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.

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

From Past Days…

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
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.

Interview with Farhad Poupel (I)

Born in Isfahan, Iran, and based in the UK, Farhad Poupel’s music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world including Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France; Biarritz Festival, Biarritz, France; Stoller Hall, Manchester, UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland. The following is an interview with him on the ocaasion of the premier of the Legend of Bijan and Manijeh.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

Davoud Pirnia (1900 - 1971)

About Davoud Pirnia, the founder of “Golha” radio program

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.