The Structure of Kurdistan Daf (I)

1 April 2022 – 5:27 pm Posted in Articles' List, Iranian Classical Music

Researcher:
Mohammad Tarighat
Translator:
Fatemeh Alimohammadi

Introduction
Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.
“Daf” is a percussion instrument with a long history used in different cities of Iran and even its neighbors in different manners. This instrument is also commonly known as circular instruments1 (with a rim). This is one of the most widely used instruments in human history due to its simplicity of making and playing. Daf and Daf playing are highly valued and respected in Iran’s “Kurdistan” province so that playing the instrument includes its specific etiquettes and rituals.
Nowadays, different factors have changed Daf and Daf playing. These changes have created various performance and training methods, but some were destructive to the Daf structure in a manner that mass Daf production has turned this art into an industry that not only affects the Daf sound, but also irreversibly damages the musicians’ hand joints. Therefore, this study will analyze the Kurdistan Daf’s structure by proposing this central question: What are the components of the Kurdistan Daf? It also introduces a design for this instrument that inflicts the least possible damage to the musicians’ hand joints. This study has a practical goal and uses the descriptive-analytical method. It gathers information using library and field research (interviews with instrument manufacturers).

The History of Daf
Circles are one of the essential symbolic shapes among ancient civilizations. The circle is a universal symbol for wholeness, totality, symmetry, perfection, infinity, eternity, not being limited to one place, and the most natural shape, which makes it divine. It is a complete shape with equal and similar components alongside an unlimited number of radiuses from the same core (Pahlavan, 2013: 26-27).
Emad Tohidi expresses the following in his “Daf Playing Method”:
“The historical monuments in Shush from the 27th century BC include one of the earliest references to minstrels. Also, a carved bronze cup from Lorestan shows the Daf, Chang 2, and Ney instruments in religious or court ceremonies (Museum of Ancient Iran). The embossed carvings from the “Ashur-Banipal” parlance (The first millennium BC) in the British Museum depict Babylonian musicians some of whom are holding a Daf. Other prominent stone carvings and paintings from early historic eras show different musical instruments such as the Daf in the Ilami (Farah)

1. Frame drum
2. Harp
embossed carvings of the Elamite era being the oldest. This carving shows priests during a sacrifice ritual holding instruments such as Dafs and Changs” (Tohidi, 1996: 32).
A brief look at history shows that the Daf dates back to 7000 years, originating from Mesopotamia and Kurdish regions. Historical evidence also shows Arabs have played the Daf for at least 2000 years; therefore, the Daf might be gifted from Kurds to Arabs in the cultural exchange process (Ahmadi, 2017: 10-11).
Keyvan Pahlavan says about this: “the Daf is an instrument from the Eastern Asia, which includes Tehran and the Arabian Peninsula, and remained only in North Saudi Arabia due to the special historical and social conditions of this Peninsula (there were no dealings with them and they remained unchanged for years) and entered Iranian court before Islam and entered the land in a general and popular way after the Islam religion and the Arabs from the Hirah region, used to export Iranian cultural manifestations to Saudi Arabian and import things from Arabia to Iran” (Pahlavan, 2013: 59).

This entry was written by HarmonyTalk
Tagged: .

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Latest posts

From Past Days…

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

Interview with Farhad Poupel (II)

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.