Sufi music in Syria and Morocco by Daniel Daniel

My Bachelor's project investigates the spellbinding Sufi music practices by questioning and comparing its origins and traditions in two culturally significant locations: Syria and Morocco. It is interesting in the various but spiritually connected manner of two prominent Sufi orders—the Qadiri Boutchichi Tarika in Morocco and the Naqshbandi Tarika in Syria. These orders not only serve as spiritual guides but also play a central role in preserving and disseminating the unique art of Sufi music. This artistic research consisted of different steps. I interviewed two Sufi musicians, the first one from Morocco and the second one from Damascus. The questions were focused on the differences and the similarities between the two cultures, instruments, melodies, and rhythm. I studied Sufi music from Arabic sources as well, so I had to translate many important historical facts, taking into account the ethics of the research. I relied on my musical background in this research as part of the Syrian Sufi music and on my tours during Sufi music festivals, where I met Sufi musicians from different countries. Being a seasoned Sufi music practitioner myself, I tried to add a personal touch to this work based on my experience. I found many cultural differences between the two Sufi music styles, but I found many similarities at the same time. Two countries in different places far from each other have wide cultural diversities, but the same rhythm is the key to making the conversation with the divine. Dhikr is a mutual element as well, even though it has some special details related to the geographical region. Keywords: Sufism, Sufi music, Morocco, Damascus, Universal, History

Sufi Music In Syria and Morocco

Daniel Alattrash

Introduction

This artistic research dives into the old and richness of Sufi music, gathering different colours from my experiences performing Sufi music in Syria and other countries. Through my exploration, I discovered how Sufi music serves as a profound expression of spiritual devotion, but the variety of Sufi music was unexpected for me as a musician at the beginning and how much it is related to other cultural factors in each country. Each culture has its own interpretation that offers unique melodies, rhythms, and themes to enrich the Sufi tradition of that country; all these elements are gathered through history, folk tales, and geographical influences.

I encountered a very personal soundscape in Syria while presenting Sufi music, that soundscape did resonate deeply and in a very harmonic way with the tradition I come from, focusing on a spiritual and cultural identity in presenting every music piece. In contrast, the Sufi music of Egypt presented its own distinct nuances, emphasizing different colours of the Sufi music, supported by the rich culture of Egypt. This research will talk about the cultural effects on Sufi music, but it will shine a light on other elements that happened in the history of Sufi music from a religious, political, and social perspective. It will also emphasize the mutual element in Sufi music, which is love and gratitude. In this research, I will also rely on my personal understanding of Sufi music, which I gained through my journey between spiritual and musical elements. I’m glad to invite the readers and listeners into this shared experience of this divine music across many beautiful countries.

Research aim and questions:

The overarching aim of my research is to investigate the unique characteristics of Sufi music from Damascus and Morocco. The research questions that will address this aim are:

1. What are the distinctive characteristics and unifying elements of Sufi music in Damascus and Morocco?

2. How can an intercultural musical ensemble reveal these elements through collaborative music making?

3. How do traditional elments in Sufi music remain intact in modern contexts?

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Daniel Daniel - Sufi music in Syria and Morocco - 2025