Ahmed bin Ahmed Qasim (1938–1993), the handsome and elegant young man, was not devoid of musical talent when he enrolled in Bazra’a School in the early 1950s. On the contrary, he was gifted and open to the world of music and singing, possessing a strong will and big dreams fueled by the energy of these qualities. He aspired to be a shining star in the firmament of Yemeni song, not as a meteor that briefly lights up and then burns out, as there are many such meteors in the history of Yemeni music, in the past and present. Such individuals are not retained by the sky because their ambitions do not extend beyond performing at local gatherings and theaters, and playing the oud within the confines of a narrow perception that reduces the musical potential of the oud to its melodic capability. This musical instrument, rich in expressive compositions and vocal melodies, is often underestimated by transient artists, whose limited awareness leads them to view it solely through its melodic dimension.
Qasim was not naive; he knew the true value of this instrument. Therefore, he endeavored to give it a special place in most of his song introductions, accompanied by rhythmic beats, which he mastered from an early age. This expertise enabled him to pay particular attention to the rhythm in his songs when he set out to renew. An attentive listener to his songs will likely notice the rhythmic coloring and diversity present in them—a feature identified by the artist and music researcher Jaber Ali Ahmed, who recognized that it contributed significantly to the renewal of Yemeni song.
No Standards Govern Art but Art Itself
Moreover, Qasim succeeded in liberating the oud and rhythm from the confines of limited traditionalism and mere tonal entertainment, elevating them, to some extent, to the realm of open expression imbued with noble human emotions. His talent emerged from the moment he enrolled at Ba Zra'a School, catching the attention of the school's musical maestro, Mr. Yahya Maki, who sincerely nurtured and mentored him with his artistic expertise. At the same school, he became acquainted with most of the musical modes prevalent in the singing scene in Aden, which was a nurturing city for singing and music. The care given to Qasim yielded positive results, leading to his appointment as the leader of the music band. This leadership role boosted his confidence in his musical abilities and encouraged him to venture into composing music before he went to study in Cairo. This step perhaps indicates Qasim's early mastery of his musical tools, resulting in the composition of the song "Tayf al Khayal." This experience reflects Qasim's love and passion for art, not merely as a means of livelihood. In our reality, the pursuit of a livelihood dominates most artists, often at the expense of innovation and creativity.
Likewise, Qasim studied under the guidance of prominent musicians like Maki and interacted with esteemed poets such as Lutfi Aman, which paved the way for him to become a great singer in the future. Driven by unbounded ambition and artistic aspirations, he did not settle for the musical experience he gained in Aden. Instead, he journeyed to Cairo to further his ambitions, enrolling in the Higher Institute of Arabic Music, where he was awarded a diploma. This education enabled him to learn many musical secrets and broadened his artistic horizons. Upon returning from Cairo, he formed his own renewal band. His studies at the music institute did not lessen the influence of Egyptian musical styles on his singing; rather, they deepened this influence. The following lines will touch upon some aspects of this impact.
The concept of art that was ingrained in Qasim's mind was likely the primary reason for his inclination and passion for the styles of Egyptian singing, which he adopted in composing his songs that were based on eloquent poetic words. This concept disregards tradition and liberates the artist into a free space devoid of the constraints of heritage. In this view, no standards govern art except art itself, disregarding anything else called heritage or tradition. For the artist, the important thing is creating melodic compositions based on the harmony of sounds. Thus, Qasim did not hesitate to adopt the Egyptian model and its techniques, following its guidance. To him, an artist is someone who can express himself in any beautiful singing form, regardless of whether this form is local or not, as there is no connection between art and local customs.
“Although music is a temporal art that has no dimensions, this dimension can be understood within the structure of the song as a coherent entity that is formed in the memory without fragmentation. The modal of rhythmic coloration led Qasim to be relatively free from the traditional melodic dimension, and brought him into the expressive atmosphere.”
On the other hand, this concept of art led Qasim to view local heritage with a sense of superiority. He shared this perspective with artist Khalil Mohammed Khalil, who similarly regarded heritage with disdain. This stance prompted Jaber Ali Ahmed to describe Qasim's attitude towards heritage as nihilistic. However, Jaber did not hold this judgment to the end; he later acknowledged that Qasim shifted from his nihilistic stance on heritage over time, prompted by surrounding observations and criticisms. He reconsidered his negative stance on heritage and began incorporating traditional elements into his popular songs, which relied on colloquial language. Jaber himself admitted that Qasim's few works that included traditional elements revealed the significance of his innovative approach, which did not align with the nihilistic view of heritage. A good example of this new Yemeni song style is "Aden Aden, Ya Reet Aden Masir Youm."
Manifestations of Influence by Egyptian Art
The influence of the Egyptian art on Qasim's singing system is manifested in the following ways:
The melody in this song depicts Al-Qumri as he sings with a voice filled with melancholy, synchronized with the rhythm of his footsteps, reflecting the lover's sorrow at the separation from his beloved. The art of expression in the song is not easy, mastered only by those who dominate their artistic tools, and Jabir singled out Qasim for this quality, distinguishing him from other figures of the triadic school, represented by Khalil Mohammed Khalil and Mohammed Abdu Zeidi. The influence of the Egyptian model on the artist Qasim was not an exception but rather had an impact on the music scene in the city of Aden. During that period, the Egyptian model was strongly present not only in music but also in cinema, wax cylinders sold in Aden markets, radio, the press, and politics. Despite this influence, Qasim attempted to take a step towards renewing Yemeni folk songs with a Yemeni flavor. An artist of Qasim's stature could not overlook the importance of rhythmic elements in Yemen's heritage. This became evident when he dealt with poetic songs based on colloquial language rooted in rich local folk references and rhythms prevalent in the plains of Yemen. This trend, based on rhythmic coloring, is present in his songs like "Yarait Aden Maseer Yawm," a new Yemeni song according to Jabir's expression, where the melody adheres to Bedouin rhythms and follows the rhythmic pressures, approaching the melodic texture of Yemeni singing. This innovative trend in Qasim's work is also evident in songs like "Min al-Udiyn," "Al-Yawm Da'yem," and "Huqul al-Bun" by Dr. Saeed Al-Shaibani. It's worth noting that composing songs based on classical poetry is more complex than composing folk songs because folk poetry helps the composer create the melody. Qasim faced serious challenges with the first compositional style.
In conclusion, this article is the result of interaction with the writings of the music critic Jaber Ali Ahmed on Ahmed Qasim’s contributions to the renewal of Yemeni music. Jaber is considered one of the most important and prominent critics in Yemen.
