khaloo Sadegh
Master Maki Dehghani, commonly known as 'Khalo Sadegh,' stands as one of the most renowned Kalam (ney-e jofti) players in Hormozgan province. Born and raised in the city of Minab, he continues to call it his home. His style of play is distinctive, characterized by his ability to preserve and perform traditional melodies spanning numerous years.
Kalam (Ney-e Jofti): This wind instrument, also known as ney-e jofti, features a mouthpiece crafted from reeds with a double pipe design. Its dual pipes contribute to a lush and captivating sound. An instrument of ancient lineage, it boasts a history of being played for millennia across the Middle East. Farabi (d. 950) categorized two variations of this reed in his seminal work, "Musiqi al-Kabir." Ney-e jofti finds its main practitioners in the southern and southwestern regions of Iran, with Shushtar, Bushehr, and Hormozgan being notable birthplaces. Similar to its counterparts in Khorasan and Kurdistan, such as qoshmeh and dozaleh, ney-e jofti frequently graces festive occasions. Its performances are often complemented by percussion instruments like damam, kaser, and dayereh. You can continue to explore his performances and interviews below: Despite losing his sight years ago, Khaloo Sadegh continues to teach those who are interested. He holds classes in a humble underground room, tucked away in the corner of his house's yard. Next to the entrance door, there's a piece of paper affixed to the wall with marker writings: "If anyone wants to benefit from my work, I'm at their service!"
Zār
The Zār phenomenon, associated with spirit possession beliefs, prevails in the southern coastal regions of Iran, notably Qeshm Island. It encompasses a belief in winds, classified as vicious or benign, believer or infidel, with Zār representing the latter category. Various types of Zār, such as Maturi and Bumaryom, are recognized, known for causing illness and discomfort, particularly affecting the impoverished. Zār ceremonies, aimed at pacifying the afflicted, involve incense, music, and communal movement, with rituals varying by location and evolving over time.
The ritual involves two phases: separation and incorporation. Cult leaders, possessing knowledge of controlling Zārs, guide the afflicted through remedies, including isolation and herbal treatments. The incorporation phase sees the community gathering, with the patient at the center, participating in rituals to appease the Zār. Communication with the spirit occurs through incantations in various languages or dialects, often resulting in physical reactions from the possessed individual. Demands from the Zār, ranging from prayers to sacrifices, are met to ensure appeasement. Similarities with African practices suggest a shared origin, possibly traced back to African sailors in the 16th century. Despite government opposition and modern medical advancements, Zār beliefs persist, highlighting a cultural resilience enduring across centuries. What you see is a Zār ceremony in Bandar Abbas city. The main patient of this ceremony is a woman, whose head is covered with a green scarf from start to finish, concealing her face. The ceremony you see in the picture lasted for 9 hours. During the ceremony, a six-month-old sacrificial lamb is brought forth, and a part of the ritual involves its meat and blood. Attendees gradually immerse themselves into a spiritual trance, with almost everyone present becoming entranced by the end. Percussion instruments are the focal point of these rituals. Throughout the ceremony, a green cloth is spread on the ground, symbolic edibles and offerings are arranged on it, and eventually, these offerings are consumed during the night
Mousa Kamali
saakht
Wedding ceremonies in Bandar Abbas, much like many areas in Iran, span over several days. The first day involves a very intimate gathering at the bride's house, followed by a similar gathering at the groom's. In the following days, the focus shifts to the traditional dowry ceremony, known in Hormozgan Province as the "Sakht" ceremony. During this public event, percussion and wind instruments are played for hours, gradually drawing children and then young people to join in dancing. Subsequently, the bride's family brings in items purchased for the bride and groom, joining the crowd. Each family member takes part in handling essential items of life, dancing slowly to the beat of the music. Then, a decorated camel is brought in, and the groom mounts it. The procession sets off with everyone dancing and cheering along. This ceremony can continue for hours along the streets and main thoroughfares of the city. What you see are glimpses of this ceremony in the Khwaje Ata neighborhood of Bandar Abbas:
