The Structure of Kurdistan Daf (II)

 

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions. Daf’s position had always been different among the tribes; some use it as the main instrument in joyous occasions and ceremonies, some use it as a war instrument, and others for ritualistic-religious ceremonies (Khaktinat, 2003: 25).  

Nowadays, there are circular structures with different names worldwide in Africa, Native America, China, Russia, Tajikistan, Uzbekistan, Afghanistan, Pakistan, Turkey, Iraq, Egypt, Syria, Lebanon, Saudi Arabia, Arab states of the Persian Gulf, and others.

The Lexical Meaning of Daf

The word Daf is derived from “Taf” which means “hitting” or “beating.” This word is pronounced as “Dob” in the Sumerian language. It entered the Akkadian language from Sumerian and turned into “Dopo” or “Topo”; then it entered the Aramic language and turned into “Dop”; and changed to “Dof” or “Daf” in Arabic (Tohidi, 1996: 30).  

Circular instruments such as Daf are instruments for joyous or exciting ceremonies, capable of creating extremely tremendous excitement in human’s heart, contradictory to their simple creating and playing process. There are different names for Daf in Iran, from Daf and Dayereh to “Charkh,” “Gharbal,” “Araboneh,” “Tar,” “Dire,” “Dap,” “Ghaval,” and etc. (Pahlavan, 2013: 7). Also, Hushang Javid, the Persian anthropology and folk music researcher, believes “Dap,” “Bater,” “Dob,” “Dayereh,” and “Taborak” are the Persian names of Daf in different centuries while “Regh,” “Bandir,” “Mazhar,” “Terial,” and others are its names in the musical culture of the Arab world (Mogharab Samadi, 2007: 77).

Ahmad Khaktinat has also had multiple references to different Daf names:  

“During the third and fourth millennium, Apada was common among the Sumerians and later named Dop. Arabaneh is a type of Daf that  hazelnut-shaped bells are used instead of rings. Talban, Jalajal, and Jaljal are other names of Daf in different regions” (Khaktinat, 2003: 16).

Nagib Sardasht states the following Daf names regarding the Kurdish Hanbaneh Borineh: “Daf in the Kurdish language is known as Dahf, Dahfeh, Dahfak, Aarabaneh, andArabaneh (Nagib Sardasht, 2005: 295).

The Position and Role of Daf in the View of Daf Players

Daf is the most irreplaceable instrument in Tekyehs3 and mystics used in three aspects in their Sama ceremonies: first for its prophetic permission, second for its non-melodic nature, and third for its considerable help in the hypnotic course from the consciousness to the unconsciousness and the mystic realm (Mohammadi, 1999: 10).

Music of Daf is the prosperity of every Sama / Daf targets wounds and oppression

They say if one touches the Daf / It inflicts a wound of honor upon his heart (Rumi)

Daf has a high position among the Kurdish regions of Iran with special sanctity. The people of these regions see Dafs in a particular light of divinity, and this instrument has epic, martial, mystical, and even medical aspects for them. The mystical aspect dominates the others for them. Dafs are widely used in Monasteries and are known as one of the most fundamental mystical instruments.

Post a Comment

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

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

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.

From Past Days…

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Farhad Poupel (photo: Radafra)

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.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

Principles of Playing Violin (IV)

Principles of Playing Violin (IV)

Pattern No.3/1 Left hand finger Placement: 3/1/1: Landing Fingers on one String: In preliminary stages of training, an apprentice should pay attention to the principle of keeping fingers while placing them on the fingerboard. Professional violinists pay less attention to this principle. Novice player’s complying with this principle, in preliminary stages of training, has several…
Read More »

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.

Hossein Dehlavi: the Composer

With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

The Structure of Kurdistan Daf (VI)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin.  The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More »