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Qasīda-Khonī a Musical Expression of Identities in Badakhshan, Tajikistan Tradition, Continuity, and Change

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Qasīda-Khonī a Musical Expression of Identities in Badakhshan, Tajikistan Tradition, Continuity, and Change Qasīda-khonī A Musical Expression of Identities in Badakhshan, Tajikistan Tradition, Continuity, and Change DISSERTATION zur Erlangung des akademischen Grades Doctor of Philosophy (Ph.D) an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt-Universität zu Berlin von Chorshanbe Goibnazarov Präsidentin der Humboldt-Universität zu Berlin Prof. Dr.–Ing. Dr. Sabine Kunst Dekanin der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät Prof. Dr. Julia von Blumenthal Gutachterin/Gutachter: 1. Prof. Dr. Ingeborg Baldauf 2. Prof. Dr. Margrit Pernau Tag der mündlichen Prüfung: 10.11.2017 Table of Contents Acknowledgments .......................................................................................................................... vi Abstract ....................................................................................................................................... viii Abstract (English version) ................................................................................................................... viii Abstract (German version) ................................................................................................................... ix Abbreviations .................................................................................................................................. x Notes on Transliteration ............................................................................................................... xi Notes on the accompanying CD ................................................................................................. xii Chapter 1: Introduction ................................................................................................................. 1 Research Questions ................................................................................................................................. 5 Research Methodology ........................................................................................................................... 8 Clarifying the Terminology .................................................................................................................. 11 The Discourse of Music and Musical Performance in Islam: Ongoing Debates ............................. 14 Studies on the Qasīda-khonī ................................................................................................................. 17 Chapter 2: The Pamirī Ismaili Muslim Identity and Religious Practices in Badakhshan .... 23 Pre-Islamic History: Diversity of Identities and Belief Systems ...................................................... 24 The Spread of Ismaili Ideas in Central Asia: The Integration of Pre-Islamic and Islamic Practices ................................................................................................................................................................. 25 The Legend of Nāṣir-i Khusraw in Badakhshan ................................................................................ 27 The Pamirī Ismaili House ..................................................................................................................... 30 The Alamut Period ................................................................................................................................ 32 The Five Iranian Dā‘īs .......................................................................................................................... 34 The Charoghrawshan Ritual................................................................................................................. 36 Soviet Rule in Tajikistan: Restrictions on Religious Observance and their Consequences ........... 38 The Panj Tanī Faith .............................................................................................................................. 41 The Network of “Pirship” and Its Influence on Qasīda-Khonī ......................................................... 42 Ismailism in an Independent Tajikistan ............................................................................................. 47 Religious Revival and the Civil War ................................................................................................... 48 Aga Khan IV’s Visit to the Pamirs and the Institutionalization of Ismailism ................................. 52 The New Institutionalization of Pamirī Ismaili Religious Practices ................................................... 54 Conclusion .......................................................................................................................................... 61 Chapter 3: Qasīda-khonī: Learning, Practicing, and Performing the Musical Tradition ..... 63 Defining Qasīda-khonī and Exploring Its Roots ................................................................................. 63 The Origins ......................................................................................................................................... 63 Religious and Communal Purpose of Qasīda-khonī .......................................................................... 66 Qasīda-khons: The Performers of Qasīda-khonī ................................................................................. 68 ii Men and Some Women ...................................................................................................................... 68 Female Qasīda-khons ..................................................................................................................................... 70 Musician or Qasīda-khon? .................................................................................................................. 71 The Qasīda-khon’s Skills, Role, and Value in the Community .......................................................... 75 The Process of Becoming a Qasīda-Khon .......................................................................................... 77 The Master-and-Disciple System ................................................................................................................... 77 Connection with Family Circles .................................................................................................................... 80 Olucha and Mamadali……………………………………………………………………81 Aqnazar…………………………………………………………………………………...82 Azizkhon Karimov and Zaimkhon Muborakqadamov……………………………………..84 The New Ways of Training in Qasīda-khonī ...................................................................................... 89 Transformations affected the learning practice of Qasīda-khonī .................................................. 90 Qasīda-khonī on the Local and the International Contexts ................................................................ 92 Conclusion.............................................................................................................................................. 96 Chapter 4: Spaces and Contexts of Qasīda-khonī .................................................................... 98 Qasīda-khonī in Mourning Ceremonies .............................................................................................. 99 Mourning Ceremonies in the GBAO and the Role of Qasīda-khonī ................................................ 100 Texts for Qasīda-khonī at Mourning Ceremonies ............................................................................ 104 Duration of Qasīda-khonī at Mourning Ceremonies ........................................................................ 106 Musical Instruments during Qasīda-khonī at Mourning Ceremonies ............................................... 108 Community Reception and Qasīda-khonī at Mourning Ceremonies ................................................ 110 The Performance of Qasīda-khonī in the Pamirī House .................................................................. 113 Performance of Qasīda-khonī in the Jamoat-khona ........................................................................ 117 Debate on Authenticity of Qasīda-khonī in the Jamoat-Khonas ...................................................... 120 Institutional Restrictions ................................................................................................................... 121 Qasīda-khonī on Stage ......................................................................................................................... 124 Religious Festivals ............................................................................................................................ 125 Rūz-i Takhtnishīnī [The Day of Imamate] in Langar Village .......................................................................... 125 Qasīda-khonī and the Building of National Identity Inside ............................................................. 131 State Festivals and Celebrations ....................................................................................................... 135 Musical Contests at State-sponsored Festivals ................................................................................................ 136 The Andaleb Festival ……………………………………………………………………...137 Qasida-Khonī and the Building of National Identity Outside ......................................................... 140 Musical Ensembles ........................................................................................................................... 142 The Aga Khan Music Initiative .......................................................................................................
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