Other Shiʿa groups and practices: Difference between revisions
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== Due today == | == Due today == | ||
Read [https://drive.google.com/drive/folders/1ouYX70DzsJalXGlzsQxY74QcgsJz6eCZ?usp=drive_link these two articles] by our special guest, Dr. Karim Gillani, PhD, and submit a brief review of the two together. | |||
Also browse the following youtube videos to get a sense of the different genres of Ismaili language performance: | Also browse the following youtube videos to get a sense of the different genres of Ismaili language performance: | ||
# Ismaili Qasida (Persian): https://youtu.be/n9IJ6W2R8T4?si=QpTQnzhxU9K1WP7d | # Ismaili Qasida (Persian): https://youtu.be/n9IJ6W2R8T4?si=QpTQnzhxU9K1WP7d | ||
# Ismaili Ginan: (Urdu/Hindi): https://youtu.be/PaR6QfeEeW8?si=g37Ri0Fjjmbn5en2 | # Ismaili Ginan: (Urdu/Hindi): https://youtu.be/PaR6QfeEeW8?si=g37Ri0Fjjmbn5en2 | ||
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== Class == | == Class == | ||
'''Presentation by Dr. Karim Gillani on the Ismaili Ginan traditions''', followed by questions and discussion. | |||
Bio: Karim Gillani received two interdisciplinary graduate degrees from the UofA in Music and Religious Studies: the MA in 2005, followed by the PhD in 2012, under the supervision of Dr. Regula Qureshi. He also has earned degrees from the Institute of Ismaili Studies (London, UK), with a thesis "“Sufi Music of Multan: A City of Saints", and business degrees (BBA and MBA) from Hamdard University in Pakistan. While a graduate student at the UofA he taught a wide array of courses: Introduction to World Music, Indian Music Ensemble, and Popular Music of Bollywood. From 2016 he served as Academic Director for the Aga Khan Institution in Kenya, and designed and led a UofA summer program for kids, "“Music and Art in the Muslim World". Alongside his groundbreaking scholarship on Ismaili Ginans, and numerous publications and conference presentations, he is also a performer of ginan as well as Sufi song (qawwali), with several award-winning recordings and music videos, as well as film scores, and numerous performances across Canada, to his credit. He has received many grants for his academic and creative work. | |||
= Thursday (9b) = | = Thursday (9b) = | ||
== Due today == | == Due today == | ||
Paper outlines. Include a title and a sequence of sections and subsections. Sections can be titled and briefly described in one sentence or two. Please do not use more than two heading levels (i.e. include sections and subsections but nothing finer-grained). The first section should be "introduction", and include aim/significance of the paper, background (area and scope), paradigm or model, more specific research questions, and methods. The last section should be "conclusions". I suggest no more than 5 sections total (i.e. three in the middle at most). The outline should fit on 1-2 pages. Submit as an uploaded document. | |||
''If you have revised your paper proposal (from week 4), including aim, methodology, or anything else, please submit that as well (you may simply edit your previously submitted document).'' | |||
There will be no other assignments; please focus on these documents. | |||
== Class == | == Class == | ||
Report and discussion: Hemmasi, Farzaneh. 2013. “Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran.” Ethnomusicology 57 (1): 57–87. https://doi.org/10.5406/ethnomusicology.57.1.0057. ''' | '''Tobin''': Report and discussion: Hemmasi, Farzaneh. 2013. “Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran.” Ethnomusicology 57 (1): 57–87. https://doi.org/10.5406/ethnomusicology.57.1.0057. | ||
'''"Syncretic" Shia minority communities and their musical practices - in the Middle East, Europe, and North America'''. Islamic, Christian, Shamanic, Hindu, other influences. Sacred vs folkloric/world presentations. | |||
* [https://www.nimatullahi.org/ The Niamatullahi] | |||
** [https://www.google.com/maps/place/Khaniqahi+Nimatullahi/@34.2704808,-118.454829,3a,75y,166.3h,86.19t/data=!3m7!1e1!3m5!1sM25sNNtYxRiaaLi1xDlUNw!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DM25sNNtYxRiaaLi1xDlUNw%26cb_client%3Dsearch.gws-prod.gps%26w%3D360%26h%3D120%26yaw%3D225.66785%26pitch%3D0%26thumbfov%3D100!7i16384!8i8192!4m15!1m8!3m7!1s0x80c2905b31f073cf:0xf412d790ea4c8cfe!2s11019+Arleta+Ave,+Mission+Hills,+CA+91345,+USA!3b1!8m2!3d34.2703097!4d-118.4550492!16s%2Fg%2F11c3q430w8!3m5!1s0x80c2905b30f724ff:0x40489a10de1475e!8m2!3d34.2703588!4d-118.4549815!16s%2Fg%2F1tknkpzx?entry=ttu The Khanqah in LA] | |||
** [https://www.google.com/maps/uv?pb=!1s0x89e37a1377ce86e1%3A0xcf8d02f450b0e76e!3m1!7e115!4s%2Fmaps%2Fplace%2Fnimatullahi%2Bkhanqah%2Bboston%2F%4042.3419628%2C-71.0762448%2C3a%2C75y%2C252.23h%2C90t%2Fdata%3D*213m4*211e1*213m2*211sV5VmW9oHLUdFL30EqbfEZQ*212e0*214m2*213m1*211s0x89e37a1377ce86e1%3A0xcf8d02f450b0e76e%3Fsa%3DX%26ved%3D2ahUKEwihwKfz_uKEAxVEADQIHZjKCTMQpx96BAgnEAA!5snimatullahi%20khanqah%20boston%20-%20Google%20Search!15sCgIgARICCAI&imagekey=!1e2!2sV5VmW9oHLUdFL30EqbfEZQ&hl=en Khanqah in Boston] | |||
** [https://www.youtube.com/watch?v=v5S7arzDLKE The sama] | |||
** [https://yorkspace.library.yorku.ca/server/api/core/bitstreams/9a161771-2c55-42bf-8966-34cac3c81794/content THE SOUND OF SILENCE: AN ETHNOGRAPHY ON THE SAMA’RITUAL IN THE NEMATOLLAHI KANEQAH IN TORONTO], by KATAYOUN GHANAI | |||
* The Bektashi and Alevi (Turkey, Albania, elsewhere) | |||
** History, background, beliefs. Hajj Bektash (13th c), Anatolia (Turkey). Kizilbash and Shia - Sunni conflict. Janissaries and conflict 1826. Ataturk and Turkish republic. Albania and communism. Post-1990 flourishing in Albania. | |||
** [https://www.aljazeera.com/program/al-jazeera-world/2023/3/1/how-an-albanian-man-traces-his-bektashi-roots Jazeera documentary] | |||
** Centrality of saz or baglama | |||
** Secularization, uptake as Turkish folklore in the Republic | |||
** [https://www.youtube.com/watch?v=1ipwBQLZ6Jk staged Bektashi music] | |||
** [https://www.youtube.com/watch?v=e2zsCoNnfg8 Alevi-Bektashi rituals (various)] | |||
* The Ahl al-Haqq or Yarsani (Iran, Iraq) | |||
** Sultan Sahak (14th-15th c), Iran - Kurdish. | |||
** [https://ualberta.aviaryplatform.com/collections/1785/collection_resources/60699 Song of God], documentary about tanbur player | |||
** [https://www.youtube.com/watch?v=EVAdmUG7Ekw&list=PLN2LkGu2vzfmiMgYAwNNwkxsPNA0BIVHB village festival] | |||
** [https://www.razbar.de/ Razbar], a folkloric troupe performing music and dance repertoire. Secularization. |
Latest revision as of 16:43, 9 March 2024
Tuesday (9a)
Belief and language performance practices in the global Isma'ili community: Ginan
Note: Recall that unlike the Sunni world, Shia Islam is clearly divided into numerous faith communities, depending in part on the acknowledged lineage of imams within the broader genealogy of the Prophet's family, but always tracing back to Ali, Muhammad's first cousin and son in law, and his wife Fatima. Recall this family tree (and this slightly expanded version.
Today we will focus on the Nizari branch of the Ismaʿili communities, sometimes called "Sevener" as opposed to the mainstream "Twelver" (Ithā ʿAshariyya), which is particularly prominent here in Canada, as well as in East Africa, and South Asia. The Aga Khan is the spiritual leader of this community (and the benefactor of our beautiful UofA Aga Khan Garden in Edmonton, as well as the wonderful Aga Khan Museum in Toronto. Among the many programs of the Aga Khan Development Network is the Aga Khan Music Programme, with whom I have been working in partnership on several projects, including the Aswan Music Project, and Borderless Flows.
Due today
Read these two articles by our special guest, Dr. Karim Gillani, PhD, and submit a brief review of the two together.
Also browse the following youtube videos to get a sense of the different genres of Ismaili language performance:
- Ismaili Qasida (Persian): https://youtu.be/n9IJ6W2R8T4?si=QpTQnzhxU9K1WP7d
- Ismaili Ginan: (Urdu/Hindi): https://youtu.be/PaR6QfeEeW8?si=g37Ri0Fjjmbn5en2
- Ismaili Persian Kalam: https://youtu.be/azzYJJRFg98?si=a_0tz_XyNQjiCWmk
- Ismaili Arabic Qasida: https://youtu.be/OfZY-yZ43So?si=PeAvsLhTVwd8IQZ3
- Persian Qasida: Nasir-e- Khusraw: https://youtu.be/vXaYCnC1lmA?si=hdoFNw3LlBDgpXaL
- Ginan with moral story: https://youtu.be/3-gsLRNr35g?si=3itb_Bac9cgi2G7Z
- Ismaili Geet in various languages celebrating Navroz Festival: (Good example for Diaspora): https://youtu.be/T2x4y0gKWGY?si=dRlhX6yw5RRMSXr6
Class
Presentation by Dr. Karim Gillani on the Ismaili Ginan traditions, followed by questions and discussion.
Bio: Karim Gillani received two interdisciplinary graduate degrees from the UofA in Music and Religious Studies: the MA in 2005, followed by the PhD in 2012, under the supervision of Dr. Regula Qureshi. He also has earned degrees from the Institute of Ismaili Studies (London, UK), with a thesis "“Sufi Music of Multan: A City of Saints", and business degrees (BBA and MBA) from Hamdard University in Pakistan. While a graduate student at the UofA he taught a wide array of courses: Introduction to World Music, Indian Music Ensemble, and Popular Music of Bollywood. From 2016 he served as Academic Director for the Aga Khan Institution in Kenya, and designed and led a UofA summer program for kids, "“Music and Art in the Muslim World". Alongside his groundbreaking scholarship on Ismaili Ginans, and numerous publications and conference presentations, he is also a performer of ginan as well as Sufi song (qawwali), with several award-winning recordings and music videos, as well as film scores, and numerous performances across Canada, to his credit. He has received many grants for his academic and creative work.
Thursday (9b)
Due today
Paper outlines. Include a title and a sequence of sections and subsections. Sections can be titled and briefly described in one sentence or two. Please do not use more than two heading levels (i.e. include sections and subsections but nothing finer-grained). The first section should be "introduction", and include aim/significance of the paper, background (area and scope), paradigm or model, more specific research questions, and methods. The last section should be "conclusions". I suggest no more than 5 sections total (i.e. three in the middle at most). The outline should fit on 1-2 pages. Submit as an uploaded document.
If you have revised your paper proposal (from week 4), including aim, methodology, or anything else, please submit that as well (you may simply edit your previously submitted document). There will be no other assignments; please focus on these documents.
Class
Tobin: Report and discussion: Hemmasi, Farzaneh. 2013. “Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran.” Ethnomusicology 57 (1): 57–87. https://doi.org/10.5406/ethnomusicology.57.1.0057.
"Syncretic" Shia minority communities and their musical practices - in the Middle East, Europe, and North America. Islamic, Christian, Shamanic, Hindu, other influences. Sacred vs folkloric/world presentations.
- The Niamatullahi
- The Bektashi and Alevi (Turkey, Albania, elsewhere)
- History, background, beliefs. Hajj Bektash (13th c), Anatolia (Turkey). Kizilbash and Shia - Sunni conflict. Janissaries and conflict 1826. Ataturk and Turkish republic. Albania and communism. Post-1990 flourishing in Albania.
- Jazeera documentary
- Centrality of saz or baglama
- Secularization, uptake as Turkish folklore in the Republic
- staged Bektashi music
- Alevi-Bektashi rituals (various)
- The Ahl al-Haqq or Yarsani (Iran, Iraq)
- Sultan Sahak (14th-15th c), Iran - Kurdish.
- Song of God, documentary about tanbur player
- village festival
- Razbar, a folkloric troupe performing music and dance repertoire. Secularization.