Djinns (Jinn) or genies are supernatural creatures in Arab folklore and Islamic teachings which occupy
a parallel world to that of mankind.
Together, jinn, humans and angels make up the three sentient creations of Allah. According
to the Qur’an, there are two creations that have
free will: humans and jinn. The
Qur’an mentions that jinn are made of smokeless flame or "scorching
fire". Like human beings, the jinn can also be good, evil, or neutrally benevolen.
The genie has become more analogous
to a demon, with the Devil as
the most powerful of the genies.
The first recorded jinn to be disobedient is Iblis.
Disbelieving, disobedient jinn and humans are known as shayateen (satans).
“Indeed We created man from dried clay of black smooth mud. And We created the Jinn before that from the smokeless flame of fire” (Quran 15:26-27)
In Moroccan mythology, the Jnun (plural, meaning “spirits/ghosts”; singular- Jenn) are invisible spirit-beings, some of which (particularly ‘Aisha Qandisha) can take the form of attractive women or monstrous hags. If this type is encountered by a person and a knife isn’t plunged into the ground, the Jenn will possess the person. This possession causes several negative physical and psychological affects and results in impotence as well. The Jenn cannot be exorcised, it can only be placated. The usual means of placation are a trance-inducing ritual, music, or animal sacrifice (music creates a state known as hal which can grant baraka to spirits which accept the music). Their etymology is related to the Jinn.
The mluk (sing. melk) are abstract entities that gather a number of similar jinn (genie spirits). The participants enter a trance state (jedba) in which they may perform spectacular dances. By means of these dances, participants negotiate their relationships with the mluk either placating them if they have been offended or strengthening an existing relationship. The mluk are evoked by seven musical patterns, seven melodic and rhythmic cells, who set up the seven suites that form the repertoire of dance and music of the Gnawa ritual. During these seven suites, seven different types of incense are burned and the dancers are covered by veils of seven different colours.
Each of the seven families of mluk is populated by many "characters" identifiable by the music and by the footsteps of the dance. Each melk is accompanied by its specific colour, incense, rhythm and dance. These entities, treated like "presences" (called hadra, Arabic: حضرة) that the consciousness meets in ecstatic space and time, are related to mental complexes, human characters, and behaviors. The aim of the ritual is to reintegrate and to balance the main powers of the human body, made by the same energy that supports the perceptible phenomena and divine creative activity.
Some of the most famous figures in Moroccan
legends and literature are Aisha Qandisha
and the Djinns (genies).
The legend of Aisha Qandisha
is that of a beautiful seductive woman with the legs of a goat,
who lives in riverbeds and flames. Aisha often appears to men
in dreams and may leave them impotent for life. Moroccan children
fear her presence. According to genie legends, these spirits
frequent places associated with water to create mischief in
"She is both a hunter and a healer, sometimes
appearing as a beautiful (irresistibly seductive) woman and
sometimes as a Hag. When she possesses a man, she does not take
over the new host but she opens the man to the storm of incoming
Jnun and Jinns, demons, and
sorcerous particles of all kind; making the man a traffic zone
of cosmodromic data. This is why she is feared. And she never
leaves, she always resides in the man to guarantee his total
openness which is not always pleasant. According to Moroccans,
the only way to feel comfortable with Aisha (the new partner
/ lover) is participating with her especially through passionate
and wild music rites."
Source: Tales of Taromet http://aichaqandisha.blogspot.com/2007/11/who-is-aicha-qandisha.html
An alternate proposal is that Kandicha was derived from a real historical figure, namely a Moroccan "countess" (contessa) from El Jadida who helped resist the Portuguese by seducing soldiers, who were then killed by Moroccan fighters lying in wait.
"90.9% of the respondents believe in the
evil eye and more than 85% in jnoun
and black magic (s'hour). 70.7% believe in the tqaf
and 37.6% in clairvoyance. These variations are related to the
degree of authority of the beliefs themselves.
Those relating to jnoun, black magic and evil
eye are spent by both orthodox beliefs and local traditions,
while tqaf and clairvoyance that are outside of local traditions.
There is a belief that people who are higher
educated differ in opinion.High rates were observed among respondents
with tertiary education: more than 77% believe in jnoun, the
evil eye and black magic. Note also that the ritual practices
and beliefs do not necessarily coincide: 67% of respondents
do prayers while 91% believe in jnoun."