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Algerian Dwn of Sd Bill Music, Trance, and Affect in Popular Islam Turner, Tamara This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Algerian dwn of Sd Bill music, trance, and affect in popular Islam Turner, Tamara Dee Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 ALGERIAN DĪWĀN OF SĪDĪ BILĀL: MUSIC, TRANCE, AND AFFECT IN POPULAR ISLAM Tamara Dee Turner 1 ABSTRACT Algerian dīwān (lit. ‘assembly’) is a healing, musico-ritual tradition that originated out of the trans-Saharan slave trade and coalesced through the segregation of these displaced sub-Saharan populations in present day Algeria who, under three centuries of Ottoman rule, were heavily influenced by the local, popular religious practices and socio-political organisation of Sufi lineages. Subsequently, dīwān gradually developed into a syncretic Afro-Maghrebi ritual practice predicated on many of the same structures of other musical traditions within popular Islam: saint veneration, trance, and musically generated ritual healing. Dīwān ritual today is considered by its practicants to belong to the family of Sufi ṭuruq, providing divine transcendence of human suffering and functioning, quite practically, as mental-emotional healthcare. What makes both of these processes possible is the ritual labouring of music. The most broadly applicable utility of music in dīwān is its ability to create community feeling or ‘social warmth’—ḥāl. With dīwān music creating the critical ambience of ideal ḥāl, adepts suffering from psychological distress and/or physical pain are then triggered into varying states of trance by personal associations with musical mottoes that intensify their bodily sensoria, thus igniting a process that obliges these adepts to physically move these sensoria. By rendering private suffering public, this ability of dīwān to musically trigger and release pain means that it establishes the sufferer's place in a wider network of relations including the religious community and the supernatural world of Islam. Subsequently, social relationships are reconfigured as the community cares for the suffering of others. Being the first ethnomusicological study of dīwān, this thesis both documents and analyses musical and ritual practice while examining in detail the sensory and affective worlds of trance in dīwān to ultimately posit dīwān ritual worlds as emerging out of an affective epistemology. 2 TABLE OF CONTENTS Acknowledgements 5 Notes on Language 8 INTRODUCTION 9 PART ONE: WHERE DĪWĀN HAS COME FROM 14 Chapter 1: Political, Historical, and Intellectual Legacies 15 A. Historiographies of the Region 15 B. A Survey of Academic Inquiry into Trance 24 C. A Survey of Affect Theory: How Dīwān Challenges It 36 D. Researcher Positionality 43 Chapter 2: The Emergence of Dīwān; the Afro-Maghribi Context 50 A.Trans-Saharan Caravans and Sufi Histories 50 B. The Afro-Maghribi Position 61 C. Dīwān’s Afro-Maghribi Musical Elements and Sensibilities 66 1. The Instruments and ‘Musicians’ 68 2. Make-up: Modes, Meter, and Compression 77 3. Styles of dīwān music 85 4. Structure of a Borj 90 5. Musical Structure and Freedom: Comparing Musical Performances 96 6. Final Thoughts on Recent Dīwān Musical Status 119 PART TWO: THE DĪWĀN LIFEWORLD 121 Chapter 3: Epistemologies and Ontologies of Dīwān 123 A. Meriem’s Affliction 125 B. The Epistemologies of Agency, Affect, and Transmission 142 C. Affective Labour Systems in Dīwān 152 Chapter 4: The Social Field of Trance 156 A. The Cultural Background of Ḥāl 156 B. How Ḥāl is Produced in Dīwān 161 C. Trance Types 168 D. Bodies and Movement 178 E. Care 183 3 PART THREE: TRANSMISSION: HOW DĪWĀN THRIVES, STRUGGLES, AND IS REPRODUCED 186 Chapter 5: Secret Knowledge 190 A. Secrets 192 1. A Conversation with Moqedm Jallūl Moṭam 195 2. A Conversation with Shaykh ʿAbd el-Qādr Guellāl 203 3. A Conversation with Mʿallem Tūfīq ʿAbd Es-Selam 211 B. Supernatural Involvement in Transmission 218 1. Punishment if Transmission Codes Are Neglected 218 2. Supernatural Contracts Between Human and Nonhuman Agents 219 Chapter 6: Family Lineages and Place 224 A. Oran and the Lineage of Majdūb 226 B. Saida Lineages 237 C. Mascara Lineages 245 Chapter 7: The Dīwān Festival of Bechar 251 A. Background of the Festival 252 B. Talking With Ritual Experts 256 C. The Rabbit Incident 264 CONCLUDING THOUGHTS 272 APPENDICES 278 1) Notes on the Companion Website 279 2) List of Figures, Tables, and Musical Examples 280 3) Ṭreq Comparisons 283 4) Ritual Action (Nashaṭ) Table 291 5) Glossary 297 BIBLIOGRAPHY 298 4 Acknowledgements This research was made possible by the American Institute of Maghrib Studies (AIMS) pre-doctoral research grant (2013), a three-year King’s College London International Research Studentship (2013-2016), a British Forum for Ethnomusicology fieldwork grant (2016), and a joint AIMS and WARA (West African Research Association) Saharan Crossroads Fellowship (2016). A special thanks to my advisors Martin Stokes and Katherine Butler-Schofield at King’s College London and my PhD examiners James McDougall and Barley Norton. It is simply impossible to adequately thank all of the interlocutors in Algeria and others abroad who made this research possible and profound. I would like to especially recognise some of the people who were particularly supportive and the families with whom I worked most closely, listed alphabetically by city. Allah yḥafḍhekum, gʿā : Adrar: Hamīd 'Feddah', Fayza, Mʿallemīn Merwān and Smʿaīn. Ain Temouchent: Moqedm Buḥajar, Mʿallem Abdellah Buḥajar and family; Moqedm Manqūr. Arzew: Shaykh Moqedm Hūsīn Daījaī and all the women who made the annual wʿāda there possible. Algiers: the late ʿAmmi Osmane Sūdānī, Mʿallem ʿĪissa, Mʿallem Faycal, and Mʿallem Mustāfa Sūdānī, Bilāl Sūdānī; Mʿallem Allal Bembārka; Mʿallem Toufiq ʿAbd Es-Selam. Salīm Khīat. Mehdi Lekehal, Islem Boulile, Yusri Tamrabet; Sāra Kharfī, Lotfi Slakem; Nassim Cimo and the entire band of Diwan el-Bahja; Chakīb Būzīdī and Ifrikiyya Spirit, Rīad Aberkane, Linda Bouadama. Bechar: ʿAmmi Brahīm Berazūg. Mʿallem ‘Hakem Sandy’, the generous staff of the annual Bechar Festival of Diwan, especially Lʿamārī Ḥamdānī. Biskra: Mʿallem Milūd and Zahia and the entire Ben Belkhīr family; Saleḥ Tamtāwī and family. Blida: ʿAmmi Muḥammad Behāz and family. ʿAbd el-Wāḥed Faḍel Boston: Richard Jankowsky. Nadjim Kebir. 5 Constantine: Moqedm Hādī Hashanī, ʿArīfa ʿAīsha Baya, and everyone at Dar Baḩrī; ʿAmmī Mīlūd Tuhāmī and everyone at Dar Haussa/Bornu. Chouqi and MaissaʿAshaq-Yūsef and family, Walīd Khelīfī. Fort Collins: (CO, USA): Jo Ella Turner Ghardaia: Moqedm/Mʿallem Muḥammad “Ḥammitū” Samāwi and family; Ramḍān Būsharab and his family. Limerick, Ireland: Tony Langlois London, UK: Rachida Lamri, Samiha Salḥī, Tūfīq Dīūb. Paul Cox, Bee Peak and family. Mascara: Mʿallem Bīkādī, ChekībʿAīnār, Ūlād Meriem/ Bel ʿArabi family; ʿAzzedīn Benūghef,, Mʿallem Benʿūmar Zendēr and family; Maḥalla Gargu and family; Muḥammed Braika; everyone at the zāwīya of Bab ʿAli, Mʿallem Ḥammūda and family. Père Raymond. Mostaganem: Mʿallem Hammiya, Mʿallem Hūsīn, Būbakar and Smaʿīn, and Ūlād Mʿallem Majdūb Sarjī. Shāykh El Hādī, Shāykh ʿAbd el-Qādr Guellāl and family; Moqedm Moktar and maḥalla. Saʿida: Moqedm Jallūl Moṭam, ʿAīsha Mʿamrī, Mʿallem Amīn Muḥammad Canon, Qada Canon, and the entire Canon family; Bu Mama Farajī and family; the late Mʿallem Būterfās and family and all who welcomed me to the Saida zāwīya. Muḥammad Weld Bent Saleḥ. Moḥa Dahmānī. Oran: Nūreddīn Sarjī and Faṭiyyah and family, Khaīra and family; Nūreddīn Khīter and family; Mʿallem Qwīder Arūbī & Faṭī; Mʿallem Hūwaārī Būsmaha and his troupe; Mʿallem ʿAbdāqa Samy and family; Mʿallem Laḥbīb Kano and family; Muḥammad Weld Ba ʿAmar. ʿAmmī Daḥū Ḥarār and family. My ‘brothers’ Hūwārī Mīlūd, Muḥammad 'Mo Canastel' Benhādī. Sī-Muḥammad Belkhādem, Robert Parks, Karim Ouaras, Hayet Yebbous Ben Sʿaīd, Muḥammad Ben Saleḥ and family; Oussama Becissa, ʿAlī Nougal, Rihab Alloula, Sabrine M’zad and family. The staff at the Saint Eugène Pierre Claverie. Ouargla: Tahar Idder and family, Slīmen Būghāba, and the band of Zingdah. 6 Perrigaux: Shāykh Bel ʿAbbess Zerwāli, Yakūb Zerwāli and family; Mʿallem Diden Maḥarrar and family; Relizane: Mʿallem Benʿūda Ben Brāhīm and family; Nāṣr Būjedra and my brothers of the Relizane maḥalla, Zāwīya Sīdī Bilāl Jemaʿīya Ahl Gnāwa. Sīdī Bel ʿAbbess: Mʿallem Yūssef Mazūzī, Moqedm Bū Bitra and maḥalla, ‘Moqedma’ Khaīra. Timimoun: Leila Assas. Family of Tata Haddou, ʿAbdāqa, ʿAbd el-Hamīd Farjūlī. 7 Notes On Language For Arabic transliteration in this thesis, I use the system of the International Journal of Middle Eastern Studies with some adaptions for Algerian dialect (derija). I will take exception to this system in a couple of ways. With place names, I will represent them as they would be recognised in English: for example, Oran rather than Wahrān, Saida rather than Saʿīda. Secondly, when a term is of unknown or non-Arabic origin, I will not use the above system, such as representing the song name Jamarkay rather than Jāmarkī.
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