( 1914-1982)
SANJAY PANDITA
In the heart of the misty valleys of Kashmir lived a musical luminary, Ustaad Muhammad Abdullah Tibetbaqal, whose legacy echoed through the ages. A maestro not just of the Santoor but a vocalist par excellence, his artistry transcended mere notes to weave tales of love and devotion.
His melodies whispered the longings of a soul in eternal affection, serenading the unseen beloved through his soulful voice and the ethereal strings of his Santoor. Each stroke carried a message, a tranquil hymn seeking peace amidst chaos, a divine tranquility that permeated the hearts of listeners far and wide.
Among the haunting notes he played, ‘Ya Rasool e Hashmi’ enchanted the souls, while Pandit Krishen Joo Razdan’s ‘Shiv Leela’ found its divine rendition through his voice, offering nothing less than a tribute to the supreme Shiva. Tears were stirred in those who heard ‘Baael Ha Ruma Rummaai’ or ‘Baal Marrayo,’ drenched in intense platonic longing, invoking emotions that transcended boundaries.
His Santoor whispered magical Maqams – from the enchanting Maqaam e Kalyan to the soul-stirring Maqam e Nawah – each performance a captivating tale that left its audience spellbound. As a full-time artist at Radio Kashmir Srinagar, his contributions enriched the tapestry of traditional Sufiana music, elevating its style and substance.
The tunes he crafted are rare gems, sought after like treasures across continents. His recordings, whether from the archives of Taj Company Lahore in 1944 or the endeavors of David Lewiston in Srinagar, hold an invaluable place in the world of music aficionados.
In the tapestry of his musical passions, Pandit Jawaharlal Nehru found himself enchanted by the mystical Sufi melodies crafted by Ustad Tibetbaqal on the Santoor. Immersed in the enchanting renditions of ‘Maqaam e Kalyan,’ ‘Maqam e Asaawari,’ ‘Maqam e Saba,’ ‘Maqam e Rehavi,’ ‘Maqam e Isfahan,’ and ‘Maqam e Nawah,’ each note resonated as a spellbinding testament to the instrument’s ethereal allure. As a devoted custodian of Radio Kashmir Srinagar, Nehru’s enduring dedication enriched the tapestry of traditional Sufiana music, infusing it with both resplendent style and profound substance. However, the destiny of his recorded treasures—Naat, Manqabat, and Santoor marvels—within the archives of Radio Kashmir Srinagar remains shrouded in mystery.
Born in a family known for their business in Pashmina with links to Ladakh, Yarkand, and Tibet, Ustaad Tibetbaqal’s journey into music was a testament to his passion.
In the heart of a time cloaked in mystic allure, a tale whispers of young Mohammad Abdullah Tibatbaqal. Enveloped in the embrace of a father’s yearning, they ventured to seek blessings from an enigmatic mentor, amidst devoted souls and the symphony of local minstrels. As they crossed the threshold, the mentor beckoned the boy to his side, offering remnants of tea, a gesture seemingly mundane yet imbued with unseen significance. In the clairvoyant echo, the mentor proclaimed, “Finally, a Voice arrives,” as his hand graced the boy’s head, whispering, “Sing, my son, sing…”
This pivotal moment stirred a cadence within the young soul. Leading hymns in the morning assembly of his Maktab, the boy found solace in the union of melody and prayer. Despite familial dissent, his ardor for the Sufi melodies endured, drawing tutelage from luminaries—Ustad Ghani Joo and Ustad Ramzan Joo. When Radio Kashmir unfurled its waves in 1948, Ustad Tibetbaqal became a sentinel of sound, his voice traversing every corner, birthing a household name.
His pursuit to intertwine Sufi verses with the tapestry of Kashmiri dialect birthed resonance and acclaim. Amidst the airwaves, he weaved magic not only with his mellifluous voice but also as a virtuoso of the Santoor. In the symphony of life, he wielded other instruments – the Saaz-e-Kashmir, Sitar, Harmonium, and Tabla – each note a testament to his devotion.
Ustaad Muhammad Abdullah Tibetbaqal wasn’t just a virtuoso of melodies; he was a custodian of cultural heritage, enriching the tapestry of Sufi music with innovation, dedication, and unwavering devotion.
His contribution went beyond the realm of performance; it extended into the corridors of education, where he shaped the syllabi for music in Jammu and Kashmir, laying the foundation for future generations of musicians. His teachings resonated not just through his voice but in the hearts and minds of those he mentored, a legacy carried forth by his disciples who became torchbearers of his musical ethos.
The fusion he introduced, marrying the traditional Sufiyana music with the lyrical essence of Kashmiri poetry, wasn’t merely an artistic endeavor; it was a bridge between cultures, a testament to the universality of music in transcending linguistic barriers.
Beyond the boundaries of Kashmir, his music found resonance in the corridors of power, enchanting the likes of Pandit Jawaharlal Nehru. The harmony of his Santoor strings echoed not just in the valleys of his homeland but also across continents, captivating audiences in far-flung corners of the globe.
The lineage of his musical legacy continues through his grandson Aadil Tibetbaqal, a torchbearer of the Sufiana tradition, perpetuating the enchanting melodies passed down through generations.
Tibetbaqal’s life wasn’t merely a collection of performances; it was an embodiment of cultural amalgamation. His music wasn’t just a melody; it was a bridge connecting cultures, transcending borders, and uniting hearts in a harmonious symphony.
The revelation of Arinmaal’s role in rearranging the Ragas in Sufiana music adds yet another layer to the rich tapestry of Kashmir’s musical heritage. Her influence, intertwined with Ustaad Tibetbaqal’s renditions, underscores the depth and complexity of Kashmiri musical traditions.
The mystical aura surrounding Ustaad Tibetbaqal and Shri Ved Lal Vakil’s renditions before Saint Gopi Nath Ji isn’t merely a historical footnote; it’s a testament to the spiritual significance of music in Kashmir’s cultural fabric. Their melodies, offered as a divine homage, echo through the annals of time, resonating with the mystical soul of the valley.
Beyond the accolades bestowed upon him, from the prestigious Sangeet Natak Academy Award to robes of honor and recognition from esteemed institutions, his real triumph lay in the hearts he touched, the souls he stirred with his Santoor and sonorous voice.
His decision to decline international invitations wasn’t a refusal of recognition; it was a conscious choice to nurture the musical roots embedded in the soil of Kashmir, to ensure that the essence of its cultural heritage remained undiluted.
Through his spiritual teachings, scholarly pursuits, and profound writings, Ustaad Tibetbaqal etched a legacy that spans beyond musical notes. His stance on Sufi music’s permissibility within Islam, elucidated in his book “Islam and Sama,” stands as a testament to his depth of knowledge and spiritual understanding.
Ustad Tibetbaqal, an architect of Sufi resonance, a maestro whose art knew no confines, his legacy resonates in the very soul of Kashmir’s musical heritage, a melody that dances through time, casting its eternal spell.
Today, his grandson Aadil Tibetbaqal stands as a torchbearer, meticulously safeguarding and promoting this rich cultural inheritance through the Tibetbaqal Memorial Trust. His efforts aim to propel the immortal melodies of his grandfather onto the global stage, ensuring the resonance of Sufi music continues to captivate and enchant audiences worldwide.
Decades may have passed since his physical departure, yet Ustaad Muhammad Abdullah Tibetbaqal’s melodies continue to echo through the annals of time. His legacy remains an enduring testament to the power of music to transcend boundaries, unite hearts, and preserve the essence of cultural heritage.
In the kaleidoscope of Kashmiri culture, his name shines as a luminary, guiding future generations to embrace the harmonious blend of tradition and innovation, reminding them that the true essence of art lies not just in performance but in preserving the soul of a culture.
The author can be reached at sanjaypanditasp@gmail.com
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