By Arshad Mahmud
Amir Khusro is widely regarded as a pioneering force behind several musical traditions, most notably qawwali and that of khayal gayaki, a predominant modern genre of Hindustani classical vocal music. While qawwali commands the collective, ecstatic energy of the shrines, khayal gayaki has evolved into one of the most cherished, introspective, and widely practiced forms within classical music. Its expressive freedom and emotional depth have made it a favorite among music professionals, while its structural complexity and abstract beauty continue to captivate connoisseurs.
Sound Musical Business (SMB) Studios, in association with MoUSICi, has presented a number of compositions on its YouTube channel that are either attributed to or inspired by Amir Khusro, as a tribute to his enduring legacy. This effort is not merely a showcase of music, but a gesture of homage to a remarkable figure: a scholar, linguist, cultural visionary, and an exceptional musician whose influence continues to shape the artistic landscape of Southasia*.
The popular qawwali “Chaap Tilak,” attributed to Amir Khusro, has long held a cherished place in the repertoire of generations of qawwals, past and present. Its lyrical beauty and spiritual depth have ensured its lasting popularity across time.
Some time ago, I found myself reflecting on the verses of this celebrated qawwali, turning them over in my mind. A thought emerged: what if these very words were reimagined through the expansive, contemplative framework of khayal gayaki, a classical form also closely associated with Khusro’s legacy? I felt that shifting the perspective from the traditional qawwali rhythm to the nuanced improvisations of khayal might reveal entirely new shades of meaning, offering the composition a fresh, deeply meditative dimension.
Acting on this idea, I developed a musical arrangement in the khayal style and shared it with my small ensemble. Their response was both warm and encouraging, giving us the confidence to take the piece further and bring it into the studio. The idea of eventually incorporating the rhythmic music structure of the original qawwali back into the composition, however, was entirely that of Ustad Nafees Ahmed, an addition that beautifully bridged classical tradition and innovation.
From a stylistic perspective, this piece may be seen as a fusion of khayal gayaki and qawwali, bringing together two rich strands of Southasian musical heritage, anchored firmly in the classical weight of the former. More than that, it reflects the deep reverence that musicians in this region continue to hold for their artistic lineage.
For us, it is a humble expression of admiration and gratitude toward the genius of Amir Khusro, whose multi-faceted influence remains ever-present.
We hope that you experience the same joy and fulfillment in listening to this piece as we did in shaping and bringing it to life through the lens of khayal.
Arshad Mahmud is a renowned music composer, actor, and educator, deeply involved in preserving and innovating Southasian classical and contemporary music.
About Sapan Blog
This special edition of Sapan Blog is a collaboration between Sapan and MoUSICI.
The Sapan Blog is a space for reflection, commentary, and conversation by members of the Southasia Peace Action Network community. Here, Sapaners, journalists, peacebuilders, artists, and thinkers share personal essays and perspectives that connect Southasia’s stories, challenges, and triumphs. From culture to climate, sport to solidarity, these blogs go beyond the headlines to bring you the region’s heart and humour.
*Why do we write ‘Southasia’ as one word?
Because our histories are intertwined, our futures interlinked, and our struggles deeply connected.