Ashiq, photo essay by Sajjad Ebrahimi
Ashiqs were artists who had been writing poetry, creating stories since a long time ago and somehow were their tribe’s people’s tongue.
Gopuz (Ashiqs musical instrument) was the inseparable Ashiqi particle in their poetry and stories.
Following all the description about Ashiqi music that I previously had in mind, when I found the Ashiqi masters confined at home, lonesome in the corners of cafés; my whole idea about this genre of music changed.
The masters’ constant complaints about the current situation foreshadowed the changes in the forms and contents of the Ashiqi art.
Gopuz solo performing in another instruments’ styles, Ashiqs unwillingness to wear their special outfits, the division between the singer and the musician, the young Ashiqs accompanying other artists in wedding ceremonies and singing the same old hymns of the famous Ashiqs, the fading aspect of storytelling in their songs and debate between the Ashiqs, the folklore music’s rising popularity amongst people; are some of the many factors that has made the Ashiqi masters go critical about the recession of the Ashiqi music.
Whereas the Ashiqi literature – with its poetry, stories and music – is one of the most defining pillars of Azerbaijan’s folklore literature.
(by Sajjad Ebrahimi)