rag and ragini in the background. The art was further perfected by disciples of Syed Mir Ali namely Maulvi Qayum, Ghulam Abbas, Miyan Ahmad Ali Ata and Mirza Fida Ali. They removed all the joyful elements from ragas and composed numerous Soz on the various tragic events that took place in Karbala before the martyrdom of Imam Hussain. History of Awadh also reveals the names of two other sozkhwans Miyan Mamman and Mir Kallu Barchhiyat who developed their own style and contributed significantly to the popularity of Soz.

The work started by the duo was completed by Nasir Khan, a musician hailing from the family of great Miyan Tansen of Darbar-E-Akbari (Akbar’s Court).He along with his two noted disciples Mir Ali Hasan and Mir Bande Hasan developed soz to a musical form. Their Sozkhwani was based on all the traits of rags and it became so popular that it liberated itself from professional musician and prompted elite of the society to learn the art. Not only Imamis, even non-Muslims also learnt Sozkhwani out of their devotion to Imams and attachment to Majalis. Two members of the ruling family, Nawab Sultan Ali Khan and Nawab Hussain Ali Khan excelled in Sozkhwani to the extent that they occupy place next to Syed Mir Ali and Sirri Haideri.

Women too picked up Sozkhwani and did not lag behind their male counterparts. Inspired by the popularity of courtesans like Nanhi Begum, Haideri Begum and Muhammadi Begum, ladies from respectable families also learnt Sozkhwani and performed with excellence in the mourning assemblies of women. Last King of Awadh dynasty, Wajid Ali Shah, who himself was a noted musician, had also trained a group of women in the art of Sozkhwani but they were called as marsiyawaliyan.

Sozkhwani is rendered with an effort to conceal the ragdari even though it is melodious recitation. This is done keeping in view the sadness and mourning associated with Muharram rituals. It is always presented in a low tempo ( vilambit lai-Deferred tune)) followed by a high pitch. Sozkhwani is performed by at least three persons. The chief performer is called Sar (Head).The remaining two are referred as Bazus ( Supporters).When two additional performers are added they are called as AS and BAS. While AS maintains the sur (rhythm) in the absence of any musical instrument, BAS offers tonal variety in rendering soz. From the time of Nawabs till date, the style of reciting soz has by and large remained the same. This only indicates the perfection attained by the outstanding sozkhwans of 19^th century. The chief performer starts slowly with humming, sets the tune and his Bazus pick up the sur. The humming is followed by full-throated expansion of khiraj(Paying tribute) on the scale achieved. Professionals call the entire process as establishment of Tribute( khiraj qaim karna).The actual Sozkhwani begins after paying  khiraj. The standard practice is to start with a quartet or Rubai composed in rag considered appropriate for the occasion, followed by a lengthy soz wh8ich ends usually with a marsiya.

In his book. Guzishta Lucknow, Abdul Halim, Sharar who had stayed with Wajid Ali Shah in Matiaburj, Kolkata and considered to be an authority on Awadh history and culture, has given a detailed description of Sozkhwani. He has also mentioned the mass popularity attained by Sozkhwani and names of some sozkhwans who are now forgotten. Lucknow however still remains the center of Sozkhwani and every year a new breed of sozkhwans emerge. One can find children rendering Sozkhwani in large mourning assemblies not only in Lucknow but also in the villages famous for azadari. The art continues to leave mourners in tears and its rendering creates the atmosphere needed by Zakirs to deal with fazail and masaib during Majlis-E-Aza. Asghar Mustafabadi, Imtiaz Abbas, Farman Kazmi, Safdar Mukhtar  Ustad Sibte Jafar, Aun Rizvi, Bazmi Naqvi, Javed Muzaffrarnagri, Nurul Kanpuri and many others are keeping the tradition alive in Indo-Pak subcontinent at present. (References available on request)