The Structure of Kurdistan Daf (III)

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

There are different definitions for the structure and sound of Daf from other aspects rooted in mythical and holy-oriented beliefs. Pahlavan says the following regarding this matter:

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Also, Mohammad Reza Darvishi in his book entitled “Encyclopedia of Music”, quoted from Ahmad Tusi, Mohammad Tusi’s son, in Sama and Fotovvat, interprets Daf in relation to playing it and to Daf player: “The circle of Daf refers to the circle of the universe and the skin stretched on Daf, refers to the absolute existence and the beat on Daf, refers to the entry of divine inspirations from depths of hidden into the absolute existence and Daf player individual, is a reference to the position of truth, through which the people’s soul are placed in the trap of love” (Darvishi, 2016: 396).

It is believed that Daf player extends his two hands to the sky in a state of prayer and supplication, so it is necessary to be recited with a mystical and prayerful slogan. Daf is never placed on the ground by the skin and this act is considered insulting the position of this instrument and indirectly to religious beliefs (Naqib Sardasht, 2007: 300). If Daf skin is torn during the ceremony, mystics say that the Daf has been “martyred”. If the skin is prepared from Haram* animals, it is Haram to bring it to the monastery. At the end of ceremony, the Daf is kissed and hung on the wall; with the special Daf of this ceremony, frivolous and farcical melodies are never performed because it is considered a sin by the mystics. Also, these Dafs are not entrusted to persons who are not authorized to maintain it (Nasrollahpour, 1999: 78).

According to the mystics, Daf is a symbol of monastery; Daf rings, indicate number of disciples and thumb index, is the entrance of monastery. Thumb index is in a semicircular and concave form and when one holds the Daf, completes this concavity and forms a link between himself and the Daf. The Center of Daf is considered as a symbol of God (Ahmadi, 2019: 11).

Other ceremonies in which Daf and Daf playing have great value can be called “Mowludi khani”, “welcoming and accompanying the religious scholars and mystics”, and “welcoming pilgrims”. In following, a brief explanation will be given about Mowludi and Mowludi khani.

The month of Rabi al-Aval is known among the Kurds as Mowlud month which Mowludi khani in description of the Prophet (PBUH) is the most basic program of this month. Ebrahim Moradi believes: “The Kurds believe that holding Mowludi khani ceremonies in their home, increases their livelihood and keeps pain and misery away from family members” (Moradi, 2020: 51).

The role of Daf and Daf playing in Iranian music is of special importance in three forms “solo”, “accompaniment”, and “group playing”.

 

___________________

*Haram” means forbidden and anti-halal. In religious terms is something that is forbidden by God and doing it is considered a sin.

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…

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

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.

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

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)

Interview with the Makers of the New Qeychak (III)

In this project, my specialized responsibility  was the basic drawings of the desired instrument with the help of engineering and mechanical software.  I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.

 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.