"Mamabies" among the Afro-Baloch community: Social status and cultural heritage of a low caste community in Iran
Proposed project is about songs sung by women for women during pregnancy, delivery and postpartum. I will call these songs "mamabies". Mamabies are recited in the Afro-Baloch community along the coast in south-eastern Iran (Afro-Baloch refers to people in Iran of African origin who adopted the Balochi language). Unlike lullabies, mamabies are only attested in the Afro-Baloch community. No research has been done on this tradition. They represent a highly threatened part of the cultural heritage of the Afro-Baloch communities.
The aim of the project is to systematically digitize and analyse the form and contents of the songs for the first time. Their documentation and textual as well as contextual analysis will open important perspectives onto linguistic and cultural dynamics in this region. I intend to verify the hypothesis that this tradition along with spirit-possession beliefs and healing ceremonies is of African Origin.
In the first two years, field data will be collected, digitized, transcribed, translated and archived (stage 1). The transcription and translation of these songs will enable us to analyse their content, particularly their themes and motifs (stage 2). In the last year, the results will be published in the form of a book and in articles. According to the principles of "Open Science", the collected data will be made freely available in the ELDP archive (stage 3).
Final report
This project set out to document and analyze “Mamabies” (a term coined by the author), an endangered tradition of ritual songs performed by Afro-Baloch (AfB) communities in Sistan and Balochistan province, Iran. The term ‘Afro-Baloch’ refers to the people of African origin in Iran who adopted Balochi, an Iranian language of the Indo-European language family. The mamabies songs, which are sung during pregnancy, childbirth, and the postpartum period, function as spiritual invocations, emotional outlets, and communal rituals, all deeply rooted in oral tradition. The project aimed both to preserve this endangered cultural heritage and to investigate its social, linguistic, and spiritual dimensions.
While the initial focus was primarily linguistic and ethnographic, the scope of the research broadened as research progressed. It came to include musicological analysis, particularly in relation to Eastern African musical influences embedded in the songs. The study also developed a stronger engagement with questions of gender, ritual performance, and the role of marginalized voices in preserving and transmitting cultural memory.
The methodology combined participant observation, ethnographic interviews, and audio/video recordings of the songs. Fieldwork was carried out between 2018 and 2023 in multiple coastal villages across southern Balochistan. The research adhered to strict ethical standards, including informed consent, the option of anonymity, and fair compensation for all participants. Elder women, particularly those from AfB communities, were the primary knowledge holders and performers.
An important component of the project was the involvement and training of community members in data collection. This participatory approach not only enhanced access and trust during fieldwork, but also helped to build local capacity for cultural documentation. The project was severely affected by the COVID-19 pandemic, during which many singers sadly passed away before they could be reached. I adapted to lockdown restrictions by training local community members, who played a vital role in continuing the documentation process despite the challenges.
The project also included the digital archiving and transcription of the mamabies recordings, as well as the development of two online corpora. These materials have been curated for long-term accessibility and are intended to support future efforts in cultural preservation and scholarly research.
The research revealed that mamabies are ritual ceremonial songs performed exclusively by women, for women, within female-only spaces. Unlike lullabies, mamabies are not directed at children but rather addressed to mothers, offering protection, spiritual strength, and emotional relief during vulnerable maternal periods. Their performance style is unaccompanied (without musical instruments) and slow-paced, relying solely on voice and breath.
Mamabies songs are rich in religious invocation, poetic metaphor, and moral reflection. They often call upon saints, articulate ethical values tied to communal life, and explore themes of mortality, transmission across generations, and spiritual protection. Some lyrics also carry traces of historical trauma, including references that echo the enduring impact of slavery.
Traditionally performed at various stages of the maternal cycle, these rituals have significantly declined. Today, mamabies songs survive mostly in memory, and when performed, are usually sung only after childbirth—and only in a few coastal villages, by elderly women. This decline reflects a broader erosion of oral transmission, shaped by urban migration, hospital-based childbirth, the medicalization of maternal care, shifting gender roles, and the continued marginalization of AfB communities.
The songs are relatively short and characterized by frequent repetition. A closer analysis of mamabies lyrics reveals that AfB female singers acted as bridges to society, performing poets’ ideologies learned through oral transmission. For many leading singers, mamabies performances also provided a source of income through appearances at local Baloch postpartum ceremonies outside their own communities. The lyrics reflect shifting Islamic ideology, including expressions of longing, memory, and desire. I did not find many explicitly African elements in the mamabies songs; however, one song stands out for expressing longing and desire through references to perfumes made in Zanzibar, suggesting a subtle sensory link to East African heritage.
From a musicological perspective, although AfB communities have largely adopted the Balochi language, some have retained musical structures that are closely aligned with East African traditions. Many mamabies use a pentatonic scale (a hallmark of East African music), as well as employing a call-and-response format and a polyrhythmic approach, both defining features of the region’s musical expression.
In conclusion, mamabies songs are far more than remnants of folklore. They represent a powerful fusion of ritual care, spiritual expression, and female resilience, deeply rooted in the lived experiences and historical memories of AfB women. As younger generations grow more distant from this tradition, the risk of cultural loss becomes greater. This study contributes to preserving a vanishing form of woman-centered oral tradition, where voice, memory, and ritual converge in quiet but enduring ways.
The project opens several new directions for research. One line of inquiry concerns how endangered oral traditions can be revitalized without leading to their commodification. Another focuses on the role of female-led ritual performance in supporting spiritual health within marginalized communities. Additionally, the AfB community’s linguistic variation raises broader questions about identity, language contact, and cultural hybridity. A particularly intriguing avenue for future investigation is the cognitive mechanisms that allow individuals or communities to retain musical structures even after losing their ancestral language.
Findings from the project have been disseminated through prestigious academic conferences, seminars, and workshops focusing on oral traditions and Iranian studies, as well as public lectures. Two popular science articles have been submitted to national/international platforms, including Språktidningen. The results have been published or are in the process of being published in the form of a book, a monograph, and six articles in peer-reviewed journals and through established printing houses. Audio and video recordings have been documented and archived in both a digital and open-access repository (cf. Publications). Ethical access to select recordings ensures that both academic and community stakeholders can benefit from the research.
The project has also involved collaboration with Iranian studies institutes in Iran, Europe, Canada, and the USA; music institutes in Eastern and Southern Africa, Germany, and Sweden; regional scholars; and women’s oral history initiatives.
Equally important was the work conducted within the communities themselves. In addition to training younger community members in documentation skills, a simplified song template was developed to support cultural continuity and intergenerational learning. These materials were shared with local elders and educators to help reintroduce mamabies traditions in accessible formats. A copy of the recorded songs, in a CV formate, was also provided to the singers.
While the initial focus was primarily linguistic and ethnographic, the scope of the research broadened as research progressed. It came to include musicological analysis, particularly in relation to Eastern African musical influences embedded in the songs. The study also developed a stronger engagement with questions of gender, ritual performance, and the role of marginalized voices in preserving and transmitting cultural memory.
The methodology combined participant observation, ethnographic interviews, and audio/video recordings of the songs. Fieldwork was carried out between 2018 and 2023 in multiple coastal villages across southern Balochistan. The research adhered to strict ethical standards, including informed consent, the option of anonymity, and fair compensation for all participants. Elder women, particularly those from AfB communities, were the primary knowledge holders and performers.
An important component of the project was the involvement and training of community members in data collection. This participatory approach not only enhanced access and trust during fieldwork, but also helped to build local capacity for cultural documentation. The project was severely affected by the COVID-19 pandemic, during which many singers sadly passed away before they could be reached. I adapted to lockdown restrictions by training local community members, who played a vital role in continuing the documentation process despite the challenges.
The project also included the digital archiving and transcription of the mamabies recordings, as well as the development of two online corpora. These materials have been curated for long-term accessibility and are intended to support future efforts in cultural preservation and scholarly research.
The research revealed that mamabies are ritual ceremonial songs performed exclusively by women, for women, within female-only spaces. Unlike lullabies, mamabies are not directed at children but rather addressed to mothers, offering protection, spiritual strength, and emotional relief during vulnerable maternal periods. Their performance style is unaccompanied (without musical instruments) and slow-paced, relying solely on voice and breath.
Mamabies songs are rich in religious invocation, poetic metaphor, and moral reflection. They often call upon saints, articulate ethical values tied to communal life, and explore themes of mortality, transmission across generations, and spiritual protection. Some lyrics also carry traces of historical trauma, including references that echo the enduring impact of slavery.
Traditionally performed at various stages of the maternal cycle, these rituals have significantly declined. Today, mamabies songs survive mostly in memory, and when performed, are usually sung only after childbirth—and only in a few coastal villages, by elderly women. This decline reflects a broader erosion of oral transmission, shaped by urban migration, hospital-based childbirth, the medicalization of maternal care, shifting gender roles, and the continued marginalization of AfB communities.
The songs are relatively short and characterized by frequent repetition. A closer analysis of mamabies lyrics reveals that AfB female singers acted as bridges to society, performing poets’ ideologies learned through oral transmission. For many leading singers, mamabies performances also provided a source of income through appearances at local Baloch postpartum ceremonies outside their own communities. The lyrics reflect shifting Islamic ideology, including expressions of longing, memory, and desire. I did not find many explicitly African elements in the mamabies songs; however, one song stands out for expressing longing and desire through references to perfumes made in Zanzibar, suggesting a subtle sensory link to East African heritage.
From a musicological perspective, although AfB communities have largely adopted the Balochi language, some have retained musical structures that are closely aligned with East African traditions. Many mamabies use a pentatonic scale (a hallmark of East African music), as well as employing a call-and-response format and a polyrhythmic approach, both defining features of the region’s musical expression.
In conclusion, mamabies songs are far more than remnants of folklore. They represent a powerful fusion of ritual care, spiritual expression, and female resilience, deeply rooted in the lived experiences and historical memories of AfB women. As younger generations grow more distant from this tradition, the risk of cultural loss becomes greater. This study contributes to preserving a vanishing form of woman-centered oral tradition, where voice, memory, and ritual converge in quiet but enduring ways.
The project opens several new directions for research. One line of inquiry concerns how endangered oral traditions can be revitalized without leading to their commodification. Another focuses on the role of female-led ritual performance in supporting spiritual health within marginalized communities. Additionally, the AfB community’s linguistic variation raises broader questions about identity, language contact, and cultural hybridity. A particularly intriguing avenue for future investigation is the cognitive mechanisms that allow individuals or communities to retain musical structures even after losing their ancestral language.
Findings from the project have been disseminated through prestigious academic conferences, seminars, and workshops focusing on oral traditions and Iranian studies, as well as public lectures. Two popular science articles have been submitted to national/international platforms, including Språktidningen. The results have been published or are in the process of being published in the form of a book, a monograph, and six articles in peer-reviewed journals and through established printing houses. Audio and video recordings have been documented and archived in both a digital and open-access repository (cf. Publications). Ethical access to select recordings ensures that both academic and community stakeholders can benefit from the research.
The project has also involved collaboration with Iranian studies institutes in Iran, Europe, Canada, and the USA; music institutes in Eastern and Southern Africa, Germany, and Sweden; regional scholars; and women’s oral history initiatives.
Equally important was the work conducted within the communities themselves. In addition to training younger community members in documentation skills, a simplified song template was developed to support cultural continuity and intergenerational learning. These materials were shared with local elders and educators to help reintroduce mamabies traditions in accessible formats. A copy of the recorded songs, in a CV formate, was also provided to the singers.