These two books on Sufi Kalam have come as a blessing for Qawwali

Before cinema, Qawwali's scope was even wider. From public presentations to the Mahfilon and Jalas, it is burning. And whenever this flame landed on the screen of cinema, it took cinematic music to a high point.

The discussion of the last few centuries of music cannot be done without qawwali. Far from Istanbul to Iran, Kabul or Sindh, Lahore and Peshawar to Punjab, Awadh and Hyderabad, Qawwali music has an established method of singing. In this method, from the first light of the Mahfil-e-Samah, the Gugul-frankincense of many dargahs are smoldering and smelling. From the empty lakes of the emperors to the bread of the poorest of the poor, and how many steps from devotion to love have been chanting it as its tone. Qawwali is also a musical instrument, bella, rose and otter too.

Before cinema, Qawwali's scope was even wider. From public presentations to the Mahfilon and Jalas, it is burning. And whenever this flame landed on the screen of cinema, it took cinematic music to a high point. But such a deep-rooted manner was always categorized and left either to the kalam of the Sufis-saints and or it was considered the daughter of Ghazal's sister, Shero-Shayari. One genre of qawwali singing remained a particular genre, but no one bothered to classify it as a particular form of song-poetry.

This exile of Qawwali in Hindustan and Hindi is now ending with the beginning of the second decade of the 21st century. Suman Mishra, a young poet, Urdu lover and believer of Sufism, has done a great job of removing Qawwali from this cursed, abandoned, neglected state. This collection of Hindustani and Persian Sufi Kalams has been published in two volumes in about 800 pages. The first part is the box of Persian Sufi Kalam.