(headline picture: A feminine Rubab grasp is educating a baby scholar learn how to maintain the fret and pluck to play the notes – Picture by Shahab Nikman, Iran, 2020)
In 2024, UNESCO acknowledged the artwork of crafting and enjoying the rubab (often known as rabab) as part of humanity’s shared cultural heritage. This recognition underscores the instrument’s profound cultural, social, and historic significance in Afghanistan, the place it’s thought of the nationwide musical instrument, in addition to in Iran, Tajikistan, and Uzbekistan.
The rubab, one of many oldest recognized musical devices in Central, South, and Southwest Asia, is a short-necked, plucked string music instrument. The devices’ physique is generally made up of dried items of mulberry wooden. The rubab has a bird-head-shaped crown joined to a one-piece physique, together with a neck and two hollowed bowls that function sound chambers.
The neck is often adorned with paintings from shells or camel bone. The higher triangle-shaped bowl (chest) is roofed with wooden, whereas the decrease oval-shaped bowl is roofed with gazelle, goat, or sheep disguise, upon which the bridge rests.
The strings are manufactured from silk, intestine, metallic, or nylon, fastened on tuning pegs. They move via a bridge, and are affixed to the underside of the decrease bowl. Conventionally, there are three to 6 major strings and as much as twenty-five tuneable sympathetic strings.
The rubab is crafted in varied sizes; the big one is named shah-rubab. In some areas, the rubab is named Afghan, Badakhshani or Bukhara rubab.
Constructing a rubab is a standard craftsmanship talent, together with carpentry, woodcarving, marquetry, and inlay. It often takes as much as a number of months to make a rubab. The crafting talent is generally transmitted virtually, era to era, from masters to apprentices.
The rubab is utilized in a spread of cultural actions, from celebratory occasions like weddings and gatherings to somber events corresponding to funerals and ritual healings. Its versatility additionally extends to up to date orchestras and multinational musical ensembles, bridging conventional and trendy creative expressions.
Notably, the rubab is a cultural connector throughout communities. Certainly, its presence is very vital in communities such because the Baloch of Afghanistan and Iran; Uzbeks of Uzbekistan and Afghanistan; Tajiks in Tajikistan and Uzbekistan (particularly in Samarkand and Bukhara); and Pashtun and Sistani teams in Iran and Afghanistan. In these areas, the rubab is usually linked to non secular and social traditions, revered by Sufi orders corresponding to Naqshbandi, Chishti, Qaderi, Suhrawardiyya, and Zahabiya.
Whereas deeply embedded in rural life, the place it’s central to group celebrations and people traditions, the rubab additionally thrives in city settings. Artwork colleges, universities, and specialised workshops in cities throughout Afghanistan, Iran, Tajikistan, and Uzbekistan provide coaching in each crafting and enjoying the instrument. These establishments make sure the preservation of its traditions whereas adapting to up to date musical developments.
Afghanistan
In Afghanistan, the rubab holds vital cultural worth amongst Pashtun, Baloch, Tajik, Sistani (Zabulistan), and Hazara communities. Furthermore, it’s deeply intertwined with Baloch, Naqshbandi, Chishti, and Zahabiya traditions, forming a significant a part of social and non secular gatherings.
Craftsmanship is primarily concentrated in main cities like Kabul, Herat, Mazar-i Sharif, Kandahar, and Jalalabad. Whereas some artisans craft rubabs full-time, many have interaction within the commerce as a secondary occupation. The talent of rubab crafting has traditionally been handed down via household traces, predominantly amongst males, with the Pashtun group significantly well-represented on this artwork type.
Iran
The rubab serves as a significant part of folks music in Iran and is very revered in maqam performances, conventional Iranian music, and even the nationwide orchestra. Its traditions thrive significantly in jap areas amongst Afghan, Baloch, Sistani, Khorasani, Naqshbandi, Chishti, Qaderi, and Suhrawardiyya communities.
Outstanding organizations embrace Iran Music Affiliation; Iran Music Home; Kerman Music Affiliation; Kermanshah Music Affiliation; Kamkar Household Ensemble; Mana Ensemble; The ensemble of Historic Devices (Sazhaye Kohan); Mana Naqsh Artwork & Tradition Institute; The Analysis Institute of Cultural Heritage and Tourism; Mansion of Artwork (Kooshk-e Honar, Atieh Iranian) Institute; Navay-e Rubab-e Sistan Artwork Institute; Mahoor Institute of Tradition and Arts; Darvish Khan Institute; The Guilds of Handicrafts; Music Devices Shops in Tehran and different main cities; Amir Khosraw Balkhi Basis (Energetic in Afghanistan, Iran & Tajikistan); Khoshnavaz Household Ensemble (Energetic in Afghanistan & Iran); Grasp Karim Karimi Ensemble (Energetic in Afghanistan & Iran); Del Ahang Household Ensemble (Energetic in Afghanistan & Iran). All these organizations present coaching and promotion for rubab musicians and craftsmen.
Grasp musicians embrace Shahram Nazeri, Mohammad Reza Darvishi, Bijan Kamkar, and Hossein Alizadeh.
Gamers and instructors: Abolghasem Hosseini Nejad, Bijan Kamkar, Hossein Alizadeh, Faroogh Rahmani, Rahmatollah Davoudi, Amir Khosrow Siahani, Mohammad Moheb Zehi, Adel Hosseini, Misagh Mehrpour, Mohammad Nasim Khoshnavaz, Ali Tavakkoli, Maryam Haji Malian, Shahab Movahed, and Laleh Zoheidi.
Craftsmen: Masoud Mohammadi, Jamshid Sabet Rasekh, Omar Sepahi, Abbas Ali Kool, and Adel Hosseini.
Tajikistan
In Tajikistan, the rubab is very vital in Badakhshan and amongst Afghan, Ismaili, and Sufi communities, together with Naqshbandi and Qaderi followers. The instrument is cherished not solely as part of people traditions, but in addition for its position in fostering cultural identification.
Teams and organizations supporting the rubab: Public Affiliation “Kuhhoi Pomir”; Ensemble of feminine rubab gamers (Rubābnavāz) on the State Philharmonic Society “Chaman” in Dushanbe metropolis; the household ensemble “Kholovs” of Kulob, Khatlon area (Mentioned Kholov, Nurullo Barotov, Sherafgan Kholov, Nazarali Kholov, Firuz Kholov, Isroil Kholov); “Boboyon” ensemble of Khujand, Sughd area (Ahrorov Azimjon, Qayumov Muhammadjon, Nuramtov Boltuboy, Ibrohimov Mirzotursun, Niyozov Sharif, Komilov Olimjon, Aliboev Bobojon, Yusufjonov Ergashboy, Olimov Zafar); the household ensemble “Kholovs” Dushanbe/Kulob metropolis; The household ensemble “Murodovs” of Bokhtar, Khatlon area; Payvand folklore ensemble, Jabbor Rasuov district, Sughd area; The State Institute of Tradition and Arts named after M. Tursunzoda; The Nationwide Conservatory of Tajikistan named after T. Sattorov; Amir Khosraw Balkhi Basis (Energetic in Afghanistan, Iran & Tajikistan); and musical devices shops.
Particular person performers: Shodiev Sherali, Rahmonzoda Fazliddin, Sharifov Husein, Madkholov Abdurahmon, Toshev Akramjon, Homidov Behzod, Davlatzoda Bahodur, Yusufzoda Abdulmajid, Asomiddinov Rahimbek, and Davlatov Amirhamza.
Rubab craftsmen: Grasp Abdusamadov Abdughaffor, his youngsters, and disciples, from Khijand; Suhayli Dilshodov, his two sons, and 5 disciples residing in Roshtqal’a district; Dona Ziyoev along with his two sons, from Dushanbe; Saidislom Ustoghulom from Kulob metropolis; Alibekov Zokir, from Dushanbe; and Qizilov Khudobek, from Rushan district.
Uzbekistan
Uzbekistan has over 47 grasp craftsmen related to the “Hunarmand” Affiliation and greater than 700 beginner teams dedicated to the rubab. The instrument performs an important position within the music schooling system, with over 1,200 extracurricular programs supplied in cultural facilities and establishments just like the Uzbek State Conservatory and the Academy of Choreography.
Communities in Samarkand and Bukhara, significantly among the many Tajik inhabitants, uphold the rubab’s cultural significance.
Teams and organizations concerned in rubab preservation and dissemination: Republican Scientific and Methodological Centre for Group of Actions of Cultural Establishments; The State Institute of Artwork and Tradition; The Division for the Coaching of Musical Instrument; Masters on the Specialised College of Design (Tashkent); The State Conservatory of Uzbekistan; The Members of the Republican Non-Governmental Group “Hunarmand” (The Affiliation of Craftsman); “Dwelling Heritage” Heart for Promotion of Uzbekistan; Tradition and Artwork “Rubobchilar” studying group/class of the Dunkent; Cultural Heart, “Voris” Folklore and ICH Growth Heart; “Dilor” Ensemble.
Grasp Musicians and Composers: Mirzayev, Bobokhonov, Kulabdullaev.
Gamers and instructors: Hassan Rajabi, Hikmat Razhabov, Rafiq Shomurodov, Tohir Yuldashev, Abu Bakr Umataliev, Adolat Rakhmonova, Sa’dulla Mahkamov, Alisher Alimatov, Orifjon Khakimov, Fotima Zuparova, and Nigina Saydumarova.
Rubab craftsmen: Abdumalik Madraimov (Andijan), Sarvarbek Mardaimov (Andijan), Sardorbek Madraimov (Andijan), Nasibullo Baltabaev (Andijan), Sodiqjon Mamadaliev (Ferghana), Rashid Omonov (Kashkadarya), Zuparov, Razhabiy, Islom Khudoyberdiev (Bukhara), Ergashev, Bobomurod Khaidarov (Samarkand), Rabbim Sadullaev (Jizzakh), and Axmed Otarbaev (Karakalpakstan).
Sources: UNESCO; Ministry of Info and Tradition, Afghanistan; Iranian Ministry of Cultural Heritage, Tourism, and Handicrafts; Ministry of Tradition of the Republic of Tajikistan; and Republican Scientific and Methodological Centre for Group of Actions of Cultural Establishments, Uzbekistan.
Creator: Angel Romero
Angel Romero y Ruiz has devoted his life to musical exploration. His efforts included the creation of two on-line portals, worldmusiccentral.org and musicasdelmundo.com. As well as, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates world sounds. Moreover, he delved into the document enterprise, producing world music studio albums and compilations. His works have appeared on Alula Information, Ellipsis Arts, Indígena Information and Music of the World.
