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Rami Al-Ali has become the first Syrian designer to join France’s prestigious Federation de la Haute Couture et de la Mode as a guest member, giving him the chance to showcase his Autumn/Winter 2025 collection on the official haute couture calendar.
The invitation signifies Al-Ali’s entry into fashion’s upper echelons — to qualify, fashion houses must meet rigorous “haute couture” or “high fashion” standards and the title is legally protected under French law.
Al-Ali joins the likes of Chanel, Dior, and Schiaparelli on the official calendar next month. His latest collection will be presented on July 10, according to the provisional calendar.
It is a “historical milestone, celebrating a lifelong devotion to craftsmanship, culture, and creative expression, rooted in heritage and elevated by vision,” the fashion house posted on Instagram.
Originally from Damascus, Al-Ali honed his fashion skills in Dubai and Beirut before founding his label, Rami Al-Ali Couture, in 2001.
His creations have been worn by a variety of celebrities, including Amal Clooney, Eva Longoria, Jennifer Lopez, and Jessica Chastain.
Al-Ali’s work has been praised for seamlessly blending his Middle Eastern heritage with Western sensibilities. He is known for designing flowing silhouettes adorned with intricate, playful embellishments—creations that are both timeless and runway-worthy.
Al-Ali is one of just a handful of Arab designers on the official haute couture calendar. The lineup also includes Lebanese designers Georges Hobeika, Elie Saab, and Zuhair Murad, as well as Saudi couturier Mohammed Ashi.
Ashi, founder of Paris-based label Ashi Studio, became the first designer from the Gulf region to join the exclusive group in 2023 as a guest member. His designs have also been worn by global celebrities such as Beyonce, Anna Kendrick, and Jennifer Hudson.
“This appointment is the highlight of my career,” Ashi said in a statement posted on Instagram when the announcement was made in 2023. “I will honor it in the memory of the great couturiers who came before me and whom I now join in the pursuit of this grand tradition of excellence in creativity and savoir-faire.
source/content: arabnews.com (headline edited)
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Rami Al-Ali has become the first Syrian designer to join France’s prestigious Federation de la Haute Couture et de la Mode as a guest member. (Getty Images)
The Egyptian composer is once again working with Marvel Studio following his score on ‘Moon Knight’.
News of a second season of ‘Moon Knight’ may be scarce, but it doesn’t mean Marvel Studios has stepped away from tapping Egyptian talent to tune up their work. Award winning composer Hesham Nazih has been selected to write the score for Marvel Studios’ newest animated series ‘Eyes of Wakanda’.
Nazih’s score for the 2022 live action series ‘Moon Knight’ received international attention for incorporating elements of Egyptian musical heritage into a modern orchestral framework, and has received multiple nominations and awards, including Best Original Score for a Television Series at the 2023 International Film Critics Award.
He also composed the music for Egypt’s Pharaohs’ Golden Parade in 2021, and has worked on a number of Egyptian blockbusters including ‘Kira & El Gin’, ‘Welad El Rizk’, ‘The Blue Elephant’, ‘The Originals’, and ‘Ibrahim Labyad’. He was the first composer to have ever received the Faten Hamama Excellence Award by the Cairo International Film Festival in 2018.
‘Eyes of Wakanda’ is part of Marvel’s animated expansion and is a spin-off from the Black Panther franchise. The series follows Wakandan warriors throughout history as they search for vibranium artefacts across the globe, and is scheduled for release on August 6th, 2025 on the Disney+ streaming platform.
Al-Dahas highlighted the significance of Namirah Mosque in Arafat, where the Prophet delivered his sermon during the Farewell Pilgrimage.
In Makkah, the holiest city in Islam, spiritual significance extends far beyond the Grand Mosque. Scattered throughout the city are historic mosques that witnessed pivotal moments in Islamic history.
Yet, amid the dense crowds and the rapid pace of modern development, many pilgrims and Umrah performers remain unaware of these sacred sites, quietly tucked away within the city’s expanding urban landscape.
Fawaz Al-Dahas, professor of history at Umm Al-Qura University, said that Makkah is home to several mosques of profound historical and religious value, yet they remain largely overlooked, receiving neither the media attention nor the organized religious visits they merit.
Al-Dahas highlighted the significance of Namirah Mosque in Arafat, where the Prophet delivered his sermon during the Farewell Pilgrimage. He said that this mosque was not merely a physical structure, but a sacred site where the foundational principles of Islam were proclaimed. He also referenced the Bay’ah Mosque in Mina, which commemorates the pivotal moment when the Ansar pledged allegiance to the Prophet, paving the way for the Hijrah and the establishment of the Islamic state.
According to Al-Dahas, the importance of these mosques transcends their geographic locations, reflecting their profound political and religious significance in Islamic history.
Al-Dahas shed light on Al-Rayah Mosque: “Located in the Jarwal neighborhood, where the Prophet’s banner was raised on the day of the Conquest of Makkah, a powerful symbol of victory tempered by forgiveness.”
He also drew attention to Al-Hudaibiya Mosque, situated west of Makkah, where the historic Bay’at Al-Ridwan pledge took place, an event referenced in the Holy Qur’an. He said that while the mosque still stands on the original site of the Treaty of Hudaibiya, it remains largely unknown, with few visitors aware of its exact location.
Mohammed Al-Joud, a Hajj and Umrah specialist, said that these mosques were not merely historical structures, but vital educational landmarks that enrich a pilgrim’s understanding of the deeper spiritual dimensions of Hajj. He pointed to Al-Khayf Mosque in Mina, where the Prophet and prophets before him are believed to have prayed, as a powerful symbol of the continuity of prophethood: “Yet, many pilgrims remain unaware of its significance outside the Hajj season.”
Al-Joud also highlighted Al-Mashar Al-Haram Mosque in Muzdalifah, which is mentioned in the Holy Qur’an, emphasizing that awareness of such sacred sites bridges the rituals of Hajj with their Qur’anic and historical roots, enhancing the spiritual journey.
Al-Joud also drew attention to Al-Kabsh Mosque in Mina, linked to the story of the sacrifice of Ismail. He explained that the mosque symbolizes the values of sacrifice and obedience, yet remains largely overlooked in media coverage and excluded from most pilgrimage programs. He described it as an essential part of a broader, interconnected network of sacred sites that trace the prophetic journey — from revelation to migration, and from peace to conquest.
Al-Dahas underscored the importance of launching awareness initiatives to shed light on these mosques and restore their rightful standing. He said that safeguarding Makkah’s Islamic heritage was not limited to preserving its prominent landmarks, but also required reviving these historically significant mosques, which once stood as pivotal markers along the journey of the prophetic message.
He said that reconnecting pilgrims with these sacred sites revived the educational and historical depth of Hajj, enriching the journey with a more profound, informed, and spiritually immersive experience.
source/content: arabnews.com (headline edited)
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Scattered throughout the city are historic mosques that witnessed pivotal moments in Islamic history. (SPA)
On 25 April, Egyptian author Mohamed Samir Nada was awarded the 2025 International Prize for Arabic Fiction (IPAF) for his novel The Prayer of Anxiety, a darkly allegorical tale set in a secluded village in Upper Egypt.
This marks the third time an Egyptian writer has won the prestigious literary award, following Youssef Zidan’s Azazel in 2009 and Bahaa Taher’s Sunset Oasis in 2008.
Nada’s novel, published by the Tunisian press Masciliana, was chosen from a six-title shortlist.
In a televised interview earlier this year, Nada revealed that he had turned to Masciliana after three Egyptian publishers declined to print the manuscript.
Set in the fictional hamlet of Nag’ Al-Manassi — literally “the village of forgetfulness” — the novel unfolds in a reality suspended in misinformation and fear.
Its inhabitants believe a minefield surrounds them and are still at war with Israel decades after the 1967 conflict.
Their only contact with the outside world is Khalil Al-Khoja, a local authority figure who produces the village newspaper, controls access to goods and maintains the illusion of unending war.
When a mysterious object falls from the sky, triggering an illness among villagers, the local sheikh responds by creating a new ritual prayer—The Prayer of Anxiety.
The plot evolves against the backdrop of national icons, culminating in the 1977 death of Abdel-Halim Hafez, a singer synonymous with the era of Gamal Abdel-Nasser.
Told through eight character “sessions,” each beginning with a nightmare and dreamlike awakening, the novel functions as both a dystopian fable and a meditation on collective delusion.
Nada’s characters offer confessional narratives haunted by guilt and helplessness. The result is a richly layered text that explores how fear and propaganda can distort memory and shape reality.
Mona Baker, chair of this year’s IPAF judging panel, praised the novel for “transforming anxiety into an aesthetic and intellectual experience that resonates with the reader and awakens them to pressing existential questions.”
Yasser Suleiman, Chair of the IPAF Board of Trustees, highlighted the novel’s “gripping poetic language” and its “clever use of symbolism,” calling it a powerful reflection on life under tyranny and the mechanisms that uphold it.
Yet the novel’s success has not gone without controversy.
Some critics have criticized its handling of Egypt’s modern history, especially its allusions to Abdel-Nasser’s legacy.
Literary critic Reda Attiya publicly dismissed The Prayer of Anxiety as “poorly structured” and accused the prize committee of rewarding a novel that “takes aim at Nasser,” calling it a “conspiracy against Egypt.”
Others pushed back. Novelist Mohamed Mawafai likened such attacks to the 1994 stabbing of Nobel laureate Naguib Mahfouz by a young man who admitted to never reading his work.
“Both are acts of incitement,” Mawafai said. “There is no difference between one and the other.”
Nada’s novel joins a growing wave of dystopian fiction in the Arab world.
In a recent study of the genre, Syrian novelist and critic Shahla Al-Ogaily argued that dystopian literature has gained traction in post-2011 Arab societies to confront painful political and social realities.
“This genre represents the inability to forgive,” she wrote, “and a confrontation with the hallucinations and phobic fears that emerged after the revolutions failed to deliver on their promises.”
Al-Ogaily traced the rise of Arabic dystopian writing to the translation of authors like Franz Kafka and George Orwell, whose works explored the horrors of surveillance, repression, and modernity.
The influence is evident in Nada’s novel — from Kafka’s The Metamorphosis, echoed when a village sheikh wakes up to find his head missing, to Orwell’s 1984, in the depiction of total narrative control and a fearful, manipulated public.
At its heart, The Prayer of Anxiety critiques political, religious, and media-driven systems that manufacture obedience and stifle thought.
Through poetic language and surreal events, Nada lays bare the quiet complicity that enables authoritarianism.
One of the novel’s characters voices the core dilemma:
“How many shooting stars must fall before we gain a new memory? How many men must die in war for old women to tell a different story?”
Despite occasional tonal inconsistencies—particularly between the elevated language and the characters’ rural backgrounds—the novel’s literary ambition, conceptual depth, and striking imagery have resonated widely.
The IPAF, launched in 2007 with support from the Emirates Foundation, awards $50,000 to the winner and $10,000 to each shortlisted author. This year’s judges included Said Bengrad, Maryam Al Hashimi, Bilal Orfali, Sampsa Peltonen, and chair Mona Baker.
With The Prayer of Anxiety, Nada has delivered a novel that provokes, unsettles, and — crucially — invites deeper engagement with the structures of power that shape the Arab world’s past and present.
Many Sudanese are mourning the death of the famous poet and dramatist Hashim Siddig, who died in the United Arab Emirates (UAE) on Saturday morning. He was 77 years old. Siddig is not only famous for his epic poem on the 1964 revolution in Sudan, but also for his radio and television dramas.
His body was buried in Abu Dhabi, where he spent the last months of his life after he was forced to leave Sudan in September last year, because both his health deteriorated and the living conditions in Omdurman worsened due to the occupation of the paramilitary Rapid Support Forces (RSF) five months before.
Hashim Siddig was a creative, multi-talented poet. Millions of Sudanese knew his poems, in particular On a Strange Day, and Laugh, sang by famous musician Abu Araki El Bakheet, and other songs, sang by sang by the late very popular singer Sayed Khalifa. Many can recite large parts of “his immortal poetic epic” on the October 21 popular revolt against the military regime of Ibrahim Abboud in 1964.
Siddig was also an actor and playwright. His play Nabta Habibati [Napata, my love] caused a shift in the history of Sudanese theatre. He wrote pioneering contributions to radio drama, with series like Gatar El Ham [land of worries] and to television drama, in particular Teir El Shafag El Gharib [a strange twilight bird]. He also presented many radio and television programmes, the last of which was a series of reviews on world cinema.
Hashim Siddig taught generations of students at the Drama and Music College in Khartoum, after he graduated there himself in 1974 and studied acting at a British institution. He was persecuted and regularly detained during the military regimes of Jaafar Nimeiry (1969-1985) and Omar Al Bashir (1989-2019). His revolutionary poems circulated in opposition circles, especially his poem Gerentiya [rhinoceros] which left its mark on the history of the Sudanese’s struggle against military dictatorship.
Shukrallah Khalafallah, writer and television director, considers Hashim Siddig “a national and artistic symbol who represents the memory of a nation”. He told Radio Dabanga on Sunday that the people in Omdurman and in particular the Banat neighbourhood, where he lived, “are wearing a mourning dress today because Hashim Siddig represented the national radio, television, theatre, folk arts, acrobatics, film production, and the Artists Union for Omdurman.
“All of these ‘neighbourhoods’ have become orphans with the departure of Hashim Siddig – as he was a milestone in the history of many creative people. He taught them and learned from them things that cannot be obtained from books.”
Khalafallah recounts that a few days before the disastrous war broke out between the Sudanese army and the Rapid Support Forces (RSF), on April 15 last year, he went to see Siddig at his home, together with Abu Araki El Bakheet. “Despite his health conditions, he insisted on receiving us lying on his bed. We discussed new projects together, the most important of which was a project to document his career. The interview was supposed to be held on April 16 and would be presented as part of the Eid El Fitr [feast at the end of the fasting month of Ramadan] programme, but the war cut off everything.”
He said that Siddig’s last wish, to return to Omdurman, was not fulfilled. “His long journey from Banat to El Sawra [district in northern Omdurman], from there to Atbara, from Atbara to Port Sudan, and then to the UAE left a deep wound, making his return to Omdurman his first and last concern.”
In the holy city of Makkah, pilgrims visit Jabal Al-Nour, whose name means “Mountain of Light”.
As pilgrims complete the sacred rites of Hajj, many embark on a deeper spiritual journey by exploring historic Islamic sites across Saudi Arabia to connect with the roots of their faith.
In the holy city of Makkah, pilgrims visit Jabal Al-Nour, whose name means “Mountain of Light.” At its peak lies the Cave of Hira, where the first verses of the Qur’an were revealed through the Angel Jibreel.
The mountain’s distinctive camel-hump shape makes it a striking landmark, especially with the nearby Hira Cultural District, where the Revelation Gallery offers pilgrims to learn the story of divine revelation and history.
Ahmed Khan, a private tour guide said: “There’s something unexplainable about standing where it all began. When I take pilgrims to Jabal al-Nour, many of them are moved to tears it’s not just a climb, but it’s a spiritual awakening.”
To the south lies Jabal Thawr, the mountain that cradled the Prophet and his companion Abu Bakr as-Siddiq in its cave during their migration to Madinah. The story of divine protection, where a spider’s web and a dove’s nest concealed their presence from their pursuers, resonates deeply with pilgrims.
Another frequently visited site is Jabal Abu Qubays, believed in some traditions to be the first mountain placed on Earth. As the closest peak to the Grand Mosque, it resonates with the early public da’wah and the great spiritual responsibility.
FAST FACTS
• Al-Qiblatain Mosque, where revelation changed the direction of prayer from Jerusalem to Makkah, remains a must-visit site for pilgrims.
• Programs like ‘Hala,’ launched by Al-Bait Guests Co., are curating journeys for pilgrims to explore with knowledgeable guides.
Nearby, the modest yet historically significant Al-Bay’ah Mosque marks the location of the Pledge of Aqabah, where the Ansar of Madinah pledged allegiance to the Prophet Muhammad.
Built during the Abbasid era, it symbolizes early Muslim unity and commitment to the new faith. A short distance away in Al-Hajun district is Jabal Al-Sayyidah, at the base of which lies the revered Al-Ma’la Cemetery, resting place of Khadijah, the Prophet’s beloved wife. Her grave remains a focal point of deep reverence.
“Pilgrims love visiting these places and it helps them to understand the sacrifices of the people who shaped Islam,” Khan added.
Madinah has its own timeless legacy. Al-Qiblatain Mosque, where revelation changed the direction of prayer from Jerusalem to Makkah and marked a defining shift in Muslim identity and remains a must-visit site for pilgrims.
Hussain Rauff, regional director of Madinah Hotels at Elaf Al-Taqwa, said: “We’re planning to organize guided tours across Madinah to help pilgrims explore the city’s rich Islamic heritage. It’s a meaningful way to extend their spiritual journey beyond the rituals of Hajj.”
Further west of the Prophet’s Mosque lies the cluster known as the Seven Mosques, each linked to events from the Battle of the Trench. Among them are Al-Fath Mosque and those named after figures such as Fatimah, Ali ibn Abi Talib, and Salman Al-Farsi. These mosques are rich in historical memory and serve as reminders of hardship during one of Islam’s critical battles.
Mount Uhud rises just north of Madinah city, its slopes reminds of the Battle of Uhud and the place where the Prophet’s uncle, Hamza ibn Abdul Muttalib, and 70 companions were martyred. Today, pilgrims pause at the Uhud Martyrs Cemetery indicating the modesty found in victory and the strength drawn from loss.
Equally powerful is a visit to Baqi’ Al-Gharqad Cemetery, the resting place of many of the Prophet’s family members and companions. Located near the Prophet’s Mosque, the cemetery has long served as a site for prayer and remembrance, offering pilgrims a moment of intimate connection with those who stood beside the Prophet during Islam’s formative years.
Beyond the holy cities, other destinations continue to attract pilgrims in search of spiritual enrichment. Northwest of Madinah lies Khaybar, the site of a pivotal military campaign that showcases both the strategic and ethical dimensions of the Prophet’s leadership. Its volcanic terrain and ancient fortifications tell stories etched in stone.
Fatima Al-Mutairi, a pilgrim from Kuwait: “I am planning to visit these places in Jeddah and Taif after my Hajj. I am planning to visit the Tomb of Hawa in Jeddah and in Taif, I look forward to visiting Masjid Abdullah ibn Abbas, to pay tribute to one of the great scholars whose work in Qur’anic interpretation and Hadith continues to inspire many seekers of knowledge.”
Recognizing the growing desire for such experiences, programs like “Hala,” launched by Al-Bait Guests Co., are curating immersive journeys for pilgrims to explore these sacred sites with knowledgeable guides and spiritual context.
Mohammed Al-Shahrani, experience officer in Hajj and Umrah sector said: “Our aim is to enrich the post-Hajj experience. We want pilgrims to understand that the journey of faith continues, and Saudi Arabia is opening its heritage for those who wish to walk in the footsteps of the Prophet.”
source/content: arabnews.com (headline edited)
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Beyond the holy cities, other sacred destinations continue to attract pilgrims in search of spiritual enrichment. (Supplied/File photo)
Researchers at Washington State University have revived Egyptian blue—the world’s first synthetic pigment.
A team of researchers from Washington State University, in collaboration with the Carnegie Museum of Natural History and the Smithsonian’s Museum Conservation Institute, has successfully recreated Egyptian blue, the oldest known synthetic pigment in the world. Originally developed over 5,000 years ago, the pigment was commonly used in ancient Egyptian art, tombs, and architecture.
The scientists tested 12 different methods to reproduce the pigment, adjusting materials and heating times to mirror ancient techniques. They discovered that a rich, vivid blue could be achieved even when only half of the mixture’s colour-bearing component was used—challenging previous assumptions about how the pigment was made. Small variations in temperature and ingredients also caused the colour to shift, from pale greens to intense blues and even greys.
Beyond its historic value, Egyptian blue has properties that make it relevant for modern technology. It absorbs visible light and emits infrared radiation, which can be applied in biomedical imaging, telecommunications, and anti-counterfeiting technologies.
The recreated pigment is now on display at the Carnegie Museum of Natural History in Pittsburgh.
Model & Lifestyle Influencer Nour Arida Joins Serena Williams in Audemars Piguet Campaign.
When Audemars Piguet picked the faces for its 150th anniversary campaign, it chose icons. Nour Arida was the only Arab woman among them.
In the world of luxury watchmaking, Arab women aren’t often on the moodboard. But this year, that changed.
For its 150th anniversary, Audemars Piguet didn’t just call in the usual faces – it summoned a lineup of global icons. Serena Williams. Winnie Harlow. Tamara Kalinic. And, for the first time ever, an Arab woman: Nour Arida.
Draped in AP’s legacy, the Lebanese model-slash-creative-slash-cultural force owned the frame.
“I always try to push boundaries,” Arida says, in what might be the understatement of the year. “It’s like being part of a real family, being part of the AP family.”
Mrini was widely respected for his deep knowledge and commitment to cultural preservation.
Morocco is mourning the death of Abdelhak El Mrini, the country’s official royal historian and former spokesperson for the Royal Palace. He passed away on Monday evening at the age of 91, after a long career serving Moroccan history and culture.
El Mrini was born in Rabat in 1934. He memorized the entire Quran at a young age and even copied 60 parts of it by hand. Over the years, he became one of Morocco’s most respected literary and cultural figures.
He held several important roles during his life, including Director of Royal Protocol and Decorations. But he was best known for his role as the kingdom’s official historian, as well as his work in preserving Moroccan heritage.
El Mrini had an impressive academic journey. He received a diploma from the Institute of Higher Moroccan Studies in 1960, followed by a degree in literature from the Faculty of Arts in Rabat in 1962.
He later studied in France, where he earned an advanced diploma and a PhD from the Institute of Arab and Islamic Studies at the University of Strasbourg in 1973. He also obtained a State Doctorate in Literature from Sidi Mohamed Ben Abdellah University in Fez in 1989.
El Mrini was also a prolific author who left behind an important literary and historical legacy. Among his most well-known works is “The Moroccan Army Throughout History”, first published in 1968. The book went through several revised editions, with the sixth edition released in 2011 and translated into French in 2000.
He also wrote “Guide for Moroccan Women” in two parts (1993 and 2000), and “An Introduction to Modern Moroccan History” (1996), which covers the period from Sultan Hassan I to King Hassan II.
Other notable titles include “Tea in Moroccan Literature” (1999), “Mohammed V: Studies and Testimonies” (1988), and “The Hassaniyats” (three volumes published between 1975 and 1983), a collection of poems in praise of the late King Hassan II.
Throughout his life, El Mrini made significant contributions to the study and promotion of Moroccan history, and he was widely respected for his deep knowledge and commitment to cultural preservation.
‘From Ocean to Gulf: Heritage Music of the Arab World’ is a series by Ahram Online, in partnership with the AMAR Foundation (Foundation for Arab Music Archiving and Research). In this article, we explore the rich music legacy of Yemen.
‘From Ocean to Gulf: Heritage Music of the Arab World’ is a series by Ahram Online, in partnership with the AMAR Foundation (Foundation for Arab Music Archiving and Research).
In this article, we explore Yemen’s rich music legacy.
Music is a powerful force for healing and reconnecting us with our roots and shared humanity in a world of numerous challenges.
‘From Ocean to Gulf: Heritage Music of the Arab World’ is a new series by Ahram Online, in partnership with the AMAR Foundation (Foundation for Arab Music Archiving and Research). Focusing on the early years of recording in our region, which reflected a modern cosmopolitan repertoire and coincided with the Renaissance era that flourished in Egypt between the mid-19th Century and the 30s of the twentieth Century, this initiative aims to introduce our audience to the iconic figures of Arab music whose contributions have enriched our intangible cultural heritage and inspired generations worldwide.
Yemen, a country on the Arabian Peninsula, is one of the world’s most beautiful and historically rich nations.
Often referred to as Al-Yaman al-Sa‘īd (Happy Yemen), it has long served as a centre of discovery for travellers and a research subject for historians, social scientists, natural scientists, and others.
In the second episode on Yemen, we highlight the music scene from the beginning of the 20th Century to the present.
Music in 20th Century Yemen
The beginning of the 20th Century was difficult in Yemen because of the wars between the Zaydī imams and the Ottoman occupiers. During these wars, the artists swung between the Ottoman authority, which encouraged music, and the Zaydīn, who did not.
Thus, their social, religious, and political position was difficult, as described in the biography of Sa‘d ‘Abd al-Lāh, who, as an artist, was accused by Aden’s jurists and fundamentalists of contravening the religious system of drinking alcohol.
His ‘ūd playing was also subject to accusation. A beautiful legend tells how he faced these accusations and how, thanks to his art and his mastery of religious qaṣīda, he regained the respect of the imam by performing religious qaṣīda and even some religious prayers accompanied by the ‘ūd.
This allowed him to resume his art under the rule of Imam YaḥyaḤamīd al-Dīn. Yet his position remained complicated, and fundamentalists probably killed him in the early 20th Century. We do not have any recordings of him, but some of his numerous students do. Some remained in Sanaa and practised the art of singing.
Music scene in Aden
In contrast, others travelled to Aden, which was under English rule, including famous ‘Alī al-‘Aṭṭāb and MuḥammadẒāfir, who fled from the fundamentalist Zaydī rule and moved to Aden in their early 20s.
In the southern provinces, a vibrant group of artists emerged during the British occupation of Aden (1839 – 1967), with singing and music becoming widespread among Yemeni artists. Professor Muhammad Murshid Naji noted that Lahji singing before the era of Ahmed Fadhl al-Qumindan was influenced by the Sana’ani style. Lahji singers would perform Sana’ani songs, and the singer Hadi Sabit al-Nubi developed his oud-playing by drawing on the techniques of a northern artist whose name remains unrecorded.
Naji attributes the emergence of the first Lahji melody to the poet, composer, and singer Fadhl Mater, who was credited with inventing the initial melody set to the Lahji rhythm. This innovation led Hadi Sabit to sing in the Sana’ani style over one of Al-Qumandan’s poems. It is worth noting that instrumental music is not widespread in Yemen, where it exists under one form whose origin is said to be Turkish, called firtāsh: it is a muwaqqa section, yet it allows variation and improvisation by the artist.
Sanaa singing was divided into two parts: a part in Aden and a part in Sanaa, and the Aden part is the one we have recordings of. Their recordings date back to the late 30s, while those made in Sanaa started later than the 50s. The first recording made in Sanaa in Historical Yemen was made by German orientalist and music expert Hans Helfritz who visited Yemen in the late 1920s and early 1930s to study Yemeni Music in this fundamentalist religious atmosphere, which aroused the suspicion and caution of the pious and religious in particular, and he was accused of being a spy.
Upon the First World War outbreak, the German Odeon Records company had to stop its commercial and recording activities as Yemen was under English occupation. Local record companies started right away, including the major “Aden Crown Company” that took over from Odeon and resumed recording Sheikh ‘AlīAbū Bakr Bāsharāḥīl, as well as Sheikh Ṣalāḥ ‘Abd al-lāh al-‘Antarī and Sheikh Muḥammad al-Mās, who died in the 1950s. They had recorded with the Aden Crown Company in the 1940s.
In the 1920s and 1930s, Indian musical influences became prominent as numerous musical and theatre groups and films were introduced in Aden and Hadhramaut, which had long been under the administration of the British Viceroy of India. By the 1940s and 1950s, Yemeni musicians had adapted these influences to create an “Arabized” Indian style, in which tunes from Indian films were reinterpreted with texts set in classical Arabic rather than colloquial language.
The acclaimed artist Muhammad Juma Khan, known for his mastery of the Hadhrami style, became one of the foremost practitioners of this hybrid form. The distinctive features of Adeni singing developed during the twentieth Century due to the convergence of multiple Yemeni and foreign musical elements, especially from India. Though a large portion of Aden’s pre-independence population was of Indian origin, the evolution of Adeni song was notably influenced by Egyptian melodies, and some musicians even incorporated Western rhythms such as the waltz.
Yemen Radio
Imam YaḥyaḤamīd al-Dīn, who feared openness and foreign interference, forced the Turkish Ottomans out and defended the independence of Yemen, yet within conservative and fundamentalist restrictions. As a consequence, the Yemeni Radio was only launched in 1955. It was a reaction to the launching of the Ṣawt al-‘Arab Radio, which had started broadcasting from Cairo, notably liberalist political ideas. Imam Aḥmad, the son of Imam YaḥyaḤamīd al-Dīn, who took his reign in 1948, consulted with theologians who refused the launching of the Radio. Still, the Radio was launched, and only news was broadcast at first.
They also recorded Qāsim al-Akhṭash, a Yemeni artist in Sanaa. He recorded using reels that existed then, allowing a longer recording duration. Yet recordings were made in Aden before Sanaa Radio’s recordings. They were commercial recordings of Sheikh ‘AlīAbū Bakr Bāsharāḥīl made in the late 1930s, in 1939, by the Odeon.
Singing post 1962 Revolution
After the 1962 revolution, Sanaa singing prospered, yet without the qanbūs or ṭarab, but with the kabanj’ūd played by talented artists such as MuḥammadḤamūd al-Ḥārithī, Aḥmad al-Snaydār, and ‘Alī al-Ānisi among others who became famous and served the Sanaa song with the big ‘ūd and a style inspired a little from Egypt and Syria, while preserving the main form or style.
On the other hand, some other artists did not become famous in the 70s, 80s, and 90s. They are: Ḥasan al-‘Ajamī, Yaḥya al-Nūnū, ṣaḥn player Muḥammad al-Khamīsī, as well as Muḥammad ‘Ushaysh, and they all preserved the old style and preserved the ṭarab as well and revived the old style and methods, considering that many elements, such as the firtāsh and the muṭawwal, had been neglected by the other artists. They continued to play the ṭarab and the ṣaḥn.
Women singers in the public domain
This period also witnessed the rise of women singers. Traditionally, singing was by men, and emerging women performers challenged dominant societal norms. Among these names is Nabat Ahmed (b. 1955), who has appeared in the Yemeni music scene since the early 1970s. Other names presented in the recently published book entitled “Women’s Lyrical Voices in Yemen 1950-2000” by researcher Yahya Qassem Sahel include: Raja’ Basudan, Nabiha Azim, Mona Ali, Taqiya Al Taweelah, Fatima Bahdela and Fatima Mansour Al-Shatri (Habbaniyah).
The rise of the tape cassette
The tape cassette became a dominant and accessible music dissemination format in the 1970s. It also helped a wider circulation of songs within and outside Yemen—the evolution of music in Yemen in the 20th Century and the advent of recording somewhat settled things. Today, we know that, for example, a certain qaṣīda was sung to a particular melody by a specific artist in 1940, recorded by Odeon on a specific date. Still, we do not know how it was before the recording era. This is an essential characteristic of the oral heritage: it is not fixed and settled when transmitted from generation to generation. The sea flows from generation to generation with all its forms, types and variations.
ūdvs Qumbus
The ‘ūd was not used in Yemen before Islam, yet there are indications of its existence there after Islam. Additionally, vocal forms such as the Sanaa singing, including ḥumaynī poetry, are a form of classical poetry influenced by the local colloquial language. It has existed in Yemen since the Medieval period (Middle Ages), i.e. at least since the 12th Century or the 13th Century during or after the Ayyubid dynasty.
The ‘ūd used in Yemen until the beginning of the 20th Century was strangely not the ‘ūdkumaythrī known in the Arab culture since the drawings of Al-Ḥarīrī’s maqāmāt, or even the drawings of the Alhambra showing the ‘ūd with wooden cover. Instead, the Yemeni ‘ūd called ṭarab in Sanaa has a unique pre-Abbasid body covered with goatskin or sheepskin that produces a distinctive sound, maybe softer, that is difficult to describe, yet undeniably distinctive. It is thinner and smaller, and thus can be played standing up, which is very practical to accompany dancing.
Abū al-Ḥasan al-Ṭaḥḥān describes the ‘ūd in “Ḥāwī al-funūnwa-salwat al-maḥzūn” that dates back probably to the first half of the eleventh Century and is considered one of the most important and oldest references about ‘ūd making. He mentioned the ‘ūd that existed before his era, described it as having an animal skin cover, and detailed the contemporary ‘ūd with a wooden cover. Before that, he talked about the ‘ūd with the animal skin cover and called this ‘ūd “barbaṭ”. The name barbaṭ is derived from Persian and Arabic: “bar” means chest in Persian, and “baṭt” means duck in Arabic. Indeed, the shape of this ‘ūd from head to body resembles the shape of a duck’s chest.
Thus, the ‘ūd that reached the Arabian Peninsula and the Ḥijāz coming from Persia during the early Islamic era and the Umayyad era is the same that reached Yemen, settled there, and kept its shape with all the changes that affected the ‘ūd later on in the Arab Levant.
We do not know when it reached Yemen, yet there are indications that it existed there in the 13th Century along with the ‘ūdkumaythrī. So, both co-existed in the same place during the same periods, in Yemen but also in other regions of the Arab World, such as Andalusia and Morocco, where it still exists under a different shape, the rabāba played with a bow, whose shape is very similar to the ṭarab instrument, also called qanbūs in Yemen, a name probably derived from Turkish, since in the History of Turkish Music there is an instrument called kūbūz that probably was Arabized into qabūs then qanbūs.
Most theories in books on Arab music and the Arabic musical system until a late period presented the ‘ūd as the instrument onto which the theory could be applied. This also applies to Yemen. The Yemeni ‘ūd, i.e. the ṭarab or qanbūs, has four strings, unlike the oriental ‘ūd, which was known in the 20th Century and has five strings.
The four strings are similar to those of the oriental ‘ūd except for the fifth string, i.e. the first, the second, and the third strings are Do, Sol, Re, which is from the jawāb to the qarār. The qarār is the fourth string, but it is tuned to Do, not to La like the big ‘ūd. It is the jawāb of the first string. The three strings are double strings, and the upper is single. Considering these four strings, the Do can be a qarār to the rāstmaqām, and the third string can be a qarār to the bayyātīmaqām, and the third one, plucked, would be a Mi / sikāh.
The strings of the Yemeni ‘ūd have names: the first one is the ḥādhiq (energetic); the second one is the awsaṭ (as it is approximately in the middle), and the rakhīm. The beautiful name rakhīm came from some qaṣīda that tells about the ṣawtrakhīm (melodious voice) of the birds or the ‘ūd. The fourth string is called jarr or yatīm (orphan). The yatīm may be because it is a single string.
Jean Lambert – pioneer ethnomusicologist
Jean Lambert is a research professor in anthropology and musicology who has dedicated his life to the study, preservation, and dissemination of Yemeni music. He has been associated with the Musée de l’Homme in Paris since 1991 and is the director of the French Centre for Archaeology and Social Sciences in Sanaa (Yemen). Lambert was also the Director of the Centre for Research in Ethnomusicology (CREM-LESC, UMR 7186), CNRS, Université de Paris Ouest Nanterre.
Focusing on the Arab world, particularly in Yemen, the Arabian Peninsula and Lebanon, Jean Lambert’s works explore the relationships between local musical practices and global meanings of Arab-Islamic culture: performance context, ritual practices, mythological representations, and the formation of contemporary identities. His current research focuses on zajal in Lebanon and the 1932 Music Conference in Cairo. Dr Lambert has published several books, more than forty scientific articles, and thirty CDs of traditional music from Yemen, Saudi Arabia, Lebanon, Egypt, Iraq and North Africa. He is also a consulting and management board member of AMAR.
Lambert published his book “Ṭubb al-nufūsfī al-ghinā’ al-Ṣan‘ānīfī al-mujtama‘ al-Yamanī” (“The Medicine of the Soul: Music and Musicians among Urban Dwellers in Sanaa (Republic of Yemen)”) in 1997. He invited several artists to France to record CDs at the Institut du Monde Arabe and French Radio, among others. In his lifelong mission to archive/document the endangered Yemeni heritage, he collaborated with UNESCO in 2000 to inscribe the Sanaa heritage on the List of Intangible Cultural Heritage. He worked on supporting this art through a project that lasted from 2006 to 2009.
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