Performance

The Art of Qur’anic Recitation

Indonesian reciter Maria Ulfah

Indonesian reciter Maria Ulfah

The recent opening of the National Museum of African American History and Culture presents an opportunity to look closely at a Muslim music tradition that may have profoundly influenced black music in the United States. Historians have determined that Muslims made up about a quarter of all Africans forcibly shipped to the Americas through the slave trade. They brought with them long-standing traditions of unaccompanied vocal music that probably fared well under the ban on drums enforced by US plantation owners.

The Muslim call to prayer and the recitation of the Qur’an are marked by florid melodic lines (multiple notes to each syllable), altered notes outside Western scales, an absence of rhythm, and no instrumental accompaniment. Not surprisingly, a vocal tradition developed among African Americans that bears remarkable similarities to this Muslim heritage—the field holler, a genre that probably predated and influenced the blues.

When historian Sylviane Diouf gave public talks following the 1998 publication of her book Servants of Allah: African Muslims Enslaved in the Americas, she began by playing audio samples of these two traditions side-by-side. You can hear historic recordings of field hollers on the Library of Congress website, such as this one by Enoch Brown recorded in Alabama in 1939. Compare for yourself by listening to Indonesian reciter Maria Ulfah, who will lead our lecture-demonstration on Qur’anic recitation on Saturday, November 5, at 2 pm at the Hammer Auditorium of the Corcoran School of the Arts and Design. The event is free—no tickets required—and presented as part of Performing Indonesia: Islamic Intersections.

Michael Wilpers

Michael Wilpers

Michael Wilpers is manager of performing arts at Freer|Sackler.

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