Tag Archives: Islam

The nobat in Malay court life

The nobat, a percussion-based music ensemble, has performed in the Malay courts of maritime Southeast Asia since the coming of Islam to the region in the 13th century. The nobat originates in the Islamic traditions of the Middle East and has long been incorporated into the sacred court regalia as a symbol of a sultan’s power and sovereignty. The ensemble also is revered for its perceived mystical powers and its ability to consolidate and maintain sociopolitical order. The spread of Islam saw the nobat and its musical practice travel via ancient land and sea routes across Asia to develop by accommodating different local cultures and belief systems.

Drawing patrons from some of the greatest Muslim empires, the sounds of the nobat in palaces symbolized the installation of new rulers, announced the arrival of dignitaries, signaled prayer times, and instilled courage among soldiers on the battlefield. The emergence of the nobat as a court institution was less a result of the collective agency of the masses than a desire of the Malay ruling elites. The ensemble developed during a period when societies were governed by absolute monarchs, military commanders, and regional governors who had the means and purpose to patronize it. Along with the nobat, ruling elites also were responsible for supporting the advancement of the arts and sciences generally, and many musicians, poets, painters, philosophers, and scientists found themselves under court patronage.

By the late 20th century, the nobat mostly went silent as sultanates declined in visibility and power. The few that have survived continue to perform in the sultan’s courts of Kedah, Perak, Selangor, and Terengganu in Malaysia and in Brunei.

Read more in “The nobat: From Muslim antiquity to Malay modernity” by Raja Iskandar Bin Raja Halid in Performing arts and the royal courts of Southeast Asia. I: Pusaka as documented heritage, edited by Mayco A. Santaella (Leiden: Brill, 2023) 139–160. Find it in RILM Abstracts of Music Literature.

The video below features a performance of the nobat in Kedah, Malaysia.

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Filed under Asia, Religious music, World music

The burning of musical instruments in Afghanistan

Sometime during the last weekend of July 2023, previously confiscated musical instruments were collected and publicly burned in the Afghan province of Herāt. The head of the local office of the Ministry for the Promotion of Virtue and the Prevention of Vice, Aziz al-Rahman al Muhajir, justified the burning by saying that music leads to moral corruption. Apparently string instruments, a harmonium, a tabla, and electronic amplifiers were burned. Performing music in public has been banned in Afghanistan since 2021.

Music has long been a controversial topic in Islam. Although the Islamic world has birthed rich and brilliant musical cultures, some Muslims nevertheless believe that music, especially instrumental music, causes people to go astray by indulging in sensual pleasures. The Taliban, a Sunni Islamic nationalist and pro-Pashtun movement founded in the early 1990s, rose to power in 1996 and subsequently banned the public performance of music and imposed numerous other restrictions on musical life. The group ruled around three-quarters of Afghanistan from 1996 to 2001 before being overthrown after an invasion led by the United States. The group regained power over the entire country following the August 2021 departure of coalition forces.

Speaking in July 2023, Ahmad Sarmast, founder of the Afghanistan National Institute of Music, likened the Taliban’s actions to “cultural genocide and musical vandalism”. Now living in Portugal, Sarmast says, “The people of Afghanistan have been denied artistic freedom . . . The burning of musical instruments in Herat is just a small example of the cultural genocide that is taking place in Afghanistan under the leadership of the Taliban.”

Read on MGG Online.

Below is a performance of the Afghani rabāb accompanied by tabla at The Metropolitan Museum of Art in New York.

Read a previous related posts on Bibliolore:

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Filed under Asia, Instruments, Politics, Religion

Ratoh jaroe and female youth empowerment

The Acehnese dance form ratoh jaroe has empowered young women, especially high school students who are shaping their own youth culture, by taking center stage in Jakarta, one of the largest metropolitan cities in the world.

Young Jakartan women take advantage of the positive reputation of ratoh jaroe there, leveraging perceptions of the genre to channel self-expression and confidence, maintain their physical and mental health, and enrich their social lives, religious identity, education, and future. The genre is a medium for what young female Jakartan students consider success. Furthermore, Jakarta’s cosmopolitan engagement with consumerism and industry, along with the goal-oriented mindset of Jakartan youth, has created a fertile social space for ratoh jaroe’s popularization.

A network of practitioners and the culture of competition drives the circulation and economics of a ratoh jaroe industry, and Jakartan understandings of the dance’s historical roots in Islam promotes its acceptance, allowing young, mainly female, Muslim dancers to maintain their religious identities while performing on a public stage.

This according to “Ratoeh jaroe: Islam, youth, and popular dance in Jakarta, Indonesia” by Maho A. Ishiguro (Yearbook for traditional music LI [2019] 73–101; RILM Abstracts of Music Literature 2019-20798).

Below, a Jakartan group performs in 2012.

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Filed under Asia, Dance, Women's studies

Performing Islam

Launched by Intellect in 2012, Performing Islam is the first peer-reviewed interdisciplinary journal about Islam and performance and their related aesthetics. It focuses on the sociocultural, historical, and political contexts of artistic practices in the Muslim world.

The journal covers dance, ritual, theater, performing arts, visual arts and cultures, and popular entertainment in Islam-influenced societies and their diasporas. It promotes insightful research of performative expressions of Islam by performers and publics, and encompasses theoretical debates, empirical studies, postgraduate research, interviews with performers, research notes and queries, and reviews of books, conferences, festivals, events, and performances.

Below, UNESCO’s introduction to the semā ceremony of Turkey’s Mevlevi order.

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Filed under Africa, Asia, New periodicals