Daff is a central symbol in Kurdish musical heritage, representing a deep spiritual connection, cultural identity, and historical resilience. This traditional instrument, a circular frame drum, has played an essential role in Kurdish music for centuries, continuing to feature prominently in religious ceremonies, cultural celebrations, and musical performances throughout Kurdistan.
The Daff consists of a thin animal skin stretched over a wooden frame, often resembling a sieve. Some variations include metal rings or chains attached inside the frame, which produce jingling sounds when the instrument is played. Musicians create complex rhythmic patterns by striking the drum with their hands and employing various shaking techniques, resulting in rich, textured percussion.
What sets the Daff apart from other percussion instruments is its deep spiritual meaning within Kurdish culture. Musicians who play it often experience a transcendent state, enhancing their spiritual and aesthetic connection. This sacred significance is one reason the Daff remains a key element in religious ceremonies and spiritual gatherings.
Historically, the Daff was vital to Kurdish music long before the arrival of Islam. When Islamic restrictions on music were imposed, the Daff found sanctuary in khanqahs (Sufi lodges) and tekyes (religious centers) across Kurdistan, where it became an essential part of the zikr (religious chanting) and sama (spiritual dance) practices of Kurdish dervishes.
The Daff holds such high reverence that many Kurdish musicians perform ritual ablutions (wudu) before playing it, underscoring its status beyond a mere musical instrument. In the Qadiri and Kasnazani Sufi orders of Kurdistan, the Daff accompanies devotional practices, with specific melodic modes composed for its performance. These maqams (melodic frameworks), typically seven to ten in number, feature distinct rhythmic patterns used in religious ceremonies.
Among the traditional maqams played on the Daff are “Hay Allah,” “Hay Hu Hay Allah,” “Hay Hay Hay Allah,” “Dayim,” “Hadadi,” “Hay Allah Allah,” “Ghawsi,” “Hay Ya Hu,” and “Hay Ya Qayum.” These maqams are performed in specific sequences during religious gatherings at Kurdish khanqahs and tekyes.
The Daff has been integral to Kurdish culture for millennia. It plays a central role in the religious ceremonies of the Yarsan faith, a syncretic belief system with pre-Islamic roots, as well as in the practices of the Qadiri Sufi order. The instrument also features prominently in Islamic ceremonies, including mawlud (celebrations of the Prophet’s birth) and dhikr (remembrance of God) rituals.
Moreover, the Daff is vital in the Pir Shalyar wedding ceremony, a traditional Kurdish celebration. Alongside the tanbur (a long-necked string instrument), the Daff remains a vital part of Kurdish cultural identity, recognized and cherished by many across the region.
The deep respect for the Daff is reflected in the way it is regarded linguistically. For example, when a Daff is damaged, rather than being simply called “broken,” it is described as having been “martyred” (shahid), highlighting its sacred status in Kurdish culture.
In 2014, a major Daff festival was held in Sanandaj (Sine), the capital of Kurdistan Province in Iran, celebrating the instrument’s cultural significance. The Daff is strongly linked to Kurdish identity, particularly in Kurdistan and Kermanshah provinces, which are considered the primary centers of its tradition. In these areas, the Daff and the Kurdish people are inseparable symbols of cultural pride.
While many traditional instruments are fading from global consciousness, the Daff remains vital within Kurdish culture and beyond. Though it may not enjoy the widespread recognition it once did, it continues to be featured in classical orchestras, particularly those with Middle Eastern influences, maintaining its relevance in the world of music.
The Daff is a testament to Kurdish cultural resilience—an instrument that has weathered centuries of political, religious, and social changes, yet still retains its profound connection to Kurdish spiritual and artistic expression.
By Muaiyad Ahmed