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The Tunisian ʻūd ʻarbī: Identities,Intimacy And

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The Tunisian ʻūd ʻarbī: Identities,Intimacy And THE TUNISIAN ʻŪD ʻARBĪ: IDENTITIES, INTIMACY AND NOSTALGIA SALVATORE MORRA Music Department Royal Holloway, University of London Thesis Submitted for the Degree of Doctor of Philosophy 2018 1 Declaration of Authorship I, Salvatore Morra, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ________________________ Date: ________________________ 2 Abstract This thesis examines various identities of the Tunisian musical instrument ʻūd ʻarbī within the context of mālūf urban music. I consider how the ʻūd ʻarbī inhabits and performs several aspects of cultural and national identity formations in modern Tunisia (1830-present), highlighting the diverse ways in which the instrument is constructed, transmitted and performed. I argue that the ways in which several types of social actors, including players, luthiers and mālūf aficionados, shape the identity of the instrument can be considered through Herzfeld’s (1997) theory of cultural intimacy. In combining techniques such as interviews, analysis of texts and artefacts in workshops of luthers, in musical instrument museums (London, Brussels, Tunis), in domestic and public performances, as well as the examination of various visual representations of the instrument, I locate the Tunisian ʻūd ʻarbī in a web that provides ways of engaging with its "hidden" identities. I analyse how cultural intimacy (Herzfeld, 1997 [2005]) contributes and animates the life of the Tunisian ʻūd. I argue that it acts mainly as an identity metaphor and nostalgic sentiment (i.e. illustrating the Andalusian paradigm of loss and nostalgia); a dynamic association of sounds and other phenomena (namely in the calls for a Tunisian ʻūd timbre); and a craftsmanship of tradition (e.g. wood, shapes and their marking of identity). Drawing on theories and methods from ethnomusicology (Bates 2012; Dawe 2001), anthropology (Herzfeld 1997 [2005]; Boym 2001), and material culture (Woodward 2007; Miller, 2005), my thesis contributes an ethnographic and music-centered approach to interdisciplinary debates about post-colonial nationalism, public intimacy and cultural identity. 3 Table of Contents Title Page 1 Declaration of Authorship 2 Abstract 3 Table of Contents 4 List of Figures 6 Notes on Spelling and Transliteration 7 Acknowledgements 8 Introduction 9 Introduction 9 The Theoretical Frame 14 ʻŪd ʻArbī, Intimacy and Nostalgia 19 An Overview of Mālūf and the ʻŪd ʻArbī 22 Methodology: Practical and Theoretical Issues 30 Organisation of the Thesis 39 1. ʻŪd ʻArbī and National Identity 41 Arab Andalusian Music, a National Construction 41 New Sources of National Music Discourse: Safāīn al-mālūf al-tūnisī and Leīla 50 In Search of the ʻŪd ʻArbī: Clubs, Institutions and Collective Memories 60 2. The ʻŪd ʻArbī: Morphology, Features and African Identity 69 The ʻŪd ʻArbī between 19th and 20th Centuries: Europe and Tunisia 70 The ʻŪd ʻArbī: What Possible Classification? 81 A Tunisian-African, but "non-Arab", Instrument 88 3. Making ʻŪd ʻArbī Today: Heritage of Craftsmanship and New Directions 95 4 Multicultural Exchanges, from Artisan Woodworker to Professional Luthiery 96 Medina Luthiers, Artisan Work for the Market 103 Standard ʻŪd ʻArbī, Crafting Wood by Hands 108 Crossing Identities, the Tunisian ʻŪd in the 21st Century 113 4. The Sound of the ʻŪd ʻArbī: Evocations through Senses 123 A Brief History of ʻŪd ʻArbī Recordings 124 Hearing and Touching the Instrument, Experiences of ʻŪd ʻArbī's Sound 130 "Sounding Tunisian", What Does the ʻŪd ʻArbī's Sound Mean? 136 5. Tunisian ʻŪd ʻArbī Players: Intimacy and New Directions 146 The Notion of Sheykh, Filial Kinship and Transmission 147 ʻŪd-s ʻArbī in Solitary Spaces 154 Institutionalising the ʻŪd ʻArbī: the Case of ʻAbīr ʻAyādī in the Higher Institute of Music Sfax 159 Solo Recital and New Directions 163 Conclusions 171 Final Reflections and Future Directions 175 List of Interviews 178 References, Bibliography 181 5 List of Figures FIGURE 1. A PERFORMANCE AT THE RASHĪDĪA MUSIC INSTITUTE 31ST MAY 2015. THE ENSEMBLE RASHĪDĪA OF SOUSSA. PHOTO: SALVATORE MORRA ……………………………………………………………………………………………………..9 FIGURE 2. THE TUNISIAN ʻŪD ʻARBĪ. PHOTO: DAVID SAN MILAN, COURTESY HORNIMAN MUSEUM ...............................11 FIGURE 3. THE TUNISIAN ʻŪD SCHOOLS…………………………….……………………………………………………………………29 FIGURE 4. “LES MUSICIENS TUNISIENS DANS LE PARC DU TROCADERO", SIGNED BY BURNAND. COURTESY ANĪS MEDDEB………………………………………………………………………………………………...............................................................................42 FIGURE 5. "YOUNG MAN SEATED, PLAYING AN OUD, WHILE A YOUNG WOMAN STANDS NEARBY". PHOTO: HTTP://WWW.LOC.GOV/PICTURES/ITEM/2004670407/ ……………………………………………………………………….42 FIGURE 6. GEORGE PAUL JOSEPH DARASSE (1861-1904), THE TURKISH MUSICIANS. PHOTO: HTTPS://WWW.1ST- ART-GALLERY.COM/GEORGE-PAUL-JOSEPH-DARASSE/THE-TURKISH-MUSICIANS.HTML ................................................................................................................................................................................................................42 FIGURE 7. KHAMAĪS TARNĀN…………………………………………………………………………………………………………...43 FIGURE 8. CLUB DE MĀLŪF “ṬAHĀR GHARSA”. PHOTO: SALVATORE MORRA………………………………………………….48 FIGURE 9. ʻŪD ʻARBĪ IN SAFĀĪN AL-MĀLŪF AL-TŪNISĪ. PHOTO: SALVATORE MORRA ………………………………………….53 FIGURE 10. JAOUK ENSEMBLE, JELLĀL BEN ʻABDALLAH (1938). COURTESY N. MAMELOUK…………………………………………………………………...…………………………………………………………………57 FIGURE 11. "UNNAMED 97X66 ACRYLIQUE SUR CONTRE PLAQUÉ" (DETAIL), JELLĀL BEN ʻABDALLAH. PHOTO: SALVATORE MORRA. COURTESY GALLERY "ALEXANDRE ROUBTZOFF"……………………………...............................................................................................................................................58 FIGURE 12. ʻABD ʻAZĪZ JEMAĪL, ʻŪD ʻARBĪ’S LABEL. PHOTO: CLAUDIA LICCARDI. COURTESY BEN ʻABDALLAH ……………………………………………………………………………………………………………………………………………………..59 FIGURE 13. NĀDĪ AL-FANĀN IN DĀR TAQĀFA CHEIKH IDRIS, BINZERT. PHOTO: SALVATORE MORRA ……………………66 FIGURE 14. TABLE: ʻŪD-S ʻARBĪ IN EUROPEAN MUSEUMS ………………………………………….............................................70 FIGURE 15. ʻŪD ʻARBĪ M24.8.56/95. HORNIMAN MUSEUM & GARDENS. PHOTO: DAVID SAN MILAN. COURTESY HORNIMAN MUSEUM …………………………………………………………………………………………………………………………74 FIGURE 16. ROSETTE DESIGN. M. I. BĒLAṢFAR. PHOTO: SALVATORE MORRA ………………………………………………..75 FIGURE 17. ʻŪD ʻARBĪ’S PICK GUARD. PHOTO: DAVID SAN MILAN. COURTESY HORNIMAN MUSEUM. TUNISIAN MAQRŪḌ. PHOTO: SALVATORE MORRA …………………………………………………………………………………………………..76 FIGURE 18. ʻŪD ʻARBĪ’ (0395) IN MUSICAL INSTRUMENT MUSEUM, BRUSSELS. PHOTO: DAVID SAN MILAN. COURTESY MIM …………………………………………………………………………..........................................................................79 FIGURE 19. TUNING OF THE TUNISIAN ʻŪD ʻARBĪ …………………………………………………………………………………….91 FIGURE 20. RĪSHA-S AT MEHER’S ATELIER. PHOTO: SALVATORE MORRA …………………………………………………...105 FIGURE 21. ʻALĪ BABA SHOP’S LABEL. PHOTO: SALVATORE MORRA ………………………………………………………….106 FIGURE 22. ʻŪD-S MOULDS IN BĒLAṢFAR’S ATELIER (CMAM). PHOTO: SALVATORE MORRA ……….............................110 FIGURE 23. ELECTRIC ʻŪD ʻARBĪ IN SONOMUSIC OF M. METHNI. (THE INSTRUMENT IN THE MIDDLE), PHOTO: SALVATORE MORRA ………………………………………………………………………………………………………………………...114 FIGURE 24. RIBS, FREE MOULD TABLE IN JANDOUBĪ’S ATELIER. PHOTO: SALVATORE MORRA ………………………..117 FIGURE 25. ʻŪD ʻARBĪ’S MAKING IN ṬWĪRĪ'S ATELIER (NECKS). PHOTO: SALVATORE MORRA ……..............................121 FIGURE 26. NOTES FROM WHICH TO MODULATE …………………………………………………………………………………143 FIGURE 27. INCIPIT OF THE IMPROVISATION IN RAṢD DHĪL RECORDED BY ṬAHĀR GHARSA ……………………………..143 FIGURE 28. TREMOLOS EXAMPLES ……………………………………………………………….....................................................143 FIGURE 29. LONG TREMOLO EXAMPLE ……………………………………………………………………………………………….144 FIGURE 30. C - RAṢD, C – KERDĒN ……………………………………………………………………………………………………...144 FIGURE 31. AMAL, PART ONE …………………………………………………………………….......................................................166 FIGURE 32. AMAL, PART TWO ……………………………………………………………………......................................................166 FIGURE 33. AMAL, PART THREE ………………………………………………………………………………………………………...167 FIGURE 34. AMAL, KHANA 2 …………………………………………………………………………………………………………….167 FIGURE 35. AMAL, KHANA 3 ……………………………………………………………………………………………………………..167 FIGURE 36. MODE AṢBAʻĪN AND PASSAGE NOTES IN AMAL ……………………………………………………………………….167 FIGURE 37. “A TUNISIAN MODERNITY 1830-1930”, PHOTO: SALVATORE MORRA (2018)……….…..……………….176 6 Notes on Spelling and Transliteration In this thesis, I use a slightly modified version of the system employed by The Encyclopaedia of Islam (Leiden, E. J. Brill) for the Arabic terms. My concern is to provide enough information both about the pronunciation of spoken Tunisian and written modern standard Arabic. For the term which is the subject of this dissertation, I have privileged conventional transliteration (ʻūd) over pronunciation (oud), preceded by the English article "an". For its plural, and that of other terms, I have opted to simplify matters by presenting it with an unitalicised "-s" at the end of the singular form, e.g. ʻūd-s rather than ʻīdān or aʻwād. Arabic words that are present in the English dictionary such as Ramadan, Sufi, appear here without diacritical marks. Similarly, the names of places and cities that have conventionalised Western forms maintain those forms rather than more technical transliteration of the standard Arabic;
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