The following article first appeared in Crescent Moon magazine (July-Aug 1996, p. 9-10). It appears here with the permission of the author. (C)1996 Karol Harding.
THE ZAR REVISITED
by Me'ira - The Joyful Dancer
1/6/96
by Me'ira - The Joyful Dancer
1/6/96
PT
I: History of the Zar
Despite the fact that the Zar, which is the
trance ceremony of North Africa and the middle
east is technically prohibited by Islam, it continues to be an essential part
of these cultures. Since I've been fortunate to find some new information on the
Zar, I wanted to take another look at this phenomenon.
The Zar is best described as a "healing cult" which uses drumming and dancing in its ceremonies. It also functions as a sharing of knowledge and charitable society among the women of these very patriarchal cultures. Most leaders of Zar are women, and most participants are women. Many writers have noted that while the majority of the possessing spirits are male, those possessed are generally female. This is not to say that the men do not contribute to zar ceremonies: they may help with drumming, the slaughter of ritual animals, or may themselves be a husband or relative required to make offerings to the possessing spirit. In fact, it is perhaps an unfortunate trend that in cultures where the zar becomes more visible, there is more of a tendency for men to co-opt the ceremonies, and for men to become zar leaders.
Susan Kenyon notes that there has actually been a proliferation of cult groups in theRepublic
of Sudan , and a dramatic
increase in the types of demands made of the cult. She attributes this in part
to a poor economic situation which encourages men to go outside of the country
for work, leaving women as de facto heads of households, with all the resulting
stresses.
The Zar ceremonies were well-established in theSudan by the 1820's. They were
outlawed by Shari'a law in 1983, but instead of decreasing the ceremonies
actually appear to have increased. These ceremonies provide a unique form of
relief to women in strict patriarchal societies. Islam itself has always
believed in the existence of "spirits", which it calls
"jinn". In addition, the zar has been officially banned in the Sudan since
1992, but the drums still beat on - possibly, Kenyon says, because of the
support of the wives of influential men.
Zar, in the sense of possession, is usually, though not exclusively, inherited. It is also contagious and may strike at any time. Diriye Abdullahi, a native ofSomalia ,
says that the zar is basically a dance of spirits, or a religious dance - kind
of leftover from the old African deities, a variant of what we describe in the
west as "voodoo". The old African deities were headed by two figures;
Azuzar (the male, assoc. with Osiris) and Ausitu (the female, known in the west
as Isis ). Ausitu (or Aysitu in Somalia ) is
still celebrated and given offerings by pregnant women so that she will provide
them with a safe birth. He describes it as a ritual dance which is mostly
observed by women, especially older women. This corresponds to the practice of
older African religions, in which older women were the priestesses. He
maintains that younger women, especially unmarried women, are not generally
thought to be "worthy of a visit by the spirit of Zar, who chooses
domicile or residence in the person who is his choice."
Diriye did not think it sacrilegious for adults to dance the zar, even if not possessed. InEgypt , he
adds, it is mostly danced by the people who live in villages southern areas
which were least exposed to the constant invaders that came over the centuries
from Greece , Rome , and the Middle East ,
culminating in the Muslim Arabs. He adds that the largest number of
practitioners are today found in the Sudan ,
Ethiopia and Somalia - places which have traditions which
have disappeared today in Egypt .
The zar today is practiced more as a relaxation and as spiritual healing for
stressed or troubled persons. The sacrificial animal may or may not be a part
of this modern ceremony.
The Zar is best described as a "healing cult" which uses drumming and dancing in its ceremonies. It also functions as a sharing of knowledge and charitable society among the women of these very patriarchal cultures. Most leaders of Zar are women, and most participants are women. Many writers have noted that while the majority of the possessing spirits are male, those possessed are generally female. This is not to say that the men do not contribute to zar ceremonies: they may help with drumming, the slaughter of ritual animals, or may themselves be a husband or relative required to make offerings to the possessing spirit. In fact, it is perhaps an unfortunate trend that in cultures where the zar becomes more visible, there is more of a tendency for men to co-opt the ceremonies, and for men to become zar leaders.
Susan Kenyon notes that there has actually been a proliferation of cult groups in the
The Zar ceremonies were well-established in the
Zar, in the sense of possession, is usually, though not exclusively, inherited. It is also contagious and may strike at any time. Diriye Abdullahi, a native of
Diriye did not think it sacrilegious for adults to dance the zar, even if not possessed. In
Part
II: What a Zar ceremony involves ..
"Each woman moved to the pulse of the drum
.... The sick woman's movement increased in intensity and speed, her eyes half
closed, she appeared totally oblivious of her surroundings, abandoning herself
completely to the dance. Her movements flowed freely from the inside out, from
her torso to her limbs, gaining strength and speed as she came full circle
around the imposing altar to where the helpers were... till finally, she threw
her arms up and was about to fall, but the Kodia guided her to the
floor..."
-From a description of an Egyptian Zar ceremony
"Smoking, wanton dancing, flailing about, burping and hiccuping, drinking blood and alcohol, wearing male clothing, publicly threatening men with swords, speaking loudly lacking due regard for etiquette, these are hardly the behaviors of Hofriyati women for whom dignity and propriety are leading concerns. But in the context of a Zar they are common and expected."
The drama of a zar ceremony quickly catches our imagination, but it's important to remember that it works because it functions within a specific cultural setting, with very specific requirements. As a cult, the Zar groups have a leader and members are expected to attend sessions regularly. There may be both public and private zar rituals; in a private ritual only members of the immediate family may be involved.
The leader may be called "Kodia" (Egypt ),
a Shaykha (N. Sudan) or an "Umiya" (N. Sudan )
depending upon the region. The leader is herself possessed. She has come to
terms with her "Jinn" or spirit and is therefore able to help others.
Heredity is considered an important qualification; leadership is often passed
from mother to daughter or through female members of the family. Men cannot
inherit possession, but may claim to have been "called to it". As
described by Erika Bourguignon, in the Blue Nile region zar-based activities
are described in terms of "the box", or "al-ilba", which
refers to the large metal trunk or container in which the leader of each group
keeps her zar paraphernalia and symbols of her knowledge. No two boxes are the
same, as every leader inherits her original "box" from the person
with whom she trained, and from whom she acquires knowledge and experience.
The Egyptian zar is usually set in a large room with an altar. In whatever country the zar occurs, it is important that the domestic living space be separated from sacred space, or the place of sacrifice to the zar. In some cases this may be a separate room of the house, in others it may be a house rented especially for the purpose. InEgypt the altar is a round tray
placed on a tall stool and is placed in the center of the room. It is covered
with a white cloth and is piled with nuts and dried fruits. The Kodia and her
musicians occupy one side of the room, the participants the rest of the room.
The guests are expected to contribute an amount of money appropriate to their
station. Having a zar ceremony can be very profitable, but it is understood
that the zar leader is somone to whom the women can go to for help in times of
need - thus it also functions as a kind of charitable society in which members
both give and receive help.
The woman for whom the zar is prepared may wears white, often a man's jalabiya, or shirt. She wears henna on hands and body, and kohl in her eyes. She may also be heavily perfumed, as are the guests. Duriye Abdullahi, a native ofSomalia , says
that perfumes (especially frankinsense) are the most common offerings to zar
spirits. At the beginning of the ceremonies, an aromatic censor is passed among
the guests, so that they might purify their bodies by inhaling the fragrances.
The Kodia is expected to be a trained singer, who knows the songs and rhythms of each particular spirit. As she sings each spirit's song and watches for a reaction, she is able to diagnose which type of spirit has taken possession and how to "treat" it. The musical instruments used are the tar, a kind of tambourine, and the tabla. The number of "helpers" ranges from three to six and provide rhythmic backup. During the zar ceremonies the various spirits are summoned by their own distinctive drum beat (or "thread"). The Kodia also has a collection of costumes, which she provides to the possessed one in an effort to accommodate it.
If an animal sacrifice is used, it might be a chicken, pigeons, a sheep, or even a camel if the woman is rich. In any case, providing some type of food or meal is an essential part of the ceremony. Ethiopian spirits are said to be very fond of coffee. Non-muslim spirits may demand alcoholic drinks, while female spirits may prefer sweet drinks like Cola. In theSudan , in those
areas where a sacrifical animal is considered necessary, the patient's recovery
is not considered complete until the sacrificial meal is consumed on the final
evening. This generally consists of meat, bread, rice and spicy broth.
The Zar is not an "exorcism" as people often describe it because the spirit is accommodated and placated; it is not exorcised. The patient is advised to "be continually attentive to her spirits, perform such daily work as they require, avoid dirt, and refrain from negative emotion." Failure to do this may result in a relapse. The fact that this advice is as valid for modern western women as it is for zar patients testifies to the very practical nature of the zar experience.
-From a description of an Egyptian Zar ceremony
"Smoking, wanton dancing, flailing about, burping and hiccuping, drinking blood and alcohol, wearing male clothing, publicly threatening men with swords, speaking loudly lacking due regard for etiquette, these are hardly the behaviors of Hofriyati women for whom dignity and propriety are leading concerns. But in the context of a Zar they are common and expected."
The drama of a zar ceremony quickly catches our imagination, but it's important to remember that it works because it functions within a specific cultural setting, with very specific requirements. As a cult, the Zar groups have a leader and members are expected to attend sessions regularly. There may be both public and private zar rituals; in a private ritual only members of the immediate family may be involved.
The leader may be called "Kodia" (
The Egyptian zar is usually set in a large room with an altar. In whatever country the zar occurs, it is important that the domestic living space be separated from sacred space, or the place of sacrifice to the zar. In some cases this may be a separate room of the house, in others it may be a house rented especially for the purpose. In
The woman for whom the zar is prepared may wears white, often a man's jalabiya, or shirt. She wears henna on hands and body, and kohl in her eyes. She may also be heavily perfumed, as are the guests. Duriye Abdullahi, a native of
The Kodia is expected to be a trained singer, who knows the songs and rhythms of each particular spirit. As she sings each spirit's song and watches for a reaction, she is able to diagnose which type of spirit has taken possession and how to "treat" it. The musical instruments used are the tar, a kind of tambourine, and the tabla. The number of "helpers" ranges from three to six and provide rhythmic backup. During the zar ceremonies the various spirits are summoned by their own distinctive drum beat (or "thread"). The Kodia also has a collection of costumes, which she provides to the possessed one in an effort to accommodate it.
If an animal sacrifice is used, it might be a chicken, pigeons, a sheep, or even a camel if the woman is rich. In any case, providing some type of food or meal is an essential part of the ceremony. Ethiopian spirits are said to be very fond of coffee. Non-muslim spirits may demand alcoholic drinks, while female spirits may prefer sweet drinks like Cola. In the
The Zar is not an "exorcism" as people often describe it because the spirit is accommodated and placated; it is not exorcised. The patient is advised to "be continually attentive to her spirits, perform such daily work as they require, avoid dirt, and refrain from negative emotion." Failure to do this may result in a relapse. The fact that this advice is as valid for modern western women as it is for zar patients testifies to the very practical nature of the zar experience.
PART
3: What we can learn from the Zar ...
The Zar ritual is a cathartic experience, which
functions for women in these cultures as effectively as does psychotherapy in
western culture. It involves several critical aspects which all contribute to
its success as therapy:
- The
patient is the center of attention, and receives the help and concern of
her friends and relatives. Her experience and feelings are recognized as
valid. As Dance Therapist Claire Schmais explains, "It is community
based, followers and members are not sent away to be cured....it creates a
sense of community while it heals, embracing the individual within a
community."
- Rituals
are used to creating the setting. It has specific players and roles: a
leader, a drum core, a "patient" and participants. These rituals
include an altar, the smell of incense, and costumes. Songs are chanted
and drums play trance-like rhythms. The zar provides a multisensory
experience with sights, sounds and smells.
- The
ritual sharing of food, which creates communion in all cultures and times.
Thus, it is important to understand these rituals in the context of the
total experience.
The major elements of the zar experience can be used by women in our culture to create more meaningful dance experiences, in whatever ritual context they prefer. This could be done in either as religious, or secular context.
- Through
the sense of "moving together", a sense of closeness builds
between members of the group. This is true whether the participants are
trained as dancers, or not. Also, the experience of being the center of
attention is, in itself, a therapeutic experience, when surrounded by
friends. A gathering at the time of crisis in someone's life, one of
welcome, or one to say farewell would be entirely natural.
- "Ritual"
can mean something as simple as burning incense, placing flowers in a
room, or lighting candles. Anyone who has performed for an audience can
appreciate how important it is to "set the stage", and create an
appropriate mood. Wearing costumes is certainly familiar to all of us as
part of what makes the dance a special experience. Something as simple as
handling out hip scarves and veils at a dance "demo-lecture" can
add to the experience for non-dancers. As dancers, we can also testify to
the hypnotic effect created when the right drum rhythms are used. The
function of the "leader" is also important because it keeps the
group on track, and frees everyone else from worrying about "what to
do next". The drums also serve to focus everyone's attention on the
ritual aspect of what's happening, and set the mood and flow of the event
with rhythm.
- Eating
together is a familiar way to end the ritual which brings people closer
together, and helps each one feel that they are being "nutured"
and appreciated.
PRACTICAL ASPECTS
In regard to dance "choreography",
traditional "zar" movements include tossing of the head and swaying.
It is important to be aware that these movements can be dangerous, especially
for people with neck or shoulder problems. Shakira of Columbus, Ohio, uses
Alexander technique to teach doing this movement safely. She explains,
"The most important thing is to relax into the movement, and not to try to
control it. Relaxing and letting the weight of the head do the work is key to
not being injured. Being tense and afraid of the motion is much more likely to
lead to an injury. If you do it for a long time you will get a sore neck, but
that's just from working the muscles."
Samples of zar rhythms can be found on the following albums:
Samples of zar rhythms can be found on the following albums:
- An
excellent explanation of Egyptian zar rhythm is given on Hossam Ramzy's
Introduction to Egyptian Rhythms, and probably some zar done on his many
perfomance albums.
- A
very nice 5 minute zar done on the old Sultans album, volume II.
- The
best album I've found for personal use is Stephen Flynn's Inner Dances,
which has a new age style 20 minute warmup on side A, and on side B, a 13
minute segment of trance drumming and a 5 minute zar finale.
I also can't resist recommending the
"Modern Mystics" segment of the Firedance album with Brian Keane and Omar
F. Tekbilek (also a member of the Sultans). It's not specifically a zar rhythm,
but it's a trance-like piece with the Islamic vow repeated endlessly. (Please
try not to use this for performance as you may offend members of the audience
if they are Muslim). My other favorite album for "trancing out" is
Black Beats by the Moroccan Jewish group, Natural Gathering. The title song
leaves you convinced that God was in the mood for drumming that day!
Whatever your taste in music, I hope you find in your dance an opportunity for personal growth and fulfillment.
Whatever your taste in music, I hope you find in your dance an opportunity for personal growth and fulfillment.
Send comments to author
Me'ira (aka Cala) at (kharding@lamar.ColoState.edu).
This page last edited February 19, 1998 by Stefan (bdancer@www.bdancer.com).
This page last edited February 19, 1998 by Stefan (bdancer@www.bdancer.com).
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