Unlike tangible heritage such as monuments, temples or historic gardens, intangible cultural heritage consists of living traditions passed from one generation to another. It encompasses performing arts, music and oral traditions that continue to shape the identity of communities.For centuries, the classical music form, Sufiyana Mousiqi, has echoed through the mystical ensembles, homes and cultural gatherings of Kashmir. More than a classical musical tradition, Sufiyana Mousiqi has been a living expression of Kashmir’s cultural heritage, embodying centuries of dialogue between cultures, faiths and artistic traditions. It is a tradition sustained not merely through written texts but through oral traditions, performance and collective memory. Efforts are gathering momentum to secure its inscription on UNESCO’s Representative List under the Convention for the Safeguarding of the Intangible Cultural Heritage. The Convention seeks to safeguard precisely such living traditions by ensuring that they remain relevant and vibrant within the communities that practice them. The Government of Jammu Kashmir has formally approached Government of India seeking their support for this inscription.
The origins of Sufiyana Mousiqi can be traced to the fourteenth and fifteenth centuries, a period when Kashmir emerged as an important centre of cultural exchange linking the Indian subcontinent with Persia, Central Asia and the wider Islamic world. The Valley’s strategic location along the historic Silk Routes enabled the movement of scholars, Sufi saints, traders, craftsmen and musicians from regions such as Iran, Bukhara, Samarkand and Herat. These interactions merged with existing local practices to create a distinctive cultural synthesis. The tradition reflects influences from Central Asian melodic systems and indigenous Kashmiri musical sensibilities, as well as the centuries-old culture of spiritual dialogue that it represents.
Over time, these diverse streams evolved into a classical form that belongs exclusively to Kashmir. Scholars therefore often describe Sufiyana Mousiqi as a musical dialogue between India, Persia and Central Asia.
One of the defining characteristics of Sufiyana Mousiqi is its reliance on the maqām system of melodic organisation. The Arabic word maqām, meaning “station” or “place”, refers to a structured melodic mode that provides the framework for musical composition and improvisation. Among the best-known of these is the Shashmaqom tradition of Uzbekistan and Tajikistan, itself recognised by UNESCO as an Intangible Cultural Heritage of Humanity. The inscription of Shashmaqom has helped initiate programmes for its revival in its native lands, even though many of its traditional performers, particularly Jewish musicians, had migrated from the region.
Kashmir occupies a unique place within this wider musical geography. As musicians and mystics travelled through the Persianate world, the maqām system reached the Valley, where it was gradually assimilated into local musical practice. Instead of merely reproducing Persian models, Kashmiri musicians adapted them to indigenous poetic forms, local aesthetics and devotional practices, creating a musical language that was unmistakably their own.
Historically, Sufiyana Mousiqi is believed to have comprised fifty-four maqāms, although only about twenty to twenty-five continue to be performed today. This enduring connection with the Persian and Central Asian maqām traditions makes Sufiyana Mousiqi one of the few surviving musical systems in South Asia that preserves a direct historical link with the classical music of the wider Persianate world. At the same time, its adaptation to Kashmiri language, poetry and spirituality transformed these influences into an entirely original artistic tradition.
The true soul of Sufiyana Mousiqi lies in its poetry. The verses of the Kashmiri mystics Lal Ded and Nund Reshi, followed by mystical poets such as Naem Sahib, Arnimaal, Parmanand, Ahad Zargar and others, with their reflections on self-realization and the unity of existence, occupy a central place in the tradition. These local spiritual voices are complemented by the immortal poetry of Persian Sufi masters such as Hafiz, Jalal ad-Din Rumi, Saadi and other mystic poets whose works continue to inspire audiences across the world.The result is a remarkable literary and spiritual synthesis. Shaivite philosophy, Islamic mysticism and universal humanism coexist naturally within the same musical tradition. It is this shared philosophical foundation that gives Sufiyana Mousiqi its enduring relevance as a bridge between cultures and faiths. This is also borne out by a long list of Muslim and Pandit admirers, some of them prominent Jagirdars of Dogra period from towns and qasbas of Kashmir.Like many forms of classical music that are performed primarily for aesthetic appreciation, Sufiyana Mousiqi has traditionally fulfilled a deeply spiritual purpose. During 1960s and even beyond, this writer witnessed Sufiyana performances in mehfils held in the traditional dewan khanas of Kashmiri homes in the downtown of the city. These gatherings followed the characteristic ghulam gardish layout, with musicians seated at the centre of the hall while tea, kahwa and light refreshments were served discreetly from the periphery, allowing the uninterrupted flow of music and meditation. Equally cherished were the musical retreats aboard the iconic doongas on the Dal Lake. Groups of discerning patrons would charter these houseboats for two or three days, during which celebrated Sufiyana ensembles performed from dusk until the early hours of the morning. Some prominent ustads from Srinagar included Ustad Mohamamd Abdullah Tibetbaqal and Ghulam Mohmad Qaleenbaf, both popular names very known to residents of downtown.
Scholars have also documented the performance of Sufiyana Mousiqi during shradh and other mystical observances organised by Kashmiri Pandits, where it formed part of ceremonies commemorating departed ancestors. Whether in devotional assemblies, cultural gatherings or family occasions, Sufiyana Mousiqi transcended entertainment, becoming an instrument of remembrance and contemplation.
The emotional vocabulary of Sufiyana Mousiqi is love, longing, separation and reunion operating simultaneously at human and spiritual levels. This symbolic language allows the tradition to speak equally to audiences irrespective of religious identity.
The tradition therefore stands as a cultural testimony to the Valley’s long history of pluralism. At a time when societies across the world are searching for narratives of coexistence, Sufiyana Mousiqi offers a compelling example of how artistic traditions can foster dialogue and mutual understanding.Its distinctive sound is created through a unique ensemble of instruments including the santoor, rabab, ney, tabla, sitar and harmonium. Together they produce an atmosphere that is meditative and deeply evocative. The intricate relationship between melody, rhythm and poetry demands years of disciplined training. Traditionally, knowledge has been been transmitted through the guru-shagird or master-disciple tradition, making oral transmission central to the survival of the art. However, as with many traditional performing arts, the number of practitioners has steadily declined. Several maqāms are no longer performed regularly, while younger generations increasingly face limited opportunities for systematic training. Documentation and institutional support have therefore become essential for ensuring the continuity of this remarkable tradition. Unfortunately, efforts by the Jammu and Kashmir Academy of Art, Culture and Languages to propagate this classical musical tradition through the establishment of a School of Sufiyana Mousiqi did not achieve the desired results, and the institution was eventually closed. Today, the responsibility of preserving and revitalising this rich heritage rests largely with a handful of dedicated ustads and traditional musician families, who continue to make strenuous efforts to revive, sustain and popularise the art form in Srinagar and its surrounding areas.
UNESCO inscription would significantly enhance global visibility, encourage research and scholarly collaboration, strengthen documentation and archival work, and provide renewed impetus for training young musicians. Perhaps most importantly, such recognition would affirm the universal values embodied by Sufiyana Mousiqi—dialogue, coexistence, spiritual inclusiveness and cultural exchange. These are values that resonate far beyond the geographical boundaries of Kashmir. The journey towards UNESCO inscription is about recognizing a living cultural legacy that continues to speak to contemporary society with remarkable relevance. It would also safeguard the tradition while promoting responsible cultural tourism rooted in respect for local heritage.Sufiyana Mousiqi reminds us that some of humanity’s greatest artistic achievements emerged not from isolation but from encounters between cultures. It is living evidence that music can transcend languages, religions and political frontiers, creating a shared space where beauty, faith and humanity converge. As one of the world’s finest examples of artistic and spiritual synthesis, Sufiyana Mousiqi deserves its place among humanity’s shared intangible heritage.
Saleem Beg, Convener INTACH and former Director General Tourism, J&K.