| Description |
In Khorasan of today a special music known as the music of “Bakhshis” is widespread. It is played by a master-musician playing Dotār (the regional long-lute type instrument with two strings). The music constitutes the local music of the region, played as solo, and accompanied by improvisations.
Bakhshis sing epic and Sufic poems, containing mythological and historical themes. Presently, they perform in various gatherings of the locals, both cheerful and mourning; in the past other types of celebrations were attended by them, too. They perform their Maghams in Turkish, Kurdish, Turcoman and Persian. The contents the music of Bakhshis consists of legends, and historical and ethnic narrations containing epic, religious and romantic themes, performed as singing, ordinary speech, and citation in a repetitious manner. The events of the story are cited; and the poems are sung. Accordingly, the music of Bakhshis can be considered as a combination of music (vocal and instrumental) and verbal dramatic arts.
DEFINITIONS:
“BAKHSHI”
In Persian, the word “Bakhshi” derives from the gerund “Bakhshish” meaning “granting”, conveying the impression that the Bakhshi is an exception in character, whom God has granted a gift. Accordingly, “Bakhshis should be able to sing, play, versify, narrate and make their own musical instruments.”
MAGHAM:
Bakhshis play regional Maghams, and their music is known as Maghami. Magham consists of pieces of instrumental and/or vocal music, influenced by the regional locals’ culture and beliefs. “Magham” is a popular word in other regions of Iran and some neighboring countries. However, the content and performances define Bakhshis music as especial in identity, while enjoying shared roots with the traditional music of the region, and the Repertory of Iranian Traditional Music, as well.
TYPES OF MAGHAMS:
The common Maghams of Bakhshis Music are as follows:
Navāyī
Navāyī is the most widespread Magham of the music of Bakhshis. It is diverse, vocal, rhythmless, accompanied by Sufic poems. The performer shall not be known a Bakhshi, unless he is competent in playing Navāyī. Modulations are observed in variations of Navāyī.
Tajnīs
A Turkish Magham, Tajnīs enjoys many intricacies which mark competent Bakhshis once performed. Tajnīs is vocal and rhythmless, accompanied by Sufic poems. In comparison with Navāyī, Tajnīs is poorer in its varieties Modulation in variations of Tajnīs are also popular.
Gerāyelī/Gerye-ye Leylī (Leyli’s cry)
Gerāyelī is a sorrowful Turkish magham, with poems narrating breakaways. The chanson enjoys rhythmic and rhythmless parts.
Shākhatāyī
A Turkish vocal and rhythmic magham, with sorrow in the vocal section, and cheer in the rhythmic one. Shākhatāyī embraces many varieties; and its long poems present religious themes.
Loy
Loy is an antique magham, belonging, specifically, to Kormanj Kurds of Northern Khorasan. It is a vocal and instrumental magham, with romantic and describing content.
THEMES:
The following provide Bakhshis Music with its common themes:
(EPIC): “Kūroghlī”: An epical-historical story, narrating the gallantries of a hero named Kūroghlī in his battles against the rulers of his time;
(HISTORICAL): “Shah Esmail”, narrating the gallantries of Imam Ali, the first among the Imams, utilizing the life story of Shah Esmail, founder of the Safavid Dynasty;
(RELIGIOUS): “Ebrahim Adham”, the religious-Sufic life story of the Sufist, Ebrahim Adham;
(ROMANTIC): “Leyli & Majnoun”, the love-story of Majnoun, and his beloved, Leyli.
DOTĀR
The only musical istrument accompanying the music of Bakhshis Dotār: a long-lute with two strings. (“Dotār”, in Persian, means an instrument with two strings). Traditionally, the strings were made of silk; and Bakhshis used to determine the desired thicknesses. Since around forty years ago, however, metal strings of desired diameters started to be employed instead.
Bakhshis consider one string as male, and the other female. The male string remains open, while the female one is being used to play the main melody. The harmony provides the music with its unique character.
The five fingers play the role of the plectrum. The bowl is pear-shaped, and is made of berry wood, as a unibody. The tall and slim handle/neck is made of stronger apricot wood. Bakhshis Dotār's hold 12 to 14 frets. Nowadays nylon has been substituted for the traditional sheep intestine as the material.
PLAYING SKILLS:
Khorasani Dotārs are played in different pitches. The major factors responsible for the variations include the diverse musical habits of the inhabitant ethnicities, and the verifiec “maghams” on the region. The two main pitches are, however, the, so called, Turkish and Kurdish pitches.
Through the former, Navāyī, Tajnīs, Gerāyelī, and Shākhatāyī, among others, are performed, and, through the latter, Loy, Allāh-Mazār, Jafargholī, and the like. |
| Social and cultural significance |
The Music of Bakhshis of Khorasan transfers history, culture, ethical and religious fundamentals among generations. The fact proves the prominent and highly respected social status of Bakhshis.
Their social role exceeds being a mere narrator, and defines them as judges, mediators, healers, etc. Therefore, Bakhshis act as guardians of the ethnic and regional cultural heritage of the community.
An eastern region of the present-day Iranian territory, Khorasan houses Khorasani’s, Afghans, Tajiks, Turcomans, Kurds, Baluches and Turks. The Kurds and Turks were moved into the region, centuries ago. They continue to introduce their own traditional culture, while adopting the regional ones, too. The mingled cultures continue to encourage interactions to enrich cultural diversity on the region. |
