Most of the songs of the era fall under the Padappattu ( battle songs) genre. The songs of this era are marked by the rising anti-British feelings in the Mappila society in the backdrop of the agrarian tenancy discontent against the British backed Jenmi landlords. Other poems of his criticized the wrongdoings of members of his own community. He composed songs of various subjects, ranging from the Cheraman Perumal to Arabic grammar. The Kappappattu remained hugely popular for centuries, next only to the Muhyiddeen Mala.

Songs like the Kappappattu and Safalamaala by Shujayi Moidu Musaliyar 11 conveyed ideological messages to the community in the era of post-Portuguese years when the identity and existence of the Mappilas were in a shattered state. Popular among these are the Muhyidheen Mala, the Rifai mala, the Shaduli Mala, the Ajmeer Mala, and the Nafeesath mala.Įach of these corresponded to their respective Sufi orders while the last is about Nafeesathul Misriyya, a woman Sufi saint of Egypt more commonly known as Sayyida Nafeesa.Įxamples of such songs include the Ibrahim Nabi Qissa and the Ibrahim Ibn Adham Kissa. The songs became popular in an era when Sufism gained a strong foothold amongst the Mappilas.Įach Mala often corresponded to the leader of a Sufi order called Thareeqath, who was abundantly showered praises in the poetry, often well-exceeding the limits of human capabilities. Most of these songs narrate superhuman deeds of these saints. Generally, most such works were themed on the lives of Sufi saints ( Auliya ). Various other categories also grew during the centuries with subjects ranging from romantic ballads and marriage songs to philosophical ideas, sea journeys and even flood ordeals. The early centuries were primarily based on devotional works, while the colonial era was marked by the battle song genre called Padappattu.

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