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|Body= | |Body=Naqqali or recitation art is the oldest form of dramatic theatrical, which has played a significant role throughout society, from the courts to the villages in the Islamic Republic of Iran. A variety of genres are used in telling a story, either history or non-history based. | ||
Iran has a long tradition of Naqqali, which dates back to the Parthian period. During the Parthians, Naqqali was known as Gowsan (the reciters), who entertained both kings and common people. Under the Sassanids, Naqqali was highly regarded at court, where it was called “Xonyagari”. Following the collapse of the Sassanid Empire, the musical Naqqali was banned during the Ghaznavid period (10th-12th AD). However, the tradition continued in remote areas. | |||
The Naqqali performer tells stories either in verse or prose, accompanied by gestures and movements, and sometimes through instrumental music and painted scrolls. A naqqal's role is both that of entertainer and that of the keeper of Persian literature and culture, and they must be familiar with local cultural expressions, languages and dialects, and traditional music. The art of Naqqali requires considerable talent, a retentive memory, and the ability to improvise with the skill to capture an audience. During performances, they may wear armored jackets and ancient helmets to help recreate battle scenes. The female Naqqāls usually perform before the mixed audiences. | |||
In the past, Naqqali has been performed in coffeehouses, nomadic tents, houses, and historical buildings, such as caravanserais. In addition to new forms of entertainment, a decline in the popularity of coffeehouses led to a decline in interest in Naqqali performances. A steep drop in the number of skilled Naqqals has been caused, in part, by the aging of master performers (morsheds) and the decreasing popularity of the arts among younger generations, endangering their survival. | |||
Up until several years ago, they were the biggest guardians of tales, epics, and Iranian folk music. But today, these tales are not recited only in Persian; they can also be recited in regional dialects. Unfortunately, there is no longer a Naqqal, seasonal or professional, who can earn a living just by Naqqali. As a result, professional Naqqali has become less enticing. But nowadays, professional Naqqals are almost exclusively invited to official ceremonies sponsored by municipalities or governmental institutes. Seasonal Naqqals perform in regional ceremonies, such as wedding parties or mourning ceremonies. However, since the very beginning of the Iranian Ritual-Traditional Theatre Festivals, both groups have been invited to perform in them. | |||
===References=== | |||
(https://ich.unesco.org/en/USL/naqqli-iranian-dramatic-story-telling-00535) | |||
(https://surfiran.com/naqqali-in-iran/) | |||
|Subject=Entertainment and Recreation, Verbal Arts and Literature | |||
|Country=Iran | |||
|SDG=(11) Sustainable Cities and Communities | |||
|Media_URL=https://www.youtube.com/watch?v=3pudGL0QmeU | |Media_URL=https://www.youtube.com/watch?v=3pudGL0QmeU | ||
}} | }} | ||
Latest revision as of 05:52, 29 May 2022
Naqqali or recitation art is the oldest form of dramatic theatrical, which has played a significant role throughout society, from the courts to the villages in the Islamic Republic of Iran. A variety of genres are used in telling a story, either history or non-history based.
Iran has a long tradition of Naqqali, which dates back to the Parthian period. During the Parthians, Naqqali was known as Gowsan (the reciters), who entertained both kings and common people. Under the Sassanids, Naqqali was highly regarded at court, where it was called “Xonyagari”. Following the collapse of the Sassanid Empire, the musical Naqqali was banned during the Ghaznavid period (10th-12th AD). However, the tradition continued in remote areas.
The Naqqali performer tells stories either in verse or prose, accompanied by gestures and movements, and sometimes through instrumental music and painted scrolls. A naqqal's role is both that of entertainer and that of the keeper of Persian literature and culture, and they must be familiar with local cultural expressions, languages and dialects, and traditional music. The art of Naqqali requires considerable talent, a retentive memory, and the ability to improvise with the skill to capture an audience. During performances, they may wear armored jackets and ancient helmets to help recreate battle scenes. The female Naqqāls usually perform before the mixed audiences.
In the past, Naqqali has been performed in coffeehouses, nomadic tents, houses, and historical buildings, such as caravanserais. In addition to new forms of entertainment, a decline in the popularity of coffeehouses led to a decline in interest in Naqqali performances. A steep drop in the number of skilled Naqqals has been caused, in part, by the aging of master performers (morsheds) and the decreasing popularity of the arts among younger generations, endangering their survival.
Up until several years ago, they were the biggest guardians of tales, epics, and Iranian folk music. But today, these tales are not recited only in Persian; they can also be recited in regional dialects. Unfortunately, there is no longer a Naqqal, seasonal or professional, who can earn a living just by Naqqali. As a result, professional Naqqali has become less enticing. But nowadays, professional Naqqals are almost exclusively invited to official ceremonies sponsored by municipalities or governmental institutes. Seasonal Naqqals perform in regional ceremonies, such as wedding parties or mourning ceremonies. However, since the very beginning of the Iranian Ritual-Traditional Theatre Festivals, both groups have been invited to perform in them.
References
(https://ich.unesco.org/en/USL/naqqli-iranian-dramatic-story-telling-00535) (https://surfiran.com/naqqali-in-iran/)