Esfandiar Najmi, the only teacher of percussion instruments in Yazd, has successfully taught this traditional instrument scientifically by writing the notes and alphabet of music for this classic instrument. He says that with the globalization of Yazd, more efforts should be made to keep “arbuneh” alive as an original instrument of Yazd.
Esfandiar Najmi, a Zoroastrian percussion instruments, became acquainted with the arbuneh instrument in ceremonies and celebrations and learned to play it himself. After gaining the skill and experience in playing this instrument, in order to find a scientific teaching method for it, he wrote the notes and alphabet of music by simulating the tombak notes for the arbuneh instrument. He said that although this instrument has been received favorably in Yazd, and most of the citizens in Yazd are familiar with arbuneh, unfortunately, many still mistake it with “daf”. In the interview that ISNA-Yazd News Agency had with Esfandiar Najmi, we became more familiar with this instructor of percussion and arbuneh instruments:
ISNA Yazd: The only teach of Yazd percussion instruments mentions the “arbuneh” instrument, which some people mistakenly spell as ” arbuneh,” as one of the original musical instruments of this world city and says: “Some may think that instruments such as arbuneh, daf and tambourine are one, but this is not true. They may be similar in performance, but each is different in terms of sound, composition and how it is played.
Most of the citizens of Yazd are familiar with the local instrument of “arbuneh” in this world heritage city. Still, most of them think that there is no particular music science for arbuneh, and they play it impromptu or experimentally. But, only this teacher has succeeded in writing a teaching method for teaching this instrument scientifically. Esfandiar Najmi was born in September 1351 in the city of Yazd. Since 1369, while studying at Shiraz University, he has played the tombak professionally under Master Navid Afgheh.
In an interview with an ISNA reporter, the instructor of percussion instruments, who has performed several times in the country and abroad, talks about arbuneh and its origin: “Some think that arbuneh, tambourine and daf are similar instruments, and know arbuneh as either daf or tambourine, but this is not true. These instruments may look alike, but they are different in terms of sound, their built and the way they are played.
Starting with the subject that there are some debates about performing with this instrument, Najmi explained about the different components of this instrument: the instrument is made of different parts such as skin, wood around the instrument, wiring inside the instrument, several hollow brass spheres in which there are balls. Many rings and small yellow nails are attached to the wood around the arbuneh.
Regarding the history of arbuneh, he says: “Exact information about this is not available, but there is a story that this instrument was used for the first time on the wedding night of Suleiman and Belgheis. But, Mithrains and Zoroastrians believed that this instrument symbolized the sun and its use was considered to bring blessings and happiness. He also said: “Yasser Montazeri has done research on this instrument, which he has mentioned in his book “The history of Yazd music”. Of course, when he participated in the Tehran traditional musical festival, I had an interview with Keyvan Pahlava, a research of traditional music, which was later presented in a documentary called “The Tambourine of Yazd and Nain.” He also mistakenly mentioned arbuneh as tambourine of Yazd”
This activist of Yazd music department pointed out that mostly women in Yazd have welcomed the arbuneh in celebrations and said: “Although this instrument is well received in Yazd, however, unfortunately, many people still mistake it with daf.
Najmi points out: Until 1374, arbuneh was taught only by the psychiatrist “Ardeshir Bazadeh,” and at the same time, I also started teaching. At that time, the daf instrument suddenly became widespread in Yazd, and arbuneh was forgotten. It turned out that with a lot of tactics and propaganda, and most important, the help from Mr Bazadeh, we could keep the originality of this instrument alive to some extent. “After getting to a good position in playing this instrument, I decided to write a note and a musical language for this instrument,” he said. So by imitating tombak notes for this instrument, I was able to be somewhat successful in this area.
He also talked about his activities and experiences regarding this instrument: I experienced my first live performance in Tehran; when I went to Tehran for military service, I played percussion and tombak instruments in several groups, including the music group of the Army Self-Sufficiency Jihad Barracks. After that, I had several performances with the traditional music of Yazd, which was directed by “Mehdi Lashkari” and supervised by “Sadollah Bagherian.” Of course, it should be noted that all our rehearsals were at the house of “Kazem Halabikar” He was in charge of the group’s songs and lyrics.
This music teacher speaks about one of his most memorable performances: in Shahrivar 1382, a program was held at Iranshahr High School. All the graduates of this high school, from the beginning of its establishment to the current activity of this high school, were invited from all over the country. “This group, headed by Ali Mohammad Mahnam, was formed, in which there were renowned Yazdi professors such as “Mohammad Reza Rouhbakhsh,” and it was a great honor that I was also active in this music group.
While talking about his performances in the country, he also mentioned about his performances abroad: “Nowrooz of 1388 (2009), at the invitation of the Iranian consulate in Hong Kong and the Indian Parsees Association, I performed two parts of arbuneh solo plus some local Yazdi songs. In Dey 1379, I had an interesting discussion with one of the members of the Indian Parsees Association who showed great interested to have a group of arbuneh performers perform in India, and this is supposed to happen in future.
He continues: In Tehran, for two consecutive years, I had the honor of playing in the traditional music festival performed in Vahdat Hall, which was also held under the direction of “Houshang Javid.” I also had an arbuneh ensemble twice at the Zoroastrian Music Festival in Tehran.
Najmi explained why India welcomes the arbuneh: “As you have read in history books, India has had friendly and close relations with Iran and the city of Yazd in different periods, and many citizens of Yazd live in this country that is why India has shown interest in this instrument, due to its Iranian and Yazdi origin.” The only teacher of Yazd percussion instruments, in the end, thanked the masters of Yazd such as Mohammad Reza Janati and Mehdi Lashkari for their incredible support, and has asked fans to make more efforts to keep arbuneh as an original instrument of Yazd due to the globalization of this city.
