A na’at is a poem in praise of the Prophet. This is a Na’at in praise of Khwaja Moinuddin Chishti. \n\nLyrics: dehli toh dulhan bani aur dulha nizamuddin sare hind ke badshah Khwaja Moinuddin tu hind ke raja, maharaja me toh raj bhikaran, piya \nTranslation: “If Delhi is the bride, Nizamuddin (Auliya) is the bridegroom. But the emperor of Hind is Khwaja Moinuddin. You are the king and emperor of Hind. Then, oh beloved, I am the royal beggar.”

This is a Manqabat, a Qawwali poem in praise of great religious personages, especially Sufi saints. \n\nLyrics: Batufail-e-daman-e-Murtaza, main bataaun kyaa mujhe kyaa milaa Keh Ali mile to Nabi mile, jo Nabi mile to Khudaa milaa Tere naqsh-e-pa se qadam qadam, woh maqaam-e-sabr-o- raza milaa Kahin khak-e-ahl-e-junun mili, kahin khun-e-rang-e-wafaa milaa Tu amir ibn-e-amir hai, teraa faiz-e-azim hai Tere dar se jo bhi milaa mujhe, mere hausle se siwaa milaa Tu sharik-e-haal e butul hai, tu rafiq-e-al-e-Rasul hai Main-e-marifat kas-e-ashiqi, yeh to jam kis ko milaa milaa. \nTranslation: “How can I describe what I have gained through my attachment to Murtaza*! When I reached Ali, I reached the Prophet; when I reached the Prophet, I reached God. Following your example, step by step I have attained perseverance and submission. Somewhere, I encountered the traces of the ecstatic; somewhere, the blood in the color of faithfulness. You are a lord of lords; your beneficence is the greatest of all. The uncountable blessings I have received from your bounty have gone beyond my aspirations. You are joined with the daughter of the Prophet, you are close to the Prophet’s kin.You are the wine of cognition, the object of love; oh, to receive this goblet!” Meraj Ahmad Nizami, Bulbul-e-Chisht, normally known as Meraj is the most senior among the descendants of Tan Ras Khan, the famous nineteenth-century court singer. Nizami indicates his attachment to the saint Nizamuddin Auliya, while Bulbul-e-Chisht is his honorific title, conferred upon him by the late Khwaja Hasan Nizami, who was a famous Sufi sheikh. .

The word tarana comes from the Persian word meaning “song.” It is a medium- or fast-paced composition with syllables or words repeated and elaborated at the discretion of the singer. It is normally part of Qawwali or follows it. The tarana is said to have been the creation of Amir Khusrau and is thus included in this album as an important part of the listening experience of Qawwali. Though the main part of this composition consists of syllables, a couplet is also inserted. In this recording, audience members are heard saying, “wah wah,” to express their appreciation of the singing.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Katta ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, katta ashula is performed in big gatherings, festivities, and party celebrations.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.