The ghazal is a genre of poetry with roots in the classical Arabic tradition. As the contributors to Thomas Bauer and Angelika Neuwirth’s two-volume anthology Ghazal as World Literature (2005-06) testify, what originated as a mode has become a popular form with adaptations throughout centuries and different languages. Well-known authors of anglophone ghazals include Adrienne Rich and Agha Shahid Ali, and pioneers experimenting with the form in German include Johan Wolfgang von Goethe and August Graf von Platen. While the former are twentieth-century poets, the latter were active nearly two centuries earlier. Yet, the ghazal has become far more wide-spread in English, as recent examples by Zeina Hashem Beck show, while adaptations of the form to the German language remain rare exceptions. This presentation analyses selected ghazals by Hashem Beck to argue that the form not only adjusts well to the English language, it also leads to applications, which are extremely diverse in content. Jan Wagner’s “ephesusghasele,” in contrast, demonstrates how tributes to an ancient legacy function in a time of electronic distribution. Both poets take advantage of new technologies to accompany the written with spoken texts. They thus also hearken back to the roots of the ghazal in oral traditions.

“Cheongsanbyeolgok” was a widely popular folk song in the late Goryeo-Korean period. Its composer was anonymous and orally passed down until the Hangeul was invented in Joseon-Korea. Its musical notation was recorded in Shiyonghyangakbo (Compilation of Current Popular Korean Songs) during King Seongjong’s reign in the early Joseon period. Interestingly, it was also played in the court and influenced the creation of several court music scores. Considering that Joseon-Korea made such a strict Confucian cultural policy as to burn literary works on love and that Joseon-Korean Confucian scholars criticized Goryro-Korean folk songs as “Namnyeosangyeojisa” (songs of explicit content) in a derogatory manner, it is surprising that “Cheongsanbyeolgok” enjoyed such a privilege: its Buddhist theme of ‘Muae’ (non-attachment) and its exotic refrain, “Yalli Yalli Yallasheong Yallari Yalla” might have attracted even Joseon-Korean Confucian scholars. Even though the performance aspect of the song remains dead, its rhythmical refrain has continued attracting Korean folks.

Nevertheless, it is unbelievable that little research has been conducted on “Cheongsanbyeolgok.” Recently, Hokyung Seong interpreted the lexical meaning of its refrain as “give us a lot of harvest,” proposing that the five words originated from the Mongolian language. However, this interpretation does not align well with the overall meaning of the song. In this context, I interpret “Cheongsanbyeolgok” as a cultural product of the globalized history of the Pax Mongolica. Goryeo-Korea, though incorporated into its Ulus political system, participated in the unified global economy of the Mongol Empire and maintained the long Korean culture of hospitality of welcoming various ethnic groups, including Arabs, Persians, Indians as well as Han-Chinese, Mongols, and Japanese, starting from the 8th century. I believe folk songs like “Dong Dong,” “Seokyeongbyeolgok,” “Ssanghwajeom,” and “Cheongsanbyeolgok” showcase the cultural exchanges from “the West” in the ancient sense when Koreans had no knowledge of the Western European world. Thus, in this presentation, I will approach “Cheongsanbyeolgok” as a Korean Ghazal, influenced by the Persian Ghazal, while examining the historical context of Goryeo-Korean society’s cosmopolitan culture during Pax Mongolica.

Diverse Musical Influences: Ghazal Performance in Pakistan:

Pakistani ghazal performances embody rich cultural heritage, intricate instrumentation, and

emotional expression. This traditional genre navigates secular love, mystical devotion, and

spiritual yearning within intimate settings.

Traditional instruments, including sitar, tabla, harmonium, tanpura, flute and rabab, create a

unique soundscape. The sitar's intricate plucking patterns and tabla's rhythmic accompaniment

establish a melodic foundation. Harmonium and tanpura add depth.

Ghazal performances unfold within ornate halls, luxurious homes or outdoor venues, fostering

artist-audience connections. Solo singers deliver emotive, poetic verses, accompanied by

cross-legged musicians engaging in spontaneous exchanges. Audience engagement manifests

through enthusiastic applause and poetic recitations.

Secular themes explore longing, passion and heartbreak, while mystical themes delve into

spiritual devotion and Sufi poetry. Candlelight and incense create meditative ambiance.

This cultural phenomenon weaves music, poetry and atmosphere. Ghazal performances

transcend entertainment, embodying Pakistan's rich heritage and

emotional depth.

Research Significance:

This study illuminates ghazal's cultural significance, exploring instrumentation, performance

settings and emotional expression. By examining secular and mystical themes, this research

contributes to understanding Pakistan's rich musical heritage.

Key Findings:

1. Traditional instrumentation shapes ghazal's soundscape.

2. Intimate settings foster connections.

3. Secular and mystical themes navigate complex emotions.

Conclusion:

Pakistani ghazal performances embody cultural richness, instrumental intricacy and emotional

depth. This traditional genre captivates audiences, solidifying its significance within Pakistan's

cultural landscape. Future research will explore ghazal's evolution, global impact, cultural

preservation and educational applications. Furthermore, investigating ghazal's therapeutic

benefits, cultural significance and historical context provides valuable insights. Ghazal's

enduring popularity testifies to its power.

The migration of the Ghazal form across linguistic and cultural boundaries mirrors a profound interplay of textual and nonverbal dynamics. This paper examines the translation of nonverbal communication within diasporic Ghazals, employing the framework of the cultural turn in translation studies. By focusing on how Ghazals retain or reshape their kinetic-visual imagery, the study explores the translation challenges posed by deeply embedded cultural kinesics and oculesics—facial expressions, gestures, and gaze. Drawing on Imru’ al-Qays’s Mu’allaqa as a case study, the research analyzes 18 English and French translations of a verse renowned for its nonverbal eloquence, assessing how translators negotiate cultural semiotics and maintain the delicate balance between preserving the source text's nonverbal essence and adapting to the target culture.

This investigation situates the Ghazal within a broader discussion of diaspora as a site of cultural translation and transformation. By recontextualizing the nonverbal elements, the paper interrogates how diasporic texts mediate between cultures, offering new perspectives on the symbolic associations and narrative gestures intrinsic to the Ghazal tradition. It argues that translators, as cultural mediators, play a pivotal role in re-inscribing the poetic form with relevance for diverse audiences, ensuring that the cultural duality and emotional resonance of the Ghazal remain intact in its global iterations. This approach underscores the dynamic interplay of power, ideology, and cultural identity in the translation and reception of diasporic Ghazals.