Kurdish Mythology , An audio project by: Fariborz Hamzeh’ee

Kurdish Mythology

 

 

An audio project by:

 

Fariborz Hamzeh’ee

 

Music by:

 

Pedram Jafarzadeh

Vahid Nazari Kermanshahi

 

With the cooperation of:

 

 Morteza Mata’I (Vocal)

Fartash Afzali (Tanbur)

Ahmad Purabuqadara (Kamancha)

Pedram Jafarnejad (Violin, Kamancha, Alto)

Shahin Khalilpur (Narma Nay, Sorna, Dozala)

Puriya Khakpur (Nay)

Masoud Mohammadi (Tanbur)

Milad Dawel (Daf and Drums)

Said Gohari (Dohol)

Narrators:

Fariborz Hamzeh’ee & Sahar Ranjbar

 

Made in Kermanshah by Studio Dang-e Parau

Kurdish Mythology

The vast region lying between Hamadān and Shahrazur is an unknown mysterious part of both Zagros highlands and Mesopotamian lowland. Despite the fact, that this part had been one of the main cradles of human civilization, all the performed serious studies and investigations have been limited to archeological fields. Henry Rawlinson who first read the Bistun inscription and had spent many years in the area in nineteenth century, gave it the name “Little India”, due to age, depth and cultural diversity of this region.[1] During his residence in this region he had observed numerous cultural concepts that had survived from unknown ages in the past. It was only one of such concepts experienced by the mystic Gorjief which, according to one of his disciples, caused a great spiritual revelation process in him.[2] According to Benneth this is one the few part of the earth with exceptional spiritual and mystical hidden powers.

There must be several reasons for the whole area to remain unknown and understudied up to now. One of the unknown matters which have nowhere been even mentioned is the attention to many signs regarding the possibility of this region having been one the important centers of the philosophical concept of “Eshrāq”. As a matter of fact, among different cultural aspects, the richness of its literature and music is very evident. In addition to its rich oral tradition, there exists also a writhen tradition in Gurāni language; despite the long time domination of Arabic and Persian in the whole Orient.

Gurāni has been the literary language of the region since unknown times. Some Kurdish principalities like that of the Ardalān encouraged Gurāni literature in their courts. The high developed romantic, mystical and epical literature in this language is a good indication for an old tradition going back to even in ancient times.

The existence of rich epic literature with typical mythological character related to both Mesopotamia and Khorāsān is an interesting cultural phenomenon. This region for about eight hundred years had been the heartland of both Parthian and Sassanid cultural activities; although the ruling dynasties had their roots in other parts of the Orient. This was exactly also the case with the Abbasid dynasty.

The existence of rich epical literary tradition among others is a cultural peculiarity of this region. This important aspect was almost unknown to the outer world until recently. Only recently a part of it with analysis and Persian translation in four volumes was published by Fariborz Hamzeh’ee.[3]

Gurāni literature is a part of a unit of cultural ecology whose manifestations are closely related to one another. Gurāni epical literature has also preserved its mystical elements. It is the religious languages of a religious community called the Yāresān. This religion has its roots in ancient religious ideas of the region. It was the widespread religion of the whole of this certain cultural ecosystem until the eighteenth century.[4] As a matter of fact, mystical music is an integral part of the Yāresān rituals. This community has played an important role in preserving Gurāni language and literature.

Gurāni romantic and epical stories used to be narrated in certain melodious manners. This is an indication for the old age of Gurāni epical literature. Certain types of music used to be applied in the traditional narration of Gurāni epical and mythological stories.

This audio presentation is the result of four years of cooperation between Fariborz Hamzeh’ee and several musicians.

Fariborz Hamzeh’ee is also narrating one of the Razmnāma stories called Qahramān nāma; accompanied by Sahar Ranjbar. Interestingly in addition to this Gurāni version, another Qahramān nāma exists in Persian which has been compiled by Abu Tāher al-Tarsusi. Tarsus is a city related to eastern Kurdistan in present day Turkey. The relation between these two versions has not yet been investigated.

The narration is accompanied by music composed by Pedram Jafarzadeh and Vahid Nazari Kermanshahi. It was performed by a number of the best musician of Kermanshah:

Morteza Mata’i (Vocal)

Fartash Afzali (Tanbur)

Ahmad Purabuqadara (Kamancha)

Pedram Jafarnejad (Violin, Kamancha, Alto)

Shahin Khalilpur (Narma Nay, Sorna, Dozala)

Masoud Mohammadi (Tanbur)

Milad Dawel (Daf and Drums)

Said Gohari (Dohol)

Morteza Mata’i (Vocal) is presenting different traditional styles of Gurāni epical musical narration.

Composition of the accompanying music is based on different musical traditions of the region namely “Chamari”, “Hura”, “Mur”, “Siyāchamāna”.

As has been done in case of other Gurāni stories, also Qahramān nāma can have a mystical interpretation. Qahramān is a prince of Keyāni dynasty of mystical land of Iran. As a child he was kidnaped by “Divs” or demons. He was brought up among them and thought that he too was a demon. But as once he sees his own face in water, he realizes the difference between himself and the surrounding demons. Therefore his long endeavor and struggle begins in order to go back to his original and premier home. Many battles are fought between him and other demons, which until then he thought they were his brothers. His final victory was achieved with the help of the legendary mystical bird “Simorgh”.  At the end of the story, Qahramān finally finds the magical bowel, Jām-e Jam, on the bottom of the see of ignorance and takes it to his mystical homeland. This is the home of all the goods and pure manifestations, which is also a stage before achieving salvation.

Despite being related to Persian Shāhnāma, Gurāni epic has many stories and characters of its own. Perhaps these parts might have their roots in Mesopotamia or Zagros highlands.

This work has been dedicated to Prof. Dr. Framarz Rafipur, Dr. Abdol Hamid  Papzan and Dr. Ebrahim Rahimi Zangena

Fishes’ Eyes: Persian Anthology Written and Read by Fariborz Hamzeh’ee

[1] Major Henry Rawlinson, Notes on a March from Zohab, at the foot of Zagros, along the mountains to Khuzistan (Susiana) and from thence through the province of Luristan to Kirmanshah, in the year 1836, in: Journal of the Royal Geographical Society 9, 1839, pp. 26-116.

[2] Benetn…

[3] Fariborz Hamzeh’ee, Razmnama: the ancient mythologies of Zagros, Razi University Press, in four volumes, ??????

[4] Hyacinth Louis Rabino, Reports on the Trade and General Conditions of the City and Province of Kermanshah, Persian translation by: Fariborz Hamzeh’ee, Razi University Press, 2012, p. 28.

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