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 Re: حقيبة الفن (Re: يازولyazoalيازول)
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Bottom from Left to Right: AbdulKarim Abdullah (Karoma), AbdulRahmanAl-Rayah, Mohammed Ahmed (Sarour), Ibrahim Al-Abbadi and Kahlil Farah.
Sudanese Singing 1908-1958
By: El Sirr A. Gadour
Introduction: The roots of Sudanese signing and music can be traced back to the ancient Nubian Kingdoms, the Christian eras as well as the Islamic Kingdoms. The most powerful and influential of the latter flourished in the area which bears today the name "The Republic of Sudan". The area is a crucible for the fusion of musical influences emanating from the East, the West, the North and South. For ages it was at the cross-roads of caravans from the North and East heading West and South; as well as caravans (after the advent of Islam) heading East towards the Islamic holy shrines.
At the beginning of the 19th century Sudanese melodies and tunes, arising from human endeavour during agriculture, hunting and herding matured, in different ways and patterns, the most important of which were the sufi canticles, dirges, songs for weddings and festivals and the DOUBELT arts which spread among cattle herders. The modern MADIEH (praising the prophet) developed in this environment. It is different from the choral sufi canticles. A number of men excelled in madieh: Ahmed Wad Saad, Ahmed Wad Tamiem, Ahmed Abu Shariah and others. Their creativity established the art of individual madieh, chanted by one person, and different from choral group "Zikr" performed by many. This mean the emergence of the individual performer in front of an audience, receiving and appreciating. A parallel development took place in the music and singing on social occasions.
During the Mahdist state another dimension was added, when Omdurman in particular witnessed the mixture of tunes and melodies of Western Sudan with those of central Sudan, especially in madieh, mahdisr mobilisation changes and the Jalalat military march music of the Mahdist revolution soldiers.
By the end of the 19th century, the main features of Sudanese national music were in place.
Beginnings of Modern Sudanese Singing
Some people, when discussing modern signing in Sudan, mention Sarour, Karouma, Al Abbadi and Khahid Farah. They seldom refer to Mohamed Wad Al Faki who is the first founder of modernising singing. When mentioned, he is seen as a historical record. So much so that he has become like a teacher at whose hands tens of high flyers have learned their craft. People remember their achievement but rarely refer to the teacher.
Mohamed Wad Al Faki came to the Capital in early middle age in 1908 (the same year in which Khahid Farah came as a child). At that time Omdurman, which became prominent as capital of the Mahdist state, was home to communities which represented most Sudanese tribes. As a result tribal, ethnically-based singing was the order of the day. Each community sang the songs which they brought with them.
There was no famous singer in Omdurman; but there were many with good voices who intoned songs to accompany dancing girls in TAMBOUR (not to be confused with the musical instrument of the same name). The Jaahygin (Sheikh Mohamed Wad Al Faki's tribe) were famous for tambour.
These tambour songs were very short lines delivered by the first singer before the group join in. It is usually started when the dancer stands up and gets ready to dance. An example of the lines:
O beautiful one, draw near
Reveal your cheek's scanifications
Let my elation
Be hallucination
In love
The Sting of a scorpion
Is more bearable
Thank you disdain
We notice that these lines are similar to the song "Fireir Al Ban" which Wad Al Faki later developed in the next stage of his contributions: It says:
O listener to supplication
As I say Farewell to Um Ruaba;
Beauty is inherited not claimed,
My captive hear is asunder
Wad Al Faki's contribution was a turning point in the style of these RAMIAT as they came to be known. He was the vanguard of modern singing in Sudan, especially because many singers and poets were influenced by him.
Wad Al Faki came to Omduman from an area which has a strong musical tradition, centred around the town of Kabou-shiya which can be dubbed the capital of singing. Some believe that its name was derived form the Arabic word for "Parish" or from the word Cathedral; for it falls geographically in the region which used to be Christian, with a past traceable to the meteoritic kingdom. North of it are the remains of pyramids in "Masawarar". Fame in music and singing was associated with Kabourghiya town until recently. It was the home-town of the most famous folk singer in the twentieth century Al Jumaira Bint Al Joud who inherited the talent of singing from her mother Al Joud who was a distinguished singer at the turn of the 20th Century.
Apart from singing, the area is famous for madieh, poetry recitation over and above "duabeir" both sung and recited. Mohamed Wad Al Faki, as his family name denotes, was the son of a Koramic schoolteacher. His religious upbringing ensured a mastery of proper reading, voice control and correct pronunciation. Another aspect which served him well was the fact hat he did not belong to any of the main ethnic communities in Omdurman. This freed him from narrows identity and made him a "general" singer crossing the tribal barrier to broader national affiliation. Together with a group of singers and poets, he laid the cornerstones of national signing in Sudan, instead of tribal ethnic singing. Thus, Wad Al Faki became a star who moved with his group from one quarter of Moduman to the next signing in festive occasions and accepted across the board in a town still marked by ethnic and regional loyalties.
Understandably, he had to rely in the beginning on what he brought with him from his homebase; but he soon sought to renew his repertoire with the help of some young men who were striving to usher in a new era, e.g.: Yousif Hasabella (nicknamed The Sultan of Lovers), Mohamed Osman Badri and Ibrahim El Abbadi. Before the arrival of Wad Al Faki to Omdurman, they used to write the ramiat (referred to above) which made them famous. An example is Yousif Hasaballa's;
Eucalyptus branch
Dew-soft, bending
By Allah's, peace
This was later developed into a complete song which is considered by some to be the first ever full-length modern Sudanese song, opening with the lines:
The eucalyptus branch
Who is she, dears
I yearn for her
In this song, the chorus plays an important role by rhythmically repeating the last words in every stanza (Ya salaam).
After becoming the number one singer in Omdurman, Wad Al Faki abandoned his "regional" style and adopted a new one, steering a middle course between folk songs and the melodies of madieh. This new stage showed the influence of his new Omdurman environment on him. An example can be found in the famous lines performed by the chorus before Wad Al Faki's ramiat. Many people remember it and the late singer Hassan Atiya used to sing it occasionally. It goes like this; describing the traditional dancer:
Allah Allah, O Allah's people
The goose swims, O Allah's people
With breast strokes, O Allah's people
Just like a dove, O Allah's people
Like the Governor General O Allah's people
At the Treasury Courtyard, O Allah's people
Sauntering at east, O Allah's people
This, by the chorus is followed by Wad Al Faki's "ramiat" song. An example is
The attractive one approached, swaying
Our souls are with her, enamoured
Captivated and jailed by the eyes
Tell our families not to expect
Us soon [We'll be with her a while]
Among the young men who started to write new songs for Wad Al Faki was the poet Mohammed Wad Ar Radi who developed the ramiat and gave them some cohesion and organic unity, avoiding piecemeal or disconnected presentation.
One of his most famous contributions is "Tabiq Al Boukha" which was taken up later by the old singer Abdallah Al Mahi. [It is about the traditional performed sauna of women in Sudan]. The opening stanza goes like this:
All try to reach the original gem
May you never experience what has happened to me
Torture has many facets all similar
My detractors are overjoyed
Because of my pains
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Rising from the second
Sandal perfumed sauna
Dripping scented dewy drops
Drowsily asleep
Her gentle arm pulling
The sauna blanket behind
Wrapping the thin waist
Gently
In the wake of the resounding success of the new style by Wad Ar Radi, Wad Al Faki continued to present more songs by this poet. One of which is still well known today after its choice by the veteran broadcaster Salah Ahmed as a signature tune for his programme "Haqibat Al Fan" (from the bag of musical archives) in the 1950's. Most of the singers who perform old songs perform the songs of the poet Wad Ar Radi as performed by Wad Al Faki. The best features of this style - as mentioned earlier is organic unity, as the following example illustrates:
(عدل بواسطة sentimental on 01-29-2003, 09:59 AM)
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| العنوان |
الكاتب |
Date |
 حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:31 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:31 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:33 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:35 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:52 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 11:58 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 12:11 PM |
| Re: حقيبة الفن | bushramk | 01-27-03, 12:13 PM |
| Re: حقيبة الفن | saifalgam3a | 01-29-03, 11:28 AM |
| Re: حقيبة الفن | Shinteer | 01-27-03, 12:12 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 12:23 PM |
 Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 12:25 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 12:33 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-27-03, 12:41 PM |
| Re: حقيبة الفن | sentimental | 01-27-03, 12:59 PM |
| Re: حقيبة الفن | Dafi | 01-28-03, 04:46 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-28-03, 07:26 AM |
 Re: حقيبة الفن | sentimental | 01-28-03, 07:17 AM |
| Re: حقيبة الفن | Ahlalawad | 01-28-03, 09:21 AM |
| Re: حقيبة الفن | Ahlalawad | 01-28-03, 09:22 AM |
 Re: حقيبة الفن | bushramk | 01-28-03, 09:37 AM |
| Re: حقيبة الفن | sentimental | 01-28-03, 10:12 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-28-03, 10:45 AM |
| Re: حقيبة الفن | Tumadir | 01-28-03, 10:54 AM |
| Re: حقيبة الفن | sentimental | 01-28-03, 10:56 AM |
| Re: حقيبة الفن | Elmosley | 01-28-03, 01:00 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-28-03, 01:23 PM |
| Re: حقيبة الفن | sentimental | 01-28-03, 01:18 PM |
| Re: حقيبة الفن | Khaalaleyaal | 01-28-03, 01:27 PM |
| Re: حقيبة الفن | bushramk | 01-29-03, 05:10 AM |
| Re: حقيبة الفن | bushramk | 01-29-03, 05:16 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-29-03, 07:07 AM |
| Re: حقيبة الفن | sentimental | 01-29-03, 07:23 AM |
| Re: حقيبة الفن | sentimental | 01-29-03, 07:33 AM |
| Re: حقيبة الفن | sentimental | 01-29-03, 07:34 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-29-03, 11:38 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-29-03, 04:44 PM |
| Re: حقيبة الفن | omergoda | 01-29-03, 06:44 PM |
| Re: حقيبة الفن | بدرالدين شنا | 01-30-03, 07:14 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 01-30-03, 11:22 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 02-01-03, 06:49 AM |
| Re: حقيبة الفن | الشاعر | 02-04-03, 08:38 AM |
| Re: حقيبة الفن | Khaalaleyaal | 02-01-03, 06:39 AM |
| Re: حقيبة الفن | garjah | 02-01-03, 07:12 AM |
| Re: حقيبة الفن | cola | 02-01-03, 08:54 AM |
| حقيبة الفن | ALMURADABI | 02-01-03, 09:05 AM |
| Re: حقيبة الفن | sentimental | 02-01-03, 09:34 AM |
| Re: حقيبة الفن | sentimental | 02-01-03, 09:43 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 02-01-03, 09:57 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 02-01-03, 10:00 AM |
| Re: حقيبة الفن | solara | 02-03-03, 08:18 PM |
| Re: حقيبة الفن | الشاعر | 02-04-03, 08:44 AM |
| Re: حقيبة الفن | solara | 02-04-03, 07:24 PM |
| Re: حقيبة الفن | ولياب | 02-05-03, 09:37 AM |
| Re: حقيبة الفن | Tumadir | 02-05-03, 09:43 AM |
| Re: حقيبة الفن | الشاعر | 03-04-03, 09:04 AM |
| Re: حقيبة الفن | sentimental | 02-05-03, 10:17 AM |
| Re: حقيبة الفن | sentimental | 02-05-03, 10:17 AM |
| Re: حقيبة الفن | sentimental | 02-05-03, 10:20 AM |
| Re: حقيبة الفن | AlPrince | 02-06-03, 07:05 PM |
| Re: حقيبة الفن | AlPrince | 02-06-03, 09:20 PM |
 Re: حقيبة الفن | سونيل | 02-07-03, 03:28 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 02-23-03, 07:44 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 03-03-03, 08:39 AM |
| Re: حقيبة الفن | يازولyazoalيازول | 03-16-03, 10:05 AM |
| اغاني الحقيبه و الطرب... | solara | 02-07-03, 09:08 PM |
| Re: اغاني الحقيبه و الطرب... | يازولyazoalيازول | 02-14-03, 06:32 PM |
| Re: اغاني الحقيبه و الطرب... | الشاعر | 03-04-03, 08:25 AM |
| Re: حقيبة الفن | KOSTA | 02-28-03, 08:33 PM |
| Re: حقيبة الفن | AnwarKing | 03-01-03, 00:18 AM |
| Re: حقيبة الفن-شعراء حقيبه الفن وفنونها-مقال توثيقى | AnwarKing | 03-01-03, 00:38 AM |
| Re: حقيبة الفن | maia | 03-03-03, 10:11 AM |
| Re: حقيبة الفن | AnwarKing | 03-03-03, 07:27 PM |
 Re: حقيبة الفن | يازولyazoalيازول | 05-15-03, 12:00 PM |
| Re: حقيبة الفن | يازولyazoalيازول | 06-17-03, 11:21 AM |
| Re: حقيبة الفن | عبدالقادر الكتيابي | 05-15-03, 01:12 PM |
| Re: حقيبة الفن | salam | 05-16-03, 05:09 AM |
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