samii “hearer,” basir “seer,” and alim “knower”)
with yogic forms of breath control, meditation,
and other ascetic practices. The Chishtis included
Hindi, Punjabi, and Persian formulas in their
dhikrs, unlike other Sufi orders, particularly the
Naqshbandis, who stress Arabic recitations. The
most public forms of Chishti worship are musi-
cal audition (samaa) and pilgrimage to shrines of
Chishti saints. Unlike other Sufis who were suspi-
cious of music’s legality and influence on the soul,
Chishtis embraced listening to mUsic as a core
practice for the attainment of spiritual ecstasy, if
not a state of enduring ecstasy itself. Some have
combined audition with bodily movement and
dance. As a result of Chishti acceptance of musical
audition as a legitimate spiritual practice, other
Sufi brotherhoods in South Asia have also allowed
it. During the Middle Ages, these auditions were
meant only for initiated Sufis, but in modern
times both Sufis and non-Sufis attend them.
They are called qawwali performances, and they
are regularly held at the tombs of Chishti saints.
These shrines are the focal points of pilgrimage,
attracting pious visitors, men and Women, Mus-
lims and non-Muslims, from throughout India.
The most celebrated shrine is that of Muin al-Din
in aJmer, considered by many to be the mecca
of Indian Islam. Other major Chishti shrines are
those of Farid al-Din Ganj-i Shakar (d. 1265) in
Pakpattan, Pakistan, and nizam al-din aWliya (d.
1325) in delhi.
Since its foundation in 13th century India, the
Chishti order has intentionally distanced itself
from political authorities and dependence uponTomb of Shaykh Salim Chishti, Fatehpur Sikri, India (16th century) (Juan E. Campo)
K 140 Chishti Sufi Order