‘To understand traditional Arabic music you need to know one word,’ explains Ghada Shbeir: ‘tarab’. It isn’t really a style, but a ‘sensation’, she says. More accurately, it is the emotion brought about in the listener. It is the basic principle for much of traditional Arabic song and responsible for its almost hypnotic rhythms, yet it is more difficult to pin down than a jellyfish smothered in vaseline. ‘The ‘tarab’ state differs from one person to another,’ says Miss Shbeir. ‘Since a person may feel the ‘tarab’ when listening to a certain song, while another person won’t feel it.’ Some might call it a matter of ‘taste’, but it is more than that.
A passionate advocate of oriental Arabic music, Ghada Shbeir has made it her life’s work to study Arabia’s distinctive varieties of folk music. The tarab legacy, she explains, is a vast collection of ancient music whose authors and composers remain largely unknown. But by this same token, explains the singer, ‘the music enters the heritage of the people because it holds their thoughts, lives and traditions’. For this reason, Arabia’s folk music is as current and vital today as it has ever been.
Ghada Shbeir appears at Sounds of Arabia as part of a trio of singers celebrating the work of Sayed Darwish, an Egyptian composer who died aged just 31, but who is considered the father of modern Arabic music.
‘I grew up in a family who listens and appreciates this type of music,’ Ghada explains. ‘My parents searched for ancient melodies and they made us listen to those melodies on a daily basis. I used to listen to my dad describing the singer’s sound, rhythms and performance,’ she recalls wistfully. It cultivated an unmistakable zeal in the young Shbeir, but it has also invoked a sadness for what she sees as the abandonment of this music by the modern Arab world.
‘Many young men and women refuse to hear this music, considering it an ancient work that has no relation to our present. This refusal is simply the result of an ignorance of this type of music, and the simplicity and naivety of many of the current popular songs and music. They refuse folk music because it requires awareness and deep understanding to be able to appreciate it and benefit from it.’
In the West, the words ‘folk music’ often bring with them connotations of mustiness and beards, so the glamourous and passionate Miss Shbeir is certainly a breath of fresh air. When asked what she believes traditional Arabic music has to offer a modern generation, she replies hotly: ‘I wonder what the new generation is offering this vital music. Are we loyal to it? Are we working to publish it? Are we looking at its content and analysing it to discover its beauty? Or is it just stored in our old libraries and museums?’
It is difficult not to feel at least a tinge of admiration for the fiery musician. She has worked tirelessly in promoting this music across the world. In 2007, she won the best album award at the BBC World Music Awards and it has become her mission to promote Arab music wherever she can. But she won’t bend to an audience. ‘I execute researches and I perform according to my own style. It is up to the audience to decide whether they like my music or not.’
Ghada Shbeir has been singing and living this music her entire life. She has become a part of its legacy herself, bridging one era with another. As she arrives in Abu Dhabi, ready to perform to and convert more musical followers, she remains optimistic for the future of her musical passion. ‘I look forward to proceeding in this field and to publishing our heritage because I believe that sooner or later young people will resort in one way or another to a different type of music.’ Certainly, if she performs with the kind of passion and intensity with which she speaks, this will surely follow.
Ghada Shbeir appears at the Cultural Foundation as part of ‘A Tribute to Sayed Darwish’ on May 9, 8.30pm.
Thankyou for the music
Kasida
A classical Arabic poem performed by a solo vocalist and usually accompanied by a takht (or ensemble) consisting of an oud, a qanún, a nay, a riq and a violin.
Mawwal
A form of improvised storytelling that is commonly used in Egyptian ‘Shaabi’ music and is traditionally found on the streets of Cairo. The musicians usually take the singer’s lead and repeat key phrases after each verse. Think of it as a very ancient form of rap.
Muwashshah
An archaic Arabic-Andalusian music style, appearing in Spain at the beginning of the 11th century blending spoken and classical Arabic lyrics.
Dawr
A vocal genre sung in colloquial Arabic, Dawr was developed in 19th century Egypt but faded in popularity after the 1920s.
Syriac Chant
A simple, austere chant, often sung without musical accompaniment or alongside a naqus (handbell) or marwaha (rattle).
Oud do you think you are?
Master musician Charbel Rouhana tackles the heritage of oriental Arabic music.
What do you mean when you say oriental Arabic music?
The term ‘oriental Arabic’ encompasses Arabic, Persian and Turkish music, as well as the music of the Eastern Mediterranean. No one can say that they are playing pure Arabic music or pure Turkish music. When we say oriental, it’s basically the essence of all of these types of music because they are very much entwined with one another.
You’ve previously said that you think that the Arab world is facing a renaissance in oriental-Arabic music. Why?
In my opinion, a lot of musicians are going back to their roots, exploring them a lot more than before. There are a lot of elements in modern music that come from within this culture, especially in the eastern portion of the Mediterranean.
Is there room in the modern Arab world for this ancient music?
It’s not really ‘ancient’ music. It is music that has the character of the oriental region. I grew up in an oriental environment. This is the music I know. It was what I listened to as a child. With its Egyptian, Syrian, Iraqi and many other influences, it is a reflection of the culture that we have. It is something which is in the consciousness of the Arab listener. It is not foreign to their ears.
So what does it offer to a western audience?
Oriental Arabic music offers a new flavour to the western world. It is not what people perceive simply as ‘belly dancing’ music. Yes, it is a cultural reflection of this part of the world, but the challenge is to play it in the proper way, and, in doing so, it presents something of value to any listener.
What will you be playing at Sounds of Arabia?
The original composition is based on a big arrangement grounded in the oriental traditional, but with a lot of new perspectives and horizons. It is based on the history of our music and is not fixed to one tradition; it is contemporary as well as historical.
Charbel Rouhana performs at the Cultural Foundation on May 4 at 8.30pm.
While my qanún gently weeps
A ‘what’s that!’ guide to traditional Arabic instruments.
Oud
The precursor to the lute, while it’s European equivalent has long since been relegated to renaissance fairs and mockery, its fretless forefather remains an important part of Arabic music.
Qanún
Essentially, this could be considered an Arabic equivalent of the zither. The Qanún can trace its roots back to the ancient Egyptian harp and is commonly balanced on the lap of the musician and plucked with both hands.
Daf, or riq
A large framed drum-cum-tambourine, these are traditionally made from fish or goat skin stretched over a wooden frame.
Goblet drum
A goblet-shaped drum, its resonance helps it to produce a distinctively crisp sound.
Ney
The ancient flute figures heavily in Persian, Turkish and Arabic music. Neys have even been found depicted on pyramid walls.
Rabab
Also going by the somewhat fearsome name of the ‘spike fiddle’, the rabab is an elongated, double-stringed bow fiddle played upright by the musician.
The line-up
May 2
Mohamad Abdou
A true tarab artist, the Yeminese Abdou has been described as ‘the artist of Arabs’. Grammatically incorrect, but you get the point.
National Theatre.
May 3
The Syrian National Symphony Orchestra
The most famous symphony orchestra in the Arab World performs an evening of classics.
National Theatre.
May 4
Orientals
Lebanese-Egyptian duo, violinist Jihad Aqell and qanún player Majed Sorour join together for an evening of classical fusion.
Cultural Foundation.
May 5
Charbel Rouhana
The legendary oud player stays true to his roots and performs alongside the Beirut Oriental Musical Ensemble.
Cultural Foundation.
May 6
Karima Skalli
Morrocan star Skalli performs traditional tarab music.
Cultural Foundation
May 7
Elazifat
The ambassadors of Tunisian music, this all-female ensemble sings and plays melodies from Tunisian and Arab heritage.
Cultural Foundation.
May 8
Hussein Al Aadami
Acclaimed Iraqi artist and singer.
Cultural Foundation.
May 9
Tribute to Sayed Darwish
The tarab trio of Lufti Boushnaq, Iman Al Bahr Darwish and Ghada Shbeir perform a tribute to the late maestro.
Cultural Foundation.
*All concerts take place at 8.30pm. Tickets available at www.timeouttickets.com.
