During the 1960s, a worldwide fascination with heritage in general, and particularly with singing heritage, emerged on the horizon. With the UNESCO spearheading this interest, many nations previously aloof from this concern began to pivot towards engaging with this international summons. UNESCO played a pivotal role in spearheading this movement, bringing attention to the value of safeguarding diverse cultural expressions, including traditional songs and vocal traditions. As UNESCO championed this cause, nations that had previously been indifferent or detached from cultural preservation efforts began to reevaluate their stance.
In the midst of varying levels of interest and engagement in singing heritage among different nations, it is evident that some countries had already begun to appreciate and preserve their cultural legacies even before UNESCO's global initiatives. Conversely, other nations had yet to take substantial action for a multitude of reasons.
In Yemen, there was a modest response to the call for heritage preservation, albeit hindered by a shortage of qualified personnel to drive such efforts forward. I distinctly remember an initiative in the northern region of the country, formerly known as the Yemen Arab Republic, where the Ministry of Information and Culture deliberated on appointing the esteemed poet Othman Abu Maher and the renowned singer Ayoub Taresh to conduct field visits to provinces and villages in order to delve into the abundant folk heritage present there. Meanwhile, in the southern part of the country, previously named the People's Democratic Republic of Yemen, the Ministry of Culture and Information entrusted the singers Mohammed Murshid Naji and Faisal Alawi with a similar mission to explore and document the cultural richness of the southern areas.
It is abundantly clear that the two initiatives lacked a scientific comprehension of the problem at hand, with their selection criteria seemingly driven more by artistic considerations than a deep understanding of the issue. As a result, the efforts yielded minimal outcomes, akin to the mountain laboring and producing a mere mouse, leading to a premature halt in the endeavors. Nonetheless, the Democratic Yemen later sought the expertise of an ethnomusicologist named Elsner from East Germany, as per my recollection. This scholar embarked on field visits to villages in the southern regions of the country and successfully documented a plethora of folk songs, which were subsequently entrusted to the Ministry of Culture and Information. Yet, to this day, the fate of those valuable recordings remains shrouded in uncertainty.
By shedding light on these contrasting actions, I seek to underscore the deficiencies in our approach towards addressing the challenges surrounding our heritage, be it in its popular or traditional manifestations. Such reflections serve as a poignant reminder of the importance of adopting a more informed and holistic approach to safeguarding our cultural legacy for future generations.
Comparison of Yemeni and Tunisian Cultural Heritage Preservation Efforts
In contrast to the Yemeni experience, Tunisia embarked on the establishment of the Folk Heritage Center in the 1960s with a serious commitment from the Tunisian Ministry of Culture. The ministry entrusted the esteemed musician Saleh Al-Mahdi with the task, providing all necessary resources for the implementation of this project. Once set in motion, the center began conducting field surveys across the diverse landscapes of Tunisia, relying on a qualified national team for this mission.
The culmination of these surveys led to the acquisition of a substantial collection of audio and visual recordings at the Tunisian Folk Heritage Center, preserving diverse facets of the Tunisian folk music heritage. Following this, the center proceeded with essential tasks including description, analysis, classification, indexing, and archiving. This comprehensive approach ensured that the center was fully equipped to receive and assist local and international researchers keen on exploring the depths of this culturally rich heritage.
In this regard, it is noteworthy to highlight that the management of the center advocated for the enactment of legislation to criminalize any personal or arbitrary dealings with Tunisian heritage songs, a call to which the Ministry of Culture promptly heeded. Subsequently, Tunisian traditional and folk heritage found itself under the protective umbrella of the Tunisian state.
I consider myself fortunate to have had the opportunity to visit this center fifteen years ago and to have gained insights into its operations through a highly qualified team. Their profound and extensive cultural expertise is indispensable for carrying out such a crucial mission.
In fact, the developments in Tunisia since the 1960s have inspired me to reflect on and compare the actions of administrative authorities in our own country regarding the preservation of musical heritage. As previously mentioned, the Ministries of Information and Culture in Sana'a and Aden responded to UNESCO's international appeal for the protection of musical heritage. However, various obstacles impeded the progress of this initiative, and the General Administration for Artistic Works in Sana'a found itself tasked with establishing guidelines for managing musical heritage despite lacking the necessary resources and expertise for such a significant undertaking.
However, the situation persisted until the 1990s when the French anthropologist Jean Lambert sought to organize the first scientific conference on Yemeni music. Leveraging his connections with the Yemeni private sector and receiving strong support from the French Embassy in Sana'a, Lambert successfully convened this conference in July 1997. Yemeni, Arab, and foreign researchers with expertise in musicology and ethnomusicology in Yemen were invited to participate. The conference yielded numerous recommendations, with perhaps the most significant being the establishment of a Yemeni Music Heritage Center.
It is disheartening to observe that the Ministry of Culture, the official entity responsible for cultural preservation, remains disconnected from the vital issues surrounding Yemeni musical heritage. The ongoing political turmoil in Yemen since 2011 has further diverted attention away from this crucial subject, leaving our musical heritage neglected and unprotected. Without the necessary focus and preparation to address these challenges, our rich musical legacy is at risk of being lost amidst the chaos, with individuals ill-equipped to safeguard its preservation.
Establishment of the Yemeni Music Heritage Center and its Operational Challenges
During his tenure as Minister of Culture, Abdulmalik Mansour delegated the responsibility of the ministry's involvement in a significant conference to Hisham Ali, the Deputy Minister, who emphasized the critical need to implement the recommendation for establishing the Yemeni Music Heritage Center. Subsequently, the ministerial decree for the center's formation was issued in 1998. However, in practice, this was just the beginning.
Shortly after the decree's issuance, the Deputy Minister proposed appointing me as the General Director of the center. Eager to contribute, I promptly accepted the offer, stepping down from my role as the Director General of the Culture Office in Sana'a. While I won't delve into the intricate founding details, it's noteworthy that the Ministry allocated a dedicated space for the Yemeni Music Heritage Center within the Cultural Center in Sana'a. The staffing for the center was carefully selected from the Ministry's administrative body, setting the stage for the center's journey amidst operational challenges and aspirations for preserving Yemen's rich musical legacy.
It is clear that the Yemeni Music Heritage Center, overseen by the Ministry of Culture, faced significant hurdles in establishing its administrative and financial framework to effectively conduct surveys across Yemen. This limitation had a profound impact on the center's ability to carry out its mission. Anthropologist Jean Lambert was deeply invested in bolstering the center's role and actively pursued funding for a project from UNESCO and the Social Development Fund. This initiative, known as the "UNESCO Project for Preserving Sana'ani Singing," was launched in 2006 with high hopes and aspirations.
Despite these efforts, the strained relationship between the Ministry and the Music Heritage Center created tensions that hindered the center's essential tasks of surveying, collecting, and safeguarding Yemen's musical heritage. This conflict not only impeded the center's progress but also jeopardized the preservation of valuable cultural assets for future generations.
In summary, the official institution, under the Ministry of Culture's auspices, appears to be disconnected from the vital concerns pertaining to Yemeni musical heritage. The prevailing political tumult in Yemen since 2011 has further obscured the focus on this essential cultural aspect. This neglect has left our valuable musical legacy unattended, with stakeholders lacking the necessary tools and support to effectively tackle this significant challenge. The urgent need for concerted efforts and resources to safeguard and promote Yemen's diverse musical heritage has never been more pronounced, underscoring the critical importance of revitalizing attention and initiatives in this realm.
