In December 2021, Cherine flew from Canada to Egypt to attend a 20-day residency with Zar musicians (with the help of the community connector Kawkab Tawfik) to learn traditional zar songs, complex polyrhythmic rhythms and to explore the possibility of creating an EP that blends metal music with Zar. One particular Zar ensemble felt a connection with Cherine’s music; they are called Zar Abu Al-Gheit and led by Mohammed Abouzied.
Zār is a cult of possession in which ritual incorporates music and dance. Zar’s aim is to establish a state of reconciliation between the individuals and the possessing spirits (Asyad) that inhabit their bodies and are believed to be the cause of illness. The Asyad are considered the projection of fears and anxieties; the ritual is thus looking to alleviate sufferance, challenges and conflicts faced by the person in their life. At the center of the Zār ceremony, an ensemble takes charge of guiding the Zār devotees, engaging them in the trance dance through a cathartic process. The repetitive and distinctive rhythmic and melodic patterns of the music, deeply embedded within an emotional and cultural context, break down the barriers that restrict personal identity (Rouget 1980:142); as a result, the person in a trance identifies themselves with the possessing spirits giving them the ability to live in the sensory and material world. The Abul Gheil Ensemble, led by Muhammed Hussein Abuzayd, plays a crucial role in the continued social and cultural acceptance of Zar by integrating it into Sufism. He applies Sufi’s oral texts to zar rhythms, using the musical instruments of the Sufi tradition. This integration preserves its rich cultural heritage while providing a unique glimpse into the spiritual beliefs of the region.
In 2023, I united metal and Zār musicians for a three-week residency in Montreal, QC. We held music workshops to refine our collaboration, resulting in an interactive show at Le Petit Campus on August 18, 2023, and the EP Assyad, which blends traditional Zār songs and rhythms with metal. Each track is inspired by a specific Zār spirit.
The output of the residency, 7 songs, was recorded in Montreal and is planned to be released on October 25, 2024.
Credits
Creative producer: Cherine Amr
Zār Leader, teacher, and consultant: Muhammed Hussein Abouzeid
Community Connector, Cultural Consultant, and overseas executive producer:
Dr. Kawkab Tawfik
All songs and lyrics are written by Cherine Amr.
Any Arabic vocals heard on Assyad are folkloric Zār songs.
Percussion arrangement and performance: Muhammed Abouzeid
Traditional Zār singer: Salem Atallah
Drum arrangement and performance: Simon McKay
Bass arrangement and performance: Frédérick Filiatrault
Vocal, Guitar, synth, and back vocals arrangement and performance: Cherine Amr
Additional guitar: Etienne Tremblay
Music Producer: Etienne Tremblay (La Machine à Mixer), Cherine Amr
Recorded at Studio Mix Art in Montréal, Québec, by Nicholas Pétrowski and
Etienne Tremblay.
Mixed and Master by Etienne Tremblay (La Machine à Mixer)
Artwork illustration: Zeinab Gholami
EP vinyl design: AbdElrahman Hafez
Lyrics editor: Jess Amy Shead
Lyrics translator: Nansy Beshara
We acknowledge the support of the Canada Council for the Arts.
© Massive Scar Era
Songs Explaination
Muluk al-Ardiyya | The Kings of the Earth | ملوك الأرضية
Muluk al-Ardiyya is a song for the spirits living on the mainland. They are among the oldest kinds of invisible creatures whose agency is related to the forces and life on Earth.
Abdel Salam Lasmar | عبدالسلام الاسمر
Abdel Salam al-Asmar, a revered religious figure in Libyan Muslim history, lived from 1455 to 1575 CE. Began as an ascetic (zahid) in Libya's expansive desert, known for performing miraculous acts for the needy. Later in life, he became a mujahid (holy warrior), defending his city with fervour. Revered across North Africa, he features in traditions like Zār, Gnawa, and Stanbeli. His militant stance inspired many Sufi orders in anti-colonial and military resistance efforts.
Jinn Lambo | جني يالمبو
Spirit of the fire, Jinn Lambo is a spiteful creature and a servant of Sultan al-Nar, the fire sultan. The music retains strong African elements, connecting deeply to Zār's Eastern African roots. The ritual necessitates the presence of fire and lit candles during the trance dance.
Inner Dialogue
Inner Dialogue is inspired by the Zār song "Salila, the Master of the Water," depicted as a mermaid symbolizing rebirth and abundance. Salila is a captivating yet proud female spirit, drawn to wealth and gold, but also capable of transformative generosity and support for humanity.
El-Leil | The Night | الليل
"The Night serves as an ode to the day and sun. The benevolent Asyad sing to the night, longing for its swift departure, as darkness is associated with malevolent spirits.
Pretend
Pretend draws its inspiration from the esteemed spirits of Mamma el-Sultan and Sa’det El-Bar. Mamma el-Sultan presides as the revered master over all Zār spirits, while Sa’det El-Bar command the domain of Al-Midan, the battlefield.
School Girls | بنات المدرسة
“Banat al-Madrassa or al-Handasa" reflects a pivotal era in Egyptian society and feminism, highlighting middle and upper-class women's pursuit of higher education in the 1950s. The song embodies women's aspirations and empowerment, with the muealima (spirit) serving as a guide in the female Zār realm and a social archetype for all.
