Ghasemabadi Dance from the Point of View of Alan Meriam's Functionalism with an Emphasis on the Function of Social Solidarity
Document Type : پژوهشی اصیل
Authors
University of Guilan
Abstract
The cultural and biological connection of men and women of Guilan with rice farming activities has made their rituals to represent the patterns of planting and harvesting. Ghasemabadi dance is one of those performance rituals that provide an opportunity to exchange content related to society, coordinate actions among group members, strengthen coalition and stabilize group structures. In other words, in addition to the role of people in the dance process, the result and impact of performances in society is important. Therefore, the purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity. The current research is theoretical in terms of its purpose and descriptive and content analysis in terms of its nature and research method. The method of data collection is library and field using the method of ethnography in the region, observation, interview, registration and recording of information. The research findings show that by displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form
.Introduction
Research Background
The background of the research related to Merriam's theory of functionalism is very diverse. In the article "Azerbaijani lovers in the passage of history", according to the definition of ethnic musicology and its function from Alan Merriam's point of view, folk music is considered a very important part of the spiritual life of every nation and its characteristics. Themes like social life and spirituality, courage, love and affection are visible (Sabri, 2013). In a research entitled "Multiple Functions of the Korna Instrument in Religious Rituals and Mourning in East Guilan Region", various functions of the Korna instrument in religious-social, symbolic, spoken and vocal functions are focused and it is stated that in the religious function, this instrument is merely a tool. It is not musical, but has religious and social aspects, including participation in religious organizations, continuity of religious rituals, and fulfillment of people's vows and needs (Gharasou and Zakrajfari, 2019, p. 45). In the article "Usages and functions of the audio-musical phenomenon of sellers singing in the big market of Rasht", it is emphasized that the application of the audio-musical phenomenon in the context of the market includes the four axes of news reporting, advertisement, demonstration and recitation. So far as the function of the songs is concerned, eight axes of communication, symbolic presentation of concepts, expression of feelings, aesthetic pleasure, entertainment, validation of social institutions, help for continuity, cultural stability and help for the integration of society can be formulated (Zhaker Jafari and Mokhtari, 2022, p. 5). In an article entitled "Functions and dysfunctions of Ta'ziyeh music; The case of study, the Ta'zieh meetings of Gudjan Khwansar", it has been stated that music, in addition to its function in line with individual and group activities related to a situation, can also appear under the title of inefficiencies such as the Ta'zieh meetings of Gudjan Khwansar (Abbasi and Maithami, 2021).
Goals, questions, and assumptions
The purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity.
The current research focuses on group activities for the performance of Ghasemababdi dance and its presentation in various social, cultural and other fields, and seeks to find its function in creating bonds and solidarity between members and different groups in the society.
Ghasemababdi dance accompanied by the native music of Guilan is considered an effort that brings together the members of society to remind them of the necessity of unity and ritual and cultural similarities, and for this reason, people in groups as well as members of society through the rhythm, melody and form of this are affected by dance, and the dancers cause people or the audience to share energy and a sense of euphoria and happiness so that unity and integrity are formed in the space.
Conclusion
By displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form.
.Introduction
Research Background
The background of the research related to Merriam's theory of functionalism is very diverse. In the article "Azerbaijani lovers in the passage of history", according to the definition of ethnic musicology and its function from Alan Merriam's point of view, folk music is considered a very important part of the spiritual life of every nation and its characteristics. Themes like social life and spirituality, courage, love and affection are visible (Sabri, 2013). In a research entitled "Multiple Functions of the Korna Instrument in Religious Rituals and Mourning in East Guilan Region", various functions of the Korna instrument in religious-social, symbolic, spoken and vocal functions are focused and it is stated that in the religious function, this instrument is merely a tool. It is not musical, but has religious and social aspects, including participation in religious organizations, continuity of religious rituals, and fulfillment of people's vows and needs (Gharasou and Zakrajfari, 2019, p. 45). In the article "Usages and functions of the audio-musical phenomenon of sellers singing in the big market of Rasht", it is emphasized that the application of the audio-musical phenomenon in the context of the market includes the four axes of news reporting, advertisement, demonstration and recitation. So far as the function of the songs is concerned, eight axes of communication, symbolic presentation of concepts, expression of feelings, aesthetic pleasure, entertainment, validation of social institutions, help for continuity, cultural stability and help for the integration of society can be formulated (Zhaker Jafari and Mokhtari, 2022, p. 5). In an article entitled "Functions and dysfunctions of Ta'ziyeh music; The case of study, the Ta'zieh meetings of Gudjan Khwansar", it has been stated that music, in addition to its function in line with individual and group activities related to a situation, can also appear under the title of inefficiencies such as the Ta'zieh meetings of Gudjan Khwansar (Abbasi and Maithami, 2021).
Goals, questions, and assumptions
The purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity.
The current research focuses on group activities for the performance of Ghasemababdi dance and its presentation in various social, cultural and other fields, and seeks to find its function in creating bonds and solidarity between members and different groups in the society.
Ghasemababdi dance accompanied by the native music of Guilan is considered an effort that brings together the members of society to remind them of the necessity of unity and ritual and cultural similarities, and for this reason, people in groups as well as members of society through the rhythm, melody and form of this are affected by dance, and the dancers cause people or the audience to share energy and a sense of euphoria and happiness so that unity and integrity are formed in the space.
Conclusion
By displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form.
Keywords
Subjects
Aiti, Mohsen; Mousavi, Sadegh and Bagheri Mehiari, Neda (2018). Functionalism and its implications in the curriculum. Social Cultural Knowledge Journal, 41: 91-114.
Zakir Jafari, Narges and Mokhtari, Mahdi (2022). Applications and functions of the audio-music phenomenon of sellers singing in the big market of Rasht city. Journal of Fine Arts - Performing Arts and Music, 4(27): 5-16.
Rahmani, Jila (2022). Examining the characteristics and symbolic functions of musical instruments (case study: instruments of Kurdistan). Master's thesis, Art Research Department, Faculty of Art and Architecture, Guilan University, Rasht, Iran.
Sabri, Maryam (2013). Azerbaijani lovers in the passage of history. Iranian Journal of Anthropological Research, 4(1): 1-20.
Abbasi, Masoud and Maythami, Seyyed Hossein (2019). Examining Ta'ziyeh music based on the criteria of organization and organization of human sounds (study sample of Ta'ziyeh assemblies of Gudjan, Khansar). Cultural history studies; Journal of Iranian History Society, 45(12): 117-89.
Fatemi, Sasan (1999). Ethnomusicology: an epistemological review and proposal of two research models. Art Journal, 39: 137-151.
Gharasou, Maryam (2018). Comparison of two musical rituals similar to Shushi and Arousgoli, corresponding to Kouse ritual. Iran Anthropological Research, 9(1), 51-75.
Gharasou, Maryam and Zakir Jafari, Narges (2019). Multiple functions of the instrument in religious rituals and mourning in the eastern region of Gilan. Journal of Fine Arts - Performing Arts and Music, 2(25): 45-57.
Ghanbari, Nasreen (2021). An analysis of the rituals of the people of Gilan and the formation of Qasimabadi ritual dance. The 6th International Conference on Interdisciplinary Studies of Humanities and Islamic Sciences of Iran, 14-1.
Merriam, Alan (2016). Anthropology of music. Translated by Maryam Qarasu, Tehran: Mahor Publications.
Masoudi, Mozhgan (2014). Symbolic analysis of dramatic movements in the folklore of East Guilan. Master's Thesis of Iranian Studies, Guilan University.
Moghadam, Saeed and Khanmohammadi, Karim (2011). Criticizing the epistemological and existential grounds of Durkheim's theory of functionalism. Social Cultural Knowledge, 2(3), 85-112.
Mousavi Dizkohi, Seyed Hashem; Abbasi, Hoshang and Mohammadi Molasarai, Mohammad Ali and Nejadbakhsh, Asghar (2016). Anthropological research on Warzajang in Guilan culture. Iranian Studies Magazine, 1(2), 164-181.
Mirmiran, Seyyed Mojtabi and Masoudi, Mozhgan (2014). Comparative study of Ghasemabadi dance and Talashi dance. National Conference on Research, 1-12.
Van Mourik Broekman, A., Gordijn, E., Postmes, T., Koudenburg, N. & Krans, K. (2015). Dance for solidarity: Uniting Dancers and AudienceThrough Movement. Danswetenschap in Nederland, 8: 79-88.
Zakir Jafari, Narges and Mokhtari, Mahdi (2022). Applications and functions of the audio-music phenomenon of sellers singing in the big market of Rasht city. Journal of Fine Arts - Performing Arts and Music, 4(27): 5-16.
Rahmani, Jila (2022). Examining the characteristics and symbolic functions of musical instruments (case study: instruments of Kurdistan). Master's thesis, Art Research Department, Faculty of Art and Architecture, Guilan University, Rasht, Iran.
Sabri, Maryam (2013). Azerbaijani lovers in the passage of history. Iranian Journal of Anthropological Research, 4(1): 1-20.
Abbasi, Masoud and Maythami, Seyyed Hossein (2019). Examining Ta'ziyeh music based on the criteria of organization and organization of human sounds (study sample of Ta'ziyeh assemblies of Gudjan, Khansar). Cultural history studies; Journal of Iranian History Society, 45(12): 117-89.
Fatemi, Sasan (1999). Ethnomusicology: an epistemological review and proposal of two research models. Art Journal, 39: 137-151.
Gharasou, Maryam (2018). Comparison of two musical rituals similar to Shushi and Arousgoli, corresponding to Kouse ritual. Iran Anthropological Research, 9(1), 51-75.
Gharasou, Maryam and Zakir Jafari, Narges (2019). Multiple functions of the instrument in religious rituals and mourning in the eastern region of Gilan. Journal of Fine Arts - Performing Arts and Music, 2(25): 45-57.
Ghanbari, Nasreen (2021). An analysis of the rituals of the people of Gilan and the formation of Qasimabadi ritual dance. The 6th International Conference on Interdisciplinary Studies of Humanities and Islamic Sciences of Iran, 14-1.
Merriam, Alan (2016). Anthropology of music. Translated by Maryam Qarasu, Tehran: Mahor Publications.
Masoudi, Mozhgan (2014). Symbolic analysis of dramatic movements in the folklore of East Guilan. Master's Thesis of Iranian Studies, Guilan University.
Moghadam, Saeed and Khanmohammadi, Karim (2011). Criticizing the epistemological and existential grounds of Durkheim's theory of functionalism. Social Cultural Knowledge, 2(3), 85-112.
Mousavi Dizkohi, Seyed Hashem; Abbasi, Hoshang and Mohammadi Molasarai, Mohammad Ali and Nejadbakhsh, Asghar (2016). Anthropological research on Warzajang in Guilan culture. Iranian Studies Magazine, 1(2), 164-181.
Mirmiran, Seyyed Mojtabi and Masoudi, Mozhgan (2014). Comparative study of Ghasemabadi dance and Talashi dance. National Conference on Research, 1-12.
Van Mourik Broekman, A., Gordijn, E., Postmes, T., Koudenburg, N. & Krans, K. (2015). Dance for solidarity: Uniting Dancers and AudienceThrough Movement. Danswetenschap in Nederland, 8: 79-88.
