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Devotional Music and Healing in Badakhshan, Tajikistan: Preventive and Curative Practices

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Devotional Music and Healing in Badakhshan, Tajikistan: Preventive and Curative Practices DEVOTIONAL MUSIC AND HEALING IN BADAKHSHAN, TAJIKISTAN: PREVENTIVE AND CURATIVE PRACTICES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Benjamin David Koen, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Margarita Mazo, Adviser Professor Daniel Avorgbedor ________________________ Adviser Professor Ron Emoff School of Music Copyright by Benjamin David Koen 2003 ABSTRACT The dissertation examines current practices of music and prayer in healing among the Pamiri people of Badakhshan, Tajikistan. Over the last decade, the field of ethnomusicology has become increasingly concerned with the role of music in healing. Simultaneously, clinical research into music and healing, as well as prayer and healing has dramatically increased. Yet, the link between music and prayer in healing has not been critically examined, either in ethnomusicology or health science. To approach the topic holistically, an interdisciplinary team of researchers was assembled in Badakhshan. Through an integrated methodology of traditional ethnomusicological techniques and physiological experiments, the dissertation investigates the phenomenon of music and prayer in healing in Tajik Badakhshan. By working with master musicians, traditional healers, local religious leaders and physicians, ethnographic and physiological data were collected that form the basis of the dissertation. In the Pamir Mountains of Tajikistan, the preeminent vocal and instrumental genre of devotional music is known as maddâh. It serves several cultural functions and provides an example of how music and prayer function as a unified whole in the ii context of traditional healing. Maddâh has been little researched in ethnomusicology, and its role in healing has not been explored in the literature. My research shows that the ritual performance of maddâh is used as a preventive practice for health maintenance, as an adjunctive medical treatment, and as a curative ceremony. The dissertation introduces music-prayer dynamics as a model to conceptualize the use of music and prayer to effect healing in special contexts and in daily human experience. Evidence from my research suggests that the integration of music and prayer is potentially the most efficacious parameter of the music-prayer dynamics model. The study also proposes medical ethnomusicology as a specialized area of inquiry, which emphasizes integrative research to explore holistically music and healing in any context. Musical and poetic analysis draws on local, power-laden cultural symbols and metaphors, as well as concepts of embodiment and emplacement to explore how bodily response, belief and cognitive flexibility work together for cure and prevention. iii Dedicated to my beloved wife Sabá, who shared in these and so many other experiences of music, prayer, meditation, and healing. iv ACKNOWLEDGMENTS To acknowledge befittingly all those who have contributed to this project, either directly or by supporting and encouraging its author would be impossible. I must however express my deep gratitude to the following people, each of whom has contributed in a special way to the completion of this work: all the musicians and newly found friends and associates in Tajikistan—particularly in Pamir; Samandar Pulodov for his brotherhood, mystical insight and communication, expertise and tireless assistance in the field; Davlatnazar for his fearless driving through treacherous mountain passes and over raging rivers, his sense of humor and positive nature; Rafique Keshavjee and all the friends at the Aga Khan Humanities Project for their hospitality and assistance in welcoming my wife and I to Tajikistan and facilitating our work; Margarita Mazo, my academic adviser, for her patience and encouragement, sincere questions and challenges, whole-hearted listening, and openness of mind and heart; Daniel Avorgbedor, for always freely sharing his experiences, wisdom and scholarly insight, continual encouragement, and creative mind; Ron Emoff, for his openness and perceptiveness, encouragement, and clarity of expression; Udo Will for his fresh approaches to cognitive ethnomusicology, all his assistance with various computer programs and data analysis, and heartfelt candor; Graeme Boone for his v many spontaneous conversations and philosophical insight; Lois Rosow for her encouragement and support; Don Gibson and Pat Flowers for their open doors, positive perspectives and support; Ted Levin, for the many precious opportunities he has given to me, for his frank and spirited consultation, and his ongoing, intrepid research along the Silk Road; Margaret Mills for helping to open the door to Tajikistan, her ever-present encouragement and candor; Dick Davis for his gentle guidance in the translation of Persian and Tajik texts, his scholarly integrity and encouragement; Parvaneh Pourshariati for her assistance in translation of Persian and Tajik texts; Mahin Vojdani for assistance in translation of Persian and Tajik texts and freely sharing her unique experience in and knowledge of Persian culture; William Malarkey for his consultation and giving permission to reproduce his PIERS and “GAP” figures; my brother, Joseph Koen, for his loving encouragement, advice and consultation regarding the medical and physiological aspects of my research; Shiling Ruan for assistance with the statistics; Joan Lincoln and Payman Mohajer for their loving consultation and encouragement; Javad Ashrafi for sharing his music and expertise; my parents Leon and Thelma Koen and the entire family for their unfailing love and encouragement; and my beloved wife and best friend, Saba Koen, for all that we have shared, and all the journeys yet to come. vi VITA August 29, 1969............................Born - Milledgeville Georgia, U.S.A. 2000...............................................M.A. Ethnomusicology, The Ohio State University 1998...............................................B.M. Jazz Studies, The Ohio State University 1996 – 1997...................................Traditional study of the xiao (end-blown Chinese bamboo flute), tai ji and qi gong (martial arts / healing systems) – Shenyang China 1986-1994……………………….Private Studies Saxophone: David Murray, World Saxophone Quartet; James Hill, Byron, Rooker, Vince Andrews, Gene Walker, Ohio State University James Umble, Youngstown State University Flute: Katherine Borst Jones, Ohio State University Clarinet: Byron Rooker, The Ohio State University African drums: Babatunde Olatunji, New York City; Chibuzor Uwadione, Israel and the United States; Daniel Avorgbedor, Ohio State University Indigenous Flutes and Drums: traditional teachers in several countries 2002 June-July…………………..Music Presenter - 36th Annual Smithsonian Folklife Festival, The Silk Road: Connecting Cultures, Creating Trust, Washington, D.C. vii 1998 – present………………………Graduate Teaching Associate Ethnomusicology/Musicology Ohio State University 2001 June-August…………………..Field Researcher/Trainer The Aga Khan Humanities Project For Central Asia, Dushanbe and Khorog, Tajikistan 2000 – 2002…………………………Foreign Language and Area Studies Fellow - Persian language Middle Eastern Studies Center The Ohio State University 2000 – 2001…………………………Graduate Research Associate - Cognitive Ethnomusicology Laboratory Ohio State University 1998…………………………………Foreign Language and Area Studies Summer Fellow - Persian language Middle Eastern Studies Center Ohio State University 1998 (Autumn)……………………...Assistant to Ngurah Suparta and Wrhatnala Balinese Gamelan 1996 – 1997…………………………Foreign Expert In Music and Language (College Faculty Position) Lioaning Chingnian Gambu Guanli Xueyuan, Shenyang, China 1986 - present ………………………Studio Teaching - Taught jazz saxophone, flute and clarinet, improvisation, theory and composition; indigenous flutes and drums of diverse cultures to students of all ages and levels viii PUBLICATIONS 1. Koen, Benjamin. Songs From Green Mountain. New York, NY: GMRecords, GMR-92 2. ---. 1997. Reliance: Ben Koen and the Unity Ensemble. New York, NY: GMRecords GMR-91 3. ---. 1995. Review of the Music of Composer Lasse Thorensen. Arts Dialogue, no. 32 (2-3) 4. ---. 1998. Ben Koen and the Unity Ensemble: A Commentary. Arts Dialogue, no. 46 5. Fiedler, Joe, Ben Koen, and Ed Ware. 1998. 110 Bridge St. Redwood, NY: CIMP-185 6. Parker, William, et al. 1996. Sunrise In The Tone World. N.Y. N.Y.: AUM Fidelity 002/3 PERFORMANCE EXPERIENCE Performed in over thirty countries as a soloist, leader of jazz ensembles and member of various ensembles, 1989-present; including a residency in New York City from 1993-1996. Member in the ensembles of: Jazz: David Murray, saxophonist and founder of the World Saxophone Quartet; pianists Cecil Taylor, Tete Montiliou and D.D. Jackson; bassist William Parker; violinist Billy Bang; and drummers Denis Charles and Reggie Nicholson; and The Improvisers’ Collective N.Y.C. World Music: sitarist José Gualberto; Rusalka, The Ohio State University Slavic Folk Chorus; the Ohio State University African Drum Ensemble; various Latin jazz, Salsa and Haitian ensembles Gospel Music: Eric Dozier (choir director) and the National One Human Family Workshop; Voices of Unity Columbus Ohio ix Other: 1st National Tour of the Broadway show 42nd Street Performances include appearing with: Jazz: pianists Cooper Moore, Hank Marr and Kim Pensyl; guitarists Bern Nix and Rez Abassi; saxophonists James Spaulding, Hamiet Bluiett, and Doc Holliday;
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