Abstract

The word sama has been a contested term as far as Islam and tasawwuf (Islamic sufism) is concerned. The literal meaning of sama is listening and Mahfil-e-sama (musical concert) is specifically organised to attain wajd (spiritual ecstasy) and to connect with the divine. Mahfil-e-Sama has been an integral and essential part of sufism. As far as the Firdausia silsila, (order) of Bihar Sharif is concerned, it took a more contemplative and subdued approach to sama, whereas the Indian Chishtiya order is renowned for musical taste and played a major part in the formation of this tradition especially through Qawwali. In contrast to other Indian sufi orders, this paper examines the theological, spiritual, and performative dimensions of Mahfil-e-sama within the Firdausia order of Bihar Sharif. It looks at the Firdausia order’s attitude towards sama, its functions in their spiritual practices, and in what way their methodology is different from that of other sufi silsila.

Keywords: Mahfil-e-Sama, Qawwali, Sufism, Firdausia silsila, Bihar Sharif

Introduction:

The Arabic word “sama” means “listening,” “hearing,” or “audition.” In addition to being a sort of mystical concert, it is most commonly interpreted as “listening to music.” Sama, or mystical concerts, are organised in Sufi circles with the intention of fostering a state of wajd (spiritual ecstasy). Makhdoom Sharfuddin Ahmad Yahya Maneri[1][1263–1381 AD] in his letter number 93 affirms the significance of music listening and states that it is not only acceptable but also good to listen to music when one is experiencing “ecstatic outpourings” (Maneri 383). In addition to the definition of wajd, which was covered above, also refers grief. The mystics frequently use the terms “wajd (grief) and wujud (finding)” in sama to refer to two distinct states. In contrast to wujud, which is linked with getting the desired, wajd is connected to “grief.” Therefore, “finding” in the truest sense is “achieving the desired object,” whereas “grief” is “losing the beloved and failing to gain the object of desire.” (Al-Hujwiri 519). 

About Sufism:

The term “tasawwuf,” which comes from the Arabic language, is commonly presented as “mysticism,” “spiritualism,” or “sufism.” However, spiritualism or mysticism is not exclusive to any one religion; rather, it is present in practically all of them. We hear terms like Buddhist mysticism, Christian mysticism, Hindu mysticism, and Islamic sufism for just this reason. 

Generally speaking, mysticism separates itself from the external elements of any religion and focuses on its core ideas. “Tasawwuf” is basically a path to seek divinity and its route is intrinsically present in Islam, and the ones who adhere to it are Sufis.

The Four Main Salasil or Orders of Sufi Tradition in India:

In Abul Fazal’s Aain-e-Akbari, we encounter a total of fourteen salasil[2], including those like “Chishtiya,” “Qadriya,” “Suhrawardiya,” “Naqshbandiya,” “Firdausiya” etc. Of the four main salasil that are practiced in India, sharia (Islamic law) is thought to be the main source for giving the right direction; however, there are a number of areas where they differ. (Mujeeb 283-284).

The Chishtiya order’s Sufis traditionally kept themselves alienated from the courts and kings. The Khanqah[3] of this silsila was always accessible to all cultures and religions. This silsila’s main goal was to achieve spiritual love. (Rahman 25). Khwaja Muinuddin Chishti[4](1143-1236 CE) laid a strong focus on aiding all of God’s creations and on divine love. As a result, his teachings had an impact on every section of society. (Khanam 66). Since music is not forbidden in this silsila, people can achieve wajd through sama, or musical assembly. (Subhan 176). The famous Sufi saint of the “Suhrawardiya silsila,” Bahauddin Zakariya (d.1262 CE), never separated himself from sama, despite the fact that “Suhrawardiya silsila” hardly pay attention to sama (musical assembly) as compared to “Chishtiya silsila”. Suhrwardiya silsila never strayed from the path of sharia and always complied with its regulations. However, they also continued to have cordial relations with the rulers. Sultan Iltutmish was quite close to Bahauddin Zakariya, who even used to participate in a number of political affairs. (Khanam 136, Mujeeb 138).

A Cursory Glance on Firdausia Silsila and Bihar Sharif:

The four main Sufi salasil on the Indian subcontinent are “Chishtiya,” “Qadriya,” “Suhrawardiya,” and “Naqshbandiya”, as previously mentioned. Besides these four, Firdausia silsila is equally significant silsila that exists at several places in the state of Bihar, especially at Bihar Sharif and Maner. Actually, it’s branch of Kubrawiya silsila, but it eventually marked its completely unique characteristics within the sufi salasil. Kubrawiya is also an extension of the well-known Suhrawardiya silsila. Firdausia Silsila did not attain the prominence that it richly deserved.

Najmuddin Kubra (1145–1221CE) and his gifted pupil Saifuddin Said Bakharzi (1190–1260 CE) are credited with establishing the “Firdausia silsila.” (Khanam 180). The well-known master of the “Firdausia silsila” and spiritual guide of Makhdoom-e-Jahan, Shaikh Najibuddin Firdausi (d. 1322 CE), was Sheikh Nizamuddin Aulia’s (b. 1238 – d. 1325 CE) contemporary, and his dargah is located in Mehrauli, Delhi. (Rahman 33). There are several branches of Firdausia silsila in the state of Bihar but I would basically like to focus on the branch located at Bihar Sharif.

Bihar Sharif is a historically and culturally significant town. It currently functions as the Nalanda district’s headquarters. For ages, the city has served as a hub for religious, cultural, and educational centre. The city is well-known for its historical significance as well as its numerous historic monuments, shrines, and buildings that exhibit a fusion of Islamic, Baudh, Jain, and Hindu influences. During the period of Gupta and Pala (5th -12th century AD), the city was originally connected to Nalanda, a globally famous University. Bihar Sharif’s longstanding ties to education can easily be felt by the presence of nearby Nalanda University. Mosques, tombs, hospices, and other buildings that remain as historical markers in the city were built with the help of numerous rulers, notably the Sultans (Delhi Sultanate) and the Mughals.

One can view Makhdoom-e-Jahan’s presence at Bihar Sharif as a quintessential representation of unity in diversity. This fact gets vindicated with the emergence of Buddhists and Jains monasteries (at Nalanda, Rajgir[5] and Pawapuri[6]) co-existing within the range of twenty five kilometers from Bihar Sharif. The suffix ‘Sharif’ seems to have been coined after the death of Makhdoom-u-mulk especially as a symbol of respect and reverence. After spending a number of years in meditation and humanitarian work at Rajgir’s Makhdoom Kund, he finally settled at the khanqah (hospice) in Bihar Sharif. Dargah (Shrine), where ‘urs’ is celebrated,of Makhdoom-e-Jahan is located at Bihar Sharif (80 Kms. from Patna, the capital of Bihar) and is commonly known as ‘Badi Dargah’ (Chief/Grand Shrine). Visitors from a variety of backgrounds come to pay reverence on this particular shrine, especially on the occasion of urs, which reflects the cultural syncretism of Bihar Sharif.

Difference between Sama and Qawwali:

Despite their apparent similarity, “sama” and “Qawwali” are actually significantly different from each other. When performing Qawwali, Qawwals[7] use loud, heightened drumming and tabla beatings, however when performing sama, they are told not to use these instruments in high intensity. For them, the blessings of a revered Sufi are more significant than financial gain. Since Sama’s performance is entirely different from that of the “film Qawwali,” it cannot be viewed as merely entertainment. It is considered ibadat (worship) and should only be conducted in front of the spiritual authority or pir. Apart from this. it can not be bracketed within the category of regular social functions. In 2000, famous musicians Sabri Brothers and “Nusrat Fateh Ali Khan” were restricted from performing at the yearly “urs” celebration in Pakpattan. (Rozehnal 222).

Purpose and Importance of Sama:

            The Holy Qur’an was properly recited in place of music in early Islamic mysticism, and this had a strong emotional and personal impact. Later on, it was also acceptable to recite lyrical compositions and poetic stanzas, based on some tradition associated with Prophet Muhammad (PBUH) and his companions. Some mystics adopted music as a way to achieving wajd (ecstasy) as sufism gained popularity. (Subhan 112). Sama has been used in Sufism to develop a closer relationship with God, it is true, but not all Sufi orders have adopted this practice for spiritual growth.

 While the Chishtis have embraced sama with open arms, some orders, such as Naqshbandiya, have discarded the concept of sama for mystical journey of soul. Conversely, Firdausiya silsila has shown a balanced approach to sama. Firdausia order maintained a distance fromsama in normal days while on ‘urs’ it is held in the Khanqah (hospice / lodge) from night till dawn.

Theological Debates on Sama:

In the book “Kitab al-Luma,” Abu Nasr Ali as-Sarraj (died 988) goes into great detail about listening to music. He cites Hadis[8] that suggests Prophet Muhammad (PBUH) was not entirely opposed to poetry reading and its blending with musical instruments, so music shouldn’t be classified as haraam (unlawful) in itself. The foremost Islamic mystic and philosopher, Al-Ghazali, in his classic “Ihya ulum al-din (The Revival of the Religious Sciences),” originally in Arabic language written in the eleventh century, also argued that sama is permitted and completely within the boundary of sharia. As far as the beginners or commoners are concerned it is not appropriate for them, including women and youngsters. (Pemberton 117-122). Ulema[9] firmly believe that since music violates sharia[10], it is forbidden in Islam. On the other hand, in some Sufi salasil, it is often recommended rather than prohibited or restricted. (Subhan 112). 

Views of Different Sufi saints on Sama:

In his seminal work on mysticism, “Kashf-ul-Mahjoob,” Al-Hujwiri (R.A.) [1009-1072/77 CE] discusses the lawfulness of sama in considerable detail. He explains that it depends on the situation and cannot be fully professed. “if audition (sama) produces a lawful effect on the mind, then it is lawful; it is unlawful if the effect is unlawful, and permissible if the effect is permissible.” he adds (507). The well-known Sufi master and architect of “Ruzbihaniya Silsila”, Ruzbihan Baqli (d. 1209 CE), too divided sama (music listening) into three categories:

1. For commoners: They only listen to it by physically being there, which is sort of begging.
2. For privileged: they listen to it with a searching heart. 
3. “For the elite of the elites”: they listen to it from a loving soul. (Ernst 102).

Sama, or mystical concerts are organised exclusively to induce wajd. At this point, Sufis begin to dance, either by themselves or with others. (Subhan 113). There are instances when ecstasy is induced simply by hearing the sound. Words and meanings are irrelevant to it. (Maneri 385). “Whenever a dervish claps his hands while listening to music, he expels sensuality within him; whenever he stamps his foot upon the ground, he ejects lust inside him”, says the “Messenger of Allah (PBUH),” as reported by Abu Sayeed Abul-Khair (R.A.) (Maneri 390). 

Performance of Sama in Firadusia Silsila of Bihar Sharif:

Sama is commonly referred to as “Qawwali” in India, and the singers are called “Qawwal.” Sama was segregated into three categories by Makhdoom-e-Jahan: permitted, prohibited, and lawful. When questioned about it, a respected Sufi stated: “Sama is desirable for those devoted to God, permissible for those who vacillate, and improper for people given over to sensuality and pleasure” (Maneri 387). While singing “Qawwali” has been highly valued in Chishtiya and other salasil, the “Firdausia silsila of Bihar” forbids Qawwali celebrations outside of the saints’ “urs”. Qawwals are allowed to “sing but they are not allowed to use musical instruments” in large numbers. (Pemberton 143).

Dargah (Shrine), where ‘urs’ is celebrated,of Makhdoom-e-Jahan is located at Bihar Sharif and is commonly known as ‘Badi Dargah’ (Chief/Grand Shrine). ‘Urs’ is celebrated annually at Badi Dargah at Bihar Sharif on the fifth day of Shawwal, which is also the fifth day of the Eid-ul-fitr festival. Millions of devotees of Makhdoom-e-Jahan, irrespective of cast, creed and religion, attend this auspicious and important occasion with utmost reverence. Since “Urs” is celebrated on the fifth Shawwal and continues until the tenth Shawwal. So in a lighter spirit, it is stated that the celebration of Eid[11] continuesat Bihar Sharif for ten days. 

On the celebration of ‘urs’ (which I witnessed in the year 2022) of Makhdoom-e-Jahan, who belongs to Firdausia silsila, the Mahfil-e-Sama is organised at the mosque of the khanqah in Bihar Sharif. This eventis performed by people comprising a group of three to five including one Qawwal, one Harmonium player, one Dholak player along with two to three clappers. Mostly the Qawwal / lead singer himself play the Harmonium. So, they may perform with a smaller number of accompanists and the organisers’ budget get minimised. In addition to this, they’re offered more chances of showcasing such shows due to minimal expenses involved. Usually Mahfil-e-sama is organised at late night around 2 am and it lasts before the sunrise. Sama discontinues twice, first at the time of fajr azaan (early morning call to prayer) and second at fajr prayer. The period between call for namaz and offering is of 30 minutes and during this interval thesama remains continued. Finally, it resumes after the fajr prayer and ends at around 5:30 am (depends on the season) or before the sunrise but without mic and speakers. Qawwals have to use their own voice and projection. The sajjada nashin (spiritual heir) of Bihar Sharif’s Firdausiya silsila also take part in theMahfil-e-sama (mostly in the beginning)but in between he takes a break and rejoins in the event mostly after the fajr prayer and stays till the end.Typically, the sama usually includes some verses manqabat or poetry in accordance with the practices observed in the life of said Sufi. e.g.

_{Mahfil-e-sama’s performance during Makhdoom-e-Jahan’s “urs” in Bihar Sharif in 2022.(Pic credit: Dr. Shakir Tasnim)}

_{The Sajjada Nashin (spiritual heir)along with the follwers at the time of Mahfil-e-sama on the ‘urs’ celebrationof Makhdoom-e-Jahan at Bihar Sharif, year 2022. (Pic credit: Dr. Shakir Tasnim)}

The three under mentioned points have been explained with regard to Mahfil-e-sama by Makhdoom-e-Jahan, the great master of Firdausia silsila. These three important factors were closely adhered to and taken into account by this silsila while organising Mahfil-e-sama during the ‘urs’ of Makhdoom-e-Jahan at Bihar Sharif.

1. Role of Zamaan (Time): When the listener’s heart is at peace and unencumbered by any material attachments and desires. This should not be scheduled at sunrise or sunset, or during the time when people have other commitments, such as prayers.

As prescribed by Makhdoom-e-Jahan, special attention is given to the time during arranging musical concert on the festive occasion of ‘urs’ of Makhdoom-e-Jahan at Bihar Sharif. The Mahfil-e-sama is only organised when all the rituals at Badi Dargah (shrine) is completed i.e. devotees are completely at peace and unencumbered by lust and desires from the outside world. Therefore, the musical concert starts late at night. At this particular point of time, there is a least chance to get distracted and time itself gives full peace of mind too, so it is easy to maintain this harmonious state till or before sunrise. Meanwhile, it is mandatory too to stop at the time of call to prayer (and all the followers know it) and must stop on or before sunrise.

• Role of Makaan (Place): The ideal location is a remote area or the khanqah of a spiritual mentor. To stay away from any sort of disturbance, the area should be tidy, clean, well-ventilated, bright, and sunny, and free of odour.

Since Mahfil-e-sama is arranged inside the khanqah’s mosque, it is evidently a clean and orderly space with excellent ventilation. In addition, mosque offers a certain privacy that allows followers to focus on their goals and it hardly distracts the mind.

• “Role of Ikhwan (The people / Company)”: The group must comprise of friends, dervishes, and “ahl-e-zauq (people of taste)”. The group must not have sanctimonious mystics, cavalier sufis, music critics, and rude persons during sama since their negative reflections will have a detrimental effect on the entire interested people.

The majority of those who attend the musical concert are members of the same or different salasil (orders). They are therefore aware of the customs and manners of sama, and there would be no people in the assembly who disagrees with Mahfil-e-Sama. While listening to sama, the majority of devotees wear skull caps on their heads and dress properly, typically in fully covered clothing such as kurta-pajama or pant- shirt (“Ernst 105-106, Pemberton 118”). 

Participation of Women in Mahfil-e-Sama at Bihar Sharif:

Regarding women’s presence in Sama, “Firdausia silsila of Bihar Sharif” thought that women’s participation shouldn’t be promoted. Women and kids are restricted from entering the “main assembly hall (mahfil khana)” of the shrine for Mahfil-e-sama at night during the “urs” of Khwaja Muin-ud-din Chishti. (Pemberton 123-124).

Conclusion:

The Holy Qur’an contains no passage that discusses music specifically. The Prophet’s (PBUH) sunnah (Prophet’s “traditions and practices”) has some anecdotal evidence, but these are not suffient enough to provide a convincing argument against or for music practice. (Michon 153). While “listening to music” is not strictly forbidden in Islam religion and is not even considered as haraam (illegal). But it is recommended that people who “lack complete control over their nafs (lower selves)” should refrain from doing so as they would be more focused on the music’s external and superficial content. (Pemberton 118).

Sama has always been a subject of dispute in Islam. There is disagreement within the Sufi community regarding the presence of sama, although the Prophet Muhammad (PBUH) never explicitly rejected it. As far as “Firdausia silsila of Bihar Sharif” is concerned, its performance is completely acceptable under specific restrictions and conditions and can only be performed in presence of a pir. To be a part of sama function is permissible until it aids in overcoming the challenging phases of the mystical journey. Because it is quite difficult to pin point the difference between “a real and fake state of ecstasy”, so the beginners must refrain from it and the elderly should practise it under the guidance of their mentor.

Endnotes:

---

[1]The famous Sufi saint of the Firdausia silsila (order). He was the architect who played a key role in elevating the Firdausia Silsila to its highest level of magnificence. “Makhdoom-e-Jahan” (Master of the world), “Makhdoom-ul-Mulk Bihari,” and “Makhdoom Saheb” were kind ways to refer to him. The annual ‘Urs’ (death anniversary) is celebrated from 5^th shawwal to 10^th shawwal at Bihar Sharif (80 Kms away from Patna, the capital of Bihar) in his reverence and commemoration. His collection of one hundred letters, known as “Maktubat-e-Sadi,” treated as a “working manual” in Sufi circles.

[2]Plural of silsila. Similar to how a chain is joined in the proper order, the murid (disciple) and his “Pir (spiritual master)” are linked through the string of ba’it (allegiance). This relationship persists through the generations and ultimately reaches Prophet Muhammad (P.B.U.H). Technically, this network of spiritual ties is called “silsila (order).”

[3]The Khanqah serves as a gathering and resting area for Dervishes and Sufis. It became popular for Sufis who belonged to a particular silsila to organise an institute akin to a khanqah (hospice) or dargah (shrine). It gained a lasting impression and increased in impact after being institutionalised. (Mujeeb 147).

[4]He is respectfully called as Khwaja Gharib Nawaz. He was originally from Sistan and settled at the beginning of 13th century in India, where he spread the doctrine of “Chistiyya silsila”. His dargah (shrine) is in Ajmer, Rajasthan. For his devotees, this is a site of great reverence. Emperors like: Shahjahan, Aurangzeb, Jahangir, Razia Sultana, Akbar, and Iltutmish all paid it a visit.

[5] The town prides itself for being the sacred place for both Baudhs and Jains. The ancient name of Rajgir is Rajgriha which means “The city of Kings”. It, too, is situated in the district of Nalanda, Bihar. It boasts of being the first capital of Magadh empire and the capital of Haryanka Dynasty. Mahavira spent more than a decade at this place. During the reign of Ajatashatru, the First Buddhist Council in 483 B.C has its convention at the Sattaparni caves in Rajgir. Rajgir’s Makhdoom Kund is a famous thermal spring which attains its importance also for being the prayer site of Makhdoom-e-Jahan.

[6] Pawapuri is situated at Nalanda in the state of Bihar. It is a sacred place for the Jains. It lies at a distance of 19 kms. from Rajgir and 25 Kms. from Bihar Sharif respectively. Mahivira attained kaivalya (enlightenment) at this very place and Jal Mandir here is a well-known pilgrimage site and attracts tourists from around the globe.

[7] Singer who sings Qawwali.

[8] The Hadis, a collection of the Prophet Muhammad’s (PBUH) sayings and actions, is regarded by Muslims as a primary source of moral instruction and religious law.

[9] Islamic theologists / scholars

[10] Religious laws of Islam

[11] As per the Islamic calendar, Eid-ul-fitr (abbreviated as Eid) is celebrated on the 1st day of Shawwal month. Eid is a festive occasion that typically lasts for three days. But in Bihar Sharif, fesival of Eid is observed for 10 days and may be calculated like this: from 1^st shawwal to 5^th shawwal (as Eid) and from 5^th to 10^th shawwal (Eid in form of urs celebration of Makhdoom-e-Jahan).