You'd think one of the greatest singers of all time might have some notes for up-and-coming musicians. But as a judge on the 2012 reality singing competition Sur Ksetra, the famous Pakistani Sufi singer Abida Parveen was often extremely neutral. When asked in an interview why she avoids sharing criticism despite being appointed as a judge, she replied with her characteristic wisdom: “Because it's music, not war.” The reporter who interviewed her asked who she hoped would win the contest. “I pray that Allah makes a good decision. That's all.”
Parveen's humility and diplomacy is almost comical given her status as one of the most famous and influential musicians in South Asian history. When she was 5, her father chose her from her siblings to be his successor in the family practice of Sufi singing, and at 23, she was named the official singer of Radio Pakistan, the country's national public radio broadcaster. . Now 70, Parveen, who is often referred to as “the queen of Sufi music,” has released more than a hundred albums, received the Nishan-e-Imtiaz—Pakistan's highest civilian award—and is credited with helping spreading Sufi music and culture among the youth in South Asia and around the world.
Parveen's modesty despite her huge success is part of her religion. He creates music in the tradition of Sufism, a mystical, philosophical expression of Islam that began in the 10th century. Sufism prioritizes spiritual purification, a divine, intoxicating connection with God, and a sense of humility that comes from prioritizing that connection above all earthly desires. In interviews, Parveen often emphasizes her importance as a person, positioning her performances as a means of communicating with God. “The truth doesn't have to be told,” she said in an interview in 2001. “You can only experience it. Remember, I'm not playing. It sings through me. It is His song and it sings by itself.”
Sufism also specifically downplays the role of the singer in creating music. The Sufi practice of sama'—listening to music with the intention of achieving closeness to God—instead privileges the listener. The concept of sama' has inspired artistic movements around the world, from the whirling dervishes of Turkey to the Gnaoua music of Morocco, which has been a huge influence on jazz greats in the West such as Ornette Coleman and Pharoah Sanders, to we mention only a couple.
On stage, when Parveen channels God's majesty, she is completely transformed. Sometimes he hallucinates while on stage or brings the audience to tears by singing just a few notes. Nowhere is her unique vocal talent more evident than on her outstanding 2000 album Raqs-e-Bismil. The album's title translates to “Dance of the Wounded” and on the record, Parveen conveys the burning desire and longing for God through the subtle details of her song: the poise with which she delivers a single note, the husky, hushed tone of her voice, her interplay between precision and fervor. She is often compared to Nina Simone, whose shows have been described as having “the aura of sacramental rituals”. The two artists sing with such dynamism and heart that when you listen to them, you feel transported beyond the limitations of your body and individual perceptions and into a spiritual realm of infinite possibilities.
