| Description |
Oud is the name of a short-necked lute-type musical instrument that is a plucked chordophone instrument with a historical background dating back to ancient times, in both countries. It is placed on the player's leg, and the performer stops the frets with the fingers of one hand and plucks with the other hand.
The oud in both Syria and Iran consists of a sound box, which looks pear-shaped and is made of ribs of either walnut, rose, poplar, ebony or apricot wood. Walnut wood is usually the wood of choice because of its flexibility and beautiful color gradients.
The ribs were shaped by moulds. The neck is attached to a soundbox which bears a pegbox. Three soundholes are made on the soundboard for technical and decorative reasons. Crafting a complete Oud takes 20-25 days. The natural wood is left to dry and harden, then it is treated with water and steam for a period of 15 days to build its durability. Ouds are crafted in different sizes for different sized-bodies, and beautifully decorated with wodden carvings and mosaic patterns. The soundboard is sometimes decorated in Eslimi patterns. The instrument slightly varies in size in different regions.
The number of oud strings in both countries are 5 twin strings, and a sixth string can be added to the oud according to the wish of each craftsman by making additional tunes.
The compass of this instrument is in bass and baritone ranges. It can produce both melodic and harmonic tones. It is performed solo as well as in ensembles.
As this Human-Rights-friendly element is historically deep-rooted in the region, it is played in a very wide range of events including weddings, cultural events, festivals, family gatherings, and funerals accompanied by traditional songs and dance. Therefore, it serves as an identity-marker.
The element is transmitted through master-apprentice training and it is also taught through musical centres and institutes, colleges and universities in urban areas.
Players of both genders usually undergo years of training, and a skilled practitioner is able to improvise tunes. Grafters are mostly men although in recent years young women have developed an interest in crafting. |
| Social and cultural significance |
Iran (Islamic Republic of)
Oud is used both in the Iranian ensemble and as solo. In addition, the repertoire of the classical Iranian music (Radif) is played by Oud. This instrument can be heard daily on local radio stations in southern Iran, and it is also used to perform some ritual ceremonies and folklore music in Iran, especially in the music of the southern parts of Iran such as port of Kong, by sailors and fishermen. Especially, in the provinces of Khuzestan, Bushehr and Hormozgan, playing Oud is one of the most important elements of identity that could be heard in many folklore rituals and create empathy between the tribes of Iran, such as Bakhtiyaris and Arabs.
Syrian Arab Republic
The element has deep cultural roots in communities. It's always found in family homes, like a must-have piece of furniture. Traditionally, the Oud was included in the bridal dowry of women. Craftsmen have decorated their Ouds with ornaments, patterns and colours inspired by their surrounding environments and spiritual beliefs. Ancient stone carvings in Northern Syria show illustrations of women playing the Oud. It is very closely entwined within the cultural traditions and memory that communities have inherited over generations and is an inseparable part of their collective cultural identity today.
The music of the Oud lives on in songs that play on the radio, or are sung by friends at home. The element brings together families and communities across different backgrounds and social classes. The informal nature of the element creates a positive environment where hope, creativity and imagination thrive. During Syria's war and harsh economic restrictions, families and communities entertained themselves at home with Ouds. It is an element that strengthened cohesion, inclusion and participation in social life. |
| Transmission method |
Iran (Islamic Republic of)
Classical performance skills and knowledge of the Oud are transmitted in two ways:
1. Through master-apprentice relationship.
2. Through the application of notation and instructional method books
In the master-apprentice relationship, all the techniques, studies and pedagogical repertories are orally transmitted, and the students may record the instruction session as aide-memoire.
In the second method, students learn the European notation alongside special signs developed for Iranian music performance features, and practice various studies and pieces, and in later stages “Radif”, (the repertoire of classical Iranian music), under the instruction of their tutor. One of the well-known Oud learning books is written by Mansur Nariman.
Skills and techniques of Oud-making are usually transmitted through practice and apprenticeship, and often privately, in instrument-making studios. Among such studios, one may refer to the workplace of Mohammad Rafi' Ash'ari. Although the instruction of instrument-making usually takes place in practice, there are some written sources on the subject such as the musical treatise Kanz al-Tohaf (dated 14th century) referring to the manner of Oud construction.
Syrian Arab Republic
1. Through generations, from father to son, where sons would normally accompany their fathers to the workshop.
2. Non-formal training: Trainees or apprentices work for, or assist, Master Craftsmen and pick up the craft in the process.
3. Formal training: the Ministry of Tourism and the Craftsmen Union run programmes for teaching traditional craftsmaking. Master Craftsmen usually teach the course, and trainees are given certificates of accreditation.
Playing the Oud is transmitted through formal learning at music colleges and institutes, including the children's Sulhi AI-Wadi Institute in Damascus, Higher Institute of Music, and the Sabah Fakhri Institute in Aleppo, as well as various privately owned centres who assist in the transmission of this element. Non-formal learning plays an important role- the Oud is so prevalent in Syrian music that it is extremely common for practitioners to be self-taught simply by growing up listening to popular songs, seeing their family members play it and constantly being surrounded by it. Also, the internet is increasingly becoming a valuable resource that younger generations are turning to, to sharpen their playing skills. |
| Community |
Iran
There are numerous Cud-crafting workshops in Iran; some of them are affiliated with governmental organizations and some private crafters Master Bayaz Amir Atai, Mohammadi Brothers in lsfahan, Master Dadouie, Master lraj Tabatabie in Tehran. There are also other workshops in the southern provinces of Iran wherein playing Oud is a part of people's daily life. In provinces of Bushehr, Hormozgan and Khuzestan and Khoramshahr, Oud players are statistically more. Some of the famous oud players are Master Behrouzi, Master Kamkar, Master Nariman, Ms Negar Bouban, Mr Saeed Naeb-Mohammadi, Mr Houtan Sharaf-Bayani, Mr Majid Nazempour. Training Oud takes place in public and private centers and is common in most major Iranian cities.
Syria
Oud craftsmen first spread in Damascus, most famously by the Nahhat sons: Abdo, Hanna, Antoun, Elias, Mafi and Georgy. Later, the craft transmitted to other families including the Halabi, Taweel, Khalifa and Haidar families. In Aleppo, the Sukkar, Jesri, and Haddad families practice the craft, and in Hama, Hafez Suleiman.
Oud musicians are all over Syria. Groups concerned include professional and amateur musicians, composers, singers (female and male), as well as children, students, teachers and instructors from musical institutes. Oud music is listened to or played by the vast majority of Syrian urban and rural communities. Internationally renowned Syrian musicians include Farid AI-Atrash, Qadri Dalal, Adnan Fathallah, Juan Karajoli, Hussein Sabsabi, Elham Abu Saoud. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2022 |
