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• W85580691 abstract "Funerary lamentation known as cidid has been socially sanctioned mode for expression of grief by women at funerals in Upper Egypt for millennia. Since 1980s, however, some women have been more integrated into Islamic practice and lamentation proscribed by religious leaders in Luxor. With recent destruction of their ancestral homes, women have raised their voices in lament, breaching social convention and taboo that lamentation should not be performed without a deceased. This article examines this contextual reversal and theme of destruction in death with reference to traditional lament repertoire and its ancient precursors. Introduction In late 1970s and 1980s, I undertook a private research project in Luxor in Upper Egypt with aim of trying to record and translate laments sung by women at funerals. In my naivete, I had not realized how daunting such a task would be. I did not know that performance of such laments was one to which men, and certainly strangers, were not privy. However, after some time, I was able to convince women of my interest in poetry of laments, and, for sake of my research (and often at request of my Luxor colleague, Jamal Zaki al-Din al-Hajaji), women famed for their ability to lament agreed to cluster together (as they would normally do at commemoration of anniversary of a death) and intone laments into my tape recorder. On other occasions, when it was not considered appropriate for me as a foreigner to be present in a particular village, women would lament discreetly into a microphone as a solitary act of mourning, and, later on, tapes would be passed on to me for transcription. These contexts of performance were not entirely unnatural but could be described as a legitimate form of simulated natural context. In this way, over two years, I collected many lament repertoires, but because of sensitivity of my presence as an onlooker at funerals, only twice was I allowed to witness lamentation at an actual funeral and see interactional dynamics between the one who begins (il-badaya) and the one who responds (illi bitrudd caleha). (1) During this time, I was able to ascertain that socially sanctioned modes for expression of grief was singing of funerary laments known as cidid (a word derived from verb cidd (meaning to enumerate or repeat). These were shaped as almost identical pairs of rhyming couplets (sometimes triplets) and performed by ra'isa (leader) or badaya and reiterated by a chorus of mourners and bereaved. Traditionally, cidid laments are performed for first three days of funeral and subsequently on fifteenth, thirtieth, and fortieth days, latter being day on which soul is presumed to depart definitively from land of living until its return on anniversary of death known as il-hul. This disciplined and highly regulated aspect of lament performance is a prime feature of genre and a reason why women in past were required to spend so much time at funerals. Young married women with children do not generally attend funerals; rather, mature women--and widows in particular--make dutiful attendance at lamentation sessions. At a funeral, badaya's role as animator is to evoke tears in mourners, both bereaved and those who have come in sympathy, while bereaved widow daubs her face with mud, unplaits her hair, scoops dust from ground, and flings it on her head in mourning, even ripping her garments apart in a frenzied display of grief. Squatting on ground with a soaked handkerchief to swab tears and her face half-shrouded in a black veil, leader will chant and sway to leaden rhythm. As she intones first word of a lament, her partner--another woman, also well-versed in art of lamentation and usually her principal respondent--will provide a contrapuntal response to which chorus of other mourners will join in. …" @default.
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• W85580691 date "2012-01-01" @default.
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• W85580691 title "Funerary Lament and the Expression of Grief in the Transforming Landscape of Luxor" @default.
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