Re: Mappila Pattu Lyrics Pdf Download
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Mappila songs (or Mappila Paattu) are a folklore Muslim song genre rendered to lyrics, within a melodic framework (Ishal), in Arabi Malayalam by the Mappilas of the Malabar region in Kerala, India.[1] Mappila songs have a distinct cultural identity, while at the same time remain closely linked to the cultural practices of Kerala.
The songs often use words from Persian, Hindustani, and Tamil, apart from Arabic and Malayalam, but the grammatical syntax is always based in Malayalam.[2][3] They deal with themes such as religion, love, satire, and heroism, and are often sung at occasions of birth, marriage, and death. Mappila Paattu form an integral part of the heritage of Malayalam literature today and is regarded by some as the most popular branch of Malayalam literature, enjoyed by all Malayali communities in Kerala and Beary speaking communities of Karnataka .[4][5][6][7]
Mappila songs have been in circulation for over seven centuries, with the first dated work Muhyidheen Mala attributed to Qadi Muhammad in 1607 AD. Thereafter a large number of literary materials were produced in this medium; one authority has calculated that of these more than 1600 items, complete or fragmentary, were known by 1976.[2] Over the centuries, various types of Mappila Pattu were composed, in accordance with the religious and political surroundings in the lives of the Mappilas of Malabar. The early centuries were primarily based on devotional works, while the colonial era was marked by the battle song genre called Padappattu. Various other categories also grew during the centuries with subjects ranging from romantic ballads and marriage songs to philosophical ideas, sea journeys and even flood ordeals.
The mala genre of Mappila songs, generally written in Arabi-Malayalam script are praises of pious personalities of Islam who were supposed to have gained high spiritual status. Generally, most such works were themed on the lives of Sufi saints (Auliya). Most of these songs narrate "superhuman" deeds of these saints. The songs became popular in an era when Sufism gained a strong foothold amongst the Mappilas. Each Mala often corresponded to the leader of a Sufi order called Thareeqath, who was abundantly showered praises in the poetry, often well-exceeding the limits of human capabilities. Popular among these are the Muhyidheen Mala, the Rifa'i mala, the Shaduli Mala, the Ajmeer Mala, and the Nafeesath mala. Each of these corresponded to their respective Sufi orders while the last is about Nafeesathul Misriyya, a woman Sufi saint of Egypt more commonly known as Sayyida Nafeesa.[6][8][9][10]
Songs of the 18th century were primarily of the Kissa genre, narrating stories of the prophets of Islam or Sufi saints. Examples of such songs include the Ibrahim Nabi Qissa and the Ibrahim Ibn Adham Kissa. Songs like the Kappappattu and Safalamaala by Shujayi Moidu Musaliyar[11] conveyed ideological messages to the community in the era of post-Portuguese years when the identity and existence of the Mappilas were in a shattered state.[4]
Kunhayan Musaliyar lived in the early 18th century.[12] He authored the popular works titled Nool Mad'h (1737 A.D.), Nool Mala(1785 A.D.) and Kappappattu. Nool Mad'h was a devotional work on Prophet Muhammed with 666 lines composed in 16 different Ishalukal (Ishals).[13] Kappapattu consisted of 600 lines composed in a single Ishal, narrating with wit and humour, the voyage of the human body through the journey of life, portrayed here as a vessel in the ocean voyaging through the seas. The Kappappattu remained hugely popular for centuries, next only to the Muhyiddeen Mala.[12]
Veliyankode Umar Qadi, (1757-1852) was a scholar, poet and freedom fighter from Veliyankode, near Ponnani, well known for his tax non-cooperation movement against the British rule in the Malabar. He composed songs of various subjects, ranging from the Cheraman Perumal to Arabic grammar. Other poems of his criticized the wrongdoings of members of his own community. He also wrote many poems in Arabic.[12][14]
The dawn of the 19th century saw the advent of British rule in the Malabar. The songs of this era are marked by the rising anti-British feelings in the Mappila society in the backdrop of the agrarian tenancy discontent against the British backed Jenmi landlords. Most of the songs of the era fall under the Padappattu ( battle songs) genre.[4]
The first dated work in this genre was the Zaqqoom Padappattu dated 1836. This song was actually an Arabi-Malayalam translation of the Tamil work Zakkoon Padayppor composed by Varishay Mukiyudheen Poolavar of Madurai in 1686. Alim Umar Labba, a Mappila religious scholar from Kayalpattanam translated it into Arabi-Malayalam.[15] Many of the tunes (Ishals)of Zakoon Padayppor have been largely utilized by famous Arabi Malayalam poet, Moin Kutty Vaidyar, especially in his master piece work, Badre Padappattu.
While the battle songs roused the feelings of the community against the authorities, this era also witnessed the popularization of romantic ballads like Moyinkutty Vaidyar's Badarul Muneer Husnul Jamal and Chettuvayi Pareekkutty's Soubhagya Sundari. One of the notable aspects of both these works were the age of the authors at the time of the composition; Vaidyar was said to have been 17 or (by some reports) 20 at the time and so was Pareekkutty.[4][20]
Moyinkutty Vaidyar (1857-1891), often referred to as Mahakavi (great poet) is historically considered one of the most renowned and authentic Mappila poets.[21] Born into an Ayurvedic family in 1857 at Kondotti in Malappuram district, he was well versed in Sanskrit and Arabic.[22] At a very young age of seventeen, he composed the romantic epic Badarul Munir - Husnul Jamal (1872) .[20]
His later works were on totally different themes that were essentially war songs in nature. The Badar Padappattu and Malappuram Padappatt are the most popular songs of this genre. Shabvathul Badarul Kubra(1875), more popularly known as the Badar Padappattu is considered one of the finest compositions of Mappilappattu .[19] It narrates the tale of the Battle of Badr by Prophet Muhammed and his companions. The Malappuram Padappattu (1883), also known as the Madhinidhi Mala describes the undercurrents of peasant life and struggles in Malappuram in the 18th and 19th centuries.[23][24][25]
The songs of Moyinkutty Vaidyar are distinguished by their depth of imagination, the beauty of the metaphors used, the creativity comparisons involved and the variety of their ishals (tunes/modes).[19]
Pulikkottil Hyder, born in 1879 at Wandoor was a popular poet who composed short songs in Arabi-Malayalam on topics of common interest, often attacking social evils. His simple lyrics on ordinary life of the Mappilas defied the traditional patterns of Mappilappattu thus giving him the name " The Kunchan Nambiar of Mappilappattu". In Vellappokka Maala, he describes a heavy flood that affected all throughout the Malabar, Mysore and Travancore. The sufferings of common men in the flood are depicted beautifully using only ordinary Malayalam vocabulary.[11][26]
The Pulikkotil Hyder Smaraka Puraskaram, instituted by the Mahakavi Moyinkutty Vaidyar Smaraka Committee and given to personalities who have contributed to the art of Mappilappattu is named after him.[27] The foundation for a memorial for the poet was laid in his hometown Wandoor by former Chief Minister of Kerala C.H. Mohammed Koya in April 1979, but the work has remained incomplete ever since.[28][29] In 1979, the Mappila Kala Sahithya Vedi published a compilation of his works titled "Pulikkottil Krithikal".[30]
Chakeeri Moyidin Kutty of Cherur, near Vengara, authored his poetry on the Battle of Badr titled Ghazvath Badril Kubra (The great Battle of Badar)) in 1876, a year after Moyinkutty Vaidyar's Badar Padappattu. It began a fresh pattern in Mappilappattu where the poetry was in pure Malayalam language, unlike the earlier works that involved use of Arabic, Kannada and Tamil. The poem was also known as the Chakkeeri Badr, to distinguish it from the other works on the same subject by other poets.[31] The work is said to have been modified a couple of times by the author himself. He also authored a Malayalam-Arabic-Sanskrit dictionary and is considered one of the major Mappila poets of the 19th century.[12][23][24][25][26]
The early 20th century witnessed the growing influence of Malayalam in the Mappilappattu genre. This period was characterized by the rise of theological reform movements and nationalist mobilization in the Malabar. Songs of the era also involved themes of Pan-Indian nationalism and the Independence movement against the British. The 1921 Malabar Rebellion gave birth to a large variety of songs of this genre.[4][33]
Born T Abdurahman (1908-1972) at Thalankara in Kasargode, T Ubaid was one of the greatest figures of Malayalam literature in the 20th century. He was well versed in English, Malayalam, Arabic, Urdu, Kannada, Sanskrit and Tamil. Often referred to as Mahakavi Ubaid, he was both a poet and a researcher of Mappilappattu, documenting a large collection of Mappila songs popular in the North Malabar through oral tradition. His historic speeches and rendering of hitherto unheard kissa pattukal at the Kozhikode Sahitya Parishath conference in 1947 and similar conferences drew attention of the intellectuals of Malayalam literature to the rich literary traditions of Mappilappattu.[34][35][36][37]
S.A. Jameel is a poet widely associated to the kathu pattu (Letter songs) genre of Mappila songs. His most popular works remain the 1976 letter and reply duet Ethrayum bahumanappetta ente priya bharthavu vayikkuvan (Oh my dear respected husband) and Abu Dhabeelullorezhuthupetti (A letterbox in Abu Dhabi). The former is a wife's letter to her husband abroad in Abu Dhabi requesting his return, while the latter is the husband's reply to his wife.[38] The poet, who had psychological counselling sessions with many of the womenfolk of Malabar living separated lives from their husbands in the Gulf, described the anguishes of separation as felt by the women in the first song. The lyrics of the song referred in particular to the sexual and emotional needs of the woman and generated both praise and controversy within the community. The second song, composed as the husband's reply was also based on his interactions with the diaspora Mappila community during his visits to the Middle East in the late 1970s. It described the hardships and emotional dilemma faced by the migrant workers separated from their families. The songs created a huge impact on the whole diaspora community across different religions at the time prompting many to leave their jobs and return to their homeland for good. Though the kathu pattu (songs in the form of letters) existed before the works of S.A. Jameel, it was his works that popularized the genre amongst the common people of the Malabar.[38][39]
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