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EGYPT

EGYPT. The 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 Evil.

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EGYPT

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  1. EGYPT • The Zaar Ritual and Umm Kulthum

  2. 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

  3. Women and Evil • SIGNS 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.

  4. ZAAR RITUAL • An 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

  5. 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

  6. 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.

  7. ZAAR: Music • Music 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.

  8. ZAAR: Dancing • It 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)

  9. 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

  10. 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

  11. 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.

  12. 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.

  13. Umm Kulthum • Lived 1898 - 1975 • Singer of Arabic pop; actress • Enormously popular - in the 1930’s, her concerts were broadcast live each month

  14. 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.

  15. Umm Kulthum • Video: Beid Annak (Away From You) • http://www.youtube.com/watch?v=D1cvuxVY_1Y

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