Ayoub

[Duvet]

This might be mentioned elsewhere, and if so, sorry for repetition and please direct me to the relevant thread.

I’ve been learning darabukah drumming, and among the rhythms has been the ayoub, traditionally part of the zaar. But I understood that zaars are women only events, so when do men ever play this rhythm? I’ve seen men play this rhythm for performance pieces, so is that the only time? Would it be frowned upon for men to play it as part of a social get together, due to its connection with the zaar, and is there a male version of the zaar?

 

[Kashmir]

Ayoub is one of many zaar rhythms and is not used only for zaar. I suspect the linkage in the west may be due to Bobby's doco (The House of Zaar?)

Amani uses the ayoub rhythm in the track of the same name and Basem Yazbek is definitely male!

Further, in a public (ie performance) zaar I attended in Cairo at least half the musicians were male. (And I don't think they went near an ayoub rhythm in 2 hours!)

 

[Jane]

This might be mentioned elsewhere, and if so, sorry for repetition and please direct me to the relevant thread.

I’ve been learning darabukah drumming, and among the rhythms has been the ayoub, traditionally part of the zaar. But I understood that zaars are women only events, so when do men ever play this rhythm? I’ve seen men play this rhythm for performance pieces, so is that the only time? Would it be frowned upon for men to play it as part of a social get together, due to its connection with the zaar, and is there a male version of the zaar?

Because belly dance is the staged-glamed-up-little-ballet-thrown-in version of SITA folk-dances, you can hear lots of folkloric rhythms and melodic riffs in regular belly dance music. When those become prevalent in the song, you do a little bit of that appropriate folkloric movement as a cultural acknowledgement. Ayyub is also found in drum solos and Sufi music, not just zaar rituals. Unless you are actually doing a zaar or attempting to re-create a zaar for a staged ethnic piece, I don't think it's a problem. I don't remember if men are ever hired to play at a zaar or not. I also recall in the misty parts of my brain that other rhythms are played for zaar and not just ayyub. Any zaar specialists out there?

-Just saw Kashmir's post. She's on it

 

[Duvet]

I was asking out of curiosity and a heap of ignorance, because I wondered whether it would be seen as bad for a man to play a zaar rhythm outside of a zaar situation (aside from performances), as it might be indicating an attempt to induce it , which as a female only practise should not be something seen by men.
Can I now take it that it’s just a rhythm with no exclusive attachment to the zaar? It might be played during the zaar, but other rhythms are played too, and the ayoub can be played as part of another piece, at any time, in any situation (as long as it fits musically).

Is there a male version of the zaar, or are men viewed as not needing one?

 

[Farasha Hanem]

You apparently know more than I do, Duvet. It's threads like this that makes me wish I was more knowledgeable about Arabic music. Since the weather has been warmer, I've been practicing on Arabic rhythms outside with my zills, using Uncle Malfoufo's CD. The Ayoub is one of the rhythms on that CD. My knowledge of that rhythm doesn't go any further than that at this time.

 

[Jane]

JSTOR: An Error Occurred Setting Your User Cookie

Here is a book on Zaar. Liminal Rites and Female Symbolism in the Egyptian Zar Possession Cult by Richard Natvig. I don't have it...yet

 

[Farasha Hanem]

Thank you for the link, Jane! *hugs you and bookmarks site* This is much appreciated!

 

[Yame]

I was asking out of curiosity and a heap of ignorance, because I wondered whether it would be seen as bad for a man to play a zaar rhythm outside of a zaar situation (aside from performances), as it might be indicating an attempt to induce it , which as a female only practise should not be something seen by men.
Can I now take it that it’s just a rhythm with no exclusive attachment to the zaar? It might be played during the zaar, but other rhythms are played too, and the ayoub can be played as part of another piece, at any time, in any situation (as long as it fits musically).

That's correct. It's just a rhythm. Male drummers play it all the time. In fact, I get an ayub in about half of my live drum solos and to this date I've never had a female drummer.
As a dancer it's important to understand the ayub's connection to the zaar, if you so choose to interpret it with a nod to zaar, but indeed there is no exclusivity one way or the other (the zaar isn't just done to ayub, and ayub isn't just done in a zaar).

Is there a male version of the zaar, or are men viewed as not needing one?

From my understanding, in secular terms, the zaar fulfills the purpose of stress relief and release for women in repressed, male-dominated societies. In places where the zaar is practiced, the men do not go through quite the same pressures as the women, so there probably isn't as much of a need for them to go through the ritual as there is for the women. According to most of my sources, zaar rituals tend to be female-only or female-dominated activities.

With that said, I think sometimes men do it. Depending on the place, they do drum or lead the ritual, although that seems to be uncommon. As for being the possessed ones themselves, I've never heard of it but perhaps it does occur. It's probably rare, but I wouldn't assume it never happens. Zaar is practiced in a lot of different regions, and it's not the same everywhere.

 

[Amanda (was Aziyade)]

Is there a male version of the zaar, or are men viewed as not needing one?

Zar for men is usually different, and would be closer to Zikr. Zikr is Sufi, but Zar predates Islam. Some of the common zikr movements remind me of the videotaped zar ceremonies I've seen.

 

[Duvet]

I was at a recent workshop where the teacher mentioned the zaar/ayoub rhythm as if they were one and the same. I didn't challenge her as I know my ignorance, and I'm not sure whether that was just what I interpreted, rather than what she was trying to communicate. But this does seem to be a common way of presenting the drumming.

So I've now got curious in a different direction; - since ayoub is only one rhythm, what other rhythms are used during zaar (assuming they have names). I think I need some pointers to sources, if anyone can help.

 

[Greek Bonfire]

I was at a recent workshop where the teacher mentioned the zaar/ayoub rhythm as if they were one and the same. I didn't challenge her as I know my ignorance, and I'm not sure whether that was just what I interpreted, rather than what she was trying to communicate. But this does seem to be a common way of presenting the drumming.

So I've now got curious in a different direction; - since ayoub is only one rhythm, what other rhythms are used during zaar (assuming they have names). I think I need some pointers to sources, if anyone can help.

Possibly khaleegi? I'm sure Aziyade will not disappoint us and will come up with a source :clap:

 

[Duvet]

Zar for men is usually different, and would be closer to Zikr. Zikr is Sufi, but Zar predates Islam. Some of the common zikr movements remind me of the videotaped zar ceremonies I've seen.

I thought zikr is a form of worship, whereas zaar is a ritual for exorcism? And women can and do regularly attend zikr ceremonies. So if exorcisms do occur as a by product of zikr, wouldn't they be equally open to men and women? In what ways would a male zaar be different, and is it still called 'zaar'? How do we know zaar predates Islam?

These are probably academic questions that take years of research and cultural awareness to understand, and reveal my own underlying assumptions and ignorances. I'm aware there are other threads on zaar here, so I'll start trawling, unless someone is patient enough to (possibly) repeat themselves, or tell me where to look (or at least who NOT to believe).

 

[Amanda (was Aziyade)]

This all relates to PUBLIC space, and not that which is done in the home.

Zikr is a Sufi movement ritual, the goal of which is to "trance out" eventually and experience God -- experience rather than study or read about. (The word is also used to describe movement itself.)

It's "technically" illegal for women to participate in public zikr rituals. I say that it's illegal -- it might not be against the actual LAW but it is certainly against public acceptance. A woman attempting to participate in a public zikr would be removed from the area. UNLESS (according to Sahra Kent) she is able to "trance out" immediately, at which point she cannot be (spiritually) safely moved from the area (see below), and may continue to participate.

Again, what's done in private is very different from what's done in public space. Women participating in a public zikr NOW (2012) is probably very very much frowned on, if not actually against the law. It was seriously frowned on before the revolution, so I can't imagine it's better now.

Zar is a women's ritual. There are sociological reasons for this, as the men have other means of "therapy." The only men involved in zar are the musicians, which may perform behind a screen. Remember, public zars (also illegal in current Egypt) are places where women can go unveiled, so the exclusion of men makes sense. (It was not unusual a few years ago to find public zar houses in the baladi sections of Egypt, where you could pay a small fee and participate in a public zar. more on that below.)

The ritual is NOT an exorcism, in the way the Catholic Church defines exorcism. The word zar means "visitor" and in this case refers to a visitor you didn't necessarily invite in. It is understood that there are several categories of zar spirits (detailed in book #1 below) and one may accidentally "invite" in a spirit by being awakened by surprise (so no dragging off the tranced-out woman) or by walking over water at night. Also, a woman is ripe for a zar "possession" twice in her life: when she gets married and when her husband announces he wants a second wife.

Did I mention they don't have "therapy" per se in Egypt? LOL. Enter the Zar. It's also one of the only ways traditionally for women to rid themselves of pent-up energy and frustration. Book #2 says that the zar spirit usually requests some type of gift or sacrifice. In the old days that might have meant a goat that was then feasted upon by the attendees. Now it's more common for the zar spirit to demand a new pair of shoes for the possessed.

Zar is mentioned in the Koran -- I can't remember the reference but book #2 has a section on it, and how far back it predates Islam.


References:

1. The book Wombs and Alien Spirits
Amazon.com: Wombs and Alien Spirits: Women, Men, and the Zar Cult in Northern Sudan (New Directions in Anthropological Writing) (9780299123147): Janice Boddy: Books lists the various rhythms used in zar, and talks about where it comes from (Sudan/Nubia/possibly Saudia)

2. Also Women and Demons
http://www.amazon.com/Women-Demons-International-Sociology-Anthropology/dp/9004127712 addresses the zar ritual and its function in society.

(Both books should be available through inter-library loan.)

3. Sahra Kent's Journey through Egypt seminar



On the rhythms -- the musicians basically play a series of different songs in different rhythms and when they find one the "possessed" responds to, they stick with that. OR, in the case of some modern public zars performed before the ban, they will play Sufi music that is based on protection prayers. The audience/participants won't necessarily respond to any particular rhythm -- rather the general protective and loving feeling of the room will allow women the chance to "trance out." Public zar houses have been illegal for some time, although they might still exist "hush hush."

 

[Duvet]

Thank you very much Aziyade for taking the time to reply to my post and starting my understanding of zar. As with most things in life, I think I have a bit of understanding only to find out that I know nothing at all!
I won't ask any further questions, as you have links I need to read first, except that I'm guessing your post (although maybe not the links) is in reference largely to Egypt, rather than to all Islamic countries/communities/beliefs? (I know - read before I ask!!).
Thank you again.

 

[Amanda (was Aziyade)]

Thank you very much Aziyade for taking the time to reply to my post and starting my understanding of zar. As with most things in life, I think I have a bit of understanding only to find out that I know nothing at all!
I won't ask any further questions, as you have links I need to read first, except that I'm guessing your post (although maybe not the links) is in reference largely to Egypt, rather than to all Islamic countries/communities/beliefs? (I know - read before I ask!!).
Thank you again.

Wombs is about Sudan (and Nubia) but yes, the focus on all the zar literature that I've read is on Egypt or the sub-saharan countries of Africa. I'm not sure that I've ever read anything about zars in the Arabian peninsula, or in central Asia. It's possible they exist as a cultural phenomenon, but the concept is pretty much African in origin and so it makes sense that Africa would be the focus.

That's part of what I love about this dance -- any one thing you THINK you know leads you to tons and tons of information about stuff you don't know. It's so cool!

 

[Alexandrian]

Ayyoub is the Rhythm most employed in Sufi music. It's however very commonly used by composers for all varieties of Egyptian music forms. Usually, its usage denotes a meditative portion of a composition and, when danced to, Egyptians generally recognize the intention of an Ayyoub rhythmic interlude by launching into a variety of trance expressive movement vocabulary. Twirling is commonly used as it mimics Sufi whirling.
Examples are abound. The rhythmic interlude of Abdel Wahab's Zeina is a typical one.