BRITISH qawwali maestro Chand Ali Khan regularly entertains audiences with amazing live shows.
He leads a group of incredibly talented performers and is part of a new generation, keeping centuries old tradition alive. The talented singer, currently on another UK tour, revealed his top 10 inspirations to Eastern Eye.
Nusrat Fateh Ali Khan: There are no words to describe the Shahenshah-e-Qawwali, Ustad Nusrat Fateh Ali Khan Saab (NFAK). Qawwali boomed globally due to his musical prowess and classical improvisations. He transcended language barriers and opened qawwali up to a whole new world. His versatility and all-round ability were magnificent. He was magic to those who knew him personally. There will never be another person like him in our generation or the next. His purity, humility and outstanding compositions motivate me to carry his legacy onward. I remember Haji Iqbal (the ex-secretary of NFAK) telling us stories of how humble Khan Saab was with his team, friends, and fans.
Nusrat Fateh Ali Khan
Rahat Fateh Ali Khan: The great Ustad-jee has continued to bless and further develop my training in qawwali. Since childhood, I spend around seven-eight hours a day practicing raag and perfecting our musical techniques. Watching how Ustad-jee practices highlights the intensity of the art we do. The direct one-to-one training I have with him motivates me to try harder, to consistently polish and refine my vocal skills.
Riyaaz: I often practice in isolation, alternating between vocal and harmonium. On a typical day, I focus on different raags and various vocal practicing methods to enhance my classical music techniques. Qawwali is an art and not something you can pick up in a day. It’s very gruelling and difficult work, which includes lifelong study to build solid knowledge and foundations, of concepts, musical notes, rules, regulation, music, improvisation and more. Like any vocation, whether a doctor, lawyer, or engineer, it requires rigorous lifelong learning. Beyond that, holding strong knowledge about our Islamic roots, heritage, Sufism, and history of Punjab helps gives contextual understanding behind the poetry and mastery of raag.
The stage: Live performances are everything to a true artist and always a surreal experience. The ambiance and electricity that connects us with audiences is unlike any other feeling. The crescendo and climax of qawwali with the love of our audience really energises us to push further vocally. So, we mean it when we say our audience is the most important part of any performance. In this post-pandemic era, it has been my highlight of interactions and regaining this lost connection. Every time, I know I must deliver my best performance to date. So, each great performance comes with great responsibility.
Chand Ali Khan
Wonderful words: The beauty of qawwali is the devotional and Sufi style of poetry, prayers, and thoughts as the base for every performance. I find qawwali gives internal peace and fulfilment to the soul, much like the nourishment I feel from my prayers and charitable endeavours. Written compositions of qawwali draw on the connections and spirituality towards Allah, Prophet Muhammad (PBUH) and the Awliya of Allah. The poetry hits people’s hearts through its relatability and applicability, often as an open topic within spiritual boundaries.
Leadership: Being a leader in the team is challenging. Having musical prowess doesn’t bring leadership and a good team by default. Nurturing this skill and supporting your team like family fosters good rapport and chemistry through our training. I have always looked up to my grandfather who instilled these values when I was young. I vividly remember how he listened, valued, and became entranced by the message of qawwali and spirituality to Allah. He was a great figure that guided me in this way.
Yeh Jo Halka Halka Suroor Hai: My all-time favourite qawwali. The composition and lyrics are masterfully hypnotic. NFAK Saab produced so many variations as impromptu improvisations that broke barriers. Its meaning is just so riveting and the raag it uses builds an amazing crescendo. There is a reason why some versions are over 60 minutes long.
Qawwali party members: I’m fortunate to call upon a large team within our academy. I continually work to help train and instil our qawwali techniques to standardise our collective talent in our particular Punjabi qawwali style. They continue to inspire me through their resilience, and what the future holds.
History: It always inspires me whenever I reflect on my journey as a torchbearer for an 800-year-old heritage. Qawwali is full of many masters and greats that have come before us – nurturing the quality of qawwali over the centuries. And yet today’s online family have probably never heard of them. Some of these Ustads, especially from the last century, continue to influence and inspire my qawwali style.
Parents: My parents are the heart and soul of my accomplishments. They have supported me through thick and thin and continue to be my biggest fans. Without their endorsement, I would not be where I am today.
AN ASIAN writer has explained how his new book makes Britain’s imperial past “accessible, engaging and thought-provoking” for a younger audience.
Award-winning author and journalist Sathnam Sanghera’s new book, Journeys of Empire, explores empire through 10 journeys he described as being “extraordinary”. Sanghera said his book, published last month by Puffin UK, is “a way of helping children understand how Britain’s biggest story still shapes the world today.”
“We’re not taught this history very well,” he told Eastern Eye.
“The empire is morally complex – sometimes we were good, sometimes bad – so, how do you even begin talking about it? It’s also contentious. There are millions of us whose families were colonised, and millions whose families were the colonisers.”
Teachers cannot teach what they themselves were never taught, Sanghera pointed out.
“There are multiple layers to why British people are so bad at talking about this history. It touches on race, misogyny and geopolitics. It’s easier just not to talk about it.”
And , the cover of his book
Following the success of his bestselling children’s title Stolen History, Sanghera’s this latest work continues Sanghera’s mission to write for readers aged nine and above. With a focus on human experiences, Sanghera said he wanted show that history is not just a list of dates or conquests – it’s a tapestry of stories that connect people.
Born in Wolverhampton to Punjabi immigrant parents, he began school unable to speak English. Later he graduated with first-class honours in English language and literature from Christ’s College, Cambridge.
He has since built a career as a writer and journalist.
His memoir, The Boy with the Topknot, and his novel, Marriage Material, were both shortlisted for the Costa Book Awards. Empireland, Sanghera’s exploration of Britain’s colonial legacy, was longlisted for the Baillie Gifford Prize for Non- Fiction, named a Book of the Year at the 2022 National Book Awards, and inspired the Channel 4 documentary series Empire State of Mind.
His first children’s book, Stolen History, introduced young readers to the complex and often overlooked realities of empire. With Journeys of Empire, Sanghera aims to go further. “When I finally learned about the British empire, it changed how I saw myself, how I saw Britain, and how I saw India,” he said.
“It seemed obvious that you’d want to give this gift to young people – because your 40s is a bit late to be learning all this.”
Sanghera said the 10 journeys in the book take readers across continents and centuries, revealing both the ambition and the brutality of empire.
“The British empire covered a quarter of the world’s surface and a large portion of its population. It was seven times the size of the Roman empire,” he said.
Aiming to ensure diversity in both perspective and geography, Sanghera said he chose stories from various countries and different phases of the 400-year history.
Alongside India and Mahatma Gandhi, readers will learn about Guyana’s indentured labour system, Gertrude Bell’s adventures in Iraq, and the British invasion of Tibet led by Francis Younghusband.
“I wanted to highlight areas often left out of mainstream narratives,” the writer said. The stories are written with an accessible and honest tone, and with humour.
“Violence is a tricky area,” Sanghera said. “You can’t go into graphic detail, but you also shouldn’t whitewash it. The violence and racism of colonialism were intrinsic. “I tried to strike a balance - acknowledging the brutality without overwhelming young readers.”
Writing for children isn’t much different from writing for adults, Sanghera said.
“You still need engaging stories and to hold attention. The main thing is to avoid big words that might put them off.”
He pointed out how storytelling can counter the allure of digital screens.
“Kids are addicted to screens, and reading rates are falling globally. That’s disastrous for mental health, intellectual development, and politics,” he said.
“When you get news from screens, you’re in an echo chamber – you’re not being challenged or taught to think in a nuanced way.”
Sanghera’s hope is that stories of Journeys of Empire – from pirates to princes and explorers to rebels – will draw in young readers to a world of curiosity and reflection. He said, “The British empire is a complex story. Even the ‘good guys’ had flaws. That’s what makes it worth understanding.”
At the heart of his book is a message about complexity and contradiction. “The empire involved slavery and the abolition of slavery. It caused environmental destruction and inspired environmentalism. We live in a world that struggles with nuance, but that’s what makes us human,” Sanghera said.
“My hope is that readers – kids and adults – learn that opposite things can be true at the same time.”
After six years of writing about empire, Sanghera said he’s ready for a change. His next book will focus on the late pop star George Michael, due out in June next year.
“I thought George Michael would be a nice break from empire. But then I learned that his father came from Cyprus - which was under British rule. The reason he left Cyprus was because of the British. So, even George Michael’s story connects back to empire. You can’t escape it, wherever you go.”
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