KURDISH FOLK SONGS AND DANCES (published 1955) recorded by Ralph S. Solecki 1953

KURDISH FOLK SONGS AND DANCES (published 1955)
recorded by Ralph S. Solecki 1953

Two songs sung in duet by two young brothers, both paramount Sheikhs of their tribes in Kurdistan. Both aris are in the "ZAZA" or "BADINAN" dialect. The first song is a call to a dance for his darling Mamiana, on a winter night. The second song is also of l...ove.

Literal translation of part 2:

Sing for me just a little more,
Open your heart for just a few days,
I cannot live without you,
Come let me have a kiss --
it is not winter but spring.
But alas! I cannot speak to her, not even a hello!
Because of her mother who watches her day and night.



The music was recorded as incidental to archaeological researches in Kurdistan directed by the author in 1953. Although the majority of the songs are tribal, sung by the Barzani workers emplyed in the excavation, others were contributed by the Kurdish police stationed at Shanidar village. Two songs heard on this recording were made by the paramount Sheikhs in Batas village to the south.

Much like the ballads of Appalachian mountaineers, who the Kurds resemble in temperament, the songs deal with universal things, such as love, troubles and war.

The musical instruments are of the simplest types. They consist of a two barreled reed flute called a juzale, and a skin head pottery drum called a tapil. The flute, about 10 inches long, consists of two hollowed reeds joined side by side, each barrel perforated along the upperside with fingerholes. More resonant and better quality flutes are made of large hollow bird bones. The mouthpiece consists of two small reeds shoved into the larger reeds. In each of the mouthpiece reeds is cut a narrow long flexible segment which is the vibratory mechanism. In playing this instrument, the whole mouthpiece is placed into the mouth. The cheeks of the player puff like a balloon, and the notes pulsating in an almost constant stream are varied by the fingering of the holes on the pipe barrels. the sound is much like the skirl of a Scottish bagpipe.

The drum, about 12 inches long, is a familiar part of the culture. When sitting, the player holds the drum under his elbow, resting it on his lap. When standing, as is usual for Kurdish dances, the drum is suspended by a cord around the neckt. Played with a dextrous tatto of the fingers, knuckles and palms, the sounds emitted from the uncovered end of the drum may vary from a staccato rush to a dull resonant boom. To anyone who has seen the tapil in action, the performer following every movement of the dancer with his practiced fingers on the drum, it seems an artistry.

Category:

Music

Tags:

• kurdish
• kurdi
• zazaki
• badinan
• kurdisch