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Noureddin Khourchid & the Whirling Dervishes of Damas - NOSPR

Noureddin Khourchid & the Whirling Dervishes of Damas

Cyril Zannettacci
Performers
Noureddin Khourchid – lead voice
Abdulrahman Modawar – solo, choirs & riqq
Mohamad Kahil – solo, choirs & duff
Hassan Arbach – solo & choirs
Adel Halima – choirs
Hamdi Malas – choirs & duff
Mohamad Kodmani – oud
Hatem Aljamal – whirling dervish
Yazan Aljamal – whirling dervish
Ahmad Altair – whirling dervish

The path of ecstasy

Several mystical tales attribute a divine origin to music recounting that the soul, whose very nature is celestial, refused to take form, but was seducd by the voice of an angel ordered by God to settle inside the body sa as to attract it there. It is now trapped inside the body, but has kept a nostalgia for its origins ever since it was parted from them.

All this has been wonderfully put into words by the great mystic Jaladdin al-Rumi in his famous poem « The Nay's Lament »: Listen to the story told by the reed, of being separated Since I was cut from the reedbed, I have made this crying sound,. that draws tears in man and wornan alike [...]. Anyone far from their source, longs to go back. » This is how the Sufis sing of their separation from the original source and their ardent desire to be reunited with it.

The sama (spiritual concert) and the trance-like dance of the hadra (divine présence) are the direct expression of the many mystical ways to God. such as that practised by the 12TH century Qadiriyya order, the Mawlawis and the Shadhîliyya (13TH century). The basic aim is always to grow nearer to God by purifying the soul through the practice of dhikr (remmbrance/ invocation of God's name).

The procedure for the Sufi sama can be purely vocal or have an instrumental accompaniment, according to the order and its rules. Those were instruments are used consider them to be an integral part of the ritual, so they're not played for pleasure. but only with the express aim of praising the Creator.

Parallel to the sung repertory of each Sufi order, the tradition of the inshad (religions hymnody) developed too in the Muslim part of the Arab world. This tradition is perpetuated by professional hymn-singers (cantors) who may corne from the Sufi orders, though not necessarily so. They are iivited to lead religious ceremonies or private parties, particularly at the tirne of Mawlïd {the anniversary of the prophet's birth) and other holy days.

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