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Rabâb
- Title/name : Rabâb
- Production place : Essaouira, Morocco
- Date / period : Nineteenth century
- Materials and techniques : Wood, goatskin, gut; decorations: wood, ivory, and mother-of-pearl marquetry
- Dimensions : Height 61cm; B. 12cm
- Conservation town : Essaouira
- Conservation place : Sidi Mohammed Ben Abdallah Museum
Depending on the regions and eras, the term rabāb can designate several types of instruments used in the Islamic world: a two-string lute, which can be seen in several representations of Fatimid works[1], or various bowed or scraped instruments like this one. All these instruments share the same feature, which is few strings, often two or just a single one. Rabābs are mentioned from the tenth century onwards, especially by al-Farabī.
The rabāb as it is known in the Maghrib was perfected definitively in the thirteenth century. It’s a two-stringed instrument whose shape is known as ‘naviform’, due to the depth of its resonance box, which is similar to the shape of a ship’s hull. Its body is generally shaped from a single piece of wood, as is the case here, and the sound holes are on the instrument’s side. The soundboard is made from goatskin and the strings are gut. The neck is decorated with floral geometric patterns inlaid with mother-of-pearl and has two openwork rosettes, one in wood with a six-cornered star, the other in ivory. The bow is also inlaid with geometric designs in mother-of-pearl and precious woods. Mother-of-pearl is an expensive material that was popular in the a sixteenth century in the Ottoman world, and often combined with tortoiseshell [2].
The rabāb is played da gamba, meaning vertically, resting on a leg, with the bow highly tensioned, as can be seen in several medieval Islamic and Western representations in the Palatine chapel of Palermo or in the Cantigas de Santa Maria[3]. The rabāb was, in fact, very popular in Christian countries, especially in northern Spain and the Midi region of France, where musicians (represented as angels) used the instrument until the fifteenth century[4]. It led to the invention of the rebec in the West, which was played da braccio, meaning resting on the arm, in a horizontal position[5]. This instrument was finally replaced in the seventeenth century by the violin, whose shape is reminiscent of the rabāb of North Africa. There is still an instrument with a name like this in Latin America. Today, it is still played in the East, and by the Bedouins, where the instrument is sometimes reduced to a simple sound box made from anything that comes to hand (such as a tin).
[1] Dish depicting rabāb player, Cairo, Museum of Islamic Art, 14923.
[2] Qur’anic coffer, Istanbul, Turkey, end of the sixteenth century, Turk ve Islam Eserleri Müezi, 6.
[3] ‘Couple of musicians playing the rabāb’, in Cantigas de Santa Maria, Sevilla, c. 1280, Madrid, Escorial, San Lorenzo Library, ms. Jb2, fol. 118.
[4] Cathedral of Albi, cul-de-lampe (bracket corbel) of an external column, fifteenth century.
[5] Sassetta, Madonna and Child Surrounded by Six Angels, the Louvre Museum,
Paris RF
1956–11.
Le Maroc : 5000 ans de culture, cat. exp., Amsterdam, 2004, Nieuwe Kerk, p. 135.
Homo-Lechner, C., Rault, C., Instruments de musique du Maroc et d’al-Andalus, cat. exp. Royaumont, Paris, 1999, fondation Royaumont, CERIMM.
Poché, C., « rabâb », in The New Grove, dictionary of Musical Instruments, London, 1984, Macmillan Press, New-York, 1984, Grove’s dictionaries of music, 3.
Triki, H., « Culture et Arts aux 11e et 12e siècle », in Mémorial du Maroc, Rabat, 1983, t. II, p. 242-251.
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