Ambient Sufism: Ritual Niches and the Social Work of Musical Form PDF
Preview Ambient Sufism: Ritual Niches and the Social Work of Musical Form
Ambient SufiSm ChiCAgo StudieS in ethnomuSiCology A series edited by Philip V. Bohlman and Timothy Rommen Editorial Board Margaret J. Kartomi Anthony Seeger Kay Kaufman Shelemay Martin H. Stokes Bonnie C. Wade A M B I E N T S U F I S M Ritual Niches and the Social Work of Musical Form Richard C. Jankowsky the univerSity of ChiCAgo PreSS ChiCAgo And london The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2021 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2021 Printed in the United States of America 29 28 27 26 25 24 23 22 21 20 1 2 3 4 5 iSbn- 13: 978- 0- 226- 72333- 4 (cloth) iSbn- 13: 978- 0- 226- 72347- 1 (paper) iSbn- 13: 978- 0- 226- 72350- 1 (e- book) doi: https:// doi. org/ 10 .7208 /chicago /9780226723501 .001 .0001 Library of Congress Cataloging-in-Publication Data Names: Jankowsky, Richard C., author. Title: Ambient Sufism : ritual niches and the social work of musical form / Richard C. Jankowsky. Other titles: Chicago studies in ethnomusicology. Description: Chicago ; Illinois : The University of Chicago Press, 2021. | Series: Chicago studies in ethnomusicology | Audio, video, and musical examples may be accessed on the accompanying website, https:///sites.tufts.edu /ambientsufism. | Includes bibliographical references and index. Identifiers: lCCn 2020028198 | iSbn 9780226723334 (cloth) | iSbn 9780226723471 (paperback) | iSbn 9780226723501 (e-book) Subjects: lCSh: Sufi music—Tunisia—History and criticism. | Sufi music—Social aspects—Tunisia. | Music—Tunisia— Religious aspects. | Sufism—Tunisia—Rituals. | Islamic music—Tunisia—History and criticism. | Islamic music—Social aspects—Tunisia. Classification: lCC ml3197. J363 2020 | ddC 781.7/7009611—dc23 lC record available at https://lccn.loc.gov/2020028198 ♾ This paper meets the requirements of AnSi/niSo Z39.48- 1992 (Permanence of Paper). Contents List of Illustrations vii List of Website Figures and Audio, Video, and Musical Examples ix Notes on Transliteration, Musical Notation, and Accompanying Website xiii Acknowledgments xvii 1 Introduction: Ambient Sufism 1 2 Ritual Reflexivity: Musicality, Sufi Pedigrees, and the Masters of “Intoxication” 27 3 Ritual Hospitality: Women Sufis and the Musical Ethics of Accommodation 69 4 Ritual Alterity: The Musical Management of Sub- Saharan Otherness 105 5 Ritual Remnants: Legacies of Jewish- Muslim Ritual Musical Convergences 135 6 Ritual as Resource: Set- List Modularity and the Cultural Politics of Staging Sufi Music 173 7 Conclusion: Ritual Niches and the Social Work of Musical Form 201 Glossary 219 Bibliography 223 Index 235 Illustrations figureS 2.1 An ‘Īsāwiyya ḥaḍra 30 2.2 Tempo graph of the ḥizb 43 2.3 Tempo graph of the mjarred section 58 2.4 Schematic of layers of intensification 62 3.1 A Mannūbiyya performance 70 4.1 A sṭambēlī ritual 109 4.2 Graph of rhythmic transformation in sṭambēlī 120 4.3 Alternative representation of rhythmic transformation 122 4.4 A café sṭambēlī performance 127 tAbleS 2.1 Songs of the mjarred section 57 3.1 Mannūbiyya silsila 79 4.1 Sṭambēlī silsila (white section) 109 4.2 Sṭambēlī silsila (black section) 110 4.3 Café sṭambēlī silsila 128 5.1 Rebaybiyya silsila 1 146 5.2 Rebaybiyya silsila 2 146 5.3 Comparison of rebaybiyya and sṭambēlī lyrics 155 6.1 Set list of el- Hadhra spectacle 185 7.1 Ritual musical potencies: A summary 213 muSiCAl exAmPleS 2.1 The fātiḥa of the ḥizb 39 2.2 Call and response 1 of the ḥizb 41 2.3 Call and response 2 of the ḥizb 41 2.4 Discrete intensification (rise in tempo and pitch of the dhikr) 42 2.5 Opening line of “Qaṣdī Anẓur Ilīk” (My Goal is to See You) 50 2.6 Rhythmic sequence of the shishtrī section 52 2.7 Opening line of “Yā ‘Āshiqīn” (O Lovers) 52 2.8 “Al- Kās Ydūr” (The Cup Goes Round) 57 2.9 Sequential intensification (rhythmic sequence of the brāwil section) 61 3.1 Sequential intensification through rhythmic pairing 81 3.2 Nested temporalities in “‘Arī al- Mannūbiyya” (Shame on Mannūbiyya) 86 3.3 Short- long pattern of Shādhuliyya dhikr at its slowest 100 3.4 Short- long pattern of Shādhuliyya dhikr at its fastest 100 3.5 Slow beginning of Shādhuliyya dhikr 101 3.6 Fast ending of Shādhuliyya dhikr compared with fazzānī rhythm 101 4.1 Melody of “Jerma” 121 4.2 Three representations of the sūdānī rhythm 121 5.1 Sequential intensification in the rebaybiyya silsila 147 5.2 Main melody of “Jītak Shākī” / “Mā Sabā ‘Aqlī” (I Came to You Complaining / Nothing Enchants My Mind) 151 5.3 Rebaybiyya version of “Ra’is al- Abḥār” (Captain of the Seas) 153 Website Figures and Audio, Video, and Musical Examples All examples may be accessed on the accompanying website, https:// sites .tufts .edu /ambientsufism. ChAPter 1 figure 1.1w · Soccer team of saints (internet meme from the 2018 World Cup) ChAPter 2 Audio example 2.1 · Fātiḥa and isti‘ādha sections of the ‘Īsāwiyya ḥizb Audio example 2.2 · Call- and- response accelerando at 12: 50–14: 02 of the ‘Īsāwiyya ḥizb Audio example 2.3 · Call- and- response further accelerando, highest pitch, and widest ambitus at 16: 02–19: 13 of the ‘Īsāwiyya ḥizb Audio example 2.4 · Deceleration and pitch drop preceding maximum tempo at 21: 33–22: 28 of the ‘Īsāwiyya ḥizb Audio example 2.5 · Call and response at maximum tempo at 26: 22–28: 32 of the ‘Īsāwiyya ḥizb Audio example 2.6 · Accelerando, pitch elevation, and temporal contraction in the dhikr of the ‘Īsāwiyya ḥizb Audio example 2.7 · “Qaṣdī Anẓur Ilīk,” excerpt of solo performance by Walid Mennai of the ‘Īsāwiyya Musical example 2.1w · Deceleration and pitch drop preceding intensification Musical example 2.2w · Call and response at highest speed ix
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