Since 2001, the Jahan-e-Khusrau festival has commemorated the death of famous Sufi poet Amir Khusrau. The brainchild of Muzaffar Ali, the three-day festival is no less than a cultural landmark in its own right. Muzaffar Ali shares with Sarika Malhotra how ?Jahan-e-Khusrau, a celebration of ideas and instruments, languages, ragas and maqaams, came about to reinvent the spirit of Amir Khusrau, in the city of Amir Khusrau?

How did the concept of Jahan-e-Khusrau evolve?

Jahan-e-Khusrau emerged as I got to know Hazrat Amir Khusrau through my own art of film-making and my cultural and social experiences. I met him while I was making Umrao Jaan using a poignant wedding song. Then I met him in Kashmir while making Zooni, alive in the Sufiana kalaam of the valley. Then I realised his importance when insurgency blew up in our face and we had to abandon Zooni and leave. I got to know him better when Babri Masjid was demolished and I made several films on Sufism, of which three were on Amir Khusrau. At the turn of the millennium, I realised that he needed to be celebrated larger than life. In essence and spirit, he symbolised the composite culture of India, spirit of experimentation.

Is it a reflection of how you had conceived the festival?

It is a spiritual ambience short of people not removing their shoes. In most cases, the poetry and compositions have been chosen and composed by me, which gives a great high.

The highlight of the festival is the performance by Begum Abida Parveen. What has been her association with the festival?

My approach to the festival has been poetry-driven and the most inspiring singer with a true Sufi spirit has been Abida Parveen. She is the embodiment of spiritualism and gives me a great high in terms of selection and composition of lyrics. From the time I worked with her on Raqs-e-Bismil, she has been part of my creative expression. There has never been a Jahan-e-Khusrau without her.

Are there any artistes you would have liked to be associated with the festival, but missed out on?

I have been fortunate in finding and working with artistes. As a filmmaker, I enjoy working with people and unleashing their potential. I wish I could get Ashaji to come on stage. It could be mind blowing.

Do think that the youth is connecting with Sufi music again, in a different way though?

The future of Sufi music lies in the connect with youth. They have to reach by understanding lyrics and we have to reach out by giving them modern sounds. The internet has already brought about this connect. The Rumi Group from Iran has been performing, but has given it a miss this time around. We wanted to experiment with Omar Farukh Tekbilek. He and his group integrate several traditions. But we will still have the sound of the Iranian daf with Abida.

From 2001, how has the journey been for Jahan-e-Khusrau?

It is the city?s journey more than mine now. The energy comes from the people of the city and the convergence of people from all over the world to Delhi. I wish we can have more certainty about support and venue. Till the last minute we are uncertain about these mundane issues. The highs have heavily outweighed the lows. It has opened me up to a whole world of poetry of love and submission, the commonality of the same resonance from different parts of Indian soil and the similarity of the same fragrance from different parts of the world. As a film maker, it has changed my perception and expression of reality and has embarked me on an entirely different track. I hope the Jahan-e-Khusrau audiences are equally enriched by this experience. The Rumi Foundation?s journal, HU-the Sufi Way, explores and put into context these various poetic traditions. This issue is on the Sufis of Punjab.

The festival will be held from February 26-28 at Arab ki Sarai, Humayun?s Tomb, Delhi