From this angle, both forms of percussion are obvious: the tapl and daff. Three men play the daff while one stands at the tapl. The daff makes sound as the fingers hit the taut skin, but also as it is dropped. The chain links that line the inside of the frame brush against the frame and skin creating their own sound.
Two men, who moved away from the wall just moments ago, hand in hand, unfurl their hair from their caps and begin to bow and head-bang to a chorus of “Allah! Allah!” or “God! God!” One of the men has a telltale mark on his forehead, what is known as a “zabib,” or “raisin,” in Arabic: a raised bruise on his forehead from praying and prostrating vigorously.
Seated, the woman has given herself over to the motion, her scarf has come untied and her hair swings loose as she continues to move, lost in the prayer. The women around her continue to pray, “There is no god but God,” circling beside her, keeping time with the daff and tapl.
As the women worship, some sing, some have instruments in their hands, others sway gently, some clap as a form of movement and participation. Throughout the worship, the Sheikha sits at the center, listening, greeting everyone, and occasionally adding her voice.
Again, the pace of the worship changes. At times, it is slow and most participants simply sway. At others, like in this moment, the drums intensify and the worshippers respond, physically intensifying their own movements. The idea is that certain motion, certain repetition can enable man to atone with the divine.
Though the women’s room for worship is a simple long rectangle with no alcove for the daff and tapl players, the percussionists tend to congregate at the far side of the worship circle. The tapl is played sitting down, the drum braced against some cushions. The daff can be played standing or sitting as the worshipper desires. While the speech is not entirely clear, the language shifts from Kurdish to Arabic.
Two men, who moved away from the wall just moments ago, hand in hand, unfurl their hair from their caps and begin to bow and head-bang to a chorus of “Allah! Allah!” or “God! God!” One of the men has a telltale mark on his forehead, what is known as a “zabib,” or “raisin,” in Arabic: a raised bruise on his forehead from praying and prostrating vigorously.
