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Hadeeth-No.36-2012-English.Pdf Hadeeth ad-Dar Volume 36, 2012 Hadeeth ad-Dar Volume Hadeeth ad-Dar حديث الدار Dar al-Athar al-Islamiyyah دار الآثـــــــار الإ�ســـــالمـيـة State of Kuwait متـحف الكويت الوطني, دولـة الكويـت Volume 36, 2012 العدد 36, 2012 جمـلة دار الآثــار الإ�ســالمية - العـدد The Journal of Dar al-Athar al-Islamiyyah Issue 36 36 دار الآثـــار الإ�ســـالميـة »حديث الدار« جملة ف�صلية ت�صدر عن دار الآثار الإ�صالمية املقالت والآراء ووجهات النظر الواردة يف املجلة .Dar al-Athar al-Islamiyyah The journal Hadeeth ad-Dar of the Dar al-Athar al-Islamiyyah (DAI) is published quarterly National Council for Culture, Arts and Letters The articles, views and opinions expressed do not necessarily reflect the policy of Dar al-Athar متحف الكويـت الوطني ل تعرب بال�صرورة عن راأي الدار. ال�صرتاكات املجانية متوافرة بناء على طلبات خطية. .al-Islamiyyah (DAI). Complimentary subscriptions are available upon written request �ص. ب: 23996، ال�صفاة، 13100، الكويت .P.O. Box 23996, Safat, 13100, Kuwait Produced by the editorial staff of Dar al-Athar al-Islamiyyah (DAI). هاتف: Tel: +965 2240 0965 +965 2240 0965 انتجت بوا�صطة وحدة الن�صر يف دار الآثار الإ�صالمية Fax: +965 2242 0088 فاك�ص: Printed in the State of Kuwait +965 2242 0088 طبعت يف دولة الكويت e-mail: [email protected] © 2012 GMCC الربيد الإلكرتوين: [email protected] About the journal Contents Hadeeth ad-Dar is a 02 8 February 2010 publication of the Baluch Healing Ritual and Trance Music Dar al-Athar al-Islamiyyah. Jean During Every year, the Dar al-Athar al-Islamiyyah organises a 10 May 2010 series of lectures known 07 Pre-Islamic Coinage in the Arab Gulf as the Cultural Season. Olivier Callot Hadeeth ad-Dar was created to share these lectures with academic and cultural 14 23 May 2010 institutions and Friends of Breaking the Wall of Silence and the Resistance of the Dar al-Athar Marginalisation: Women’s Presence in Cyberspace Amaal Qarami al-Islamiyyah around the world. Cultural Season 18 will get underway in 20 17 January 2011 September 2012 and, as Reflections on the State of Islam Today with previous years, will Fahmi Jadaan present scholars in a wide variety of fields related 4 April 2011 to arts and culture in the 25 The Shahnama and the Persian ‘Arts of the Book’ Islamic world. Charles Melville The Dar al-Athar al-Islamiyyah (DAI) is 30 14 November 2011 a government cultural Artistic Currents Along the Gulf in Ancient Times Trudy Kawami organisation based on a Kuwaiti private art collection. Since its inception in 1983, 34 21 November 2012 DAI has grown from a Arab Objects of Art in Western Hands single focus organisation Anna Contadini created to manage the loan of the prestigious al-Sabah Collection of art from the Islamic world to the State of Kuwait to become an internationally recognised cultural organisation. This publication is sponsored in part by: LNS 549 T Bluebird Icon Fragment from a garment trimming of silk and metal thread tapestry weave. Eastern Iranian World 6th - 7th century AH/12th - 13th century CE Hadeeth ad-Dar 1 Volume 36 Baluch Healing Ritual is a symbolic reduction, as in fact, there is reason to think that some musicians have 40 or 70 and Trance Music ascendants. I mean that some families could well hold musical competence going back thousands of years; transmitted over dozens of generations. The same could be said about the European gypsies and tziganes. Jean During According to ancient Iranian chronicles dating from the fifth century CE, “To please his people, Presented in English the Persian King Bahram Cur (d. 438) asked the 8 February 2010 Indians to send him 12 thousand, musicians men, women and children from the caste of the Luli. The The purpose of this lecture is to get you acquainted with the culture of a people, a King gave them livestock and grain so that they can nation which is among the less known in the region, in spite of its remarkable poetic practice their art free of charge for the poor” (Mujmal and musical culture. The main reason for this fact is that Baluch people could not al-Taviirikh cit. Boyce, 1957: 11). maintain a political stability which would have led to the creation of a Baluch State The casts of musicians, coming from India to ideally located both in Pakistan and Iran. Among the factors which prevented the Pakistan and Iran, finally were absorbed into the solidification of their political desire for autonomy and unity, we can list the very Baluchis who, by the 12th century, were pushed hard conditions of existence due to a desert climate, the lack of natural resources, East from Centre and North Iran. They were most probably of the same origin as those who reached and a population scattered on an immense territory - part of which is controlled Europe through two routes: a northern one, crossing by local chief of war, and finally tribal structures and ethnic-linguistic diversity. Turkey and the Balkans, and a southern one, crossing Egypt (that’s why they are called gypsies) Baluchistan is the name of a great province in I could make a professional film on healing and and finally settling in Spain. south-east Iran, and also of Pakistan where it covers trance ceremony, but with the degradation of the 40 % of the whole country. Its population is estimated social and political climate in Pakistan and Iran, it is In all the countries where they settled, these Figure 1 at 12 millions, speaking 2 or 3 main variants of a highly risky. Furthermore, in both Iran and Pakistan, gypsies adopted the local musical idiom and tongue close to Kurdish, with ancient Iranian idioms. the Baluchis are viewed as marginal and rebellious, In all its rhythmic repertory, the sorud is performed the people’s music with outstanding Culturally we can distinguish two main areas: the and musicians hold a low social status, linked to accompanied by a rhythmic ostinato and drone talent and skill. It seems there is something in North, which extends beyond the Afghan border, their ethnic origin. played by the tambureg, a big 3-stringed lute. their genetic code (they would say in their blood) and the South, called Makran. Makran is a more Despite its limited possibilities, this instrument fulfils which, above cultural conditioning, is reflected in hospitable and quiet place, open to the Oman Sea Actually, Baluchis are a widely open people who an essential role in all the styles of Baluchi music. their performance style, regardless of which music and therefore, a zone of exchanges and trade which absorbed many different ethnic groups living in It replaces the drum, and most of the vocalists use they play or sing. For the experts, this affinity of culminates in Karachi. the same semi-desert space. One of these groups it to sustain their singing. Only in non-measured which can be labelled proto-gypsies, is said to style, mood or spirit is obvious even between very pieces does the tambureg keep silent. All my fieldwork in Baluchistan has been done come from Western India; they provided the native distant traditions. For instance Baluchi singing and in this area, where the music is quite different Baluchis with their skills in carpentry and wood work, rhythm has something in common with flamenco, Other instruments included in most Baluchi and richer than that in the North. I started in Iran jewellery making, instrumental music and vocal arts. and tzigane violin reflects something of the Baluchi compositions are the doneli, a double flute and (Saravan, Zahedan, Rask, later Chahbahar and While being fully Baluchi, they all belong to a social fiddle. In their daily life, tziganes, gypsies and luli the benju. The benju is a quite recent instrument Gawader) focusing on healing and Sufi music. Many group called the astli (masters) which is scattered from Baluchistan, share other common features which was originally a Japanese toy, but became years later, I rebooted my investigations during within a few Baluchi tribes like the Zangeshahi, the upon which I won’t elaborate, as we are here to a wonderful keyboard zither in the 1960s, thanks several stays in Karachi, the most fascinating place Dawudi and the Rend. discover some aspect of their music. to the improvement of the late performer Jome for the study of trance music and rituals. In addition Surizehi. Surizehi developed a playing technique to my musicological and anthropological approach, When you chat with a professional musician, he So let’s start with the instruments. which revitalised the subtleties of the Baluchi style. I considered it my duty to defend the Baluchi culture, often says that for seven generations there have and to contribute to the spread of their music through been musicians in his family, and he can recite their The main instrument of the Baluchis, is the sorud, Baluchi music is basically a soloist art, but for CDs and concerts tours in Europe and USA. I wish names. My impression is that seven ascendants a bowed fiddle with 4 strings plus 6 to 8 sympathetic festivals and entertainment, it can be performed strings. It is found in folk music of India and Nepal with several additional instruments, like dholak (a Professor Jean During is director of research at the French National Center for Scientific Research. He has written (sarinda) but in the hands of the Baluchi ostii, its type of Indian tanbur drum), tambureg , the benju, twelve books on the musical traditions and cultures of Inner Asia, more than a hundred articles in specialised revues and the doneli and the sorud.
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