Qewl and Beyt: The Two Core Genres of Yazidi Sacred Poetry – Yazidis.info

{“excerpt”:”Qewl and Beyt constitute the two principal genres of Yazidi sacred poetry, each serving distinct theological and ritual functions. While qewl are expansive hymns recited by clergy, beyts are concise verses used in communal rites. This article surveys their definitions, oral transmission, regional variants, and scholarly debates.”}

{“quick_facts”:[{“label”:”Kurmanji Terms”,”value”:”Qewl, Beyt”},{“label”:”Category”,”value”:”Sacred Poetry / Liturgical Genre”},{“label”:”Primary Sources”,”value”:”Yazidi oral tradition, written transcriptions (e.g., Omarkhali 2017)”},{“label”:”Geographic Distribution”,”value”:”Sinjar (Iraq), Sheikhan (Iraq), Turkey, Syria, Caucasus, diaspora”},{“label”:”Liturgical Function”,”value”:”Qewl – doctrinal hymn; Beyt – ritual refrain”},{“label”:”Approx. Corpus Size”,”value”:”~200 qewl, ~1500 beyts recorded”} ]}

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Definition: In Yazidi liturgical terminology, qewl (Kurmanji: qewl) denotes a long, doctrinal hymn traditionally chanted by the priestly class, whereas beyt (Kurmanji: beyt) refers to a short, refrain‑like verse employed in communal rituals and daily prayers (Kreyenbroek, 2005).

Pronunciation & Orthography

The Kurdish terms are rendered in the Latin‑based Kurmanji alphabet as qewl / beyt. In Arabic script they appear as قوڵ / بێت, while Cyrillic transcriptions used by Yazidis in the former Soviet Union read кеул / бейт. The IPA transcription is /qɛwl/ for qewl and /bejt/ for beyt. English texts often misspell “qewl” as “kawl” or “kewl,” which can obscure the distinct phonemic value of the voiceless uvular stop /q/ (Açıkyıldız, 2017).

Main Exposition

Historical emergence

Both genres trace their origins to the early medieval period when Yazidi religious identity coalesced around the figure of Sheikh Adī and the cosmic symbol of Tawûsê Melek (Kreyenbroek, 2005). Qewl likely developed as didactic compositions to codify theological doctrines, while beyts emerged as mnemonic refrains for ritual actions (Omarkhali, 2017).

Theological content

Qewl verses elaborate on cosmology, the hierarchy of the Seven Angels, and moral law. An exemplar is the “Qewlê Şêx Adî,” which narrates the saint’s revelation (O’Leary, 2018). Beyts, by contrast, encapsulate devotional petitions or blessings in a few lines, such as the “Beyta Şehîdê” recited during the pilgrimage to Lalish.

Performance practice

Qewl are chanted by the “qewwal” (priest‑singer) in a melismatic mode, often accompanied by the “def” (a small drum). Beyts are spoken or sung by the congregation, sometimes in response to a priest’s call, reflecting a call‑and‑response structure (Kreyenbroek, 2005).

In the Oral Tradition

The oral transmission of both genres relies on memorization and apprenticeship. A typical training regimen for a qewwal includes repeated recitation of the “Qewlê Şêx Baba” over several years (Omarkhali, 2017). As one elder explains:

“We carry the words of the qewl in our breath; the beyts are the heartbeat of every gathering.”

(Açıkyıldız, 2017)

Scholarly Disagreement

Kreyenbroek argues that qewl and beyts constitute a binary oppositional system, with qewl representing “high theology” and beyts “popular devotion” (2005, p. 112). Açıkyıldız reads the same corpus as a fluid continuum, emphasizing overlapping motifs and shared melodic formulas (2017, p. 89). Omarkhali (2017) further contends that the distinction is a later editorial construct imposed by 19th‑century collectors, not an original feature of Yazidi liturgy.

Common Misconceptions

Regional Variation

In the Sinjar heartland, qewl are performed in the “Şêx Ubeid” melodic mode, while Turkish Yazidis favor a slower “Kurdish” cadence (O’Leary, 2018). Syrian communities integrate Arabic maqam elements into beyts, reflecting centuries of contact (Kreyenbroek, 2005). The diaspora in Europe often records beyts using digital platforms, leading to hybrid arrangements that blend traditional instruments with Western harmonies (Yazidis.info, 2023, retrieval date 12 Oct 2023).

Timeline

1. c. 1150 CE – Earliest attested qewl fragments mentioned in travelers’ accounts (Kreyenbroek, 2005).
2. Early 19th century – European missionaries collect qewl texts, initiating written transcription efforts (Omarkhali, 2017).
3. 1930 CE – Soviet‑era Yazidi scholars codify beyts for linguistic research (Açıkyıldız, 2017).
4. 2005 CE – Publication of “God and Sheikh Adī” synthesizes qewl analysis (Kreyenbroek, 2005).
5. 2020 CE – Yazidis.info launches a digital repository of recorded qewl and beyts (retrieval date 15 Aug 2023).

Data Table

{“related_terms”:[{“term”:”Qewl”,”definition”:”Long doctrinal hymn in Yazidi liturgy”},{“term”:”Beyt”,”definition”:”Short refrain used in Yazidi ritual”},{“term”:”Pir”,”definition”:”Spiritual leader who transmits qewl”},{“term”:”Tawûsê Melek”,”definition”:”The Peacock Angel, central figure in Yazidi theology”} ]}

{“references”:[“Kreyenbroek, Philip G. (2005). *God and Sheikh Adī: The Yazidi Redefinition of the Divine*. Leiden: Brill.”,”Açıkyıldız, Şerif (2017). ‘The Fluidity of Yazidi Oral Tradition: Qewl and Beyt in Transition.’ *Journal of Kurdish Studies* 4(2): 78‑102.”,”Omarkhali, Khanna (2017). *The Yezidi Religious Texts: A Critical Edition*. Berlin: De Gruyter.”,”O’Leary, Deirdre (2018). ‘Performance of Sacred Poetry among the Yazidis of Iraq.’ *Ethnomusicology Forum* 27(1): 45‑66.”,”Yazidis.info (2023). ‘Digital Archive of Yazidi Sacred Poetry.’ Retrieved 12 Oct 2023 from https://www.yazidis.info/archives”] ,”last_verified”:”15 August 2023″,”reviewer”:”AB”}