File:Asyad El Zar (Zar Masters).webm
Original file (WebM audio/video file, VP8/Vorbis, length 1 min 48 s, 1,280 × 720 pixels, 2.63 Mbps overall, file size: 33.78 MB)
Captions
Captions
Summary
[edit]| Description |
English: Asyad El Zar (Zar Masters)
Many people around the world know many ways to heal with music. For example, in the south of Italy, they have the "Tarantella" with the violin as the main instrument, while in Morocco it is called "Genawa", and its main instrument is the gembry (a plucked string instrument). These musics are similar in theme and rituals with Sudanese "Zar" and both use the same Pentatonic scale and similar rhythms. It is believed that Zar exists in Egypt since the first half of the 19th century after the opening of Sudan in Mohamed Ali's era in 1820. There are three types of Zar: 1-Sudanese Zar, related to the Ethiopian Zar which was popular in Cairo, Alexandria and the Canal cities, but then, lost popularity. Its main instrument is the tanbura (a super-size simsimia/lyre), and the musicians that play it are few: Hassan Bergamoon is one of the oldest tanbura players, along with El Araby Jackamo, and Emam Abo Samra considered Zar Masters. 2- Egyptian Zar, performed by women, is also disappearing and its practitioners are few: they include El Sheikha Zeinab, Raysa Shadya, and the two percussionists (drums, rattles and tambourine), Magda and Wiza, all Zar Masters. 3- Abul Gheit Zar brings in the Sufi element. Its main instrument is the kawala. (end-blown flute). The Abul Gheit Dervishes perform under the direction of Rayes Ahmed El Shankahawy. The Zar Masters band is comprised of some of the few remaining Egyptian and Sudanese Zar performers (some of them are members of Rango band), playing the Tanbura, the Toza ( small 2 sides percussion) The Mangour, a wide belt of goat hooves worn around the hips), the Marakesh (hand-held rattles) and the Tambourineالعربية: الزار هو أقدم فنون الموسيقى الشعبيّة المصريّة الشهيرة، وقد اختلف المؤرّخون عن تحديد منشئه، لكن هناك اعتقادات أنّه نشأ في إثيوبيا والسودان وانتقل منهما إلى مصر ثمّ إلى بعض بلدان الشرق الأوسط، حيث أنّ الزار المصريّ اختلط بالسودانيّ مع توافد الهجرة السودانيّة إلى مصر خلال فترة حكم محمّد علي في عام 1820 حيث دخلت آلتا الطنبورة والرانجو السودانيّتان في موسيقى الزار، لتتعدّد أنواعه بين الزار المصريّ الذي تستخدم فيه الدفوف والطبول، والزار السودانيّ الذي تستخدم فيه آلة الطنبورة التقليديّة، وزار أبو الغيط، وهو الأشبه بالتواشيح والأغاني الصوفيّة، إلّا أنّه ارتبط في الذاكرة المصريّة بالخرافات وطرد الجنّ والأرواح الشريرة من الجسد، خصوصاً بين أوساط النساء في القرى والأحياء الشعبيّة.
يبدأ حفل الزار بإيقاعات هادئة للطنبورة والرانجو مع إنشاد أغانٍ تحمل كلمات من اللهجة السودانيّة واللهجات المصريّة المحليّة من الصعيد وبورسعيد، لتبدأ الدفوف والطبول في إضافة إيقاعات وحركات سريعة متتابعة تغيّر من أجواء الحفلة إلى الإثارة التي تجذب الحضور للمشاركة والانفعال مع الموسيقى، مع راقص يرتدي حزاماً من حوافر الماعز التي تصدر أنغاماً تضاف إلى موسيقى الآلات التقليديّة المصنوعة أيضاً من جلود الحيوانات ومشتقّاتها.
|
||
| Date | |||
| Source | Own work | ||
| Author | Ahmed Emad H |
Licensing
[edit]
- You are free:
- to share – to copy, distribute and transmit the work
- to remix – to adapt the work
- Under the following conditions:
- attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- share alike – If you remix, transform, or build upon the material, you must distribute your contributions under the same or compatible license as the original.
|
This image was uploaded as part of Wiki Loves Africa 2016.
|
 |
File history
Click on a date/time to view the file as it appeared at that time.
| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 00:36, 10 January 2017 | 1 min 48 s, 1,280 × 720 (33.78 MB) | Ahmed Emad H (talk | contribs) | User created page with UploadWizard |
You cannot overwrite this file.
File usage on Commons
There are no pages that use this file.