SANJAY PANDITA
Kifayat Faheem, a name that reverberates with the essence of traditional Indian classical music while seamlessly embracing modern musical innovation, stands as an unwavering beacon of cultural heritage in the realms of Urdu and Kashmiri music. Born on April 16, 1979, in the storied locale of Alamgari Bazar, Srinagar, nestled within the enchanting region of Jammu and Kashmir, Kifayat’s journey is a symphony of multifaceted talents — singer, composer, poet, and musical director — each note resonating with profound artistry.
Faheem’s musical odyssey commenced in his eighth grade, an early prelude to a life steeped in melody and rhythm. His scholarly pursuits began with a Master’s in Urdu, laying a rich literary foundation that would deeply inform his artistic expression. Yet, his fervent passion for music propelled him further, leading to a Bachelor of Music from the College of Music and Fine Arts in Srinagar. Not content with this, he pursued a Master of Music (M.Muse) in Classical Vocal from Chandigarh, a journey of mastery endorsed by the venerable All India Radio (AIR). This dual qualification not only refined his technical prowess but also imbued his art with a profound understanding of its cultural and historical dimensions.
Recognized as an A-grade artist by All India Radio Kashmir, Srinagar, Faheem’s voice and compositions have become synonymous with excellence. His artistry has been sculpted under the tutelage of Ustad Hakim Ghulam Mohammad Sahib and Ustad Dost Mohammad Khan Sahib, whose guidance instilled in him the classical techniques and artistic sensibilities that have indelibly shaped his career.
His passion for Urdu poetry and literature has been a constant companion. Kifayat’s literary journey commenced in 1991, and by 1993, he was reciting his verses on Yuvavani, an experience that marked his poetic debut. Over the years, he has penned approximately 2500 Nohas, gaining widespread recognition both locally and internationally. His poignant compositions, such as the famous “Shaam Walo Mere Baba,” have resonated deeply with audiences. His poetic prowess spans a myriad of themes, reflecting his versatility and depth as a writer.
Kifayat has found his identity deeply entwined with his immensely popular song “Qabre Maine Shab e Jumma.” Such is the impact of this piece that many in Kashmir now affectionately refer to him by the song’s title rather than his own name. This remarkable connection speaks volumes about the song’s resonance with the people and its role in defining his musical journey.
Kifayats repertoire extends beyond this signature song, showcasing his versatility through an array of famous Nouhas, such as “Nehre Furatas Qahat e Aabuk Feran,” “Kya Kya Wanay Zulmat Dastan,” and “Baba O Mere Baba.” These works, much like his other celebrated piece “Sham Walo,” highlight his profound ability to convey deep emotions and narratives through music.
His musical legacy is further cemented by two exceptionally successful albums, “Shola e Dard” and “Matam e Shabir,” produced in collaboration with eminent figures in the Kashmiri music scene. “Shola e Dard,” a poetic work by Syed Qaisar Qalandar and produced by his son Syed Humaun Qaisar in 2006, along with “Matam e Shabir,” released in 1998 and 2006 by Akhter Radios & Hussaini Cassette Centre, exemplify his enduring influence and the wide-reaching impact of his music
Notably, Faheem’s creative endeavors are set to culminate in the publication of his book titled “Dard Ke Darya,” a testament to his literary prowess and dedication to his craft. The anticipation surrounding this book underscores the high regard in which his work is held.
Kifayat voice is a sublime blend of melody and emotion, creating a musical experience that captivates and enchants his audience. His vocal structure is remarkable for its range and versatility, allowing him to effortlessly traverse the complexities of both classical and contemporary music. This unique quality has made him one of the most sought-after singers in the region.
Kifayats control over sur (musical notes) is a testament to his rigorous training and innate musicality. His understanding of music theory is profound, enabling him to navigate complex compositions with ease and precision. This mastery is evident in his ability to maintain perfect pitch and fluidity, whether he is singing in the lower registers or hitting high notes with clarity and power. His vocal agility allows him to execute intricate musical phrases with grace, making each performance a demonstration of technical brilliance and artistic expression.
One of the most remarkable aspects of Kifayats voice is his control over his vocal range. He is equally adept at singing in low, mellow tones as he is at delivering powerful high notes. This versatility allows him to perform a wide array of musical genres and styles, from the delicate nuances of classical Indian music to the dynamic energy of modern songs. His transitions between these ranges are seamless, showcasing a vocal technique that is both refined and adaptable.
Listeners often draw comparisons between Kifayats voice and those of legendary singers like Talat Mahmood and Mohammad Rafi. His ability to capture the essence of these icons while performing their old numbers is striking, with a voice texture that echoes their legendary timbres. However, what sets Kifayat apart is his ability to transcend mere imitation. While his voice carries the nostalgic charm of these legends, he has also carved out his own distinctive style.
Despite the comparisons to Mahmood and Rafi, Kifayat’s singing is uniquely his own. His ability to blend traditional techniques with contemporary influences has resulted in a style that is both familiar and innovative. This distinctive approach has not only earned him accolades but also a dedicated following that appreciates his originality. Kifiyat’s style is characterized by its emotive delivery, nuanced interpretations, and the seamless integration of his deep understanding of musical traditions.
Kifayats professional journey is punctuated with numerous accolades and honorary titles. He has been awarded for his exceptional contributions to music and literature across India. His notable achievements include:
1996: “Hussain Steels the Show” Award for Kashmiri Ghazal in Patiala.
1998: Awards for group and solo Hindi songs in Amritsar.
1995-2003: A series of awards from various cultural organizations and universities, including the Funkaar Cultural Organization, Kashmir University, and the Rafi Yaad Gaar Society in Chandigarh.
His role as the head of M.R. Music School and M.R. Musical Group, and chairman of Bazm-e-Sher-o-Abad, showcases his leadership and commitment to nurturing new talent and promoting cultural activities.
His work as a music composer for Doordarshan (DD) Kashir includes:
1998: Poshe Gund
2001: Sur Sangeet (Indian Classical)
2003: Dhanak (Variety Musical Programme)
2004-2015: A plethora of compositions including Shehjar, Aab Shaar, Zam Zamai Naat, and Shahkaar.
Faheem’s albums have resonated deeply with audiences. Some of his early works include Ashoor Ke Sanate (1991), Payam-e-Shabir (1992), and Sub Ne Deen Pe Marna Sikhaya (1993). His continuous output up to Shaam-e-Gareeb (2015) exemplifies his dedication to his craft.
Post-2015, Kifayat continued to expand his musical repertoire with albums such as:
2018: Soche Sadrake Malar (Writer/Producer: Dr. Showkat Shifa)
2019: Mioth Zahar (Writer/Producer: Dr. Syed Amin Tabish)
2022: Sukoon Diluk (Written and produced by Dr. Syed Amin Tabish)
As a respected authority in music, kifayat has judged numerous music competitions, including Koun Banega Best Singer in Chandigarh (2004) and Kala Utsav by the Department of J&K School Education (2018-2022). His role as a judge for Mile Sur on Doordarshan Kendra Srinagar and Star Singer of J&K (2023) highlights his status as an expert in the field.
Kifayat’s commitment to education is further evident through his workshops:
2016: Four-day vocal music workshop at Delhi Public School.
2017: Three-day vocal music workshop at College of Education, Srinagar.
These workshops underline his dedication to imparting knowledge and fostering the next generation of musicians.
Kifayat’s live performances have graced national and international stages, bringing the rich musical traditions of Kashmir to a global audience. His notable performances include:
2015: Live performance in Chicago, USA, Johar Baru, Malaysia, and Singapore.
2017: Live music concert in Delhi at Malhar Kala Kendra.
2018: Geeton Gazlon Ki Sham in Vasant Kunj, Delhi.
2021-2022: Shaam-e-Ghazal by the Department of Urdu, University of Kashmir, and Ghalib Institute, Delhi.
2023: Deewana Huwa Badal live concert organized by Jazbaat TV.
Each performance has not only showcased his vocal prowess but also his deep connection to the cultural roots of his music.
As a composer, Kifayat’s work on “Budshah” earned him two prestigious awards for a single song. His compositions have enriched telefilms and documentaries, showcasing his versatility and creative ingenuity. Kifayat’s online performances continue to enthrall lovers of classic music, as he breathes new life into the timeless songs of Talat Mahmood and Mukesh.
Kifayat’s journey is a testament to his relentless dedication and passion for music and poetry. His multifaceted talents have carved a niche in the hearts of his audience, both in India and across the globe.
Kifayat stands out as a musical maestro whose voice embodies the perfect synthesis of melody, emotional depth, and technical mastery. His exceptional control over sur and his extensive understanding of music theory have made him a sought-after artist in the world of classical and contemporary music. While his voice brings to mind the greats of yesteryears, it is his unique style and artistic integrity that truly set him apart. In every performance, Kifayat not only honors the rich musical legacy he is part of but also continues to innovate and inspire, ensuring that his voice will be remembered and cherished for generations to come.
Kifayat’s artistry continues to inspire and resonate, creating a lasting legacy within the cultural tapestry of Kashmir.
The writer can be reached at sanjaypanditasp@gmail.com
