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In its original form the Zar is a ritual for which a rather small circle of people gathers with the aim to communicate energetically with unseen entities or spirits. It is one of the few still existing ancient healing ceremonies performed mainly by women for women. Zar-music is one of the African dimensions of Egypt.

The Zar is a most ancient form of purification rite. It is meant to pacify spirits and to harmonize the inner lives of the participants with them. However, the ECCA is not interested in the ritualistic aspect of the Zar, but in documenting and thus preserving this unique musical legacy.

Zar-music is poly-rhythmic, very rich in melodies, and distinctively different from other Egyptian music traditions. Originally it was not intended to be a performance. Zar is a part of the underground culture, shunned by the religious establishment, the state and the official cultural elite.

This kind of musical tradition survived as a sub-culture in its original form without any big interference, which would have caused major changes. However, the practised ritual became limited in its content. Many of the songs that were part of it were forgotten.

The emergence of the string instrument tamboura can be traced back to ancient pharaonic times as it appears on the wall reliefs and paintings of Egypt’s early pharaonic dynasties. Serving both as a melodic and strained instrument, the tamboura contributes to tuning the rhythm and playing the required modes.

There are indications that the Zar ritual also dates back to this period. Ancient Egyptians used music and rhythms to treat and heal people obsessed by metaphysical powers and myths. Zar rituals can also be tracked back to ancient Ethiopian religious faiths.
Some scientists argue that the name Zar is a distortion of the name of an African god “Jar - the god of heaven”. Others believe that the word Zar is derived from the Arabic term of visitation “Zuara”.

The tamboura and the Zar also exist on the Arab Peninsula, such as in Yemen, the Arab Gulf, Iraq, and Iran as well as in Sudan, Ethiopia and Somalia. In Egypt three types of Zar are practiced: Egyptian or Upper Egyptian Zar, Abu al-Gheit Zar, and Sudanese or African Zar. Some say that the latter type of Zar is rooted in old Nubia.
The Zar is one of the rare musical traditions in which women play the leading role. The ritual is lead by a woman called kudeyit, who usually professes a remarkably strong character. With the spreading of education and a decline of rituals related to myths, the Zar has nearly vanished. Most of the kudeyit women have disappeared and only a few musicians now manufacture or play the tamboura.

A widespread misunderstanding that Zar is about exorcism of spirits, further contributed to the decline of this musical tradition. However, the ritual is generally not held with the aim of driving away spirits, because spirits are accommodated and placated.

For participants it is most often a cathartic experience, a form of communication with different spirits in an intense rhythmic interaction leading to an altered state of consciousness or possibly a trance.
Researchers have argued that these kind of ancient healing rituals are most popular among women as they constitute one of the few accepted venues for them to release pent up emotions and frustrations while consciously seeking healing powers. Particularly for women in socially subordinate positions, possession often forms a “therapeutic escape valve”.

In spite of this important aspect of the Zar for women in Egypt, this tradition is in danger of dying out. Only around a dozen of persons within greater Cairo still have the knowledge of the musical legacy of the Zar. In the whole of Egypt there are only around 25 people left who preserve this knowledge and this tradition.

The ECCA gathered some of these performers and motivated them to go through lengthy sessions of rehearsals, remembering and recording. As a result the group Mazaher was formed. The music presented by this group of people, who don’t consider themselves as musicians, is inspired by different styles of the Zar.

One part of this project of the ECCA is directed towards the musical instruments, which accompany this art. These include the tamboura (a kind of pharaonic lyre), al-noggarra (a large drum), and percussion instruments in general. Other instruments are al-mishar and al-hana (forms of hoop), al-dahla, and small African drums (called hajir in Arabic), al-Manjour (a leather belt with many horns and goat nails connected to it).
The project also aims to provide an example for musical troupes practicing in the artistic arena. It is meant to encourage the formation of a nuclear group dedicated to guide new generations of youths to develop an awareness of the value of their heritage and of the need for it to survive.

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