For Love of God and his Prophet

CB12songrecording Sun Mar 04 15;29;30 2012

Refrain:

Ya Ali, madad ya Ali
Anta liLlahu wali
Man yamur al-nabi
Tamur ya Imami
Sammihna, ya Ali
Ya Ali, madad! ya Ali!

Ya Amīr al-Mu’minīn, Ali!
your line in triumph and tragedy
protects the faith of all who truly
honor and bless you and your family
and cry out unceasingly
Ya Ali, madad! ya Ali!

See ya Haydar your children,
the Prophet’s seed
set upon by the evil Yazid
abandoned, betrayed and when wearied
on desert plains left bloodied
Ya Ali, madad! ya Ali!

Madad, ya Haydar madad
your children, the Prophet’s seeds
afflicted by the foul deeds
of those serving evil Yazids
crying to you in their needs
Ya Ali, madad! ya Ali!

Refrain

See ya Ali, your son,
Begging water for the thirsty
Holding out his innocent baby
For him, pleading the villains’ pity
But met with arrows deadly
Ya Ali, madad! ya Ali!

Ya Ali, madad ya Ali
When modern foes refuse to heed
the poor and hungry to feed
but pierce them with cruel greed
slaying the innocents’ need
Ya Ali, madad! ya Ali!

Refrain

Ya Abu Turab, see the blessed soil
Which unselfish love has dyed
Eager in youthful pride
leaving a sorrowful bride
alongside Justice to ride.
Ya Ali, madad! ya Ali!

Madad, Ya Abu Turab
Those who, that all may be free,
Forfeit their joy and their family
Bearing burdens of misery
Out of love and loyalty
Ya Ali, madad! ya Ali!

Refrain

See ya Asad, your offspring
Who life’s drink with life did gain
Tenderness sent him forth with skein
Courage made him evil’s bane
Only death did him restrain
Ya Ali, madad! ya Ali!

Madad ya Asad, madad
who heroic struggles wage
following history’s brightest page
to contain unjust rampage
and bring life unto their age
Ya Ali, madad! ya Ali!

Refrain

Ya Murtadha, see your son
Whose blood ascends to the sky!
To answer his people’s cry
he went forth to suffer and to die
an off’ring to God the Most High
Ya Ali, madad! ya Ali!

Madad, ya Murtadha, madad
All those who stand in the light
To save the poor in their plight
sacrificing to oppression’s might
life and liberty for right
Ya Ali, madad! ya Ali!

Refrain

Hear ya Ali, the keening
That accompanies the little child
Anguish in countenance mild
Cradling the body defiled,
with Princely head now reviled.
Ya Ali, madad! ya Ali!

Madad, ya Ali, madad
Children who your care await
Robbed by terror, war and hate
Of the love that did them create
Leaving them to a bleak fate
Ya Ali, madad! ya Ali!

Refrain

See ya Haydr, your daughter
Dragged in a shameful parade
Before a tyrant displayed
Yet with words sharper than a blade
She the pure faith thus saved.
Ya Ali, madad! ya Ali!

Madad, ya Haydr, madad
your daughters, lowly and mean
when foes their rights demean,
fighting against courage unseen
that proclaims the truth of deen
Ya Ali, madad! ya Ali!

Refrain

See, ya Imamee, the people
Who come to this tragic shrine
Of the  holy martyr line
that with luminousness divine
will  in their hearts ever shine
Ya Ali madad! Ya Ali!

Madad, ya Imami, madad
Those who honor your bloodline
And strive their lives to align
By this pledge of justice divine
Pleading  from coast to coastline
Ya Ali, madad! ya Ali!

Refrain
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This project was done as a response to the readings on Karbala and the Miracle Play of the Martyrdom of Hussein. The events of Karbala form an integral part of the collective Shia memory – a memory that is kept alive through threatre, processions, ritual days, and other practices. I created this song which is meant to be sung in memory of Karbala, but not necessarily in direct relation to Muharram.  The tune is a popular devotional tune created in the late 19th century and used in Hindu hymns of veneration.

The song actually is addressed not to Hussein, but somewhat atypically to ‘Ali, the first post-Prophetic Imam and 4th Caliph (or first according to the Shia interpretation). The reason for this was not only to depict the great reverence in which the Shia hold the figure of ‘Ali (and his descendants through the Prophet’s daughter, Fatima) but also because I wanted to establish a connection that many Shii see in the continued opposition to the Imam – an opposition which began at the time of ‘Ali. In a sense, the events at Karbala are only a continuation and amplification of the rejection and opposition that ‘Ali himself met with during his life.

The song is structured around a refrain, first in honour of Ali alone, and then in honour of his family. The verses introduce various themes of Karbala and link them to associated themes in the modern day, for which the Imam’s help is requested. This is to reflect the idea that the Imam is concerned with the preservation of true religion and piety on earth – which encompasses the social welfare of the populace. It was also influenced by our section discussion on how the Taziyeh plays are a way for people to come to terms with their own suffering in life, by relating them to the suffering of the Imam Hussein. The song is heavily geared toward the intercessory ability of the imam – in this case, Ali. The song is arranged around the invocation “Ya Ali madad!”, “Help O Ali!”, that is said to have been uttered by the Prophet himself.

The refrain acknowledges the central role of ‘Ali and forms a quasi-confession of belief in the imamate. The singer acknowledges that Ali is the “friend of God”, “wali Allah”, as many Shii recite in/intersperse with the adhaan, “Ashhadu ana Alian waliullah”  [ to be completely accurate, for reasons of rhyme, the song says “to/for God, you are the wali” which has a slight different connotation than “wali allah”]. It then goes on to give a Shiite interpretation based on the saying “Man kunto Maula fa  hadha ‘Ali-un-Maula”. The Shia interpret “Maula” to be “Master” (as opposed simply “friend”, a view advocated by the Sunni) and the song translates this sentiment in the words “Whoever the Prophet commands, you command, O Ali!”. Given the ‘high’ view of the power of the Prophet, even in the supernatural realm, this statement also serves as a reminder that ‘Ali (and his descendants) command more than simply humans, and thus have a greater power to help the believer.  The first part of the refrain then concludes by asking for the kindness/indulgence of the Imam for the faults against justice, and imploring his help once again. The second part of the refrain acknowledges the role of ‘Ali as the leader of the community – but also an “Amir” or “Prince” in a greater, spiritual sense. It also highlights the role played by the successive imams either in successful times, or (more often) in tragic circumstances.

The refrain is then interspersed by verses, two at a time. The first verse of each doublet recalls a particular incident of Karbala to the memory of the Imam ‘Ali and the second petitions his help for a parallel circumstance in the modern world.

Doublet 1: the general persecution of the Prophet’s family by Yazid and massacre at Karbala (verse 1) and the persecution of the Prophet’s spiritual family in the modern day, by proponents of injustice. (verse 2) In a certain sense, the spiritual family can be taken not only to be the Shia but all those who promote justice and righteousness.

Doublet 2: recalls the story of the Hussein holding out his baby son, Ali Asghar to his enemies to ask them for water upon which an enemy soldier named Hurmala shot a three pronged arrow into the baby’s neck, killing him (verse 1). This is paralleled with the experience of starving people in the world, especially children, who are killed by the weapons of greed and unjust handling of resources (verse 2).

Doublet 3: recalls the story of Hussein’s half brother Abbas who went with a water bag (skein) to fetch water from the Euphrates for the thirsty children. Surrounded by enemy soldiers, according to Shia martyrologies, he kept fighting and trying to reach Hussein’s camp with the water, even after his arms, etc. were chopped off.

Doublet 4: recalls the story of Qasem leaving his newly married bride to fight for her father, and praises his love and dedication to the cause of the Imam even in the face of certain death (verse 1). The subsequent verse asks the Imam to help those who fight for freedom in their countries, at the cost of personal injury to themselves and distress to their families (verse 2).

Doublet 5: recalls the martyrdom of Hussein in light of its salvific and vicarious role for the whole community. This is paralleled by those who make similar sacrifices for their community in the modern day.

Doublet 6: recalls the story of Sakinah, the daughter of Hussein, running to the place where her father’s horse-trampled body lay, and embracing it (verse 1) and parallels that with the experience of orphans in the modern world, especially those orphaned by war or as a result of injustice (verse 2).

Doublet 7:recalls the courageous defense and denunciation of Yazid by Zainab, ‘Ali’s daughter, in his court – a message credited by many with with saving Hussein’s son and the next Imam, Zain al-Abidin from death – and thus, especially for Shia Muslims who hold the Imam as integral to Islam, for saving the future of the religion. (verse 1) The verse plays on the fact that while Hussein’s head was cut off with a sword, Yazid’s was cut with Zainab’s words. The parallel verse draws on the case of women who speak up for women’s rights in the world today, thus establishing the principle of dignity found in true religion against those who may attempt to use history or claim to be acting for the good of a religion – as did Yazid – in suppressing those rights.  (verse 2)

The last doublet is purely panegyric drawing a contrast between the earthly shrine of Karbala and the shrine in the believer’s heart as well as petitioning for the aid for the believer to follow the ideals of justice that Karbala’s shrines represent.