Does classical music harmonize with the Kurdish landscapes? What kind of emotions would the music of composers like Beethoven evoke when combined with the impressive nature of Kurdistan? If Western classics are integrated into Kurdish traditional music, how would it sound?
Music plays an intrinsic role in Kurdistan and a variety of genres have developed across Kurdish lands. The traditional songs are rooted in the clear vocal and ethnic style. A playlist of these songs is expressive of every emotional color and suits any kind of celebration.
In general, Kurds are still committed to folk genres whereas the younger generations like to incorporate international styles. Music produced and listened to nowadays is folk, “Dengbêj-art,” often mixed with pop, hip hop, house, and Arabesque tones.
Classical music, too, has had strong influence on some renowned Kurdish artists.
Kurdish-Pole Leila Bedirkhan is a revolutionary modern artist from Kurdistan who is widely regarded as the first ballet dancer from the Middle East. Born in 1908, Leila left a significant impression on Kurdish modern culture. She was the daughter of Kurdish Prince Abdulrazaq Bedirkhan.
After learning dance in Vienna, she performed on stages in America and Europe. “The Kurdish Princess” played “Belkis” in Ottorino Respighi’s ballet “Belkis, Regina di Saba” – a sensation for the conservative Middle East.
Unfortunately we don’t know much about Leila’s life. Photos of her give us some impression of her divine movements and dynamic personality. Hopefully a yet-to-be published book by Sinem Khan Bedirkhan, also a grandchild of the Bedirkhan monarchy, will shed new light on Leila.
We do know that Leila was very proud of her Kurdish roots. Her father’s family were intellectually and politically significant in Kurdish history. Though living in exile in Europe and Egypt, she didn’t shy away from defending her patriotism. She often emphasized this, saying: “I am not Persian, I am a Kurd.”
Life in the diaspora had a strong impact on Kurdish musicians. It was here that the scientific side was first incorporated into the traditional music. Kurdish artists are now spread all over Europe and are gaining international reputations as composers and even opera singers. Despite the geographical distance, Kurdish classical musicians still hold a strong connection to Kurdistan and its culture. They act as bridge-builders between the classical Western and the Kurdish music worlds and enrich Kurdish folk music.
Dilshad Said, born in 1958 in Duhok, can be regarded as the founder of Kurdish classical music. Not only has Dilshad established the academic and scientific classism for Kurds in general, he is also the first Kurd who connected Kurdish classical and western classical music instrumentally.
“AWAZÊ Kurdî – Variations on Kurdish Melodies for Violin” was his first release – his contribution to his homeland. His passion for classical sounds directed him to study Western classical music in several European countries.
As a composer, violinist, and music teacher, Dilshad has made a remarkable career in Europe. Like every Kurdish artist, the genocide and the 2014 war against ISIS affected him emotionally. In 2015 he composed and dedicated two symphonies, “Peshmerga” and “Shingal,” to the Yezidis massacred by ISIS. Both symphonies were performed by the Czech National Symphony Orchestra joined by Kurdish artists from all parts of Kurdistan.
Music plays an intrinsic role in Kurdistan and a variety of genres have developed across Kurdish lands. The traditional songs are rooted in the clear vocal and ethnic style. A playlist of these songs is expressive of every emotional color and suits any kind of celebration.
In general, Kurds are still committed to folk genres whereas the younger generations like to incorporate international styles. Music produced and listened to nowadays is folk, “Dengbêj-art,” often mixed with pop, hip hop, house, and Arabesque tones.
Classical music, too, has had strong influence on some renowned Kurdish artists.
Kurdish-Pole Leila Bedirkhan is a revolutionary modern artist from Kurdistan who is widely regarded as the first ballet dancer from the Middle East. Born in 1908, Leila left a significant impression on Kurdish modern culture. She was the daughter of Kurdish Prince Abdulrazaq Bedirkhan.
After learning dance in Vienna, she performed on stages in America and Europe. “The Kurdish Princess” played “Belkis” in Ottorino Respighi’s ballet “Belkis, Regina di Saba” – a sensation for the conservative Middle East.
Unfortunately we don’t know much about Leila’s life. Photos of her give us some impression of her divine movements and dynamic personality. Hopefully a yet-to-be published book by Sinem Khan Bedirkhan, also a grandchild of the Bedirkhan monarchy, will shed new light on Leila.
We do know that Leila was very proud of her Kurdish roots. Her father’s family were intellectually and politically significant in Kurdish history. Though living in exile in Europe and Egypt, she didn’t shy away from defending her patriotism. She often emphasized this, saying: “I am not Persian, I am a Kurd.”
Life in the diaspora had a strong impact on Kurdish musicians. It was here that the scientific side was first incorporated into the traditional music. Kurdish artists are now spread all over Europe and are gaining international reputations as composers and even opera singers. Despite the geographical distance, Kurdish classical musicians still hold a strong connection to Kurdistan and its culture. They act as bridge-builders between the classical Western and the Kurdish music worlds and enrich Kurdish folk music.
Dilshad Said, born in 1958 in Duhok, can be regarded as the founder of Kurdish classical music. Not only has Dilshad established the academic and scientific classism for Kurds in general, he is also the first Kurd who connected Kurdish classical and western classical music instrumentally.
“AWAZÊ Kurdî – Variations on Kurdish Melodies for Violin” was his first release – his contribution to his homeland. His passion for classical sounds directed him to study Western classical music in several European countries.
As a composer, violinist, and music teacher, Dilshad has made a remarkable career in Europe. Like every Kurdish artist, the genocide and the 2014 war against ISIS affected him emotionally. In 2015 he composed and dedicated two symphonies, “Peshmerga” and “Shingal,” to the Yezidis massacred by ISIS. Both symphonies were performed by the Czech National Symphony Orchestra joined by Kurdish artists from all parts of Kurdistan.
Historically, women have played a significant role in Kurdish music culture. Their voices and interpretations are extremely popular at weddings and funerals.
Another woman who has left her mark is Pervin Chakar – the first Kurdish soprano to be internationally awarded for her talents. The opera singer from Mardin found her way into classical music by accident. Opera is a genre that is not familiar to Kurds. Pervin began singing Kurdish folk songs as a hobby and only discovered her operatic voice as a teenager with the help of teachers and inspired by the legendary Maria Callas. She was discovered by an Italian scout and went on to study opera in Italy and perform in opera houses across Europe.
Pervin is also working to bring opera and Kurdish folk music together. In an interview with VOA Kurdish in 2015, she noted common features between traditional Kurdish music and opera. Kurdish epic poems could be used as a source for great opera, she said.
Brahim Shexo is a composer for the new generation, building a greater understanding of classical music in Kurdistan. As a child in Syria, he wasn’t able to even own a music book. This year, he earned a master’s degree in Germany. For his final concert, the young composer chose a Kurdish topic, rewriting previously un-scored songs from all Kurdish dialects for the piano.
The talented and creative Brahim comes from a musical background and is often referred to simply as “Sheikho.” He is from a very well-known musical family. His father, Mihemed Shexo, is a living voice for Kurds worldwide.
Brahim’s creativity was influenced at a young age by the traditional music of Qamishli. He played the Biziq, a typical instrument for Kurds.
Living in Germany since 2003, Brahim has released two albums – “Dilopên Siyekê (Drops of a Shadow)” and “Novelle” – and published one book, “Some Kurdish Songs For Piano,” which was released by a publishing house in his native Qamishli.
With the standards these musicians and performers have set, future generations of Kurds can go even further to connect Kurdish music with other musical styles and genres. It is just a matter of making the effort to introduce Kurdish youth to classical music – which should be easy, since Kurds love music.
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