Performing pain: Sindhi Sufi music, affect, and Hindu-Muslim relations in western India

Abstract

This article examines the affective enactment of the Sufi emotional concept of the pain of separation by Muslim singers in Kachchh, Gujarat, a border region in western India adjacent to Sindh, Pakistan. In a discussion of two musical genres that feature the Sufi poetry of Shāh ‘Abdul Lat̤īf Bhiṭā’ī (1689–1752 CE) – kāfī and shāh jo rāg̈ – I argue that the musical performance of pain is ethically efficacious as well as politically salient. Drawing on eighteen months of fieldwork in Kachchh in 2014–2018, the article traces the ways in which poetry performers and enthusiasts conceive of musico-poetic pain as a form of Islamic worship that has ethical benefits for performers and listeners, such as tranquility and the purification of one’s heart. It thus demonstrates how Sindhi Sufi music functions as an affective, embodied, gendered and vernacular means of engagement with the Islamic discursive tradition. The latter portion of the article widens the focus, taking the pain of separation as a lens through which to examine Hindu-Muslim relations in Kachchh, where Hindu nationalism and Islamic reform have contributed to socio-religious polarisation since the 1980s. Drawing on examples from local musical history, I explore the political salience of the pain of separation by showing how the musical performance of Shāh Bhiṭā’ī’s female-voice poetry historically facilitated interreligious forms of male sociality in Kachchh.

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