Imam Al-Mansur had forbidden singing during his rule over the mountainous regions of Yemen. At that time, the Tihama region was under Turkish rule. When he went to negotiate with the Turks, his palace residents took advantage of his absence by bringing in a musician who played the oud (lute). However, the Imam failed to reach an agreement with the Turks, cutting short the negotiations and returning to Sana'a abruptly. Upon arriving at the palace unexpectedly, Imam Al-Mansur heard the sound of the oud as he entered. The attendees were taken by surprise and hurried to greet him, and the musician hastily hid the oud under his cloak. So, when he greeted the imam, he hesitated to extend his hand, fearing the oud might make a hum sound and reveal his secret. However, the Imam was quick-witted and immediately said, "Just extend your hand, even if it hums," a phrase that subsequently became a proverbial saying.
Descendants of the Imams Still Forbid Music
This anecdote summarizes the stance towards singing in Sana'a and its surroundings. Actually, singing has been a forbidden and prohibited activity there, thus remaining an elitist pursuit among intellectuals and artists themselves. It has remained confined to a specific environment of palaces, wealth, and those close to them, despite the declared prohibition and the imposed restrictions on those who practice or listen to it.
Likewise, descendants of the Imams still forbid and ban singing in several Yemeni provinces to this day. The society of Sana'a and its surroundings continues to look down and view singing, playing music, and dancing with disdain. Although singers hold a slightly higher status compared to dancers and musicians, especially those who play the flute and the reed pipe, they are still considered inferior in society. The singing profession was also practiced by those who saw themselves as "sayyids" (nobles) and of high stature, such as singers Mohammed Abu Nasr and Fuad Al-Kibsi, despite the first being denied and facing family ostracism due to their singing and musical pursuits. For this reason, perhaps the San'ani art has remained stagnant and undeveloped. The arts cannot flourish in a society that despises music and art, even among its practitioners. Some engage in it ignorantly and without conviction, viewing art as a phase of sinfulness that must conclude with repentance, as Ayoub Tarsh did at one stage in his life before returning to art once again. This does not apply to song poets, as most of them were judges and jurists whose legal culture overshadowed their literary culture. There was no independent study of literature; it was subordinate to religious and legal studies, which jurists approached as a part of general culture and knowledge, not as a requirement for their academic formation. Yemeni and San'ani song poets, in particular, come from a religious knowledge background. Therefore, they often conclude their poems with prayers for the Prophet and his family, as is customary in their discourse. These poets, due to their social status, take precautions to wrap their poems in a religious context to maintain their social standing, ensuring they operate within the boundaries of legal and religious norms. This confirms that their work aligns with their cultural formation and the knowledge environment in which they were raised and operate, which is the environment of judges and jurists. When a jurist writes a poem, he is free in one sense but constrained in others. He is free because he can write on any subject, including emotional topics, but he is bound by the prestige and dignity that a jurist or judge must uphold. This art must remain within a private cultural sphere and not be shared with the general public.
On the other hand, the arts and literature that endure are those that adhere to the principles of creativity, development, and innovation. Without these elements, they lose their creative essence and become merely trades from which their practitioners earn a living. Without evolution and creativity, one cannot be considered a true artist or writer.
In Yemen, artistic creativity has stagnated and ceased to innovate. Despite the emergence of many singers, they are all merely imitators of the artists who came before them. There are numerous singers, but all their productions are mere imitations and repetitions of what has been accomplished in the past. This is because, for them, art is no longer art; it has become just a profession. These singers perform the same routines and songs at wedding halls every day, with no new creativity or innovation. The art presented in wedding halls is dictated by the occasion, the venue, and the general mood. The audience, in such a setting, is easily pleased by any sound and enjoys any performance, no matter how poor. This misleads the singer to believe that he has reached perfection, especially if he is being paid well for it. As a result, he does not seek to improve or innovate but remains stuck in the same routine. Some even bring along groups of supporters and cheerleaders who loudly express approval or repeat certain phrases, as if they were intoxicated or under the influence, which the singer either welcomes or perhaps even orchestrates and is encouraged by him. This behavior degrades musical taste, confuses the audience, and distorts the meaning of songs by altering some of their lyrics.
“The San'ani song, particularly in its Kawkabani branch, remained confined to local circles and was nearly forgotten. The new generation of artists neglected it until Hussein Moheb emerged in his early days, specializing initially in reviving and performing the songs of the artist Mohammed Hamoud Al-Harithi with his beautiful voice and subsequently being followed by other new artists in this genre. However, the songs of the al-Kawkabani trio remained largely untouched, serving as raw material that no one approached, with the exception of two or three songs performed by Yemeni Jews with fast-paced music and rhythm, which stripped these songs of some of their unique charm and beauty.”
Why Has the San'ani Song Remained Locally Confined?
The Yemeni heritage boasts a vast repository of songs, reflecting the country's rich cultural and geographical diversity. There is the San'ani art (including al-Kawkabani), as well as Hadhrami, Lahji, Adani, Ta'izzi, and Tihami styles. Within these genres, there are numerous subdivisions and classifications. Linguistically, some songs are in classical Arabic (Hakami), while others are in local dialects or in classical Arabic that are free of grammatical rules (Hamini). Additionally, there are other categories and sub-genres that include Sufi chants, prophetic praises, and Yemeni muwashshahat (lyric poetry). This diversity and richness have been fertile ground for singers and artists in the Gulf and the Arabian Peninsula. Hadhrami singing, particularly the poems of Al-Muhdhar, reached most Arab countries through Abu Bakr Salem's beautiful performances and distinctive voice. He skillfully employed music to serve Hadhrami songs, facilitated by the closeness of the Hadhrami dialect to Gulf dialects. Additionally, he contributed to introducing some San'ani songs with musical instruments, such as "Rasouli Qawm Balegh Li Esharah," "Wa Mugharid Bewadi Al-Durr," "Ya Ahebat Rubu Sana'a," and "Wa Muallaq Bi Habl Al-Hubb," among others.
However, San'ani songs, particularly al-Kawkabani, remained confined locally and did not gain widespread popularity. This was not due to the complexity of its lyrics but rather the performance styles of its prominent singers, like Mohammed Hamoud Al-Harithi, whose delivery was sometimes difficult to comprehend for even Yemenis living in other provinces. Unlike classical heritage songs that are closer to standard Arabic, the Arab understands them, enjoys them, and comprehends their meanings. Hence, lesser-known Yemeni songs have seeped into the repertoire of Gulf artists who exploited their lack of fame and popularity, often attributing them to themselves and their own or simply labeling them as generic "heritage" without specifying their true origins. Unfortunately, even renowned artists have engaged in this practice, such as Mohammed Abdu. Many examples highlight this trend, including songs like "Ya Munyati Ya Sala Khateri" and "Alaik Samouni Wi Samsamouni."
Thus, the San'ani song, particularly in its Kawkabani branch, as mentioned earlier, remained confined to local circles and was nearly forgotten. The new generation of artists neglected it until Hussein Moheb emerged in his early days, specializing initially in reviving and performing the songs of the singer Mohammed Hamoud Al-Harithi with his beautiful voice, which sparked the interest of other newer singers who followed him in this genre. However, the songs of the al-Kawkabani trio remained largely untouched, serving as raw material that no one approached, with the exception of two or three songs performed by Yemeni Jews with fast-paced music and rhythm, which stripped these songs of some of their unique charm and beauty.
