Professional Documents
Culture Documents
Abstract
(Slide-2)
My talk will be divided into five parts, in the first part I will be looking at
The Problem of Arabic Theatre: Is theatre in the Arab world an imported
art in all respects? What about Arab Theatrical Phenomena, do such
phenomena provide useful interpretations of the Islamic point of view
regarding theatre? For this, I will consider two cases: Al-Taaziya, and the
Shadow play. I will also take a look at early Muslim translators’ attitude
toward the subject of theatre in the so-called Golden Age of Islam. In the
last part I shall argue against the theory that Islamic law directly or
1
indirectly prohibited theatre activities. So let’s start with the Problem of
Arabic Theatre.
The search for the origin of the Arab theatre has been a major subject
in criticism of the twentieth century Arab world. In fact many of the
researches in the field of Arabic humanities studies have engaged in the
discussion of whether Arab culture knew a genuine form of drama before
theatre activities were imported from the Western world 1. As a result,
they were divided into two camps; the first thinks that Arabs throughout
their history knew many forms which they considered as theatrical
phenomena or in some cases pre-theatrical phenomena 2. For instance,
Tamara Alexandrovna Botintshiva in her book ‘A Thousand and One Years
for Arab Theatre’ devoted four chapters3 to searching for the origin of
Arab theatre in a variety of public performances including:
(Slide-3)
1
- The first theatrical activities in the Arab world are associated with the French military expedition (1798) in
Egypt in which at least one performance was held to entertain the French troops in Egypt (see: (Etman (2004)
291); (Pormann (2006) 13), however the first Arabic theatrical production is widely agreed to be البخيلAlbachil
(inspired by Molière’s L’Avare) which was written, directed, and produced in Beirut by Maurun Al-Naqqash in
1848. see: (Landau (1972) 116-122); (Landau (1958) chapter 2); (Allen (2000) 193-215); (Botintshiva (1981)
112-22); (Al-Ra’ei (1978) 69-73).
2
- See for example: Botintshiva (1981) 5-39; Al-Raai (1978) 33-49.
3
- See: Botintshiva (1981) 5-105.
2
2- Al-Semaja ()الس ّماجة: a group of comic performers appears first in the
court of caliph al-Mutawakkil in the ninth century4.
3- Shadow plays, known as Khaial al-Del ( )خيال الظلin which only a few
texts survived from the works of Ibn Denial.
4- Al-Taaziya ()التعزية literally means ‘expressions of sympathy,
mourning, and consolation’5. It is an annual religious ceremony of
Shi’ite Muslims commemorating the tragic death of al-Husain, the
nephew of the prophet Mohammad ()ص, in which many rituals are
performed during the ceremony, including a performance showing
the arrival of al-Husain in Iraq and the sequences leading to his
brutal death.
3
That leads us to look at the second camp’s point of view 8. It suggests
that the Arabs never had theatre before they borrowed it from the French
in the first half of the nineteenth century, and all those phenomena called
Arabic theatrical phenomena – according to the second camp’s measure –
are merely public phenomena influenced either by religious or social
groups and they generally lack the basic norms of theatre performance. It
is not the purpose of this paper to explain these two points of view
further, though it will touch upon some of them at a later stage, but it
aims now to set a ground to start from; this is to say that both parties
agree on one factual claim: the Arabs never knew theatre in its western
form before the nineteenth century. And from this point I shall address
the first question: if this type of theatre performance exists not later than
the sixth century BCE in the Western world, why did it take such a long
time to appear in the Arab world?
Before trying to answer this question, let’s take a closer look at two
remarkable forms of performance arts known in the Islamic world: al-
Taaziya and the Shadow play.
Al-Taaziya:
This annual religious ceremony is held by the Shia every year over the
first ten days of Muharam; the first month of the Muslim calendar. In this
ceremony the Shea commemorate the battle of Karbala that occurred on
Iraqi soil on the 10th of Muharam in year 61AH (October/680CE) between
the army of the new Caliph, Yazid ibn Muaawiya and Al-Husain, nephew of
the prophet Mohammad ( )صand his companions who had refused to
pledge allegiance to Yazid. This very unequal battle ended with a defeat of
Al-Husain’s small army and with his tragic death. Then his family
members were taken as prisoners to Damascus, the capital of the
Umayyad caliphs.
8
- This is the point of view of (e.g. Taha Hussien; Tawfiq al-Hakim; Mohammed Mandor).
4
The traditions of mourning the tragedy of Karbal were set soon after the
event occurred, evidently by Zainab the daughter of Ali and the sister of
AlHussain who as members of AlHusain’s family in Karbal witnessed all
the tragic events. She established the early traditions of Al-Taaziya by
founding Majles Al-Azaa: a gathering to commemorate the tragedy of
Karbala. These traditions still exist today in Shi’ite Muslim societies, like
for example in Iraq, Iran, Pakistan, India, Lebanon, Bahrain, and Kuwait.
(Slide-5)
(Slide- 6+7)
The memories of the Karbala battle were also a subject of Islamic arts,
specially painting.
(Slide-8+9+10)
(Slide-11)
5
In the ritual of al-Taaziya a group of volunteer actors take the role of
historical characters, including: Al-Husain, Al-Abas his brother, Zainab his
sister, Omar ibn Saad the leader of Yazid’s army, Shemr ibn
Thealjawshan, who brutally dared to decapitate Al-Husain.
1- Al-Taaziya is well bounded with the Shi’a doctrine, most of the Al-
Taaziya texts were originally written in Persian, and it is therefore
mostly regarded as a Persian Shi’a cult rather than Islamic tradition.
This judgment wastes the chance of Arab culture to rediscover the
9
- Tancoigne (1820) 169-201.
6
theatrical features of Al-Taaziya as an example of genuine Arabic
tragedy.
It is however true that Al-Taaziya did not develop itself into a kind of
non-ritual drama; and it remained restricted to its original space, faithful
to its religious context, and never adapted its themes beyond the story of
Karbala, but one should not underestimate its uniqueness in the Islamic
culture. It is after all as Peter Chelkowski puts it ‘the only serious drama
ever developed in the Islamic world’11.
1- That al-Taaziya is, like the Dionysus festival in ancient Greece, held
every year with advance preparation.
7
the will of God who wanted his death to occur in that place at that time.
This reminds us again of the unavoidable prophecy in Greek tragedy.
We can define the shadow plays as performances that use a stage fully
covered with a wooden partition which has a window in its middle; this
window is normally covered by white fabric and lighted from the inside by
a bright light, the player, or the puppeteer, uses different puppets of
humanlike, animal ...etc. made out of leather, fabrics, or cardboard and
moves them between the lamp and the covered window; as a result the
shadows of these shapes falling on the fabrics are reflected on the other
side of the window (e.g. screen) where a group or audience are gathered
to see the shadows and hear the voice of the player who imitates different
voices, according to the characters that he is moving at a moment 13.
12
- Parabola (1979).
13
- Hamada (1961) 43.
8
Shadow play appeared in the Arab world in the eleventh century. The
performance was called Khaial al-Dil, literarily the imitation of the
shadow. In the Ayyubid period we find indications of shadow play
performances, most remarkably that the famous Sultan Saladin attended
one of these performance with his vizier Alkadi Fadel which the later
described saying ‘I learned great lessons … I saw empires fall down,
others arise … but when the curtain was removed … the mover (player)
was one person’14.
Shadow play was not only popular in the Arab-Muslim countries; it also
existed in many southern Asian countries which became Muslim between
the fifteenth and the seventeenth century.
(Slide-13)
9
in the Muslim Indonesian puppet theatre. This is because the Muslim
puppeteers in Java had reshaped the puppet of Bima possibly under the
influence of the Islamic prohibition of making images of living creatures;
the puppet of Bima then became less realistic with an enormous long
nose and long thin arms, unlike the Bima puppet used in Bali which
reflected a more realistic representation. Accordingly this allowed the
Muslim puppeteers to get around the traditional prohibition 17.
(Slide-14)
The example of Java’s shadow play indicates that Islamic law, though it
supposedly banned images and representation of living creatures, could
not be totally responsible for the absence of dramatic art in Arab-Muslim
culture.
I will move now to the fourth part of my paper, to look at one of the
significant periods of Islamic culture when early Muslims had the
opportunity to invite theatre to the Arab world.
17
- See the broadcast of BBC Radio 4 “Shadow Puppet of Bima”: http://www.bbc.co.uk/programmes/b00tyr5v
(05-10-2010). I am indebted to Alan Sommerstein for this reference.
10
The Abbasid era is known in the history as the golden age of Islamic
culture. In this era Muslim states established a huge cultural project
aimed at translating many books from other languages, especially Greek.
Early Arabic translators devoted their efforts to translating many books of
science, mathematics, and medicine and also from other disciplines. While
they were hesitant with philosophy, they almost neglected the major
books dealing with arts and literature 18. And so the masterpieces of
ancient Greek drama were never translated into Arabic in this era. This
raises a question whether this neglect was fed by a religious prohibition of
dramatic poetry.
(Slide-15)
‘If you disbelieve - indeed, Allah is Free from need of you. And He
does not approve of His servants disbelief. And if you are grateful,
He approves it for you; and no bearer of burdens will bear the
burden of another. Then to your Lord is your return, and He will
inform you about what you used to do. Indeed, He is Knowing of
that within the breasts’ Surat Az-Zumar 39: 7.
(Slide-16)
18
- Etman (2008) 141-3; Etman (2004) 285; Leezenberg (2004) 300-2; Pormann (2007) 28; Janssen (2004) 326-
7; Van Leeuwen (2004) 344-5; Carlson (2006) 1-5.
11
deprive them of anything of their deeds. Every person, for what he
earned, is retained’ Surat Aţ-Ţūr: 52: 21.
Thus al-Fil points out that the early translators must practice a self-
censorship when selecting the material that they would translate.
For Twfiq al-Hakim the lack of settlement in the life of Arab Bedouins is
one factor, and even in the Arabic cities, specially in the Umayyad and
Abbasid eras, Arabs prefer to learn science, medicine and such subjects,
but poetry was, as they thought, their best talent.
19
- Qaja (2001) 199.
12
poetry. Poems do not lend themselves to translation and ought not to be
translated. When they are translated, their poetic structure is rent; the
metre is no longer correct; poetic beauty disappears and nothing worthy
of admiration remains in the poems. It is different with prose.
Accordingly, original prose is more beautiful and appropriate than prose
renderings of metric poetry’20.
So at this point we, again, encounter the question why the Arabs did
not know theatre. There are many theories that try to provide some
explanations. One theory considers the language factor, that different
Arabic dialects would not be so helpful, but this paper is interested more
in looking at one particular theory which suggests that Islam and Quranic
thought prevented the Arabs from knowing or developing any form of
theatre performance. That is understandable if we consider the
domination of the Islamic ruling state for nearly thirteen centuries before
the Arabs got to know theatre, and it is perhaps the most influential faith
in the modem Arab world. It is therefore justified for one to think of
Islamic traditions when trying to explain why Arabs were so late to know
theatre.
This theory is based on the idea that Islamic traditions banned the
artistic representation of living creatures. And this takes us to the last
part of this paper.
In spite of the fact that this prohibition must have existed and affected
the style of early Islamic arts, it is hard to find the evidence of it from the
holy book; al-Quran. What is claimed to be the Quranic evidence is an
indication that the ability of creating the soul is only for God, and Prophet
Jesus who is taught to create a birdlike shape is still far from creating its
soul unless God enable him to do so.
20
- See: Rosenthal (1992) 18-9.
13
(Slide-17+18)
“[The Day] when Allah will say, "O Jesus, Son of Mary, remember
My favor upon you and upon your mother when I supported you
with the Pure Spirit and you spoke to the people in the cradle and
in maturity; and [remember] when I taught you writing and
wisdom and the Torah and the Gospel; and when you designed
from clay [what was] like the form of a bird with My permission,
then you breathed into it, and it became a bird with My
permission; and you healed the blind and the leper with My
permission; and when you brought forth the dead with My
permission; and when I restrained the Children of Israel from
[killing] you when you came to them with clear proofs and those
who disbelieved among them said, "This is not but obvious
magic." Surat Al-Mā'idah (The Table Spread), 5: 110.
This text was interpreted in a way that Muslims should not allow
themselves to make or keep images of living creatures. Such judgment
was supposedly supported by the words of Prophet Muhammad, such as:
(Slide-19)
(Slide-20)
(Slide-21)
21
- Al-Bukhari: Volume 7, Book 72, Number 846; cf. Muslim: Book 24, 5268.
22
- Muslim: Book 24, 5249; cf. Al-Bukhari : Volume 7, Book 72, Number 843.
14
3 - ‘Verity the most grievously tormented people on the Day of
23
Resurrection would be the painters of pictures .
(Slide-22)
4 – ‘Abu'l-Hayyaj al-Asadi told that 'Ali (b. Abu Talib) said to him:
Should I not send you on the same mission as Allah's Messenger
(may peace be upon him) sent me? Do not leave an image without
obliterating it, or a high grave without levelling It. This hadith has
been reported by Habib with the same chain of transmitters and
24
he said: (Do not leave) a picture without obliterating it’ .
It is important here to distinguish between the holy texts and the other
sources of Islamic tradition. This is because of the legitimacy of the Quran
which is axiomatic for Muslims, while Hadith, the second source for
Muslims, is controversial and subjectto other considerations, such as the
division between Muslims into several doctrines and the different opinions
resulting from this division. And there is also the overlap between Islamic
thought and the Arab traditional thoughts which often became confused
and often influenced each other.
For al-Tabari the third hadith must have aimed to forbid a certain type
of painting, which creates an image meant to be worshipped, other
paintings are permissible though undesirable.
15
According to al-Nawawi ‘the representation of an animal is strictly
haram (prohibited) and it is certainly one of the greatest sins, because of
many hadiths which condemn the representation whether of sacred or
non-sacred objects (e.g. toys, rags ...etc) its making is prohibited as it is
competition against the creation of God, whether it is clothes, rag,
Dirham, Dinar, Fils (coins), pottery, wall, and so on’27.
Inb Taymiyya referring to the fourth hadith (Slide-23) says ‘Ali ordered
Al-Asadi to destroy both type of statues; the representation (e.g. portrait)
of the dead and the standing statue above his grave, for shirk (idolatry)
comes from both these and from those’28.
We can summarize these different interpretations under two
categories:
16
prohibition of paintings are meant to discourage Muslims from following
the examples of non-Muslims who not only kept the paintings as sacred
objects but worshipped them (e.g. icons) and so the angels are
discouraged from entering places with pictures.
All these allegations are not supported by direct evidence from Islamic
sources. It reflects a great reluctance to western ideas in which social and
political attitudes are dominant. It also lacks awareness of artistic norms;
the writer made no distinction between conditional pretending and the
morally condemned act of lying.
17
This prohibition was by no means rational. As mentioned before, it
lacks strong ground from al-Quran, and it is striking how extremely
fanatical this interpretation is if we compare it with other cases of more
direct condemnation. In Surat Ash-Shu`arā’ (Poets) the words of god
condemn the poet for hypocrisy:
(Slide-24)
‘And the poets - [only] the deviators follow them (224) Do you
not see that in every valley they roam (225) And that they say
what they do not do’ (226) Surat Ash-Shu`arā' 26: 224-6
Even though poetry was through the history of Islam a respected art,
and Prophet Muhammad had his own poet called Hussan ibn Thabit.
18
It is known that the pre-Islam Arabs worshipped idols in and around the
holy house of al-Ka’aba. An ancient source states that when the prophet
Mohammad conquered the city of Mecca he found 360 idols around the
holy Ka’aba29. Another source describes different forms of idols which
were kept inside al-Ka’aba including statues, paintings (walls, portable
pieces), attributes (e.g. divine arrows). Al-Azraqi describes al-Ka’aba
around the time of the Isam conquest, ‘… and they put on its columns
pictures of the Prophets, pictures of trees, and pictures of the angels, and
there was a picture of the Prophet Ibrahim Khalil al-Rahman with divining
arrows, and a picture of Isa b. Maryam and his mother [i.e., Jesus and
Mary], and a picture of the angels, upon them be peace, all of them. And
when it was the day of the conquest of Mecca, the Prophet (peace be
upon him) entered, and he sent off al-Fadl b. al-Abbas b. Abd al-Muttalib
(his cousin) to come with water from [the well of] Zamzam. Then he
called for a cloth, and he ordered [them] to rub off these pictures, and
they were obliterated’30.
(Slide-25)
29
- Al-Baukhari 2346; Muslim 969.
30
- Al-Azraqi, Akhbar Mecca. Vol.1: 165; c.f.: King (2004) 220.
31
- Ibid 167.
19
‘And [mention, O Muhammad], when Abraham said to his father
Azar, "Do you take idols as deities? Indeed, I see you and your
people to be in manifest error." Surat Al-'An`ām 6.74
(Slide-26)
‘And [I swear] by Allah, I will surely plan against your idols after
you have turned and gone away * So he made them into
fragments, except a large one among them, that they might return
to it [and question] * They said, "Who has done this to our gods?
Indeed, he is of the wrongdoers * They said, "We heard a young
man mention them who is called Abraham * They said, "Then
bring him before the eyes of the people that they may testify *
They said, "Have you done this to our gods, O Abraham? * He
said, "Rather, this - the largest of them - did it, so ask them, if
they should [be able to] speak * So they returned to [blaming]
themselves and said [to each other], "Indeed, you are the
wrongdoers’ Surat Al-'Anbyā' (The Prophets) 21.57-64
He left one of them untouched and told his tribe that it is this one who
destroyed the other idols and they can try to ask then if he can even reply
or defend himself. Ibrahim thus wanted to prove that they are only stone
without any divinity, they don’t harm nor do they bring benefit for anyone
who worships them. This clearly suggests that the purpose of destroying
idols is not the object itself nor it is the idea of representation, its purpose
was to destroy the tradition of worshipping idols. This is to say that the
early periods of Islam history have evidently prohibited the imitation of
living creatures. The main reason behind such prohibition lies in the pre-
Islamic tradition of worshipping idols. Thus Islam aimed to uproot the
idea of worshipping idols from Islamic society and to make sure that Arab
Muslims do not relapse into this tradition. Applying this prohibition for all
kinds of representation today is hardly justifiable since Islam today is a
20
firmly established faith which is beyond the threat of the external shape
of idolatry.
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32
- See for example: Al-Raai (1978); Botintshiva (1981) especially 289-307.
21
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