Regional Influences on the Performance of Qewlê Birê in Yazidi Funeral Rites

This encyclopedia entry surveys scholarly research and field observations to explain how regional contexts affect the rendition of Qewlê Birê, a key Yazidi funeral hymn.

Qewlê Birê (Kurmanji: Qewlê Birê) is a ritual hymn recited during Yazidi funeral ceremonies to invoke protection and guide the soul of the deceased.

Pronunciation & orthography

Kurmanji spelling: Qewlê Birê. Arabic‑script variant: قوڵى بيره. Cyrillic (used by some Transcaucasian Yazidis): Кевле Бире. IPA: /qɛwlɛ ˈbiɾe/. Common English misspellings include “Qewl Bir”, “Qewel Bire”, and “Kewl‑e‑Bire”.

Main exposition

Origin and textual content

The hymn belongs to the Berane corpus, a set of funeral qewls that articulate Yazidi cosmology, the fate of the departed, and the intercession of holy figures such as Şêx Hesen. While the exact date of composition is unknown, oral tradition attributes many Berane qewls to the 17th‑century poet‑priest Melek Fexredîn, who also authored Qewlê Şêxê Hesenî (see [2]).

Ritual function in funerals

Qewlê Birê is recited at the graveside (ser mezela) after the body is interred. It is not performed for children, young people, or women, mirroring the selective use of Qewlê Şêxê Hesenî in similar contexts (see [2]). The hymn serves to protect the soul, affirm communal identity, and mark the transition from earthly life to the spiritual realm.

Musical characteristics

Acoustic analyses of Yazidi religious vocalisation reveal a distinctive melodic contour (kubrî) that combines a limited pitch range with ornamental micro‑intervals. Amy de la Bretèque and Omarkhali (2022) documented two exemplar qewls, noting that the melodic shape of funeral hymns tends to be slower, more syllabic, and accompanied by a low‑pitched drum (davul) or a wooden reed instrument (see [1],[3]).

Ensemble and instrumentation

In Iraqi Kurdistan (Sinjar and Sheikhan) the hymn is usually sung by a single priest (Sheikh or Pir) with a small chorus of lay singers, accompanied by a daf or a single ney. In Transcaucasian communities the performance often involves two or three priests singing in unison, without instrumental support, emphasizing a solemn vocal timbre (see [2]). Diaspora gatherings may incorporate modern keyboards or recorded tracks to compensate for the lack of traditional instruments.

Interaction with participants

The reciter engages directly with mourners, prompting call‑and‑response phrases that allow the audience to echo key refrains such as “Laliş ya bor, dîwan ya bor”. This interactive element is highlighted in the analysis of Qewlê Şêxê Hesenî, where the refrain functions as a communal lament (see [2]).

In the oral tradition

Fieldwork collected by the Oral Tradition Journal shows that the oral transmission of Qewlê Birê relies on memorisation techniques, including melodic imitation and rhythmic clapping, rather than written notation. A typical verse begins with an invocation of the Angelic hierarchy, followed by a plea for the soul’s safe passage.

“Ezê bi qasî şevê, li ser çiya têda, merga birê, lê dermanê” – “I will, as night falls, ascend the mountain, the dead one, may you find cure.”

These lines exemplify the intertwining of poetic imagery and ritual purpose that characterises the Berane genre (see [4]).

Scholarly disagreement

Khanna Omarkhali argues that Qewlê Birê should be classified as a “kurdî” melodic type distinct from other Berane qewls because of its unique scalar pattern (see [3]).
Amy de la Bretèque contends that the hymn’s primary distinction lies in its ceremonial function rather than melodic structure, emphasizing the role of the reciter‑audience dialogue (see [1]).

Common misconceptions

Regional variation

Across the Yazidi world, the performance of Qewlê Birê adapts to local musical idioms and ritual logistics:

• Sinjar (Northern Iraq): Solo priest with daf, emphasis on resonant low tones; performed during daytime ceremonies.
• Sheikhan (Southern Iraq): Small choir joins the priest; occasional use of a ney for melodic embellishment.
• Syrian enclaves (Al‑Hasakah): Limited instrumental resources lead to a cappella renditions, with elongated syllables to convey solemnity.
• Turkish diaspora (Istanbul, Gaziantep): Hybrid performances mix traditional drums with electronic backing tracks.
• Transcaucasian communities (Armenia, Georgia): Two‑to‑three priest ensemble, no instruments, slower tempo, reflecting local liturgical austerity (see [2]).
• Western diaspora (Germany, Sweden): Recorded versions are streamed; live gatherings often feature a single vocalist accompanied by a portable keyboard.

Timeline

Data table