The practice of Busheri Matam, or more broadly the “ring of consolation,” has deep roots in the Shia Muslim tradition, especially in relation to mourning rituals associated with the martyrdom of Imam Husayn, the grandson of the Prophet Muhammad, at the Battle of Karbala in 680 AD. The tradition of matam (ritual mourning) holds a central place in Shia communities worldwide. “Busheri Matam,” as it is now known in the Gulf and East African regions, represents a regional adaptation of these practices, spreading as Shia communities expanded across the globe.
Origins and Evolution of Matam
Matam involves mourning rituals that include acts of self-flagellation, chest-beating, and rhythmic chanting to express grief and devotion. This form of ritual is particularly prominent during Muharram, the first month of the Islamic calendar, culminating on Ashura, the day marking Imam Husayn’s martyrdom.
Historically, matam practices evolved in different parts of the Shia world, with each region contributing its own local customs and variations. The Gulf and East Africa—two regions with significant Shia populations—have been central to the spread and adaptation of matam practices over centuries. Busheri Matam, specifically, likely took shape as these communities sought to create their unique expressions of devotion, influenced by local cultures and social dynamics.
Spread of Busheri Matam in the Gulf and East Africa
The Persian Gulf: Shia communities in Bahrain, Kuwait, Saudi Arabia (particularly in the Eastern Province), and Iraq have long been connected through shared religious practices, including matam. Over time, these communities developed their own styles of lamentation, often incorporating local language, rhythms, and poetry.
The term “Busheri” seems to have derived from Bushehr, a coastal city in southern Iran. Bushehr has long been a cultural and religious center for Shia Muslims, especially during the Safavid Empire (16th to 18th centuries), which established Shia Islam as the state religion of Iran. From Bushehr, a distinct style of matam might have spread to the Gulf, particularly Bahrain, where it became localized as “Busheri Matam.”
East Africa: The spread of Shia Islam and matam rituals to East Africa, particularly in countries such as Kenya and Tanzania, can be traced to the Indian Ocean trade routes. Shia merchants, primarily from the Indian subcontinent (notably Kutch and Gujarat), settled in East African coastal cities such as Mombasa, Lamu, and Zanzibar from the 18th century onward. These communities brought their religious traditions with them, including Ashura commemorations and matam.
Over time, the cultural exchange between Indian, Arab, and local African Shia communities led to the emergence of new forms of matam in East Africa. The Busheri Matam became a significant element of these rituals, taking on a unique form that blends elements from both the Gulf and Indian Shia traditions. It has now become deeply rooted in the social and religious fabric of Shia communities in East Africa, particularly among the Khoja Shia Ithna Ashari communities.
Ritual and Symbolism in Busheri Matam
Busheri Matam often involves a ring formation where participants engage in rhythmic chest-beating (known as latmiyat) while reciting elegies and dirges in praise of Imam Husayn and other martyrs of Karbala. The ring or circle is symbolic of unity and solidarity among mourners, reflecting the communal aspect of grief. This form of matam is notable for its highly coordinated and synchronized movements, which lend a powerful visual and emotional impact to the ritual.
The unique style of Busheri Matam in the Gulf and East Africa often includes:
• Poetic recitations in Arabic, Persian, Swahili, and Gujarati, reflecting the linguistic diversity of these communities.
• Distinctive drumming patterns that help to regulate the rhythm of the chest-beating.
• Emphasis on group participation, with large numbers of mourners participating in a highly organized and ritualistic manner.
The Contemporary Role of Busheri Matam
Today, Busheri Matam continues to play a vital role in the religious life of Shia communities in the Gulf and East Africa. The annual observance of Ashura remains a key moment for the performance of Busheri Matam, drawing large crowds of participants and spectators. The practice serves not only as a form of devotional expression but also as a means of reinforcing communal bonds and preserving cultural and religious identity, particularly in the face of political and social challenges.
In the 21st century, the matam has gained even wider visibility due to the increasing migration and interconnection of Shia communities worldwide. With the growth of the Shia diaspora, the Busheri Matam can now be found in communities in the West and elsewhere, adapting once again to new contexts while maintaining its core devotional and cultural significance.
Conclusion
Busheri Matam represents a powerful and evolving tradition within Shia Islam, shaped by the historical experiences of Shia communities in the Gulf and East Africa. It is a testament to the adaptability and continuity of religious rituals across time and space, maintaining its relevance and significance for generations of Shia Muslims. The unique blend of Persian, Arab, and African elements within Busheri Matam highlights the rich cultural tapestry that defines Shia identity in these regions.
Common Saff Practices and Variations.
Whenever saff matam begins, mourners are encouraged to join the saff right away and close the circle as soon as possible. The saff usually begins with a circle formed going around an 'alam'. As more mourners join in, the circle expands. Children usually form their own saff circle inside the main saff.
There are many variations of saff matams and they are predominantly recited in Urdu / Farsi and Arabic - with minor changes in tune depending on the reciters. There are also variations in tunes and tempos of the same nawha depending on the reciter and the geographical region where saff matam happens. There are commom saff matams that are recited in different tunes and speeds in different regions of the world, for example one of the most famous saff matams, Hogayi Barbaad Hai Zainab - is recited in two different tunes depending where the reciter and the mourners are. Both tunes are nostalgic and similiar enough however they can be differentiated immediately (both variations are uploaded on the website for one to understand the difference). There are different phases of saff matam and they can be recited individually, in sequence or paired up with each other. The main phases are highlighted below:
1. Starting Nawhas / Laash.
To begin a saff, usually a matam with a slower pace is recited and if the saff is happening on an occasion where a specific pesonality is being lamented, then the nawha used to start the saff will usually be a euology of that personality (also known as a Taboot / Laash).
2. Saff Matams.
These are the common matams we all know that have been passed down from generation to generation.
3. Bishin:
On occasions when the duration of the saff matam is prolonged, Bishin is usually recited in the middle of the saff matams. Water is usually served to the mourners as they are sitting down doing matam slowly while listening to the recitation. This usually happens on the 9th and 10th night of Muharram. Bishin usually happens when saff matam is at its peak, and it ends by mourners standing up and starting saff matam again . Bishin is a farsi word that means ‘to sit’. Bishin usually has 3 parts, the 1st & 3rd part are in Farsi while the 2nd is in urdu.
Part 1 - this is a Water is usually served to the mourners as they are sitting down comparison between the holy household and the enemies of islam – it compares the dire situation of the ahlul bayt with their enemies using the farsi word KUJA (‘where’). Eg. ‘Hussain Kuja, Yazid Kuja’ – where is Hussain (as) and where is Yazid (la) – how can you even put them in the same sentence let alone compare them.
Part 2 -This is a heart wrenching euology in chronological order of the events of Karbala / or the eulogy of the personality being lamented – with a chorus recited together. Famous examples of Bishin recitations are; 'Bibiyon Mara Gaya, Nawjawaan Akbar Mera' recited on the 9th night of Muharram and 'Ya Hussain Be Watan - Haay Hussain Be Kafan' recited on the 10th night of Muharram.
Part 3 - This portion is also recited in farsi – it transitions the bishin back to saff matam
4. Ekki:
This is one way that saff matam ends. The recitations are usually in Farsi – with a short chorus what everyone replies to. When the chorus is being recited, the speed of the saff slows down. Ekki differs from Saff matam as the matam misses one beat – hence its name. Eki means ‘one’ which is why it is also called ‘wahid’ – mourners will call out ‘Ekki’, ‘Wahid’ or ‘khamosh’ right before this begins.
5. Ending Matams:
These are matams that are used to end a saff or to transition saff into Ekki. They are of a much faster tempo and the chorus are very short - sometimes as short as 2 words. such as 'Waweila Waweila'. Once the speed of the saff has increased to its highest - the saff ends with mourners calling out Ya Hussain and just standing in their positions and beating their chests.
