The Art of Lyrical Monologue in Yemen [Archives:1999/18/Culture]

For the past four decades the art of lyrical monologue has been a fresh breeze in the artistic movement in Yemen. Since its beginning, this kind of art has met with considerable appreciation, both from the public and the lyrical monologists. The art form was received favorably, and has pleased audiences and succeeded in drawing smiles of satisfaction and amusement on their faces.
This artistic and cultural combination which was an effective means of expression during the 1919 revolution in Egypt spread over to Yemen and found its way to the hearts of the Yemeni creative singers and composers. They took on their shoulders the task of improving and enlarging it into a variety of lyrical forms.
The basic characteristic of the lyrical monologue is its folk element. In fact, it is a folk tradition practiced in many different countries. The hidden beauty of this art lies in the fact that it combines both simplicity of diction and the depth in meaning. So without a simple word that finds its way smoothly to the ears of the masses it would be impossible for this art to fulfil its desired role in the life of the society.
Another characteristic of this art is its satirical aspect. It is often composed to criticize existing social conditions and out-dated practices that have an ill effect to the common interest of the people.
Beside the lyrical tone of this art, there is also a great deal of comical sense to it. It effectively intensifies its criticism by making fun of things in a way that magnifies their social defects. This technique is to music what caricaturism is to art.
It is important that we refer here to the leading pioneer, the great singer and composer Ahmed Fathel Qumendan, who introduced the lyrical monologue to Yemen. Al-Qumendan, a legendary genius and creator of the distinguished songs of Lahaj, not only initiated this art of monologue but also developed it in such a way as to absorb the unique spirit of his community. In his famous poem “The Cars Issue” Al-Qumendan criticizes the headless rush of some people to buy Ford cars which made their first appearance in Aden city at that time. These cars were purchased from a foreign agent who was called by the locals Al-Kahwajy, or the coffee maker. To encourage his trade Alkahwajy made it easy for the buyer by selling his cars on an installment basis. The poem begins:
How often did we talk?
How often were we patient?
Yet this man from foreign folk
appears to hear not.
This poem reflects Al-Qumendan early awareness of the problem of foreign domination through debts and credits, the problem arising from the arrival of new technology at a time when the local community is not yet, at least culturally, prepared to take it in.
What is the use of purchasing a car when there are no highways or asphalt roads? he seems to suggest. The difficult, crooked roads will lead to a breakdown of the car while the local purchaser is still carrying the burden of paying the installments back to the foreign Kahwaji.
We can imagine that had this poem been musically composed and sung, it would have been enjoyed by many more people in our society.
After the Qumendan there came a number of poets form Lahj who followed in his tradition. Notable among them was the poet Saleh Fakih who wrote a monologue poem under the name “Shurrah.” This poem, which was turned into a song by the singer Fathel Lahji, attacked the feudal systems for the oppression they practiced against peasants and farmers toiling on the land. Also, the famous poet, singer and composer Abdullah Hadi Subait actively contributed to this art, which was now firmly associated with attacking harmful social conditions of the time. This poem coincided with the introduction of cotton farming in Lahj was sung by the great singer of Yemen Mohammed Murshid Naji under the name “Wa-ba-khetah” or “We the Unfortunate”. Though comparatively old, this song has stood the test of time, and still retains a lasting appeal.
The Singing Modernization Movement, which was actively forming in Aden during the 50s, extended the topics of the lyrical monologue to include satirical themes on the violations and encroachments of the British administration in Aden. One of the Movements leading figures is the singer-monologist Fuad Sharif who released at that time his song-monologue “The Penniless.” The first two lines of this song run:
I was left broke,
In the middle of a hot nowhere,
scorched by the flaming sands,
of a place called “Al-Khaysah.”
This song dramatized the tragic situation that engulfed the population of smaller Aden or Al-Borikah when they were evacuated and moved by the British Administration to an open-air area called “Al-Khaysah,” a fishing area at the time. The evacuation took place to allow for the construction of the Aden oil refineries and housing units for the British engineers and technicians. However, Sharif’s song was warmly received by the public, and he became even more popular in Yemen and began to be known outside of Yemen.
A great deal of the success of this artistic activity depends on the monologist’s sense of humor as well as his theatrical body signs and movements. A lot of monologists were able to occupy a dear corner in the minds of the audience through their sense of humor.
The question now: What is the lyrical monologue situation like today? How can one find a distinguished monologist among the huge number of the so called singers and composers of today? Is there an end to the ongoing decline in the musical world of Yemen, or is the spirit of stagnation is that dominating? Let us hope not.
By: Saleh Abdulbaqi,
Cultural Editor
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