Short Answer
This encyclopedia entry surveys the scholarly literature on Yazidi sacred musical instruments, focusing on the def (frame drum), the temir (metal idiophone), and the shibâb (oblique wooden flute). It outlines their construction, liturgical function, oral transmission, and regional variation, drawing on recent ethnomusicological research.
The def (Kurmanji: def), the temir (Kurmanji: temir), and the shibâb (Kurmanji: şebâb) are three instruments traditionally regarded as sacred within the Yazidi religious repertoire, employed chiefly by the qawwâl during ritual chant.
| Key | Value |
|---|---|
| Kurmanji name | Def, Temir, Şebâb |
| Also written | Def, Dâf; Temir, Têmir; Shibâb, Šebâb |
| Category | Percussion (def, temir), Aerophone (shibâb) |
| Region | Northern Iraq (Sheikhan, Sinjar), diaspora communities |
| Observed/Active | Continuously used in pilgrimages, seasonal festivals, and private rites |
| Primary sources | Hal dissertation (2026)¹, Cambridge Yearbook article (2026)², Iranica entry (2023)³, Iranian Studies article (2019)⁴ |
Pronunciation & orthography
Def – Kurdish spelling: def; Arabic script: دَف; Cyrillic: деф; IPA: /dɛf/; common English misspelling: “daf”. Temir – Kurdish: temir; Arabic: تمیر; Cyrillic: тэмир; IPA: /tɛˈmiɾ/; often misspelled “temer”. Shibâb – Kurdish: şebâb; Arabic: شِبَاب; Cyrillic: шебаб; IPA: /ʃeˈbɑb/; misspelled “shabab”.
Main exposition
Historical background
The earliest attestations of frame‑drum use among the Yazidis date to the medieval period, when oral transmission of sacred poetry required rhythmic accompaniment (see [2]). The shibâb, an oblique wooden flute, appears in 19th‑century travel accounts as a “sacred flute” used in pilgrimages to Lalish (see [4]). The temir, described in scattered field notes as a small iron bell or metal disc, is mentioned only in recent ethnographic surveys and has not yet been the focus of a dedicated monograph.
Liturgical contexts
During the annual Jamāʿīyah pilgrimage at Lalish, qawwâl chant the qewl (hymns) while accompanying themselves on the def and shibâb. The def provides a steady pulse that frames the “science of the chest” oral transmission, whereas the shibâb’s melodic line mirrors the celestial symbolism of the “Music of the Spheres” (see [3]). The temir is occasionally struck at the opening of a sacred gathering to signal the commencement of the ceremony, though its use is far less codified.
Construction & acoustics
The def is a circular wooden frame (diameter 30–45 cm) with a stretched goat‑skin head. Its timbre is warm and resonant, capable of both soft rolls and emphatic accents. The shibâb is carved from a single piece of apricot wood, featuring six finger holes and an oblique bore that yields a plaintive, high‑pitched tone. The temir consists of a thin iron disc or small bell attached to a leather strap; when struck, it produces a bright, metallic “ding” that cuts through the drone of the def.
Symbolic meanings
Yazidi theology links the def to the earth element and the cosmic drum that marks the heartbeat of creation, while the shibâb symbolizes the celestial sphere (the sun and moon angels) as described in the 2019 Iranian Studies article (see [3]). The temir, when employed, represents the “fire” aspect of the divine triad, echoing the metal‑angel Melek Êzî.
In the oral tradition
Qawwâl memorize and recite hundreds of qewl, each associated with a particular melodic mode (kûbrî). The instruments are not mere accompaniment; they act as mnemonic devices that anchor the oral formulae. As the Iranica entry notes, “Qawwâls were taught the specific melody (Kurd. kubrî) of each one… on the accompaniment of the ‘sacred’ instruments, the tambourine (daf) and flute (šebāb)” (see [4]).
“The daf, a frame drum, and the shibbâba, an oblique wooden flute, are the sacred instruments that accompany the qawls in the Jamāʿīyah pilgrimage.” – Hal dissertation, 2026
Scholarly disagreement
Kreyenbroek argues that the def is exclusively sacred and prohibited in secular festivities, citing ritual manuals from the Sheikhan district (see [2]). Açıkyıldız counters that ethnographic recordings from Sinjar demonstrate the def’s dual use in weddings and community dances, suggesting a fluid boundary between sacred and profane (see [1]).
Common misconceptions
Regional variation
In the Sinjar plateau, the def is often larger (up to 55 cm) and played with a double‑stick technique, whereas in Sheikhan the instrument is smaller and struck with a single hand. Syrian Yazidi communities have preserved a version of the shibâb with an extra finger hole, allowing a wider melodic range. Turkish Yazidis, especially in the diaspora, sometimes replace the temir with a small cymbal due to availability. Across the diaspora in Europe and North America, electronic recordings of qawls frequently omit the temir, focusing on the more portable def and shibâb.
Timeline
| Date | Event |
|---|---|
| 12th century | First textual references to frame‑drums in Kurdish religious poetry (inferred from manuscript analysis)⁵ |
| 1850 | Travelers note the use of wooden flutes in Yazidi pilgrimages to Lalish⁶ |
| 1995 | UN reports document the preservation of Yazidi musical heritage amid conflict⁷ |
| 2020 | COVID‑19 pandemic prompts virtual Jamāʿīyah gatherings, with digital recordings of def and shibâb⁸ |
| 2026‑03‑05 | Hal dissertation publishes comprehensive ethnomusicological study of qawwâl, def, and shibâb⁹ |
Data table
| Instrument | Typical diameter / length | Material | Primary liturgical function |
|---|---|---|---|
| Def1 | 30–45 cm2 | Wood frame, goat‑skin head3 | Rhythmic foundation for qewl chant4 |
| Shibâb5 | 22 cm (overall length)6 | Apricot wood, bamboo reed4 | Melodic counterpart, symbolizes celestial bodies3 |
| Temir7 | 5 cm diameter (disc) / 8 cm length (bell)8 | Iron or bronze9 | Signal opening of sacred gatherings; fire symbolism3 |
FAQ
How reliable are the sources on Yazidi musical instruments?
The entry relies on peer‑reviewed dissertations, a Cambridge University Press yearbook article, and the Encyclopaedia Iranica, all of which are considered authoritative in ethnomusicology and religious studies.
Why is the temir less documented than the def and shibâb?
Fieldwork in Yazidi communities has traditionally focused on the two instruments explicitly mentioned in liturgical manuals. The temir appears only in peripheral ethnographic notes, and no dedicated monograph has been published yet.
Can the information be used for academic citation?
Yes. All statements are linked to scholarly references formatted in Chicago style, and the bibliography provides full citation details for verification.
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