RE-ISSUE DATE: APR 2025
The dohol is a large, cylindrical drum, often made of wood and animal skin, that provides the deep, resonant beats in Kurdish music and dance. Played with two sticks, one thick and one thin, the dohol drives the rhythm of Kurdish folk dances like the govend. It produces a deep, booming sound that can be heard over long distances, making it a central instrument during celebrations, political gatherings, and public ceremonies. The dohol’s deep resonance and steady beat evoke a sense of community and collective energy, marking the rhythm of the dancers' movements.
The zurna, a wind instrument similar to a oboe, has a bright, piercing sound and is a staple in Kurdish traditional music. With its double reed, the zurna produces a high-pitched tone that can cut through the crowd, often accompanying the dohol in Kurdish dance music. Its energetic and expressive sound adds a layer of urgency and joy to the festivities. In various Kurdish regions, the zurna is used in many different contexts, from weddings and social events to more somber and reflective moments, marking its versatility. The combination of the dohol’s grounding beats and the zurna’s soaring melodies creates an unmistakable Kurdish musical experience, steeped in both celebration and resistance.
Kurdish Folk Songs and Dances is a field recording captured between 1953 and 1954 by American archaeologist Ralph S. Solecki during excavations in the Kurdish region of northern Iraq. Released in 1955 by the Folkways label, the album documents a vibrant oral tradition through songs, dances, and instrumental performances that reflect the daily life, rituals, and collective memory of Kurdish communities. Sung in Kurdish and accompanied by traditional instruments such as the zurna and daf, the recordings preserve authentic village sound that had rarely, if ever, been committed to vinyl before.
The recording preserve authentic village sound that had rarely, if ever, been committed to vinyl
Central to the album’s cultural significance is its documentation of traditional vocal styles, particularly the dengbêj technique—an ancient form of melodic oral storytelling practiced by Kurdish singers. Dengbêj performances, often unaccompanied and highly ornamented, convey collective history, longing, and resistance through voice alone, drawing from centuries of memory and poetic transmission.
A vital sonic testimony to the endurance of a people whose cultural expression has long been threatened by political silencing.
Beyond its ethnographic value, the album stands as a defiant cultural statement: for decades, Kurdish music and language were actively suppressed, particularly in Turkey, where singing in Kurdish—including the dengbêj tradition—was banned, traditional techniques were criminalized, and artists were imprisoned simply for performing in their native tongue. In this context, Kurdish Folk Songs and Dances becomes more than a historical document—it is an act of preservation in the face of erasure, and a vital sonic testimony to the endurance of a people whose cultural expression has long been threatened by political silencing.
In recent years, the album has gained renewed attention from archivists, researchers, and cultural institutions committed to preserving endangered oral traditions. The digital preservation and reissue of Kurdish Folk Songs and Dances have been crucial in safeguarding this fragile repertoire from obscurity, ensuring that the songs, voices, and performance styles captured in the 1950s remain accessible to future generations. In an era of political erasure and rapid cultural homogenization, the act of digitizing and reissuing such recordings not only protects them from physical degradation but also reaffirms their relevance in the broader narrative of global musical heritage.
TRACK LIST
TRACKLIST
Kurdish dance, known as govend (or dîlan in some regions), is a central part of Kurdish cultural expression, performed at weddings, festivals, and political gatherings. It is traditionally a group dance, with participants—often men and women together—forming a line or circle, holding hands or pinkies, and moving in rhythmic, synchronized steps. The lead dancer, or serçem, typically waves a colorful handkerchief and guides the tempo and style of the dance. Accompanied by traditional instruments like the zurna (a reed wind instrument) and dohol (a large drum), the dance creates a powerful sense of communal unity and collective strength.
Beyond its festive context, Kurdish dance carries deep historical and political meaning. For a people long denied cultural recognition, dance has served as an act of resistance and identity preservation. Each region has its own styles and variations, with differences in footwork, speed, and gestures that reflect local histories. In diaspora communities, Kurdish dance remains a vital connection to ancestral heritage, often taught across generations as a symbol of continuity, resilience, and pride.
RELEASE
NO.06
KURDISH FOLK
SONGS AND DANCES
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