EGYPTThe Zaar Ritual and Umm Kulthum

ISLAM: Ideas about Evil

IBLIS/SHEITAN: beings whose only purpose is to tempt humans with evil

JINN: creatures made of smokeless fire; possess free will; occupy parallel world to human existence; are potentially good, evil, or neutral

Women and EvilSIGNS OF ILLNESS: psychotic outbreaks, physical conditions, neurotic outbreaks, psychosomatic symptoms

Modern medicine is the preferred cure of most Westerners, but many rural Egyptian women lack access to this.

The zaar ritual uses faith to extract the possessing Jinn from a woman’s body.

ZAAR RITUALAn ancient healing ritual rooted in shamanistic practices; involves possession and trance

Officially banned from Egpytian Muslims, but is quietly practiced as celebrated as a part of baladi, or folk culture heritage

Egypt Center for Culture and Arts Performance (4:00 - end) - http://www.youtube.com/watch?v=FnsRTMv3yrA

ZAAR

The ceremony may last multiple days - even a week - in length.

Religious rites may include: reading of Quranic passages, potential animal sacrifices, burning of incense, and the dressing of the ill woman as a bride on the final day

ZAAR

Usually consists of women, though men sometimes participate as musicians.

The lead woman negotiates with the jinn, calling him “asyad” respectfully. She strikes a drum throughout, and by entering a trance can negotiate terms of release for the ill woman.

ZAAR: MusicMusic is a key part of the ceremony.

Different asyad require certain songs in order to depart.

Percussion accompanies singing: drums, finger cymbals, rattles of goat hooves.

Rhythmic experimentation eventually finds the correct rhythm for the possessed woman.

ZAAR: DancingIt is “violent and unrestrained, peaking in crises and subsiding when the dancers become exhausted. The convulsive movements include tripping in a tight circle, running in place, stamping, bending and plunging forward and backward, and jerking and twisting the torso and head from side to side with arms held close to the body or swinging back and forth. Emotion reaches a height as constraints are removed and repressed impulses are released.” (Saleh 2002) (see image page 264)

ZAAR: Resolution

After entering a state of trance, the dancer eventually collapses in exhaustion, unconsious, and is liberated from the asyad/Jinn.

Serpentine documentary (0:50 - 4:00) : http://www.youtube.com/watch?v=2KJFlDtT70c

Post Revolution Nationalism

1950 = tension and dissatisfaction with the monarchy and Britain’s overall control

In 1952, military commander Gamal Abd al-Nasser led his followers in the ‘bloodless revolution,’ a peaceful takeover

al-Nasser and baladi

al-Nasser supported cultural nationalism and baladi mostly strengthened.

Entertainment genres seen as influenced by the west, like professional dancing, casinos, nightclubs, and cinemas were not okay.

Kulthum and al-Wahhab

Since dance was fading out, musicians grew enormously in popularity.

Muhammad al-Wahhab and Umm Kulthum prospered; Kulthum was seen to represent pan-Arab ideas and Egyptian values.

Umm Kulthum

Lived 1898 - 1975

Singer of Arabic pop; actress

Enormously popular - in the 1930’s, her concerts were broadcast live each month

Kulthum and al-Nasser both emphasized their humble, rural roots and commitment to Egypt. The idea of the virtuous peasant became romanticized during this time.

Umm Kulthum

Video: Beid Annak (Away From You)

http://www.youtube.com/watch?v=D1cvuxVY_1Y