The religious ritalsafter arrival of holy relic

Ibrahim Adilshah II, the fifth king of the Adil Shahi dynasty is known in the Indian history as "Jagadguru Badshah." He tried to bring in cultural harmony, between the Shiyas and the Sunnis (sects within Islamic religion) and between Hindus and Muslims through music. He was a great lover of music, played musical instruments, sang and composed praises of Hindu deities Saraswati and Ganapati. He wrote the book Kitab-E-Navras (Book of Nine Rasas) in Dakhani. It is a collection of 59 poems and 17 couplets. According to his court-poet Zuhuri, he wrote it to introduce the theory of nine Rasas, which occupies most important place in Indian aesthetics, to acquaint people who were only brought up in Persian ethos. The book opens with prayer to Saraswati, the Goddess of learning. He claimed that his father was divine Ganapati and mother the Holy Saraswati. For him, the Tanpura personified learning -- "Ibrahim the tanpurawala became learned due to grace of god, living in the city of Vidyanagari" (Vidyanagari is the earlier name of Bijapur.)akhni (an early South Indian dialect of Urdu) marasi. Although Persian marasi of Muhtasham Kashani were still recited, the Adil Shahi and Qutb Shahi rulers felt the need to render the Karbala tragedy in the language of common Muslims. In the Adil Shahi and Qutb Shahi kingdom of Deccan, marasi flourished, especially under the patronage of Ali Adil Shah and Muhammad Quli Qutb Shahmarsiya writers themselves, and poets such as Ashraf Biyabani. Urdu marasi written during this period are still popular in South Indian villages. One such marsiya expresses the pathos of the moment when Imam Hussain's loved ones bid him farewell:
Farewell, O King of martyrs, (Alwidayu)
Farewell, O Ruler of both worlds,
..................................
Mustafa [the Prophet] mourns for you in Paradise,
like Yaqub mourned in the aftermath of his separation with Yusuf.[11]
The Yaqub-Yusuf motif,[12] which by no means is restricted to marsiya, recurs over and over in this genre since the son of Imam Hussain, Ali Akbar, was supposedly as handsome as the Qu'ranic Yusuf, and since the Imam's distress after the martyrdom of his son was analogous to Yaqub's sorrow after his son parted from him. The North Indian marsiya writers used similar motifs and metaphors when the centre of Urdu literature moved to the North after the kingdoms of the Deccan were annexed by the Mughals.
As Mughal power began to wane in the aftermath of the rule of Aurangzeb (1706), other autonomous Muslim powers sprung up in India. The Navabs of Avadh, Twelver Shi'is and patrons of Urdu literature and poetry, provided auspices for the sublimation of the marsiya genre in North India.

URDU POETRY
Urdu was ordered to be used as an official language by Ibrahim Adil Shah II of Bijapur (1580-1672) and was in use In Golcunda also at the time of Abdullab Qutb Shah (1626-1672). The language was known in the Deccan as Hindavi or Deccani right up to the dissolution of Adil Shahi kingdom in 1686 and the Qutb Shahi kingdom a year later.
URDU POETRY can be broadly divided into three eras. The first period was that when Urdu had the Hindu imprint on it. There are several hundred poets belonging to that period, and the prominent names include Quli Qutab Shah (1580-1611), Hassan Shauki, Ali Adil Shah Sani Shahi, and Shahi Bejapuri. In that period, Urdu was called "Rekh'tah" (Dialect of women). These earliest poets followed the style of Hindu poetry where a woman's feelings were expressed in a woman's idiom. I am using the term Hindu instead of Hindi because while Muslims also inhabited the Sub-continent (Hindustan) at that time, the poetry predominantly reflected the Hindu way of life, bearing their religious teachings and culture.

Like any other movement, feminism bears a variety of ideas. There is no single feminist ideology. The divisions commonly accepted among feminist ideologies do not make the views of these feminist poetesses different or contradictory. There are infinite similarities in different feminist assertions. The fundamental and basic ideas and concepts are shared among all of them. The definition that covers all feminist beliefs and attitudes, as given by David B. is as follows