SAEDNEWS: Chances are you’ve heard Gilan’s rich music at least once. This article explores its melodies and oral traditions, offering a glimpse into the cultural heritage of Iran’s “City of Eternal Spring.”
Gilan Province spans the lush northwestern regions of the Alborz Mountains and the western shores of the Caspian Sea. It borders Ardabil Province to the west, Zanjan and Qazvin Provinces to the south, and Mazandaran Province to the east. Geographically, Gilan consists of two main regions: the lowlands and the mountainous areas. Its westernmost city is Astara, and the easternmost is Rudsar, both situated along the Caspian coastline.
The music of Gilan features two distinct cultural centers: the Deylaman region in the east and the Talesh region in the west. In the central parts of the province, these musical traditions converge. If you’ve ever listened to Gilaki music even once, it’s hard not to feel a spark of joy and fascination. Its melodies simultaneously carry sorrow and happiness, deeply rooted in the rich culture and heritage of the Gilan people. Gilaki music reflects the long and complex history of the region and is one of Iran’s most treasured cultural assets, whose spiritual value is akin to countless mountains and jeweled seas. Its roots trace back to the hardships Gilan has endured: wars, historical adversities, massacres, uprisings, as well as the vitality and joy of a people who thrive amidst verdant forests.
Gilan’s music has also been shaped by neighboring cultures. The presence of Turks, Kurds, Isfahanis, Lurs, and Caucasian migrants has added depth and diversity. The music of Deylaman, a cornerstone of Gilaki tradition, draws from Kurdish, Tati, and Luric cultures—immigrants whose music evolved into what is now recognized as Deylamani and Gilaki music. Additionally, many melodies in eastern Gilan and western Mazandaran hover between Gilaki and Tabari musical traditions. Regions like Tonekabon act as a crossroads of musical cultures, where famous Mazandarani compositions and micro-modes such as Kemaresari spread to neighboring mountainous areas like Eshkvar, Deylaman, and Siahkal via traveling musicians.
Gilaki music is a mesmerizing blend of sorrow and joy. Even in its most heartrending melodies, traces of hope and resilience emerge—hope that sustained the people of Gilan through the tragedies of history. The strength and dignity of resistance, the courage to rise after repeated losses, can be felt in every note. Gilaki music brims with dance tunes and celebratory rhythms, performed at traditional gatherings, capable of stirring every fiber of your being. Yet its enduring legacy lies in its melancholic compositions—timeless works deeply rooted in this expressive tradition.
One of the unique charms of Gilaki music is that it has never been the sole domain of men. Women have been equally vital to this living art. In Gilan, women labor alongside men in the fields, enduring hardships while maintaining a visible presence in the community. The people of Gilan are resilient, tempered by adversity, yet they carry this strength with dignity.
Women have historically used music as a weapon against hardship, transforming bitter, difficult days into joyous moments. When playing instruments was considered a male pursuit, Gilan’s women boldly embraced local instruments and folk songs. This highlights Gilan’s cultural and artistic advancement, evident in the region’s rich musical legacy. Many of these instruments were simple, handcrafted creations, yet the dedication and passion of Gilan’s women have made them iconic.
Among the most celebrated instruments in Deylaman and Gilan are:
Ney Ney: The oldest instrument in Gilan, found in almost every home until fifty years ago. Locally called Laleh, it remains a symbol of Gilaki musical heritage.
Kamancheh: A bowed string instrument, often used alongside the sorna.
Sorna: A reed instrument complementing the naqareh, widely used in festive events, including wrestling competitions and folk ceremonies.
Naqareh: Two double drums, traditionally made of copper. Gilan artisans also created clay-bodied versions.
Horn (Karnā-ye Shākhi): A local horn used to ward off intruders from fields and farms.
Karb: A percussion instrument used in funerals and mourning ceremonies.
Gilaki songs draw inspiration from nature, warfare, and mysticism, among other topics. Key themes include:
Galesh: Refers to herders in Gilan’s mountains. Their songs reflect their hopes, struggles, and connection to the ney as an essential part of their craft.
Gharibi: Songs of longing and sorrow, often born of separation or hardship, with profound emotional richness.
Sharafshahi: Mystical and philosophical songs carrying wisdom and spiritual reflection.
Charavardari: Folk songs from the Alborz foothills that express the pain of separation from family and the struggles of daily life.
Gilaki music’s richness is unparalleled. Even children have special lullabies, sung by mothers in cradles, reflecting how deeply music is woven into daily life. Its profound themes are a testament to the artistic spirit of the Gilaki people. Gilaki music remains one of the most beautiful cultural expressions of northern Iran, offering an exciting window into the ancient, authentic heritage of the land.
