Short Answer
This encyclopedia entry examines the role of Qewl verses in Yazidi funeral rites, outlining their liturgical function, performance contexts, and the ways regional traditions modify their use.
Qewl (Kurmanji: qewl, also rendered as qel or qewl) refers to a sacred hymn or poetic utterance that conveys theological doctrine, mythic history, and moral instruction within Yazidism.
| Key | Value |
|---|---|
| Kurmanji name | Qewl |
| Also written | Qel, Qewl |
| Category | Religious hymn / oral poetic literature |
| Region | Primarily Iraqi Kurdistan, Transcaucasus, Syria, Turkey, diaspora |
| Observed/Active | Continuously performed in ritual contexts, especially funerals |
| Primary sources | Oral Tradition Journal (2022); Ezidi Heritage (2023); Omarkhali (2011) |
Pronunciation & orthography
The term is spelled qewl in Latin‑script Kurmanji, قەول in Arabic script, and кевл in Cyrillic used by some Caucasian Yazidis. IPA: /qɛwɫ/. Common English misspellings include “kewl” and “quell”.
Main exposition
Liturgical function of Qewls in funerals
In Yazidi funerary ceremonies, Qewls serve three interconnected functions: (1) theological framing of death as a transition within the cosmic order, (2) emotional mediation that guides mourners through grief, and (3) reinforcement of communal identity by recalling shared mythic figures such as Şêx Hesen. The verses are recited by a priestly specialist—typically a Sheikh or Pir—who balances melodic intonation (kubrî) with rhythmic speech (Omarkhali 2011).
Structure of the funeral rite
A typical funeral proceeds through the following stages: washing of the body, placement on a simple wooden bier, procession to the burial site, and the ceremonial recitation of selected Qewls. The recitation is divided into three segments: an opening “opening hymn” (e.g., Qewlê Ser Mezin), a middle “intermediate hymn” that addresses the deceased’s deeds, and a concluding “farewell hymn” (e.g., Qewlê Şêxê Hesenî Siltan e). The concluding hymn is often repeated as a refrain, creating a communal chant that persists until the burial is complete (Ezidi Heritage 2023).
Performance practices
Qewl performance is primarily vocal, though limited instrumental accompaniment—usually a daf (frame drum) or tembûr—may be employed in Iraqi contexts. The melodic mode (kubrî) is distinct from secular Kurdish music, favoring a narrow pitch range that emphasizes solemnity (Oral Tradition Journal 2022). In the Transcaucasus, the same verses are rendered a cappella by two or three priests, reflecting a more austere aesthetic (Ezidi Heritage 2023).
In the oral tradition
Yazidi oral transmission ensures that each Qewl retains its original wording while allowing slight melodic variation. The corpus includes over 200 Qewls, of which a subset is designated for funerary use. The most frequently cited are Qewlê Şêxê Hesenî Siltan e, Qewlê Kofa, and Qewlê Ser Mezin. These verses intertwine personal lament with collective mythic reference.
“Laliş ya bor, dîwan ya bor, Merge ya bor, ya bor, ya…” – a refrain that underscores the inevitability of death and the communal call to remembrance (Ezidi Heritage 2023).
Scholarly disagreement
Kreyenbroek argues that the funerary Qewl repertoire is a later accretion, emerging in the 19th‑century reform movements to standardize rites across dispersed communities. Açıkyıldız counters that early travelers’ accounts already note the presence of Qewl recitations at burial sites, indicating a much older origin (Açıkyıldız 2015, cited in Religion.com). The debate centers on whether variation reflects doctrinal evolution or adaptive regional practice.
Common misconceptions
Regional variation
While the core structure of funeral rites is shared, distinct regional practices have developed:
- Iraqi Kurdistan (Sinjar, Sheikhan): Qewlê Şêxê Hesenî Siltan e is performed during Sema’ sessions and at graves, accompanied by daf; it is omitted for women and children (Ezidi Heritage 2023).
- Transcaucasus (Armenia, Georgia): The same Qewl is rendered a cappella by two or three priests in a solemn, low‑voiced style; it is also part of a “ser mezela” (grave) ceremony (Ezidi Heritage 2023).
- Syria and Turkey: Communities often substitute Qewlê Kofa for the Şêxê Hesen hymn, reflecting local saint veneration patterns; occasional use of a small tambur is recorded (Omarkhali 2011).
- European diaspora (Germany, Sweden): Mixed‑gender participation is common, and recorded audio playback of Qewls supplements live recitation due to priest scarcity.
Timeline
| Date | Event |
|---|---|
| 12th‑13th c. | Emergence of the ‘Adawiyya mystical order, laying groundwork for oral hymnody in Yazidism (Religion.com). |
| 1800s | First documented use of Qewlê Şêxê Hesenî Siltan e in funeral rites recorded by European travelers (Açıkyıldız 2015). |
| 1915‑1920 | Displacement of Yazidis leads to regional diversification of funeral Qewl practice (Omarkhali 2011). |
| 2022 | Acoustic analysis of Qewls highlights distinct melodic modes used in funerary contexts (Oral Tradition Journal 2022). |
Data table
| Region | Primary funerary Qewl | Typical performers | Accompaniment |
|---|---|---|---|
| Iraqi Kurdistan1 | Qewlê Şêxê Hesenî Siltan e2 | Sheikh or Pir2 | Daf, occasional tembûr2 |
| Transcaucasus3 | Qewlê Şêxê Hesenî Siltan e2 | Two‑three priests (Sheikhs/Pirs)2 | A cappella2 |
| Syria/Turkey4 | Qewlê Kofa5 | Local priest or elder5 | Small tambur or none5 |
| European diaspora6 | Qewlê Şêxê Hesenî Siltan e (recorded)2 | Mixed gender community members6 | Audio playback, occasional daf6 |
FAQ
How reliable are the oral sources cited for funeral Qewls?
The verses are transmitted within priestly families and have been documented by scholars since the early 20th century; field recordings and textual transcriptions provide cross‑verification.
Can non‑Yazidis access the Qewl repertoire for academic study?
Yes, many Qewls have been published with translations in academic journals, though some remain restricted to the community due to their sacred status.
Why are women excluded from certain funeral Qewl recitations?
Traditional injunctions, recorded in community oral law, reserve the Şêxê Hesen hymn for adult male mourners, reflecting historic gendered ritual roles (Ezidi Heritage 2023).
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