While quantitative research has been rightly critiqued for not being able to adequately address issues within social science research, one of the major problems facing those engaged in cultural studies especially around the media industry is access to facts and descriptive work. Available through market research and surveys, this information is often confidential, for the exclusive use of insiders in the industry.
Postcolonial Muslim societies have been mostly understood through the prism of modernization theory. Very often, the focus of these studies has been the ‘modernizing imperative’ of the postcolonial state. Society as an arena of the non-state was studied only in relation to ways in which it corresponded to the modern demands of postcolonial states.
In the 21st century Muslims no longer rule lands peopled by a majority of non-Muslims, but that was not the case before the 18th century. Wherever Muslims reigned, it was not unusual for them to assert the presence of their religion, Islam, by spectacular monuments, such as domes and towers, particularly the latter.
Weapons have always intrigued mankind, because mankind has always been intrigued by war. The author further refers to an old quotation—”War is a joyous thing… can anyone who has tasted that pleasure, fear death”. These thoughts belong to the heroic Homerian era, long long past. War is no longer a joyous thing. A.E. Housman wrote: Now no more of winters biting. Filth in trench from fall to spring Summers full of sweat and fighting For the Kesar or the King.
This book has been in print for almost thirty years and it is a tribute to Regula Burckhardt Qureshi and her pathbreaking account of qawwali that she has had such a loyal readership in India and Pakistan, the home of this pre-eminent form of sufi music. Qawwali together with ghazal and khyal was one of the genres of music to be recorded on 78rpm discs from the early decades of the twentieth century.
The Lamp of Love is an account of the writer’s experiences of travel, first to Pakistan, and then with the famous Pakistani qawwali singers, the Sabri brothers, to various Sufi shrines in India and Pakistan. The work is however neither a travelogue in the conventional sense nor a book about music: it is best described as a personal account of faith and spiritual conversion.