Introduction to Sufism and Sufi music
Tuesday (5a)
Sufism, Sufi music, and its relation to Islamicate music
Due today
Please catch up with any overdue work!
New assignment:
- Read Sufism: an introduction to the mystical tradition of Islam, by Carl Ernst. Skim chapters 1, 2, and 6 for gist - then read 7 carefully (the preface is optional). Write your answer to the questions: "What is Sufism? Why do you think samāʿ ("music" or "dance") plays a significant role in Sufi thought and practice?" (one page or less), and submit. We'll discuss further in class.
- Watch the following video: The Mystic Music of Islam, on youtube (a nearly identical videos is available as Sufi Soul from our Library's Films on Demand database, but without the first few minutes; I recommend watching the youtube video at least for that beginning portion).
Class
- Introduction to Sufism. What is it, and why is music important?
- Discussion of the role of "music" in Sufism, with reference to some of my fieldwork in Egypt and Ghana.
- Connections between Sufi music and Islamicate music more generally.
Thursday (5b)
Due today
Read:
- Tarab in the Mystic Sufi Chant of Egypt, in: Colors of Enchantment: Visual and Performing Arts of the Middle East, edited by Sherifa Zuhur. American University in Cairo Press, 2001, pp. 233-269
- "Shaykh Yasin al-Tuhami: A typical layla performance", Garland Encyclopedia of World Music, vol. 6 (2002).
- Listen to some Inshad Sufi from Egypt, and read accompanying text. Please also review examples of inshad sufi from Egypt, Turkey, Pakistan, Ghana, and Morocco. NB: many of the links are currently broken; I will try to fix them as quickly as possible! stay tuned :)
Watch:
- FIve Sufi Hadras. We watched some of this in class, but please rewatch the last segment: the Shaykh Yasin performance, for Shaykh Abu Shamma's "arba`in" (the 40th day after death) (if you didn't make it to class on Tuesday please watch the first four hadras also). Please also have a look at Shaykh Yasin's inshad performance for the mawlid of Imam al-Hussein (the anniversary of whose martyrdom is marked on 10 Muharram, or Ashura' - a week from today). You don't have to watch the whole thing. Just get the feel of the music, and especially the way it builds up.
- Video segment on the Whirling Dervishes; watch from 42:46 until 57:35.
- Video segments showing both Tijani (Sufi) and traditional drumming from the north of Ghana.
- Damba (traditional festival for the Prophet's birthday, held in the village of Tolon, near Tamale in Northern Region, Ghana)
- Zikiri (Tijani praise singing; the drumming music is known as akwashirawa)
- Mawlidi (Tijani festival for the Prophet or saints; in this case held for the Prophet's birthday, with akwashirawa music). Note incredible speed of drumming; also the participation of women.
- Mawlidi (Tijani festival for Shaykh Ahmed al-Tijani himself). Documentary showing several aspects of the mawlidi celebration; watch selectively.
Write:
Based on all readings, listenings, and viewings this week and last, write a one page report: how are local music and musical aesthetics incorporated into Sufi ritual? In what ways is Sufi music the same, and in what ways is it different, from music of the broader culture ("Islamicate music")? How might Sufi music tinge music of the broader culture? (speculate or use readings) Consider examples from Egypt, Turkey, Ghana, and Morocco. Submit on (6b)
Class
- Introduce your proposed research projects if you haven't already done so.
- Islamicate Music, with a focus on the Middle East
- Sufism and (non-religious) Islamicate music: a two way street.
- Examples:
- Mevlevi Ayin and Ottoman art music
- Ghanaian Akwashirawa and traditional drumming music of the Dagomba
- Inshad Sufi of Shaykh Yasin, and Egyptian tarab music
- Qawwali and Hindustani music of south asia.