Medieval Islam: The Caliphate in Damascus, Baghdad, Córdoba, Cairo, and Beyond

Abstract

Since this is a study that focuses on the public entertainer, it is beyond the scope of this volume to provide an exhaustive historical, political, sociological, and religious background of medieval Islam. I will provide, however, a general context that will illuminate the conditions in which public performers carried out their professions.¹ The various sultanates and kingdoms that achieved a degree of political and economic independence followed fashions in Baghdad and other urban centers, establishing smaller versions of the courts of the Abbasids, and the poets, musicians, dancers, and other public entertainers would have attempted to emulate the public entertainers’ performances in their local courts. Important public entertainers, such as poets and musicians who were stars, were mobile and traveled frequently. In addition to their artistry, they often became boon companions (nadim) to a ruler because of their wit, style, and familiarity with adab (courtly and elite literary) culture, which often made them rich, powerful, and famous. For example, in Córdoba we encounter the famous musician Ziryab; he became a towering figure in the caliphal court there. He was famous not only for his original musical compositions and innovations, but he also set styles in cuisine, clothing, perfume, and other aspects of the elite lifestyles of his time.