View source for Ta'zieh

{{Short description|Shia Islam ritual that reenacts the death of Hussein}}
{{Infobox intangible heritage
| ICH         = The ritual dramatic art of Ta'zīye
| State Party = [[Iran]], [[Iraq]] and [[Lebanon]]<ref>{{cite web | url=http://www.unesco.org/culture/ich/en/RL/00377 | title=UNESCO - Intangible Heritage Home }}</ref>
| Region      = Near East, Asia, Australasia
| Year        = 2010
|Image=1790-1800 Shia Islam Muharram Tazia images procession to river for immersion.jpg|Caption=Tazia carrying procession by Shia Muslims on Ashura in the Indian subcontinent (c. 1790-1800). The Tazia were immersed into the river or ocean.}}
{{Islamic Culture}}
{{Husayn}}
'''Ta'zieh'''{{efn|also spelled as'''Ta'zïye''', '''Ta'zīya''', '''Tazīa''', or '''Ta'ziyeh'''}} ({{langx|ar|تعزية}}; {{langx|fa|تعزیه}}; {{langx|ur|{{nastaliq|تعزیہ}}}}) means comfort, condolence, or expression of grief. It comes from the roots ''aza'' (عزو and عزى) which mean mourning. It commonly refers to [[passion play|passion plays]] about the [[Battle of Karbala]] and its prior and subsequent events. [[Lewis Pelly|Sir Lewis Pelly]] began the preface of his book about Ta'ziyeh maintaining that "If the success of a drama is to be measured by the effects which it produces upon the people for whom it is composed, or upon the audiences before whom it is represented, no play has ever surpassed the tragedy known in the Mussulman world as that of [[Hasan ibn Ali|Hasan]] and [[Husayn ibn Ali|Husain]]."<ref name="Pelly">{{cite book|last1=Pelly|first1=Lewis|title=The Miracle Play of Hasan and Husain|url=https://archive.org/details/in.ernet.dli.2015.175218|date=1879|publisher=W. H. Allen and Co.|isbn=978-1-0152-8641-2|page=III|language=en}}</ref> Years later [[Peter Chelkowski]], professor of Iranian and Islamic studies at New York University, chose the same words for the beginning of his book Ta`ziyeh, Ritual and Drama in Iran.<ref name="Chelkowski">{{cite book|last1=Chelkowski|first1=Peter J.|title=Ta'ziyeh: Ritual and Drama in Iran|url=https://archive.org/details/tazyehritualdram0000unse|date=1979|publisher=New York University|isbn=0-8147-1375-0|page=XV|language=en}}</ref>
Depending on the region, time, occasion, religion, etc. the word can signify different cultural meanings and practices:
*In [[Persian culture|Iranian cultural]] reference it is categorized as '''Condolence Theater''' or '''[[Passion Play]]''' inspired by a historical and religious event, the tragic death of Hussein, symbolizing epic spirit and resistance.
*In [[South Asia]] and in the [[Caribbean]] it refers specifically to the '''Miniature Mausoleums''' (imitations of the mausoleums of Karbala, generally made of colored paper and bamboo) used in ritual processions held in the month of Muharram.
Ta'zieh, primarily known from the Iranian tradition, is a [[Shia Islam]] ritual that reenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre on the plains of Karbala, Iraq in the year 680 AD. His death was the result of a power struggle in the decision of control of the Muslim community (called the [[Caliphate|caliph]]) after the death of Muhammad.<ref name=":0">{{Cite web|url=http://asiasociety.org/time-out-memory-taziyeh-total-drama|title=Time Out of Memory: Ta'ziyeh, the Total Drama|last=Chelkowski|first=Peter|date=2003|website=Asia Society|access-date=11 November 2017}}</ref>
Today, we know of 250 ta'zieh pieces. They were collected by an Italian ambassador to Iran, Cherulli, and added to a collection that can be found in the Vatican Library. Ta'zieh play texts were translated from Persian into French, by Aleksander Chodźko, the Polish orientalist, into Ukrainian by Ahatanhel Krymsky, Ukrainian orientalist, and into German by [[Davud Monshizadeh]], Iranian Orientalist. Various other scripts can be found scattered throughout Iran.<ref name=":2">Beeman, William O. "Theatre History #27: Learning about Ta'Ziyeh with Dr. William O. Beeman." Audio Blog Post. Theatre History. HowlRound. 27 Mar 2017.</ref>
== The origins ==
[[File:Shi'a Muslims Mourning Before Ta'ziya (CBL In 69.18).jpg|left|thumb|Shi'a Muslims Mourning Before Ta'zieh<ref>{{Cite web|title=Shi'a Muslims Mourning Before a Ta'ziya|url=https://artsandculture.google.com/asset/shi-a-muslims-mourning-before-a-ta-ziya/OQEL4UbIWDjV6Q|access-date=2021-11-30|website=Google Arts & Culture|language=en}}</ref>]]
Ta'zieh as a kind of passion play is a kind of comprehensive indigenous form considered as being the national form of Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning for Siavush) and Yadegar-e-Zariran or Memorial of Zarir.<ref>{{cite journal|last1=Alizadeh|first1=Farideh|last2=Hashim|first2=Mohd Nasir|title=When the attraction of Ta'ziyeh is diminished, the community should inevitably find a suitable replacement for it|journal=Cogent Arts & Humanities|date=2016|volume= 3|issue=1|doi=10.1080/23311983.2016.1190482|doi-access=free}}</ref><ref>{{cite book|last1=Alizadeh|first1=Farideh|last2=Hashim|first2=Mohd Nasir|title=Ta'ziyeh-influenced Theate|date=2016|publisher=CreateSpace Independent Publishing Platform |isbn=978-1519731791}}doi:10.6084/m9.figshare.3511154 &  doi:10.5281/zenodo.59379.svg</ref> The ta'zieh tradition originated in Iran in the late 17th century. Mourning for Siavosh as reflected in literature is a manifestation of all the prominent characteristics of our Islamic Shabihkhani. "Some believe that Iman Hossein's tragedy as depicted in Taziah is the next recreation of the legend of Siavosh"<ref>{{cite book|title=Manifestation of Religion in Western Drama|last=Fadaie|first=Seyed Hossein|publisher=Namayesh|year=2007|pages=182}}</ref>
There are two branches of [[Islam]]; the Sunni and the Shi'i. The Sunnis make up about 85-90% of Muslims, but the ta'zieh tradition is performed by Shia Muslims during the first month of the Muslim calendar, Muharram, one of the four sacred months of the Islam calendar.<ref name=":3">{{Cite book|title=Theatre Histories: An Introduction|last1=Zarilli|first1=Phillip B.|last2=McConachie|first2=Bruce|last3=Williams|first3=Gary Jay|last4=Sorgenfrei|first4=Carol Fisher|publisher=Routledge|year=2006|isbn=978-0-415-22727-8|location=USA|pages=81–82}}</ref> The ta'zieh is performed each year on the 10th day of Muharram, a historically significant day for the Shia Muslims because that was the day of Hussein's slaughter.  Each year the same story is told, so the spectators know the story very well and know what to expect. However, this does not negatively affect audience levels.<ref>{{Cite book|title=The Evolution of Tradition Theatre and The Development of Modern Theatre in Iran|last=Emami|first=Iraj|publisher=University of Edinburgh|year=1987|location=Scotland|pages=48}}</ref>
A strong belief in the Muslim community was that nothing created by regular people could be better than the way [[Allah]] created it, so all other creation was deemed disrespectful. Because of this, there are not many accounts-visually or otherwise- of this religious tradition. During the tradition it was very important that all spectators knew the actors were not disrespecting Allah, so most often, the actors had their scripts on stage with them so it was clear that they were not trying to depict another person that Allah did not create.<ref name=":3" /> The ritual was eventually banned by the authorities in Iran because the ritual was being exploited for political advances. Ta'zieh is not performed regularly in Iran and has not been seen at all in certain provinces of the region since 1920.<ref name=":1">{{Cite journal|last=Caron|first=Nelly|date=1975|title=The Ta'Zieh, the Secret Theatre of Iran|jstor=43620726|journal=The World of Music|volume=17|issue=4|pages=3–10}}</ref> France was the first non-Muslim country that ta'zieh was performed in 1991. Since then, the tradition has been seen in non-Iranian cities like Avignon and Paris in France, Parma and Rome in Italy, and New York City.<ref>{{Cite web|url=http://www.iranicaonline.org/articles/tazia|title=TA'ZIA|date=July 15, 2009|website=Encyclopaedia Iranica|access-date=September 18, 2017}}</ref>
==In Iranian culture==
In Iranian culture it refers to condolence theater and [[Naqqali]] which are traditional [[Persia]]n [[theatrical]] genres in which the [[drama]] is conveyed wholly or predominantly through music and singing. It dates from before the Islamic era and the [[tragedy]] of Saiawush in [[Shahnameh]] is one of the best examples.
While in the West the two major genres of drama have been [[comedy]] and [[tragedy]], in Iran, ta'zieh seems to be the dominant genre. Considered as Iranian opera, ta'zieh resembles European [[opera]] in many respects.<ref>[http://www.bbc.co.uk/persian/arts/story/2005/10/051005_az-tehransymphony-orchestra.shtml Iranian performance] of [[Ludwig van Beethoven|Beethoven's]] 9th Symphony (BBC Persian)</ref>
[[Cinema of Iran|Iranian cinema]] and [[Persian Symphonic Music|Iranian symphonic music]] have been influenced by the long tradition of ta'zieh in Iran. [[Abbas Kiarostami]], the noted film maker, held a series of three live ta'zieh plays in Rome in 2002.<ref>{{Cite journal|last=Chelkowski|first=Peter J.|date=2005|title=Time Out of Memory: Taʿziyeh, the Total Drama|url=https://www.jstor.org/stable/4488675|journal=TDR|volume=49|issue=4|pages=15–27|doi=10.1162/105420405774763050|jstor=4488675|s2cid=57568526|issn=1054-2043}}</ref><ref>{{Cite web|last=Marshall|first=Lee|date=2003-07-14|title=Feature: Abbas Kiarostami's theatre debut|url=http://www.theguardian.com/film/2003/jul/14/theatre.artsfeatures|access-date=2022-01-29|website=the Guardian|language=en}}</ref> Kiarostami also made a documentary movie titled, "A Look to Ta'zieh" in which he explores the relationship of the audience to this theatrical form.{{When|date=January 2022}} Film director, [[Nasser Taghvaee]] also made a documentary on titled, "Tamrin e Akhar".{{When|date=January 2022}} In 2001, [[Parviz Jahed]] directed the documentary film Ta'zieh; Another Narration, exploring the mythological, religious, and ritual elements of Ta'zieh and its connection to Soug-e Siavash (Siavash's mourning) in the Shahnameh. The film features insights from prominent researchers and Ta'zieh experts such as [[Bahram Beyzai]], [[Peter J. Chelkowski]], Jaber Anasori, Laleh Taghian, and Abdul-Ali Khalili, a Ta'zieh director and performer. They discuss various aspects of this sacred ritual drama, including its dramatic structure and performance techniques. The analysis focuses on the Imam-Hossain and his brother Hazrat-e Abbas Ta'zieh, performed and filmed in rural northern Iran, particularly in Shavy-Laasht village in the Mazandaran province. The film was selected for the 44th Festival dei Popoli in Florence, Italy and the First Iranian Festival in Berkeley, CA, both in late 2003, and the third annual Tiburon International Film Festival in Tiburon, CA in early 2004.
[[Mohammad B. Ghaffari]] introduced renowned theatre directors [[Peter Brook]] and [[Jerzy Grotowski]] to ta'ziyeh during the [[Shiraz Arts Festival]] in Shiraz, Iran prior to the Iranian Revolution of 1978-79, where he produced and directed several dramas from the ta'ziyeh cycle. He subsequently produced ta'ziyeh performances at the [[Festival d'Avignon]] in France in 1992, and most notably at the Lincoln Center Festival in New York City in 2002 featuring performers from traditional [[taziyeh]] troupes in Iran, to widespread critical praise.<ref>{{Cite news |last=Jenkins |first=Ron |date=2002-07-07 |title=THEATER; An Iranian Musical Spectacle That Draws Audiences In |language=en-US |work=The New York Times |url=https://www.nytimes.com/2002/07/07/theater/theater-an-iranian-musical-spectacle-that-draws-audiences-in.html |access-date=2023-09-15 |issn=0362-4331}}</ref><ref>Beeman, William O.. (2003). The 'Taziyeh of Hor, The Taziyeh of the Children of Moslem, The Taziyeh of Imam Hussein'. Theatre Journal. 55. 359-362. 10.1353/tj.2003.0053. <</ref> This production and its preparation was presented in a documentary film, ''The Troupe'', directed by Rabeah Ghaffari.<ref>{{Citation |last=Ghaffari |first=Rabeah |title=The Troupe |url=https://www.imdb.com/title/tt0421266/?ref_=nm_flmg_slf_1 |type=Documentary |access-date=2023-09-15 |others=Laura Aswad, William Beeman, Mohammad Ghaffari}}</ref>
==The development of ta'ziyeh as a dramatic form==
The appearance of the characteristic dramatic form of Persia known as the ''ta'zïye'' [[Mu'izz ad-Dawla]], the king of [[Buyid dynasty]], in 963. As soon as the [[Safavid dynasty]] was established in [[Persia]] in 1501 and the Shiism of the [[Twelvers]] adopted as the official sect, the state took interest in theater as a tool of propagating Shiism.<ref>[http://www.islamonline.net/IOL-English/dowalia/art-2000-August-03/art3.asp Iranian Theater Propagates Shiism]</ref>
The development of ta'ziyeh reached its peak during the Qajar period thanks, in particular, to the great interest shown by the Qajar Kings, especially Nasser al-Din Shah (1848-1896). A most important development during this period is that "due to popular demand," performances of ta'ziyeh were no longer restricted to the month of Muharram and the following month of Safar, but extended to other times throughout the year. In the beginning, there were only certain dates in the Shiite calendar when ta'ziyeh could be performed. For example, the ta'ziyeh of the martyrdom of Ali, the first Shiite Imam and the fourth caliph, was performed on the 21st of Ramadan, the day Ali died from a sword wound. Popular appreciation of this dramatic form encouraged the growth of the ta'ziyeh repertory. Other stories from the Islamic tradition as well as biblical stories and Iranian national legends were incorporated. Since staging a performance involved a great deal of effort, a ta'ziyeh group would usually perform in the same place for several days, mixing the Muharram repertory with what we can call the fringe ta'ziyeh plays. Among these plays, we finally come across comedies, or more accurately, satires, concerning various perceived enemies of the Shiites. In particular, these satires concentrated on Umar, Uthman, and Abu Bakr, the three caliphs who, according to popular Shiite belief, were instrumental in preventing Ali from becoming the first caliph/Imam after the death of Muhammad.<ref>Anvar, Iraj. “Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram
Mourning Ritual to Secular and Comical Theatre.” Peripheral Taʿziyeh: The
Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical
TheatrE, vol. 49, 2005, pp. 61–67. JSTOR, www.jstor.org/stable/4488681.</ref>
=== Guriz or flashbacks in Ta'zieh ===
It is theoretically possible to incorporate any event, from the day of creation to the day of judgment, into the repertory of ta'ziyeh. This is possible through a very important theatrical device that played a crucial role in facilitating the importation of subjects foreign to the main topic into the ta'ziyeh plays without creating any technical or moral problems: guriz. The word guriz is the verbal noun of gurikhtan, which means, "to flee." In ta'ziyeh this word, combined with the aux-iliary verb zadan, acquired a very specific meaning: "to refer to the events of Kar-bala." In English "guriz zadan", could be replaced by "flashback" or "flash forward," as the case may be. The authors of ta'ziyeh plays, by utilizing guriz, created an opening for the introduction of non-Shiite plays into the ta'ziyeh repertory. They simply employed this theatrical technique as a digression: in the secular ta'ziyeh there is usually a glance at one of the events of Karbala, often toward the end of the play, but this varies depending on the action of the play. The device of guriz provided a valid pretext for producers to use stories other than the Shiite martyrdom tragedies to entertain people. Through the guriz, all human conditions are directly or indirectly related to the suffering and tragic death of the "Martyrs of Karbala," regardless of whether the story takes place before or after the Karbala massacre. The Cerulli collection, housed in the [[Vatican library]], contains some 1,05,05 ta'ziyeh manuscripts collected by the Italian Ambassador, Enrico Cerulli, between the years 195o and 1955. These five mnuscripts are (I) The Majles-e Amir Teymour, (2) The Dervish of the Desert, (3) Mansar Halldj, Shams-e Tabriz and Mulla of Ram, (4) The Majles-e Shahanshah- Iran, Nasser al-Din Shah, and (5) Majles of Tax Collection by Muinolbu. These manuscripts shed a light on the process by which Ta'ziyeh gradually branched off into a would-be secular theatre.<ref name="jstor.org">Anvar, Iraj. “Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical Theatre.” Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical TheatrE, vol. 49, 2005, pp. 61–67. JSTOR, www.jstor.org/stable/4488681.</ref>
=== Decline of Ta'zieh plays In Iran ===
{{See also|Commemoration of Husayn ibn Ali}}
The decline of ta'ziyeh began in response to the interference and opposition of several elements and forces. To begin with, during the last years of the Qajar rule, although ta'ziyeh never lost its popularity, the support of the court and the well-to-do started to wane, causing the ta'ziyeh performers to seek sponsorship from the lower strata of society. 'After [[Naser al-Din Shah Qajar|Nasser al-Din Shah]], the glory and the importance of ta'ziyeh gradually diminished but its popularity was conserved. The professional troupes which were newly formed toured the cities all year round and performed".
The rural population did not enjoy the sophistication (or perhaps the decadence) of the more advanced urban society. They were definitely more interested in the traditional ta'ziyeh and had no interest in comical developments in their yearly mourning ritual.<ref name="jstor.org"/>
=== Women in Ta'zieh ===
=== Importance of the space ===
In Iranian Ta'zieh, the space is very important. Originally, Ta'zieh dramas, like other Western [[Passion Play|passion plays]], were performed in a public arena, allowing large audiences to convene. They later moved to smaller spaces like courtyards and spaces within the homes of private citizens, but eventually ended up being performed in temporarily constructed performance spaces called tekyehs or husseiniyehs. The most famous tekyeh is called the [[Tekyeh Dowlat]]. It was built by the King of Iran, [[Naser al-Din Shah Qajar]] and was situated in the capital of [[Iran]], [[Tehran]]. Tekyehs (with the exception of the Tekyeh Dowlat) were almost always constructed for temporary use and then demolished at the end of Muharram. The Tekyeh Dowlat was a permanent space built in 1868, but was torn down 79 years later in 1947 due to lack of use and replaced by a bank. Its capacity was 4,000.<ref>{{Cite book|title=Eternal Performance: Ta'ziyeh and Other Shiite Rituals|last=Chelkowski|first=Peter|publisher=Seagull|year=2010|isbn=978-1-9064-9-751-4|location=India|pages=92–105|chapter=Identification and Analysis of the Scenic Space in Traditional Iranian Theatre}}</ref> They varied in size fitting anywhere between a dozen to thousands of spectators.<ref name=":0" /> Tekyehs were somewhat open-air, but almost always had awnings of sorts atop the building to shield the spectators and actors from sun and rain. All performers in a Ta'zieh ceremony never leave the stage. The stage is elevated between one and two feet from the ground and split into four areas: one for the protagonists, antagonists, smaller subplots, and props.<ref name=":1" />
Unlike most other theater traditions, especially Western theater traditions, the Ta'zieh stage and its use of props were minimalist and stark. All tekyehs are designed so that the Ta'zieh performance happens in-the-round to create a more intense experience between the actors and the audience.<ref>{{Cite web|url=http://asiasociety.org/time-out-memory-taziyeh-total-drama|title=Time Out of Memory: Ta'Zieh, The Total Drama|last=Chelkowski|first=Peter|date=2003|website=Asia Society|access-date=11 November 2017}}</ref> This enabled spectators to feel like they were part of the action on stage and sometimes encouraged them to become physically active members of the performance; it was also not unusual for combat scenes to occur behind the audience.<ref name="Iranica">{{cite encyclopedia|title=THE PASSION OF HOSAYN|encyclopedia=Encyclopedia of Iranica|url=http://www.iranicaonline.org/articles/hosayn-b-ali-iii|access-date=2008-01-19}}</ref>
=== Costumes and character distinctions ===
Costumes for a Ta'zieh ritual are what is considered representational in terms of theater. They are not meant to present reality. The main goal of the costume design was not to be historically accurate, but to help the audience recognize which type of character they were looking at. Villains were the Sunni opponents of Imam Hussein. They are always dressed in red. The protagonists, family members of Hussein, were dressed in green if they were male characters.<ref name=":2" /> Anyone about to die was in white. Women were always portrayed by men in all black.<ref name=":0" /> One way to distinguish character besides the color of their costume is how they deliver their lines. The protagonists or family of Imam Hussein sing or chant their lines and the villains will declaim their lines. If a person is traveling in a circle on or around the stage, that meant they were going a long distance (usually represented the distance between Mecca and Karbala). Traveling in a straight line represented a shorter distance traveled.<ref name=":2" />
=== Animals in the tradition ===
Often animals were used in the performance of a Ta'zieh. Often performers of Ta'zieh were on horseback. Most men from the time they were young would train to be able to ride a horse because it was an honor in Persian culture to be part of the Ta'zieh, especially to play a character who rode horseback. There were often other animals used in the tradition as well. These other animals were: camels, sheep or sometimes even a lion.<ref name=":2" /> Usually the lion is not real, and is just represented by a man wearing a  mask of some sort.
==''Ta'zīya'' around the world==
{{see also|Chup Tazia|Muharram Rebellion|Hussaini Dalan}}
[[File:1878 Shia Muslim Muharram Tazia Taboot in water immersion Bombay by Emile Bayard.jpg|thumb|1878 painting of Tazia immersion in the Bay of Bengal by Shia Muslims (Emile Bayard).]]
Shia [[Muslim]]s organise a Ta'zieh (locally spelled as Ta'zīya, Tazia, Tabut or Taboot) procession on the [[day of Ashura]] in [[South Asia]].<ref name=reza89/>
The artwork is a colorfully painted bamboo and paper mausoleum. This ritual procession is also observed by South Asian Muslims throughout present-day India, Pakistan and Bangladesh, as well as in countries with large historical South Asian diaspora communities established during the 19th century by [[Indian indenture system|indentured labourers]] to British, Dutch and French colonies. Notable regions outside of South Asia where such processions are performed include:
* [[British Guiana]] and [[Surinam (Dutch colony)|Dutch Surinam]] ( now [[Guyana]] and [[Suriname]])<ref>Specifically, ''Trinidad Sentinel'' 6 August 1857. Also, Original Correspondence of the British Colonial Office in London (C.O. 884/4, Hamilton Report into the Carnival Riots, p.18)</ref>
* [[Fiji]]<ref>[https://books.google.com/books?id=EYsCAAAAMAAJ&q=Taziya Peasants in the Pacific: a study of Fiji Indian rural society ''By Adrian C. Mayer'']</ref>
* [[Trinidad and Tobago]]<ref>[https://books.google.com/books?id=-RVxpc1bWDwC&dq=Taziya&pg=PA23 Jihad in Trinidad and Tobago, July 27, 1990 ''By Daurius Figueira'']</ref><ref>{{cite book | author=Korom, Frank J. | title= Hosay Trinidad: Muharram Performances in an Indo-Caribbean Diaspora | publisher=University of Pennsylvania Press, Philadelphia | year=2003 |isbn=978-0-8122-3683-5}}</ref>
*[[Jamaica]]<ref>Shankar, Guha (2003) Imagining India(ns): Cultural Performances and Diaspora Politics in Jamaica. Ph.D. Dissertation, University of Texas, Austin [http://www.lib.utexas.edu/etd/d/2003/shankarg036/shankarg036.pdf pdf] {{Webarchive|url=https://web.archive.org/web/20081219044538/http://www.lib.utexas.edu/etd/d/2003/shankarg036/shankarg036.pdf |date=2008-12-19 }}</ref>
In the [[Caribbean]] it is known as [[Tadjah]] and was brought by [[Shia Muslim|Shia Muslims]] who arrived there as [[indentured labourer]]s from the Indian subcontinent.
Since 1790 in [[Mauritius]] the practice is known as ''Ghoon Festival'' or ''Yamsé''.<ref>{{cite web |title=Truth and Justice Commission 2011 Report Volume 1 |url=https://www.usip.org/sites/default/files/ROL/TJC_Vol1.pdf |website=Page 174 |publisher=Government of Mauritius |access-date=2021-07-02}}</ref><ref>{{cite web |title=Yamse festival in Mauritius |url=https://www.lonelyplanet.com/thorntree/forums/africa/mauritius/yamse-festival-in-mauritius |publisher=Lonely Planet |access-date=2021-07-02}}</ref> A group of believers celebrate the 10th day of Muharram and first month of the Islamic calendar in Plaine Verte within the capital city [[Port Louis Mauritius]].<ref>{{cite web |last1=Toorab |first1=Reshad |title=Célébration du Yamse : Moidine Lindor, le doyen, perpétue la tradition |url=https://defimedia.info/celebration-du-yamse-moidine-lindor-le-doyen-perpetue-la-tradition |publisher=Defimedia |access-date=2016-10-16}}</ref>
[[Tabuik]] made from bamboo, rattan and paper is a local manifestation of the [[Remembrance of Muharram]] among the [[Minangkabau people|Minangkabau]] people in the coastal regions of [[West Sumatra]], [[Indonesia]], particularly in the city of [[Pariaman]] culminates with practice of throwing a ''tabuik'' into the sea has taken place every year in [[Pariaman]] on the [[Day of Ashura|10th of Muharram]] since 1831 when it was introduced to the region by [[Shia Muslim]] ''[[sepoy]]'' troops from [[India]] who were stationed and later settled there during the [[British Raj]].<ref name="jpost">{{cite news   | last = Bachyul Jb  | first = Syofiardi  | title = 'Tabuik' festival: From a religious event to tourism  | newspaper = [[The Jakarta Post]]  | date = 2006-03-01  | url = http://www.tmcnet.com/usubmit/2006/03/01/1422473.htm  | access-date = 2007-01-27 }}</ref>
During the colonial-era in British India, the ta'zieh (ta'zīya) tradition was not only practiced by Shia Muslims and other Muslims but joined by Hindus.<ref>[https://books.google.com/books?id=fl53OdhuU7YC Beyond Hindu and Muslim: Multiple Identity in Narratives from Village India ''By Peter Gottschalk, Wendy Doniger'']</ref><ref>[https://books.google.com/books?id=_2E9AAAAIAAJ&q=Taziya Toleration through the ages ''By Kālīpada Mālākāra'']</ref> Along with occasions for Shia Muslims and Hindus to participate in the procession together, the Tazia procession have also been historic occasions for communal conflicts between Sunni and Shia Muslims and between Hindu and Muslim communities since the 18th century, most notably the [[Muharram Rebellion]] which took place in [[Sylhet]] and was the first ever anti-British rebellion in the [[Indian subcontinent]].<ref name=reza89>{{cite book|author=Reza Masoudi Nejad | editor= Peter van der Veer|title=Handbook of Religion and the Asian City: Aspiration and Urbanization in the Twenty-First Century |url=https://books.google.com/books?id=_gtaCAAAQBAJ&pg=PA95 |year=2015|publisher=University of California Press|isbn=978-0-520-96108-1|pages=89–105}}</ref><ref>{{cite book|author=Shabnum Tejani|title=Indian Secularism: A Social and Intellectual History, 1890-1950|url=https://books.google.com/books?id=6xtrPKa59j4C&pg=PA58|year =2008|publisher=Indiana University Press|isbn= 978-0-253-22044-8|pages=58–61}}</ref> Also in the [[Sylhet region]], a riot took place between the Muslim and [[Bengali Hindus|Hindu]] communities, even though Sylhet's Faujdar [[Ganar Khan]] tried to prevent it from forming, due to Tazia coinciding with a Hindu chariot procession. These Tazia processions have traditionally walked through the streets of a town, with mourning, flagellation and wailing, ultimately to a local lake, river or ocean where the Tazia procession would be immersed in the water.<ref name=reza89/>
==Gallery==
<gallery mode="packed">
File:Mourning_of_Holy_Ashura_18.jpg|Tazia in Bangladesh
File:Ta'zieh in Tajrish, Tehran.jpg|Ta'zieh in Tajrish, Tehran
File:Shirazfestival10.jpg|Ta'ziye in [[Shiraz Arts Festival]],1977
File:Mourning_of_Holy_Ashura_11.jpg|Tazia from [[Hussaini Dalan]], [[Dhaka]]
File:Tabuik festival.jpg|Tabuiks being lowered into the sea in [[Pariaman]], [[Indonesia]].
File:Brooklyn Museum - Women Attending a Ta'ziyeh Performance One of 274 Vintage Photographs.jpg|Women Attending a Ta'Zieh 1800s
File:Tazieh.jpg|Persian Tekyeh for Ta'Zieh
File:Ta'zieh-001.jpg|Ta'azieh in Tehran
</gallery>
<gallery mode="packed">
File:Ta'zieh.jpg|A man acting as [[Umar ibn Sa'ad]] whose army set fire to Imam Hussain's family tents, Iran
File:Mourning of Muharram in cities and villages of Iran-342 16 (136).jpg|Ta'zieh in Iran, mourning of Muharram
File:Muharram in cities and villages of Iran-342 16 (146).jpg|All actors use scripts during performance
File:Ta'zieh in Iran 08.jpg|Ta'zieh (2017) in Iran
File:Ta'zieh in Iran 03.jpg|Ta'zieh (2003) in Iran
</gallery>
==See also==
{{Portal|Iran}}
*[[Hosay]]
*[[Islam in Iran]]
*[[Tekyeh]]
*[[Muharram]]
== Notes ==
{{Notelist}}
== References ==
{{reflist}}
==Further reading==
* [[William O. Beeman]], ''Iranian Performance Traditions'', Costa Mesa, CA: 2011
* Bahram Bezae'i, ''Namayesh dar Iran'', Tehran: 1345/1966
* Peter Chelkowski, ''Ta'ziyeh: Ritual and Drama in Iran'', New York 1979
*[[Willem Floor]], ''Theatre in Iran'', Washington, D.C.: 2005
* [[Aleksander Chodźko]], ''Théâtre persan, choix de Téaziés ou drames traduits pour la première fois de persan par A. Chodźko'', Paris 1878.
* [[Ahatanhel Krymsky]], ''Pers’kyj teatr'', Kyjiw, 1925.
* Davoud Monchi-Zadeh, Taʿziya : Das persische Passionsspiel, mit teilweiser Übersetzung der von Litten gesammelten Stücke, Stockholm: Skrifter utgivna av K. Humanistiska Vetenskapssamfundet I Uppsala, 1967
==External links==
{{commons category|Ta'zieh}}
*[http://www.britannica.com/eb/article-9058665/Passion-play Passion play] an article by Encyclopædia Britannica online
*[http://www.iranica.com/newsite/articles/v12f5/v12f5036d.html The passion (ta¿zia) of Husayn ibn 'Ali] {{Webarchive|url=https://web.archive.org/web/20071021134250/http://iranica.com/newsite/articles/v12f5/v12f5036d.html |date=2007-10-21 }} by Peter Chelkowski, an article of Encyclopædia Iranica.
*[http://www.bbc.co.uk/persian/arts/story/2005/02/050209_pm-hh-tamrin-akhar.shtml Nasser Taghvaee's documentary: Tamrin e Akhar] (BBC Persian)
*[http://www.bbc.co.uk/persian/arts/story/2005/05/050503_pm-pj-kiarostami-taazieh.shtml Abbas Kiarostami on Tazieh] (BBC Persian)
*[http://www.lianrecords.com/pgs/about_rpm.html Ta'zieh, the Persian Passion Play]
*[http://www.iranicaonline.org/articles/tazia Ta'zia] by Peter Chelkowski in [[Encyclopædia Iranica]]
*[http://dawn.com/2012/11/25/combining-creed-with-culture-2/ Combining creed with culture]
* [http://www.almuntazar.com/?p=145 The Legality of making figurine effigy (Taziyah) of the shrine] {{Webarchive|url=https://web.archive.org/web/20121126071534/http://www.almuntazar.com/?p=145 |date=2012-11-26 }}
* [http://www.almuntazar.com/?p=145 https://www.era.lib.ed.ac.uk/bitstream/handle/1842/7362/381673.] {{Webarchive|url=https://web.archive.org/web/20121126071534/http://www.almuntazar.com/?p=145 |date=2012-11-26 }}
* [http://www.jstor.org/stable/4488681.]
{{Intangible Heritage Iran}}
{{Authority control}}
[[Category:Ashura]]
[[Category:Theatrical genres]]
[[Category:Cinema of Iran]]
[[Category:Persian music]]
[[Category:Cultural depictions of Husayn ibn Ali]]
[[Category:Intangible Cultural Heritage of Humanity]]