Nevertheless, al-Qumindan later commended Ali Said Pasha's four-year tenure, characterizing it as equitable and noting that the Ottoman leader "devoted late nights to the public good and provided solace to the impoverished and disadvantaged."

[7] al-Qumindan's two daughters, Fatima and Khadija, received education in Quranic studies as well as basic reading and writing skills under the tutelage of a teacher named Saeeda, who hailed from northern Yemen.

Notable figures who frequented the residence included military officers from Aden, prominent political leaders such as the Sultan of Al-Hawshab, and the esteemed Lebanese traveler and writer Ameen Rihani.

[30] In his book Kings of Arabia, Amin Al-Rihani provides a detailed account of his visit to al-Qumindan in the early 1920s, offering insights into the poet's personality, appearance, and intellectual discourse.

He proactively sought out methods to enhance agricultural production, immersing himself in a plethora of literature, including books, magazines, and bulletins—both Arabic and English—that focused on topics such as soil suitability for farming and the use of liquid pesticides to gradually, and sometimes completely, eliminate crop pests.

[32] In his endeavors to combat crop pests, al-Qumindan designated a portion of his "Husseini Garden" for experimentation with the efficacy of assorted pesticides, subsequently applying them to neighboring orchards and disseminating his findings to local farmers.

[38][39] Notable Arab figures, including the Lebanese writer Ameen Rihani, Egyptian scholar Mohamed El-Ghanymi Al-Taftazani, and Tunisian intellectual Abdelaziz Thâalbi, have visited the Husseini Garden.

The study presented at the First General Conference on Cultural Heritage in 1974 also acknowledges al-Qamadan's role as a foundational figure in Lahji music, citing examples of his innovative melodies, such as his poem "Dam al-Hana Ya Qamri al-Bana".

Other poems such as "Ya Haid Radfan" and "Asa Sa'ah Hani Bayn Aden wa Bambi" fit well into the Dan al-Dahif tradition, which is characterized by short vocal passages.

"[63] Among the poems of Ahmed Fadl al-Qamadan with a military theme is "Talabna Allah Dhi Yaghfir wa Yirham," which was composed in response to the advance of Ottoman Army in 1333 AH (1915 AD).

Furthermore, al-Qamadan composed a poem titled "The Call to Recruitment," written in Classical Arabic, in which he exhorts the citizens of Lahij and Tuban District to the Military service of the nascent al-Abdali Sultanate.

This aspect of his work reflects a critique of the actions and neglect of officials and rulers within the Abdali Sultanate, as well as an attempt to draw attention to salient public issues and to urge those in power to alleviate the suffering of the people.

[67] A substantial proportion of his poetry is devoted to portraying the challenges encountered by the general populace, encompassing local customs, traditions, and the circumstances of farmers engaged in agricultural labor, among other social aspects of life in Lahij.

[70] The relationship between poet Ahmed Fadl al-Qamadan and his community, as well as his involvement in politics and the military, has been a subject of significant debate among Yemeni writers and researchers interested in the musical heritage of Lahij.

The first camp, led by the Yemeni critic and writer Umar Abdullah al-Jawi, who had a Marxist Left-wing politics, argued that al-Qamadan did not occupy a central position within the Abdali royal authority.

In the poem, comprising eight verses, al-Qamadan speaks on behalf of the citizens of the Abdali Sultanate, articulating his profound affection for Lahij and its Wadi Tuban, and his readiness to sacrifice his life for a homeland that is of paramount importance to him.

In the poem, the poet portrays the female figure as ruling over the city of Al-Majrad (now known as Khormaksar), sailing the seas as the mistress of a fleet, and finally, symbolized by a beacon of fire on a mountaintop.

[85] In a similar vein, writer and journalist Ahmed Mahmoud Al-Salami posited that the ascription of communist characteristics to al-Qumindan by the intellectual and poetic elite of the period was likely a strategic maneuver.

[28] In composing "Hadiyat Al-Zaman," al-Qumindan drew upon a diverse array of sources, including English works by British historians and explorers who held administrative and military roles in Aden, as well as references that document the Imamate system in northern Yemen.

[101] In his concise booklet, "Fasl Al-Khitab fi Ibaha Al-Oud wal-Rabab", Ahmed Fadl al-Qumindan presents both religious and rational arguments in response to several articles that suggested the prohibition of singing and music.

[103] Regarding the legal arguments and hadiths that al-Qumindan believed explicitly permitted listening to music, he drew upon several sources and books by well-known jurists, citing their opinions at length.

Despite al-Qumindan's explicit criticism of northern Yemeni religious scholars, the initial response originated from Aden, where a booklet was published under the name "Sheikh Al-Hindi," the identity of whom remains unknown.

The poem by Sheikh Abdul Majid Al-Asnaj, composed in the same meter and rhyme as Hali wa Inab Razqi and titled Man Lil-Bab Dha Al-Mughlaq (Who Will Open This Closed Door?

[107] One of the primary factors contributing to al-Qumindan's profound religious erudition, as evidenced in his treatise Fasl Al-Khitab fi Ibaha Al-Oud wal-Rabab, was his intimate association with Sheikh Ahmed Mohammed Al-Abadi.

In this article, al-Qumindan addresses a social phenomenon that was prevalent during that period: the increasing participation of women in popular female gatherings during holidays and religious celebrations, despite the concomitant neglect of their work in the fields.

In particular, al-Qumindan criticizes religious scholars who urge people to avoid magic and sorcery, believing that this stance only reinforces belief in the claims of charlatans, thereby increasing public interest in them.

Al-Qamdan refutes these allegations, asserting that al-Bayhani has falsely accused him to tarnish his reputation and present himself as a defender of religion in their previous debates, which included discussions on women's veiling and hijab.

In that episode, Moroccan contestant Salma Rachid performed the song "Ya Monyti," which is based on a poem by the Yemeni poet Ahmed al-Qamadan that was not included in his published collections.

[119] Before this, the same poem by the poet Ahmed al-Qamadan had been the subject of a comparable incident on the television program The Voice during the tenth episode of its inaugural season, which was broadcast on MBC channels on November 16, 2012.

Calls were made by figures such as Foad al-Sharjabi, who manages the Yemeni House of Music, for legal action against "The Voice" and MBC Group for failing to verify the song's intellectual property rights before its broadcast.