Krakebs

Qaraqib ( Sg: qarqaba, Arabic قرقبة, DMG qarqaba; Pl: قراقب / qarāqib ), also krakeb, qaraqeb in Algeria, qerqabat in Morocco, Tunisia chkachek or shqashiq, a pair belonging to the vessel Gegenschlagidiophonen rattling of iron, which are played in folk Islamic Sufi brotherhoods in the Maghreb, especially in the Gnawas in Morocco, in the ritual music.

Design and style of play

Qaraqib are made from iron sheet and are each composed of two half-shells with wide tapped edges and a connecting flat strips of seven centimeters in length, to which grip the hands. The overall shape of this bone handle rattling is about 30 inches long. The edges may be decorated with simple chased patterns. Both parts are connected by a small iron ring together at one end. The attitude of the game is perpendicular to the ring below. At the webs centered leather or cord loops are attached. The musicians and dancers keeps the qarqaba with three pushed through the loops between fingers, the thumb pushes outward against a shell, middle and ring fingers outward against the other. It produces very loud metallic blows from different sound. If the rattle halves beaten with adjacent fingers against each other, the sound is more subdued, with protruding fingers as far as possible it sounds louder and tinny. It can also be concluded clatter of both hands are beaten each other. With the rattle in both hands of the dancers produced two different rhythms, to whose clock he puts his feet on the ground. Tunisian shqashiq are slightly larger and not linked together by a ring. Thus the two halves come together not as precise, but can be beaten with greater distance and more volume.

Ritual function

This has traditionally played by men only instrument in all three countries has its origins in the music and dances of the black African population, constituting as descendants of slaves from the Sudan region a cultural minority. Perform the qaraqib back in their transmission to Bilal, the companions of the Prophet and the first African muezzin, who is revered in the Maghreb Sidi Bilal. The story telling white of Fatima, the Prophet's daughter to report how these refused after an argument with her husband Sidi Ali to leave the room. Bilal invented the qaraqib and danced with them while on the farm until Fatima was lured out of the noise. The metal hard sound to drive away evil spirits like the Jinn now today.

Individual dance forms are the burlesque, as witchcraft -looking dance of Bou Saadiya, a wildly costumed Black African who jumps around in public places with his rattle and collects alms. The name is derived from Sidi Saâd, a black saint who came to Tunisia in the 16th century. Meanwhile Shrine ( Qubba ) is located in the region Mornag few kilometers southeast of Tunis. A similar figure in Oran, Algeria was the Baba Salem.

Sidi Saâd is also the patron saint of black Stambali dancers in Tunisia. The Stambali is a healing ceremony for the expulsion of an individual mind, which is a Gimbri performed with singing, beating of qaraqib and music. Also in processions is played with rattles ( chkachek ) and drums ( ganga ). With ganga Blacks call Tunisian ( Soudani comply with the Moroccan Gnawas ) the cylindrical drum TBAL.

The Moroccan and Algerian counterpart to Stambali is the Derdeba, another dance with therapeutic task in the Gnawas. Qaraqib come here before though, but the central role for Geistaustreibung accepts three-stringed plucked lute the Gimbri. These three instruments are used in the Maghreb in virtually all national Islamic Sufi orders with Sudanese background.

Dissemination

A presumably during the Ottoman rule in the 16th century came in the Maghreb name for the rattle is chakchaga derived from saqsaq ( shaqshaq ), such as wooden castanets are called in Turkey, with which children play. Segesege Even the names of the gourd rattles in the Sudan region, Seke, asakasaka or similar could be of Turkish origin. At least in Tunisia were rattling and the musical accompaniment of the Turkish shadow theater Karagöz. In Turkey, were called the old clatter of dancers and dervishes çarpara or chalpara, in the light music they were replaced by finger cymbals ( Turkish zil ). Practitioners Sufis ( Dervishes ) in Pakistan use wooden clappers that are occupied with sound platelets and khartalon be karatala or called chapriyon. An obsession ceremony in which fulfill an important function rattling, is also the Tsar cult in Egypt and the Sudan.

The Hausa -Saharan ( in northern Nigeria ) only women play a similar iron clapper called Sambani during religious festivals and the comparable with the Tsar - Bori cult obsession cult. Sambani are also called just such a clatter among the Dagomba of northern Ghana, where they use forged for dance accompaniment. Ba - Sambani called in Hausa slaves of an Arab merchant, wherein the additive ba -is an occupation. The qaraqib / Sambanis likely to have been introduced earlier in the Maghreb. In the north of the Sahara live Hausa, the instrument is passed into the possession of the men.

General Schüttelidiophone, bells and Crotales are widely used in folk Islamic cults. In Central and West Africa double bells are in Ceremonial Music in use, they Ngonge hot, ngunga or engongui in the Ewe in Ghana gankogui. In the ritual music of the Ethiopian Orthodox Church has the sistrum ts'anats'el a ceremonial function.