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 Re: حقيبة الفن (Re: يازولyazoalيازول)
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The cause of my boredom and tears
Running non-stop [Is]:
I was standing in the courtyard
Unaware
When I saw her
Passing quickly with a friend
I was disheartened
My neighbour does not know
What befell me
I stood there, forgotten
-------------
May you prosper and end my misery
May your attractions increase
I answered those who told
Me to pull myself together:
"Take it easy
They Said: Is this the way it is?
Fear Allah's wrath
My beloved neighbour"
The lines represent a unified whole in form and content; with the chorus tying the different sections together with the line:
Fear Allah
Yalla O neighbour
In this song the timing with a stick was used as a rhythmical accompaniment.
This was the second stage in the development of Mohamed Wad Al Faki. It proved the way for the birth of the modern song which has come to be known as "bag of archives" song. Many poets have contributed to this development including Al Abbadi, Abu Salah and Omer Al Banna. Some of these songs are still being performed today.
This development took place during a ten year period 1918-1918. Then another star appeared one of Mohamed Wad Al Faki's pupils called Mohamed Ahmed Sarour. The younger man accompanied his mentor for years, learning and establishing a network of contacts with younger poets. In the mean-time the social environment in Omdurman was becoming even more conducive to new styles. In the new era many of Wad Al Faki's pupils have become more famous than him. Their songs spread all over; but history will preserve his place as the real founder of the school of modern singing in Sudan.
Beginnings:
Simultaneous to the activities of Wad Al Faki, the musical scene in Sudan witnessed other far-reaching factors.
Official music was being played since the early years of the century, in public squares on British and Egyptian occasions. It was also played publicly on other occasions like the Birth of Prophet Mohamed's procession, the eve of Eidul Fitr at the end of Ramadan and Easter holidays. The musical companies were military, part of the British and Egyptian forces. The most famous was the Scottish company with its distinctive bag-pipe music. These military musicians wrote down and played Sudanese music and transformed some local folk music into military march music. One of these was March 14G which adapted a well known folk song. Another was March Shulkawi No 1, adapted from the songs of the Shilluk ethnic group.
Moreover, military companies involved many Sudanese in the writing and playing of music. These in turn taught others who played leading roles in non-military music.
The most famous of these was Khabil Farah who used to live in "ar Tirs" quarter in Southern Khartoum, near the living quarters of senior Egyptian employees. Some of these played the lut (Oud) and taught Khahil Farah. He also listened to Egyptian songs from the new "phonograph". Others who followed a similar path were Abdul Qadi Suleiman, the pioneering musician who taught many singers including the "Prince of Oud", Hassan Atiya. There was also Abdul Qadir's brother Hassam.
All this should be set against the background of the musical, theatrical and general artistic activities of Arab and European communities. The Greek, Italian, English, Jewish and Armenian communities; as well as the Egyptian and Syrian communities.
By the 1930's, the Sudanese capital was well acquainted with records of music and the phonograph. The number of educated people had increased and several musical companies mushroomed, the most famous of which was the Gordon Memorial College Musical company. One of its members, Mohamed Adam Adham (who went on to become a famous physician and politician) wrote a piece of music which is arguable the first Sudanese musical composition, called the Adhamiya. It is still played to this day.
Haqibat Al Fan (Bag of Archives)
With the end of the 1920;s the stage was set for the birth of modern singing in Sudan. School leavers increased in numbers, college graduates, police and military graduates were numerous. Hararat As Sudan appeared as the first Sudanese newspaper and published articles by Sudanese writers as well as poems. Siddiq Farid formed a theatre company performing "Salahuddin Al Ayyoubl" (Saladin) and other plays.
In music the new songs were maturing and spreading. As for the name Haqibrat Al Fam, it was coined in the early fifties to describe an earlier stage. Ahmed Mohamed Saleh, who presented a programme for Radio about music began to collect and broadcast old songs which he kept in a brief case (bag) in his office. When he decided to devote a whole programme to these songs, he selected them out of the "bag" archive.
No doubt Mohamed Wad Al Faki was the father of the modern song. Equally true is the statement that Ibrahim Al Abbadi, the poet, was the man who took the process one step forward; by encouraging Sarour, the most talented pupil of Wad Al Faki and writing poetry for him, like "Alam Al Buaad" and "Zan Al Uzaz" and other songs.
Al Abbadi called for a meeting in 1923 bringing together songwriters and singers. He then published a collection of lyrics marking the new style. He was a versatile man, who wrote for the theatre (Al Mak Nimir was performed in 1937). The veteran Wad Ar Radi was also around together with names like Omar Al Banna, Saleh Abdns Sid, Yousif Hasab-allah, Burham, Ali Ash Shaidi, Beshir Ar Rubatabi and not least the singer Abdul Karim Abdalla (known as Karouma).
The poets writing for Haqibar Al Fan never wandered away from the roots of madieh. They were influenced by Sheikh Mohamed Abu Shariah (who lived in both the Mahdist state and the Anglo Egyptian Condominium) and adhered strictly to rhyme in his poetry. Often the last three letters rhymed in his lines, as in:
I have entertained a human being (Insana)
With an eye which is not sleepy (Nasana)
She gave me water form a cup (Kisana)
And covered me with a green garment (Tailasana)
And said to me: Forget me not (Tansana)
Come on, it is almost night (Amsana)
They tried to emulate this (excessive) style. Al Abbadi wrote:
O my angel, my difficult circumstances ('Asieba)
Stand between us, through no fault of mine (Seiba)
She said: Listen to some true words (musieba)
Every person finds his own share (Nasieba)
The same influence can be seen in the ending of poems. In madieh the end was usually a supplication in praise of prophet Mohamed. Wad Tamiem says:
My prayers are complete
Combined and comprehensive
From me, Wad Tamiem
To the meeting eye
And the giving hand
Another example is from Wad Saad:
My prayers resound as long as
Pilgrims jostled in Mecca
In honour of [Allah and] the prophet
Hoping that I Wad Saad attain Salvation.
Poets, writing lyrical poetry borrowed this style; but replaced the religious ending with a message to the beloved. This is how Abu Salah put it:
As long as rain fell
I'll water your quarter
And smell your perfume,
As long as poets wrote in praise
Of your attraction
I'll send my salvation
To your beauty O spoiled one
With my veneration
Sayyid Abdul Aziz contributed the following example:
As long as a singer sang
(in Arabic or another tongue)
I greet you.
As long as a stranger yearned
For homeland
I greet you
The henna dye on your fingers like the line of a vein
Hoping that you accepted me
O Queen, daughter of a Sultan.
The influence of madieh was not only felt in poetry. It left its mark on the melodies too. Most of the first modern Haqibar songs borrowed madieh melodies. Some have become very famous, others less so. An example is the Sufi chant:
"Allah the Great, has no partner
Has no equal. Allah"
Along the melody of these lines Abu Salah wrote:
"Wasp Al Khuntaila", Omer
Al Banna wrote " AlMafi Wizeina", Al Abbadi wrote
"Addawi Jabienna", Wad Ar Radi wrote "Tieh Yittaka"
Sayed Abdul Aziz wrote
"Safwat Jamalik" to put the melody of "Busna Ar Rasool Yassien".
Another madieh melody (which was less wide-spread) was also used extensively. It said:
O pilgrims on the way to Medina
Convey a thousand greetings
To the prophet
It later provided the mould for the most famous songs.
We can thus say that the national song continued to be closely linked to the madieh in words and melodies.
A significant point of departure from this pattern was provided by Abdul Kariem (Karouma) who broke away providing new melodies and songs [which are wholly secular]. He co-operated in this with the poet Mohamed Beshir Atiq.
The success of the new songs was boosted by the introduction of records in the 1930's. From 1924 until 1940 the pioneers recorded hundreds of songs for Abdalla Al Mahi, Al Fadil Ahmed, Mohamed Ahmed Savour, Al Ameen Burhan Abdul Karim (Karouma) and Ibrahim Abdul Jalil.
Women too contributed. Fatima Khamees, Um Al Hassan Al Shargiya ayd Mahala Al Abbadiya.
The phonograph spread in homes and cafes. By the 1940's the Omduman born song had already reached most other urban centres, helped by the tours of singers. The great Sudanese leader, Abdur Rahman Al Mahdi, said about the doyen of Sudanese singing, Haj Mohamed Ahmed Sarour, that he had become a leader in his field because he moved singing from tribal, ethnic, to national expression.
The next stage in the history of singing in Sudan came in the 1940's as a direct result of the second world war. Apart from the role of Omdurman Radio in mobilisation and counter-news, singers and musicians were introduced, including some who soon became household names through radio, like Ahmed al Mustafa, Hassan Atya, Ibrahim Al Kashif, Ismail Abdul Mennen and others. These had access to the public not in festivals and private occasions but in and through a studio for broadcasting and recording; with microphones which boosted their voices. The need for the chorus was reduced and a more intimate individual style developed.
In this respect Ismael Abdul Queen was a pioneer who strived to adapt to the new conditions and desert the old style. He was followed by a poet-singer called Ahmed Ibrahim Falah. But both were soon overtaken by Ibrahim Alkashif who became known as the "Father of modern singing". Al Kashif began to sing under the influence of Haj Mohamed Ahmed Sarour and relied on what Karouma had started, but he renewed singing in three main facets:
A: He was accompanied regularly by a musical group which replaced the chorus of old.
B: He introduced new melodies.
C: He introduced new musical expressions to emphasise the meaning of words.
Landmark songs songs like "Fishshati" - "Allayle" "Rihla", "Ar Rihla Fishambat", "Al Mugran Fis Sabah" put him in a category of his own. He dominated the scene for almost twenty years until independence and two years after that (195 . He influenced a younger generation who, in turn, struck their own way to usher in another stage. Mohamed Wardi, abdul Karim Al Kabli, Salah Mustafa, Salah Ibn Al Badia and others represent the current stage of music and singing in Sudan. They are all still active.
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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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