IM—1/1 CHAPTER TWELVE—FROM BALADI TO BELLY DANCE: Women’s dance and dance rhythms in Egypt and beyond Chapter Objectives In this chapter, you will learn about: The historical and cultural background of Arab-Egyptian dance music Arab-Egyptian melodic and percussion instruments Genres of women’s solo dance traditions of the Middle East Characteristic rhythm patterns used in Arab-Egyptian dance music Practitioners of women’s solo dance, instrumental performers, and composers Overview Egyptian women’s dance is an important, though often controversial, part of Egyptian cultural heritage. Its status has been complicated by Orientalist and Western representations of Middle Eastern dance as well as by religious, cultural, and political agendas. In this chapter, three domains of dance (raqs baladi, raqs sharqi, and international belly dance)—as well as common rhythms and instruments that accompany them—are explored through demonstrations and performances by Hossam Ramzy. Exploration of genres, melodic structures, and performance techniques further enhance understanding of Egyptian and Egyptian-derived music and dance. Getting Started: Middle Eastern Instruments Before beginning the study of Arab-Egyptian music, scan through the chapter and identify the instruments you will encounter. Listen to the demonstrations of these instruments and use the following chart to list instru- ments and describe the sounds they make. This reference chart may serve as a guide to more effective listen- ing. Instrument Description Similar to: Mazhar CD ex. # 3-11 @ 0:14 Duff CD ex. # 3-11 @ 0:31 Doholla CD ex. # 3-11 @ 0:43 Tabla CD ex. # 3-11 @ 1:03 Riqq: CD ex. # 3-12 0:00-- 0:15 Sagat: CD ex. # 3-12 0:15—0:29 ‘Ud Qanun Nay Violin Mizmar
Transcript
IM—1/1
CHAPTER TWELVE—FROM BALADI TO BELLY DANCE: Women’s dance and dance rhythms in Egypt and beyond
Chapter Objectives
In this chapter, you will learn about:
The historical and cultural background of Arab-Egyptian dance music
Arab-Egyptian melodic and percussion instruments
Genres of women’s solo dance traditions of the Middle East
Characteristic rhythm patterns used in Arab-Egyptian dance music
Practitioners of women’s solo dance, instrumental performers, and composers
Overview
Egyptian women’s dance is an important, though often controversial, part of Egyptian cultural heritage. Its status has been complicated by Orientalist and Western representations of Middle Eastern dance as well as by religious, cultural, and political agendas. In this chapter, three domains of dance (raqs baladi, raqs sharqi, and international belly dance)—as well as common rhythms and instruments that accompany them—are explored through demonstrations and performances by Hossam Ramzy. Exploration of genres, melodic structures, and performance techniques further enhance understanding of Egyptian and Egyptian-derived music and dance.
Getting Started: Middle Eastern Instruments
Before beginning the study of Arab-Egyptian music, scan through the chapter and identify the instruments you will encounter. Listen to the demonstrations of these instruments and use the following chart to list instru-ments and describe the sounds they make. This reference chart may serve as a guide to more effective listen-ing.
Instrument Description Similar to:
Mazhar CD ex. # 3-11 @ 0:14
Duff CD ex. # 3-11 @ 0:31
Doholla CD ex. # 3-11 @ 0:43
Tabla CD ex. # 3-11 @ 1:03
Riqq: CD ex. # 3-12 0:00--0:15
Sagat: CD ex. # 3-12 0:15—0:29
‘Ud
Qanun
Nay
Violin
Mizmar
IM—1/2
Introduction to Egyptian Music Pages 251-260 offer an overview of Egyptian history and an introduction to Egyptian women’s dance.
What are the three domains of Egyptian and Egyptian-derived dance? Briefly describe each domain. (Note: these will be more fully explored later in the chapter.)
Although women’s dancing represents a significant marker of Egyptian identity, it is often controver-sial. Why has it been criticized and, to an extent, marginalized in official annals of Egyptian heritage?
What is the Orientalist image of the Middle East in general and of women’s dance in particular?
Identify the three major currents of Egyptian nationalism. How does each influence women’s dance?
Maqam: The Modal Foundation of Arab Music
The maqam system is roughly to Arab music what the raga system is to Indian music. It is the basis of an ex-traordinary range of musical idioms, improvised and composed, vocal and instrumental, solo and ensemble.
In the modern maqam system as described, how many pitches are recognized in an octave? ______
What is the interval between each pitch? ______ What are the characteristic features of the maqam
Western audiences define Middle Eastern women’s dance by performances of professional or semiprofession-al dancers in various entertainment venues. However, in the Arab world, domestic women’s gatherings, often held out of the sight of men and in the privacy of homes, largely define women’s dance. Pages 260-263 pro-vide an overview of the history and development of Egyptian women’s dance.
Discuss several of the speculations about the ancient origins of women’s dance. What are some of the purposes served by dances?
Zaar
Zaar is an ancient healing ritual rooted in shamanistic practices and involving spirit possession and trance. Alt-hough officially prohibited among Muslims, it continues to be practiced in private ceremonies and performed in folkloric productions as a symbol of Egyptian heritage. The zaar ritual is described on pages 263-264.
IM—1/3
What are the origins of the zaar ceremony?
What is the role of music in this ceremony?
How does dance provide cathartic release in zaar?
Traditional Zaar Rhythms, Hossam Ramzy, CD ex. # 3-9 (and also 3-10, 3-11, and 3-12)
Hossam Ramzy’s performance of “Alla Hai” (CD ex. # 3-9) introduces the zaar rhythm and the large number of variant forms it may take in the course of a performance.
Instrument Description of sound
Mazhar (3-11) 0:14
Duff 0:31
Doholla 0:43
Riqq (3-12) 0:00—0:15
Sagat 0:16—0:29
“Zeina,” Hossam Ramzy Group, CD ex. # 3-13
“Zeina,” originally composed by Muhammad ‘Abd al-Wahhab for a dance number featuring Samia Gamal in the Egyptian film Zannouba, is represented in CD ex. # 3-13 in an arrangement by Hossam Ramzy. Although ‘Abd al-Wahhab frequently used Western instruments, harmonies, and rhythms in his earlier film music, “Zeina” represents his later style, in which he placed greater emphasis on distinctly Arab-Egyptian derived musical el-ements. Pages 272-276 explore ensembles and instruments used in Egyptian film music and also analyze the performance of “Zeina” on the CD set.
What are the five instruments of the takht (and the sixth one that is sometimes added)?
In the large ensemble used for film music (the firqa musiqyya), Western instruments were added to those of the traditional Egyptian takht. List some of the instruments commonly added from the West-ern tradition.
Which instruments—Western and non-Western—are added to the takht for this performance of “Ze-ina”?
The maqam is the modal foundation of Arab music and is roughly equivalent to the raga of India in its complex structure, including microtonal nuances, ornamentation, procedures for moving from one pitch to another, etc. Upon which maqam is the melody for “Zeina” based? ________ ________________________________ What are the approximate equivalent pitches in Western nota-tion? _____(Remember that Arab music divides the octave into 24 microtonal pitches.)
IM—1/4
Post-Independence Era
After the “bloodless revolution” of 1952 and the establishment of the Arab Republic of Egypt under Gamal ‘Abd al-Nasser, a cultural nationalism agenda placed emphasis on the support of Egyptian folk culture (baladi). Baladi, including music, dance, art, and folk rituals and ceremonies, became symbolic of the new Egyptian na-tional identity. Pages 276-278 outline how these changes impacted women’s dance music and several leading dancers and actresses.
What events sparked the movement toward total independence from the British?
Why was the raqs sharqi world now seen as a poor example for Arab/Muslim womanhood? How did this affect the entertainment industry?
How did the patronage of ‘Abd al-Nasser benefit the careers of Muhammad ‘Abd al-Wahhab and Umm Kulthum?
Discuss the role of Farida Fahmy and the Reda Troupe in promoting an “indigenous Egyptian culture”? What were the sources and inspiration for the repertoire of this troupe? How did ‘Abd al-Nasser pro-mote the Reda Troupe? Explain the irony of the success of the troupe.
Folk Dance Rhythms in Raqs Sharqi and Belly Dance: Fallahi and Saaidi
The popular interest in folklore following the establishment of the Arab Republic of Egypt resulted in adoption and adaptation of certain dance rhythms identified with folk culture, including fallahi and Saaidi. The fallahi rhythm is demonstrated in CD ex. # 3-14, while CD ex. # 3-15 offers an illustration of Saaidi rhythm. Women’s Cane Dance The Saaidi rhythm is closely linked to tahtib, a form of martial arts traditionally practiced by men in Upper Egypt (i.e., the Saaid, or Said). In tahtib, there are contexts of actual fighting, sportlike combat, and a dance in which players demonstrate skill, inventiveness, and musicality. This “dance with stick” (raqs bil-’asaya) is usu-ally performed just before or after a tahtib match. Typically, the accompanying music is performed by a drum struck with sticks (tabl baladi) with a melody played on one or more aerophones (mizmar). The women’s cane dance (raqs ‘al asaya) also derives from tahtib.
Describe the movements typically used in a tahtib dance.
What was the origin of the women’s cane dance?
Characterize the movements of the women’s cane dance.
IM—1/5
Dances and singing games originating in martial arts and training for battle may be found in several other cultures. For example, the Brazilian dance genre capoeira originated among Afro-Brazilians dur-ing their struggle for equal rights; Zulu dancers in South Africa use spears and shields in addition to movements mimicking fighting skills in specific dances; and both the haka and tititorea of the New Zea-land Maori originated in training for battle. The haka is a fierce challenge sung and danced by warriors to intimidate their opponents (a practice which may be observed before the start of any New Zealand All Black) and the tititorea stick tossing game hails back to when warriors were training to toss weap-ons to comrades during battle.
The Tabla Solo Dance
The Tabla Solo dance was created by Egyptian dancer Nagwa Fu’ad and her long-time tabla accompanist Ah-med Hammouda in the 1970s. Essentially, the Tabla Solo dance is a dance suite set to a series of different rhythms played on percussion instruments, often just on a single tabla.
Briefly discuss the career of Nagwa Fu’ad. Include her “typecasting” in Egyptian movies.
When does the Tabla Solo dance typically occur in a raqs sharqi performance?
Describe a typical dance performance (illustrative photographs of typical movements employed in this dance may be viewed at the Online Learning Center as www.mhhe.com/bakan1.).
“Belhadawa Walla Belshaawa?” Hossam Ramzy, CD ex. # 3-17
From Cairo to Mexico
“La Cucaracha,” Hossam Ramzy and Pablo Cárcamo, CD exs. # 3-18 and 3-19 This selection is an example of how music travels from culture to culture through the work of creative artists. The rhythmic background is played on standard instruments of the Arab-Egyptian percussion section, yet the melody and other parts are performed on South American panpipes, other Latin American instruments, and guitar. The melody itself is that of the Mexican folk song “La Cucaracha.” A touch of modern technology makes the performance possible—through use of multitrack recording and overdubbing, only two musicians perform all the parts.
Additional Resources
Visit the Online Learning Center at www.mhhe.com/bakan1 for additional learning aids, study help, and re-sources that supplement the content of this chapter.
Visit www.smithsonianglobalsound.org and explore other audio and video examples from the cultures and styles discussed in this chapter.
Visit http://internationalmuzic.net and explore other audio and video examples from the cultures and styles discussed in this chapter.
Murphy, John. (2006). Music in Brazil. New York: Oxford University Press.
Wilson, Chesley Goseyun, and Ruth Wilson and Bryan Burton. (1994). When the Earth Was Like New—Western Apache Songs and Stories. Danbury, CT: World Music Press.
Websites
Sites with discussion of tahtib http://www.alliancemartialarts.com/tahtib.html http://www.bdancer.com/med-guide/culture/mdancer.html
Site offering video resources for Middle East dances and tahtib http://home.earthlink.net/~evacernik/video.htm
Muhammad believed it was capable of misleading the faithful but enjoyed recitation and apparently other forms of music making
Schools of Islamic training after Muhammad’s passing forbade the use of music in worship, except for recitation (a chant-like reading of holy text).
Strict rules govern recitation to avoid making it sound too musical and to prevent secular influences
Shi’ite Muslims: no music apart from recitation and other religious uses; not entirely comfortable with secular music
Sufi orders: encourage musical expression & dance
Recitation Requires years of training and study to properly declaim words
No melodic repetition – a strong melody would draw attention away from words
Choose a mode (similar to raga), then improvise a melody that reflects the text. There are 24 tones (which are not equally distributed) in an octave.
Art Music – This was the music of the noble classes. It became associated with a life of pleasure, frivolity and sensuality
(indecent dancing, drinking). As a result, it fell out of favor amongst the more devout Islamic communities.
Folk Music – considered more pure in intent and purpose; more functional, tied to specific events
Kitāb al-Aghānī (Book of Songs) Written by Abū al-Faraj al-Isbahānī (287/897 to 357/967)
About music, musicians and musical life over several centuries
Listening Guide for Islamic and Islamic-Inspired Music Orthodox Religious Music
1. Qur’anic chanting – tejwid 2. Qur’anic chanting – tartil 3. Qur’anic chanting – Ya sin 4. Adhan 5. Adhan from the Fes Festival 6. unamplified example of adhan 7. group recitation
Instruments
8. duduk 9. frame drum 10. kemancheh 11. nay 12. qanun 13. santur 14. tablah 15. ud
Sufi Devotional Music
16. Madih I – traditional 17. Madih II – studio sound effects, harmonized voic-
ing, drum track
18. Qawwali I – accompanied by accordion, tablah, clapping
19. Qawwali II – slower tempo, more melismatic phrases
20. Ka’benin Yollari – dance music of the Whirling Der-vishes
Folk Music
21. Eshbehayn – Andalusian music influenced by inter-action with European cultures
22. Farhang’e a’vam – Iranian; extensive embellishing of existing melodies
23. Mawal – folk music of Tunisia; less dependant on improvisation
24. Raga Bairagi Bhairva – influence of Indian music is clear
25. Youbati – strong African influence
Modern Secular Music
26. Moi Et Toi – Abdel Ali Slimani 27. Kidda – Natacha Atlas 28. L’histoire – Cheb Tarik 29. Desert Rose – Sting with Cheb Mami
IM—1/8
secular - not specifically relat-ing to religion or to a religious body caravan - a company of trav-elers on a journey through desert or hostile regions bedouin - a nomadic Arab of the Arabian, Syrian, or North African deserts nomadic - traveling from place to place without a fixed pat-tern of movement Golden Age - approximately Sth-10th centuries; a period of time during the Abbasid Dyn-asty when arts and sciences were at their height and Islam-ic civilization was quickly ex-panding Crusades - the military expedi-tions by Western Christian powers in the 11th -13th centuries against Muslims to take possession of or maintain control over the Holy City of Jerusalem
ISLAMIC MUSIC
We are as the flute, and the music in us is from thee; We are as the mountain and the echo in us is from thee.
Excerpt from a poem by Sufi poet Maulana Jalaluddin Rumi
Music in the Islamic world is music that is created and/or performed in countries where Islam is the dominant religion. Islamic music includes vocal and instrumental music, religious and secular music, and music composed and/or performed by Mus-lims and non-Muslims belonging to Islamic civilization. A great diversity of musical styles and sounds exists in the Islamic world due to the influence of local cultures. For example, the music of North African nations such as Morocco varies considera-bly from that of Malaysia and other Islamic lands in Southeast Asia. However, music from the Islamic civilization shares many common threads, such as the use of simi-lar instruments, the role of religious and secular musical expression in daily life, and the prevalence of the call to prayer, which can be heard five times daily from mosques in every Islamic country. The History of Music in the Islamic World Music has been an important tradition and element of daily life in Arabia since pre-Islamic times. The caravan song sung by the early bedouin was most likely the first form of Arab music. These songs were typically accompanied by a simple percus-sion instrument which often followed the rhythm of the camels' or horses' stride as they traveled. Due to the predominantly nomadic lifestyle in early Arabia, musical instruments were light and easy to carry. When Islam became the major religion of Arabia, Arab music accommodated the new way of life; different local musical styles merged, music began to follow a rhythmic structure similar to that of poetry, and new instruments were developed.
Islamic music was further cultivated and musical instruments continued to evolve during the Golden Age of Islam when the musical traditions of Greece, Syria, Mes-opotamia (present-day Iraq), Byzantium (present-day Turkey), and Persia (present-day Iran) had a great deal of influence on Arab music. As Islam began spreading across the Middle East and North Africa, Muslim rulers hired musicians to entertain in their medieval courts. Meanwhile, the science of music gained popularity and scholars made advancements with regard to melody, pitch and construction of in-struments. Thus, music during the Golden Age gained great renown.
The Crusades of the 11th, 12th, and 13th centuries resulted in a cultural interaction with a significant impact on Arab and European music and mutual borrowing and adaptation of musical styles and instruments. The West adopted several instru-ments from the Islamic empire, including the lute, the flute, and the bagpipe; the Arabs were introduced to Western musical notations and inspired to document their own musical tradition. Until that time, Islamic music, like poetry, had been an oral tradition.
IM—1/9
Ottoman Empire - founded in the 13th century; controlled the area from the Balkan Pen-insula to the Middle East and northern Africa for several hundred years until it dis-solved in 1918 at the end of World War I Sufi - member of a sect of Islam that teaches that direct knowledge of God, spiritual truth, or ultimate reality can be at-tained through intuition and insight; not all Sufi groups use music in their rituals Hadith - the sayings and tradi-tions of Muhammad; part of the Sunnah (the way of life and example of the Prophet.) The Hadith record the words and deeds, explanations, and interpretations of the Prophet concerning all aspects of life. Hadith are found in various collections compiled by Mus-lim scholars in the early centu-ries of Islamic civilization. sama - means “listening” in Arabic; a Sufi musical concert, sometimes accompanied by dancing or twirling orthodox - conforming to established doctrine, especial-ly in religion Qur’anic chanting - the prac-tice of reciting verses from the Quran adhan - the Muslim call to prayer
Since the conquest of the Abbasid Dynasty by the Mongols in 1258, outside influ-ences have inspired significant evolution of Islamic music. When the Ottoman Em-pire later took control of the Middle East, traditional court music and the military marching band were incorporated and further developed with a Turkish style. The result of these mergers was the use of many percussion instruments, flutes, and horns as well as the development of more complex rhythmic forms and musical structures. After World War I, with the decline of the Ottoman Empire and the emergence of many independent Arab nations, Western musical influence, such as the orchestra, the use of harmony, and musical theater became more apparent in many Muslim countries.
Religious Music in the Islamic World
Islamic beliefs have had a considerable impact on the role of music in Islamic socie-ty as well as on Muslims' perception of music. In most world religions, music plays a very significant role and is considered one of the most important elements of wor-ship. The status of religious music in Islam, however, is quite different. In fact, mu-sic is a fairly controversial topic in the Islamic world. On one hand, conservative Muslims regard most music as sinful and useless, associating it with idolatry and illegal acts, such as drinking alcohol. Conversely, many Sufi Muslims for whom mu-sic is an essential component of worship see great spiritual value in music, viewing it as a means through which one can become closer to God. These contradictory views represent two extreme ends of the spectrum that have resulted in an ambig-uous role for Islamic religious music.
When Islam was established in the 7th century, Muhammad prohibited music due to its association with idolatry, which had a large following and a long tradition in Arabia before Islam was founded. According to the Hadith, Muhammad made sev-eral statements warning Muslims against music and the use of musical instruments. As a result, music was strictly forbidden in the Islamic religious realm for hundreds of years. (Conversely, music in the secular sphere was incredibly popular.)
Notwithstanding criticism from conservative Muslims, a group of Sufis began incor-porating vocal and instrumental songs into their religious practices. Music quickly became an essential element of their religious experience. Muslims who participate in the performance of Sufi music, called sama, believe that the music prepares them to achieve a deeper connection with and a greater understanding of God. They also believe that because music is beautiful, it can serve as a bridge between God, the creator of beauty, and his followers. Although regarded as "un-Islamic" by some Muslims, Sufi sama has gained a great deal of public acceptance and recogni-tion, within Islamic civilization and beyond.
Conservative Muslims, on the other hand, accept only orthodox religious music, which is predominantly vocal rather than instrumental, as an acceptable form of musical expression. Music allowed in the mosque is limited to two types of vocal music, Qur’anic chanting and adhan which are never accompanied by musical in-struments. In fact, musical instruments are forbidden in the mosque with few ex-ceptions. Percussion instruments, such as cymbals and drums, occasionally accom-pany the procession of a special ceremony or a religious festival.
IM—1/10
Umm Kutthum (19081975) - famous singer from Egypt; referred to as “The Heart of Arabs” and considered “the most influential Arabic singer of the 20th century” Sabri Brothers - Ghulam Farid and Maqbool Ahmed Sabri; Sufi musicians from Pakistan who use traditional instru-ments and techniques tone - intonation, pitch, and modulation of a piece of music expressing its meaning, feel-ing, or attitude
Secular Music in the Islamic World
Notwithstanding the controversy surrounding music in the religious sphere, secular music maintains the rich traditions cultivated during the spread of Islam, serving as a means of artistic expression and cultural unity among many communities. Musi-cal arts in the Islamic world have been enjoyed for centuries, in the royal courts, in daily life, as accompaniment to manual labor, and for special occasions. In the last two centuries, Islamic music has made great progress through the use of technolo-gy and the development of new musical forms and expressions, leading to more widespread interest in Islamic music. Musicians such as Umm Kulthum and the Sa-bri Brothers are well known around the world.
Characteristics of Islamic Music
As in other parts of the world, Islamic music takes on the characteristics of the local musical styles, thereby representing the people and culture that create it. Despite the great diversity in music among various Islamic cultures, some basic characteris-tics exist in many types of Islamic music. They include the following attributes:
complex rhythms
lack of harmony: Islamic musicians sing and play solo and often create a variation to the song in every performance (as in jazz music). Soloists are typically accompanied by a group of musicians who repeat what has just been sung or played rather than harmonizing with the soloist.
many tones
use of similar musical instruments across cultures
merging of sung poetry and instrumental accompaniment As a result of the unifying elements, much of the vocal and instrumental music across cultures of the Islamic world has a similar and distinct sound in tone, rhythm, and emotional intensity.
Conclusion
Islamic music, including religious and secular music from Islamic countries, plays an ambiguous role in the lives of many Muslims, enjoyed by some while deemed sinful and useless by others. Nonetheless, music is an important component of Islamic civilization, steeped in the history and culture of its various countries of origin. Due to the influence of other cultures, Islamic music has undergone a great deal of change in the last 1,400 years.
IM—1/11
tejwid - literally means to make good or excellent or to improve; because tejwid re-quires great skill and training, many famous secular musi-cians began their careers as Qur’anic chanters embellish - decorate or in-crease in attractiveness monotonous - marked by a sameness in pitch and intensi-ty; unchanging muezzin-in Muslim countries, one who proclaims the regular hours of prayer from the mosque minaret-a tall, slender tower-like structure located near, or built into, a mosque
ISLAMIC RELIGIOUS MUSIC Orthodox Religious Music
Music of the Islamic world belonging to the category of orthodox music is limited to the two forms of musical expression allowed in the mosque: Qur’anic chanting and the call to prayer. Although subtle stylistic variations exist across cultures, orthodox religious music is virtually the same for Muslims around the world. Qur’anic chant-ing and the call to prayer can sometimes be heard in secular music as well but in such cases are not considered orthodox.
1. Qur’anic Chanting The most significant form of music in the Islamic world is chanting or reciting of the Quran. The practice of reciting the Quran is inspired by Muhammad's reci-tations of Allah's message. The art of Qur’anic chanting began during Muham-mad's life, with the intention of pleasing Allah and receiving his blessing as well as creating unity among Muslims. The Quran itself prescribes the rules for and purpose of Qur’anic chanting. These rules include, but are not limited to, the following:
The revelations must be recited aloud, slowly and deliberately in a humble voice, but not sung.
The chanter must be in a state of physical and spiritual purity.
The recitation must always begin with two mandatory statements: "God protect me from the wicked devil," and, "In the name of Allah, the Merciful, the Compassionate."
The recitation must end with the phrase, "The great God has spoken the truth."''
Qur’anic chanting embodies two forms. The more refined form, called tejwid (tr. 1), follows strict rules and requires a skilled chanter to have a sophisticated understanding of the Quran "not only to embellish the words, but also to en-hance the meaning." Although tejwid can be recited at any time and in any place, it is most frequently performed after the noon prayer on Friday, the Muslim holy day and day of rest, and during all prayers that take place in the mosque. The second type of Qur’anic chanting, called tartil (tr. 2), is a simple chant intended to create a calm environment and teach its listeners through the words of the Quran. Because of its monotonous and simple sound, tartil has a hypnotic quality. Muslims believe that both types of Qur’anic chanting benefit both the reciter and the audience.
2. Adhan
Adhan (tracks 4-6) is the call to prayer and the second most important type of music in the Islamic world. The purpose of adhan is to notify Muslims of the five prayer times each day, which take place at dawn, noon, midafternoon, sunset, and late evening. At each prayer time, the muezzin sings adhan from the minaret of the mosque. Modern-day conveniences allow the transmission of adhan through a loudspeaker, personal cellular phones, or pagers. When Muslims hear the call to prayer, they turn to face Mecca, and perform salat, or prayer. Adhan is the music heard most frequently in Muslim countries, as it is recited five times every day from every mosque.
IM—1/12
salvation-deliverance from the power and effects of sin devotional - a religious exer-cise or practice other than the regular worship of a congrega-tion; an act of prayer Hassan ibn Thabit (563683) - a Muslim poet and companion of Muhammad who composed many poems about him; known as “the Prophet’s Poet”
The following are the phrases of adhan, some of which are repeated two or more times:
English Arabic
God is most great, God is most great Allahu akbar, Allahu akbar
I testify that there is no god but Allah ash-hadu an la ilaha ilia-llah
I testify that Muhammad is the ash-hadu anna Muhammadan rasulu-
Messenger of God Ilah
Come to prayer hayya 'ala-s-salah, hayya 'ala-s-salah
Come to Salvation hayya 'ala-I-falah, hayya 'ala-l-falah
God is most great, God is most great Allahu akbar, Allahu akbar
There is no god but Allah la ilaha ilia-llah
When the muezzin sings the call to prayer at dawn, he also adds:
English Arabic
Prayer is better than sleep As-salatu khairum min an-nawm
Adhan has another social and religious function, which is also a tradition with Muslim families. When a baby is born into a Muslim family, it is customary for the father to sing adhan into his baby's ear. Adhan is also sung at Muslim fu-nerals.
Sufi Devotional Music
A number of Sufi Muslim groups incorporate music of various kinds, including Qur’anic chanting as well as secular songs, into their religious rituals. Unlike most conservative Islamic practices, Sufi devotional rituals involve instrumental music and dance. Sufis have greatly enhanced the role of music in worship and have sig-nificantly contributed to the spread of Islam, appealing to new converts through their music and other practices.
1. Madih an-Nabawi Madih an-Nabawi (tracks 16, 17)is a type of song that praises the Prophet Mu-hammad, his family, and the virtues of the Islamic faith. The first madaih (plural of madih) were composed as poems of praise after Muhammad's death in 632. The first poems to become madih songs were composed by the famous poet Hassan ibn Thabit. Sufis later developed this musical genre further. Poems writ-ten by al-Busiri, a famous Sufi poet from the 13th century, are still very popular among Muslims and continue to influence madih poems today. One man sings the poem while accompanied by a chorus of drummers. Madih is performed most frequently during the celebration of the birth of the Prophet, which is an especially popular tradition in Egypt.
IM—1/13
dhikr - means "remembrance" in Arabic; although it is a tradi-tion for many Sufis, not all Sufi groups practice dhikr propriety - the quality or state of being proper; conformity to what is socially acceptable in conduct or speech ecstatic - expressing passion; in this context, used to de-scribe a mystical experience in which the spirit comes to understand God Hu - one of the names Mus-lims use to call God stipulate - to require beloved - dearly loved; in this context, refers to God
2. Dhikr Dhikr is the remembrance of Allah. The practice of dhikr is based on several verses in the Quran which stress the importance of remembering and praising God, including the verse in which Allah tells Muslims: "If you remember Me, I will remember you."' In some Sufi practices, dhikr is expressed through the chanting of Allah's names during a devotional ceremony. The purpose of this Sufi expression of dhikr is to be in the presence of God, which Sufis believe they achieve once they have fallen into a trance. When calling Allah's name, Sufis fo-cus on their breathing, their body postures, and the rhythm with which they chant. The shaikh, or leader of the Sufi group, leads the tempo and gradually accelerates the speed. The dhikr ceremony comes to an end once all partici-pants have become entranced.
Although dhikr ceremonies vary considerably among Sufi groups, most include similar rituals, including recitations, religious and secular music, dance, medita-tion, and incense burning. Dhikr often begins with the recitation of the first chapter of the Quran, called Fatiha, followed by chanted praises of Muham-mad. Sufi women sometimes participate in Sufi dhikr ceremonies but are more restrained by social expectations regarding modesty and propriety. As in all Is-lamic worship, men and women are separated during the dhikr ceremony.
The following poem portrays the experience of a Sufi during a dhikr ceremony.
THE SUFI
Upon his soul marked the wing of heart. The reed plays a note and the ancient drum beats.
His arms rise spread wide. His smiling forehead bathed in light.
He dances through the primitive, through the ancient,
through the contemporary into the Real.
Beyond he whirls ecstatic... His lips shape the heart's petal sounding...
Hu...Hu...Hu...! Hu, the Sufi call to Allah!
He whirls with opened heart, sober, balanced and free.
- Ruhi
IM—1/14
Ark - affords protection and safety; also used as a refer-ence to the Biblical story of Noah's Ark, which saved him and his family from the flood; also a reference to the sacred chest representing to the Hebrews the presence of God among them illuminated- intellectually or spiritually enlightened improvisational -performed slightly differently each time mystical - having a spiritual meaning that is neither appar-ent to the senses nor obvious to the intelligence
Dhikr ceremonies are also a form of entertainment. Sufi professional singers, called munshids, often perform at weddings and other special events. They typ-ically sing long poems about love for Allah, as demonstrated in the following poem sung at Egyptian dhikr ceremonies:
Love stipulates that the lover Become the possession of the beloved
Into the ocean of love, of love, we have descended We have descended into it like the Ark
We have descended into the ocean and are illuminated. 3. Qawwali
Qawwali, an extension of dhikr, is most common in Pakistan and India and has become a popular type of modern music and is the best known to non-Muslims around the world. Qawwali has its roots in Persia (present-day Iran), where Su-fism traditionally has been very popular. Some of the most famous Sufi poets were also from Persia and composed their poems in Persian. These poems are often sung to Sufi music, such as the dhikr and the qawwali. The nature of qawwali is very improvisational, and like Sufi poetry, the lyrics revolve around religious and mystical symbols.
![RESPONSIBLE BUSINESS CONDUCT COUNTRY FACT SHEET - … · Scope in the framework o f the Latin American Integration Association (ALADI) (ALADI, 2020 [11]) and around 15 Free Trade](https://static.documents.pub/doc/80x56/5ff8fb95d765506775353a22/responsible-business-conduct-country-fact-sheet-scope-in-the-framework-o-f-the.jpg)
