Yemen boasts a rich tapestry of folklore, with traditional dances standing as one of its most cherished cultural expressions of this heritage. Every region in Yemen boasts unique dances that reflect its local identity. For example, the governorate of Sana’a is uniquely known for the "Sana’ani Bar’a" dance, which itself alone encompasses various styles, each differing in the number of movements, pace, and rhythmic tempo, thus making it suitable for different occasions.
Similarly, the governorate of Taiz is also home to its own unique traditional dances, the most notable of which is the well-known "Zubayriyah." This dance likely took its name from the village of Al-Zabbayrah in the Qadas area of Al-Mawasit District, east of Al-Turba city, and has since spread to other regions. The Zubayriyah dance is characterized by its slow rhythm and is performed by multiple dancers. In the past, this group dance was traditionally performed by men and women alike, and it was one of the most popular dances at wedding celebrations in the Al-Hujariyyah district.
Another iconic dance, the "Lahji Sharh", which is unique to the Lahj governorate, is considered one of the most famous dances in Yemen, second only to the "Sana’ani Bar’a." The Sharh is a group dance, traditionally featuring both men and women, characterized by its fast rhythm and lively movements. It features various colors that vary according to the melody, adding to its vibrant performance.
An Expressive and Kinetic Art Form
Throughout history, the people of Yemen have documented their moments of joy through dance, which has become a deeply rooted cultural identity reflecting the rich diversity that distinguishes each region. As a result, dance has emerged as one of the most prominent manifestations of the country's vibrant and varied folklore.
In this regard, Ali Al-Mohammadi, the Director General of Folk Arts and the leader of the National Folk Arts Troupe at the Ministry of Culture, explains in a statement to "Khuyut" that it is impossible to pinpoint a specific time when this human activity began. He notes that "dance" is an expressive trait with numerous connotations that have existed since the dawn of humanity. According to Al-Mohammadi, primitive and early humans were unable to articulate their innermost thoughts and feelings through simple words; instead, they relied on the expressive movements of the body, which became the most profound language through which humans could convey their emotions and feelings regarding the experiences they encountered.
“Regions such as Sana’a, Taiz, Lahj, Hadhramout, Aden, Tihama, and other regions of Yemen are distinguished by their own unique folklore, ranging from folk dances to traditional dress, cuisine, and more. However, this rich tapestry of folklore has begun to fade amid the ongoing conflict in the country; thereby, the state remains primarily responsible for safeguarding this heritage from extinction.”
Likewise, Ali Zaid, the leader of a traditional dance troupe in the city of Taiz, tells "Khuyut" that the dance expresses the national spirit of individuals through their belonging to the land, which is reflected in the national features of the community. Moreover, he emphasizes that dance serves as a living medium that translates and conveys the emotions, beliefs, and customs of different peoples.
According to Zaid, folk dance originates from humanity itself, as it is a social phenomenon that has held its recognized significance status since ancient times. It continues to endure to this day and will do so for eternity. He highlights that dance plays a crucial role in influencing the psyche of people and serves as a medium for intellectual and emotional impact. As an expressive and kinetic art form, it conveys thoughts, emotions, and the general mood of individuals through various body movements and rhythms.
Between Survival and Extinction
The ongoing war and conflict in the country have severely impacted various aspects of life for the Yemeni people, making the struggle to secure a livelihood a significant concern for many. As a result, Yemen’s folklore has borne a large share of these effects and repercussions, leading to the disappearance of many cultural traits from people's lives. Despite some of these traits remaining preserved among the elderly and in certain rural areas, they are increasingly at risk of fading away.
For his part, Dr. Fares Al-Bail, a researcher and writer in literature and art, states that heritage does not change or fade easily, as traditions and tribal customs serve as a cultural safeguard. However, recently, there has been a noticeable decline due to the migration of youth, and the new generation has shown less interest in folk and traditional dances.
Fares further confirms to "Khuyut" that although there is promotion on social media for certain popular dances, particularly the Sana’ani dance; however, there is no widespread promotion for all folk traditional dances. He points out that the transfer of customs from the older generation to the new generation often diminishes many of these traditions, leading to a noticeable decline in this aspect of cultural heritage.
Moreover, Ali Al-Mohammadi emphasizes the fundamental role of education in cultivating the minds of future generations, ensuring that this Yemen’s cultural heritage is passed down as a core part of the nation's identity. He explains, "We must take pride in and promote this rich heritage before other cultures. Yemen is one of the few countries that holds such an expansive and unique legacy, and therefore, education is crucial to preserving and embedding this heritage within the minds of future generations."
Protecting Yemen’s Folklore
Regions such as Sana’a, Taiz, Lahj, Hadhramout, Aden, Tihama, and other regions of Yemen are distinguished by their own unique folklore, ranging from folk dances to traditional dress, cuisine, and more. However, this rich tapestry of folklore has begun to fade amid the ongoing conflict in the country; thereby, the state remains primarily responsible for safeguarding this heritage from extinction.
Al-Mohammadi stresses that the state is the principal bastion for safeguarding folk heritage, as it acts as the custodian of all cultural and civilizational centers in any nation rich in folk arts and traditions. He explains that "the state’s role is to support these institutions by establishing academies and organizing specialized training programs to nurture emerging talents in a methodical way, enabling them to present these arts on stage with professional precision and authenticity."
On the other hand, Dr. Al-Bail points out that the current circumstances in the country are "not favorable for preserving heritage." He notes that even prior to the war, interest in traditional dances was limited due to religious and cultural factors. He raises a question: "Why aren’t there training and development centers that introduce some modern techniques into this form of folk heritage?"
In conclusion, the importance of folk dances lies in their role as a cultural and symbolic national treasure, through which Yemenis have expressed courage and joy. Some dances embodied values of collaboration and tribal solidarity, while others have, historically, served as a way to resolve personal conflicts or marriage disputes, such as when two men sought to marry the same woman. These dances are more than performances; they are carefully crafted artistic expressions with synchronized movements, passed down through generations. Every Yemeni carries a part of this folk heritage cherished in their heart, wherever they may go.
