Starting Point

In 2004, I began my journey into Sufi music in Damascus with Tahleeleh Sufi Music Production. Initially, my understanding of this tradition was quite basic. As a member of the Alawi group, I had no prior connection to this tradition in Damascus. I approached it as an opportunity for musical development and to broaden my knowledge of Arabic music, particularly since we were going to perform Mowashahat, poems, and Zikr. Although I had previously played similar styles of music, I did not anticipate the unique emotional experience that Sufi music would offer.

I was struck by the simultaneous simplicity and complexity of the poems. There is a specific method to play certain Maqam, which must be followed by a sequence to connect it to another Maqam, ultimately leading to the primary emotional tone of the poem. The musical transitions, especially when the whirling dancers entered and brought the poem's emotions to life, were mesmerizing. My first performance in Damascus left me enamored with Sufi music, despite the tradition conflicting with my own. I remained professional, setting aside my personal beliefs to fulfill my role as a musician.

As I participated in workshops and performances, I became increasingly immersed in the tradition. I never felt like an outsider; in fact, I was encouraged to share my opinions on musical matters during rehearsals. The sacred atmosphere of the rehearsals was palpable, beginning with Zikr from the Holy Quran in a specific Maqam, followed by the first poem in the same Maqam. The spiritual ambiance was so profound that I often found myself lost in it, nearly forgetting my musical duties.

Our band traveled to various countries to perform at Sufi festivals. One notable experience was attending a deeply spiritual Sufi music festival in Chefchaouen, Morocco. This city, with its rich Sufi heritage, practices Sufism as a sacred ritual. The Moroccan Sufi style, distinct from the styles I was familiar with, intrigued me. Despite sharing the same religion and praying to the same God (Allah), the differences in Sufi styles seemed to stem from the teachings of different Imams. Historical differences in opinions on practices have become fundamental elements for people in specific regions.

In Damascus, we performed a well-known style called Alhadra Alrefaeya, prevalent in Syria, Egypt, and Iraq. In this style, the main chanter begins with a prayer, and others repeat sustained words after each verse, often just two words ("Allah hay," meaning "God is alive"). This chanting builds a spiritual atmosphere, preparing for the main part of the poem. The music accompanies the main chanter, with the Ney playing free Taqseem until the main melody begins. The rhythm starts slowly, allowing the whirling dancers to enter peacefully and gradually remove parts of their costumes. The music repeats, emphasizing the tempo for the dancers. The second part of the performance accelerates, with the lyrics and the chant of "Allah Hay" intensifying, creating a perfect harmony with the dancers' movements. The performance concludes with everyone stopping simultaneously, while the dancers complete one or two extra spins, ending with a loud "Allah" to finish the piece. 

Here is a screenshot of an article about our contribution in a Sufi music festival in Jordan, the article describs the Sufi music style in Damascus and the enchanting, instruments and melodies.