From Islamic prayer songs to Dravidian movement's clarion call

On August 25, 1940, at the 15th state conference of the Justice Party at Thiruvarur, presided over by E V R Periyar, a young Hanifa's voice soared with hauntingly pure, high-pitched notes that seemed to reach into the very soul, moving the crowd to tears. His rendition of ‘Parakathi Adainthanoyo Panneerselvame', written by his friend poet Abideen, was a lament for Justice Party leader A T Panneerselvam, who perished in a plane crash. Though there were other singers at the conference, Hanifa, who sang at the behest of Periyar, emerged as the inseparable voice of the Dravidian movement as it evolved.
Born on December 25, 1925, in Velipattinam near Ramanathapuram, Hanifa grew up in Nagore, a town renowned for its Sufi shrine, Tamil literary traditions, and musical heritage. Despite his middle-class Tamil Muslim upbringing and lack of formal musical training, Hanifa displayed a gift for music. At the Chettiar School assembly in Nagore, Hanifa caught Abideen's attention by singing Islamic prayer songs, which later led to an introduction to the Ghouthia Bait-us-Sabha. As its lead singer, he performed at weddings and community events. His musical knowledge grew when his father, Esmael Mohamed, brought home a gramophone with records from Pyar Qawwal and Tamil Islamic songs by Karaikal A M Dawood. Hanifa also studied Carnatic music under Nagore dargah vidwan S M A Kadir.
Hanifa's political awakening began when his father, working in Malaysia, asked him to ship Tamil publications such as ‘Kudi Arasu' by Periyar and Darul Islam, a magazine by Pa Dawood Sha, considered a Tamil Islamic reformer. Reading these works, Hanifa embraced the Dravidian ideals of social justice. Around the same time, in Thiruvarur, he met a young Muthuvel Karunanidhi, kindling a lifelong bond rooted in their shared commitment to the Dravidian movement.
As a fiery idealist, Hanifa invited Periyar to Nagore. Hindus opposed to atheism barricaded the streets, but Muslim elders offered their support, and Periyar was taken around the bylanes to an enthusiastic welcome. Despite his association with Periyar, when C N Annadurai formed the DMK in 1949, Hanifa was the first to send him a congratulatory telegram and offer his support. In 1953, Hanifa accompanied Anna, singing and selling handlooms in the streets of Trichy. When Karunanidhi came across the lyrics ‘Azhaikindraar, Anna azhaikindraar' (Anna beckons you ...) in the party daily ‘Nam Naadu', he passed it on to Hanifa. The song was a clarion call for the public to join Anna and transform society. Hanifa's deep voice made the song magical, captivating both masses and cadres.
In 1993, Karunanidhi praised him at his platinum jubilee, calling ‘Azhaikiraar Anna' Hanifa's signature song, akin to Thiruvaduthurai Rajarathinam's thodi raga. Karunanidhi had Hanifa sing it for a film he scripted, but the censor board removed it. Hanifa released it as a gramophone record, and ‘Anna Azhaikndiraar...' became an instant hit. Other songs such as ‘Kallakudi konda Karunanidhi vazhkave' (Long Live Karunanidhi, the hero of Kallakudi) amplified DMK's message across Tamil Nadu and the Tamil diaspora. Hanifa's music captured the turbulence within DMK. When E V K Sampath left the party in 1961 to form the Tamil Desiya Katchi, Hanifa responded in anger with ‘Valartha kada maarbil paynthathada' (When a bull you raised rams against you..). The song became a rallying cry during DMK's political crises, including MGR's acrimonious departure from the party.
Hanifa also joined anti-Hindi agitations, was arrested, performed in fundraising plays, and contested elections for DMK. In 1966, Anna honoured him by attending his housewarming in Nagore, where Hanifa named his home after Anna, who later praised him, saying, "The party is greatly indebted to Hanifa." Karunanidhi made him an MLC (1972) and Tamil Nadu Wakf Board chairman (2007). His son Naushad Ali says Hanifa refused many posts because he felt he was not educated enough and was unwilling to make compromises.
"Hanifa also massified Tamil Islamic devotional singing, which was earlier limited to localised groups," says Davesh Soneji, associate professor in the department of South Asia studies at the University of Pennsylvania. IUML founder Quaid-e-Millath Mohamed Ismail was a fan of Hanifa's work. Hanifa's Islamic devotional songs such as ‘Iraivanidam Kaiyendhungal,' attracted admirers across religions, including Hindu religious mutt heads such as Kundrakudi Adigalar and Madurai Adheenam Arunagirinadhar. Swamy Sri Vittal Maharaj brought his songs to sabhas, and Gana Isaivani to the subaltern.
Hanifa also sang in films such as ‘Pava Mannippu' (1961), ‘Sembaruththi' (1992) and ‘Endrendrum Kadhal' (1999). Before Ilayaraja made a mark in movies, he composed tunes for Hanifa's gramophone record. The only criticism Hanifa faced was from a few conservative (ulemas) Muslim religious clerics who felt music was haram (sinful). In an interview with Radio Ceylon, Hanifa said, "There are differing opinions among ulemas about music in Islam. The day they all say in unison that it is haram, I will quit music."
In a career spanning six decades, Hanifa created a vast repertoire of songs that enriched Tamil society. As 2025 marks his centenary, his legacy as a pioneering musician and voice for social change remains undiminished.
(The writer is a documentary filmmaker)
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