“Dan Pani is an installation comprising of sound being played through water to visualise patterns on the surface. Set in a darkened room, the water bowl sculpture is illuminated by a single blue spotlight, revealing the patterns resembling a cosmic soup. The otherworldly atmosphere and science-fiction aesthetic references the Sufi idea of using music to obliterate time and space, creating the experience of travelling through the cosmos.
Working with Brian Duffy, an experimental musician specialising in the mathematics of sound, Bashir sampled and repeated a single breathy utterance by Khan, “Hu”, which is repeated over a 40 minute cycle. Taken from the exhibition title, “Dam”, meaning breath, refers to a Sufi belief in the power of an exhalation, from the mythology of God creating man through breathing into clay, to the heelers who breathe on water as a holy blessing. By playing the sound of Khan’s breath through the water, Bashir creates a sense that the water is blessed by Khan, or that Khan’s spiritual energy could return from the cosmos. The installation creates an intense, meditative space that immerses the audience in both the sound and sight of Khan’s energy.
Dam Pani uses abstracted forms to test what defines Qawwali and its spiritual essence, taking a seemingly scientific approach to exploring something as intangible as belief. It asks us question: is it still possible to have an emotional response to Qawwali if the text and format are unrecognisable? Removed from the context of a shrine, it asks, how can a Qawwali potentially transform a gallery space?”
Dam Pani” uses abstracted forms to explore the core of Qawwali, a kind of devotional music in Sufism. The artwork calls into question conventional beliefs of Qawwali and its spiritual importance by using a supposedly scientific approach to investigating the often perceived “obscure” notion of having faith. It presents thought-provoking concerns regarding the nature of emotional reaction to Qawwali when its customary language and format are stripped away, implying a reevaluation of the sensory and emotional qualities of the music.. Moreover, by removing Qawwali from its usual context within a shrine and placing it within a gallery space, the artwork prompts reflection on the transformative potential of Qawwali in different environments.
This ties in with the previous posts of Sufi ritual adaptation in contemporary situations, namely the investigation of how rituals might transcend their conventional surroundings and resonate with a wide audience. “Dam Pani” is a visible example of this research, allowing audiences to reevaluate their perception of Qawwali and its spiritual relevance beyond its traditional confines.In the larger context of the passage, the artwork contributes to the continuing discourse concerning the adaptation, translation, and transmediation of religious and cultural practices, stressing the dynamic interplay between tradition and innovation in producing contemporary manifestations of spirituality