KARACHI: A central pillar of the culture of , or mourning for Imam Hussain, his family () and companions, across the world is the poetry, lamentation and eulogies recited in remembrance of the Imam. soz-o-salaam, marsiya nauha

Consisting of such forms of expression as and in the subcontinent, these poetic lamentations help mourners visualise the events of Karbala and make hearts receptive to both the Imam`s grief and his message. Ayyam-i-Aza majalis Arbaeen chehlum

As soon as the , or mourning period (lasting from Muharram to the first week of Rabiul Awwal), begin, Karachi like other parts of the country begins to echo with these heart-wrenching eulogies that are recited at countless (mourning assemblies) as well as during the major mourning processions taken out especially on the ninth and tenth of Muharram as well as , or the Imam`s . azadari azadari

Poetic tributes to the Imam are a common feature of across the Arabic-, Farsi- and Urdu-speaking worlds (as well as in other languages wherever the martyrs are mourned). But in Karachi these tributes have taken on a distinctiveness that combines the features of the traditional of the subcontinent as well as influences from the Arab world and Iran. Soz-o-salaam marsiya majlis fazaail masaaib Soz marsiya rubayy sozkhwani sozkhwans

and are usually recited before the main , which itself consists of the (praise) and (sufferings) of the Imam recited by a scholar. , a sub-genre of the more elaborate , is recited, as with all religious eulogies, a cappella, and is based on or quatrains. Perhaps the most active name in in the city currently is Prof Sibte Jaffar, who has trained various young in the sublime art. soz salaam salaams Karbala ho chuki tayyar majlis taqaddam waladi

Whereas is mournful (as the name implies, it is supposed to warm hearts), seems to highlight the heroic qualities of the martyrs just as much as their sufferings. The more well-known include Ashraf Abbas`s , which is recited on the morning of the ninth of Muharram before the main in Nishtar Park. The heart-wrenching rendition, which visualises Imam Hussain`s conversation with his son, Hazrat Ali Akbar, in which the Imam prepares his young, beloved son for battle with the words (`move forth, my son`), is enough to move the whole congregation to tears. Shuja Rizvi is also fast becoming a much sought-after name where reciters of salaam are concerned. Marsiya marsiya marsiyakhwan bazoo

is the genre from which all eulogies spring. In its modern form it is basically an epic poem of lament. Though was a part of pre-Islamic Arab culture, today it is almost exclusively associated with Imam Hussain and his valiant stand at Karbala. The lead is accompanied by two or three other reciters — known as — who form a hypnotic chorus. kalaam marsiya kalaam

The genre is dominated by the of giants such as Anees and Dabeer, as well as later greats such as Josh, but perhaps the greatest proponent of modern is Prof Hilal Naqvi, who incorporates various abstract metaphors and symbols into his . marsiyakhwani Ayyam-i-Aza

There was a time when gatherings of were regularly held in the city during the , but they are not that common today, with the main one usually organised in Ancholi Society. nauha masaaib matam

But perhaps the most well-known and recognisable form of lamentation for the Imam is , which is mostly recited after the have been delivered. It is recited in such a rhythm that mourners can perform to match its cadences. Nauhakhwans majalis ziyarat nauhakhwan majlis ziyarat

have become recognisable names, so much so that organisers of or tours to the holy places in Iraq, Iran and Syria often publicise the fact that so-and-so will be reciting at the or will be accompanying the caravan proceeding for . nauhas nauhakhwans

While there has been a very positive transformation in sound and recording quality compared to the recorded of decades past, many traditionalists do not approve of the flashy styles and slick videos of young , considering the sanctity of the subject matter. nauhas nauhakhwans nauhakhwani nauhakhwans

However, compared to classical , many young have incorporated a sense of hope, mixing it with the traditional grief-laden subject matter of the poetry. This has been done by highlighting the revolutionary nature of the Imam`s stand at Karbala. Many have also been influenced by 1979`s Islamic Revolution in Iran and embellished their work with elements of contemporary Iranian . Some major of the city include Nadeem Sarwar, Ali Safdar Rizvi and Ali Deep Rizvi. soz-o-salaam marsiya nauha

Whether it is , , or , there are some common themes and symbols that are found in all these forms of expression. The overriding theme, of course, is the immense suffering faced by Imam Hussain and his unmatched valour and unshakable courage in the face of oppression. But there are other symbols under the umbrella of this theme that help link the mourner`s heart to the reality of Karbala. al atash Ahlul Bayt

These include the cries of “ coming from the thirsty children of the Hussaini camp; the blood-curdling cruelty and depravity of the Syrian army; the disrespect shown by the Syrians to the after the martyrdom of the Imam; the chains and fetters in which Imam Ali ibn al Hussain Zain Al Abideen was kept in throughout the excruciating journey from Karbala to Damascus as well as the valour and loyalty exhibited by the Imam`s companions while facing annihilation.

Heroes have fallen throughout history, and their tragic stories have been recounted in epic panegyrics. Yet perhaps no other words have the magnetism as do those recited to mourn the suffering and unique stand of Imam Hussain ibne Ali.