Hadhrami Music
Early pioneers emerged among the Ba 'Alawi communities in Tarim, Seiyun, and Al-Hawtah, where local musicians first professionalised the art of singing and music.
The acclaimed artist Muhammad Juma Khan, known for his mastery of the Hadhrami style, became one of the foremost practitioners of this hybrid form with works such as “Jinn al-Zalam,” based on a classic poem by the 13th-century Arab poet Baha al-Din Zuhair.
[3] Similarly, the work of Ahmad Ubayd al-Qa’tabi—for instance, in his rendition of “Ya A’zaz al-Nas ‘andi” (another poem by Baha al-Din Zuhair)—further exemplifies the synthesis of Indian and indigenous Yemeni elements.
Consequently, Hadhrami singing is often categorised into two principal styles: The valley (Wadi) style—typical of interior regions such as Tarim —features melodious, sometimes faster-paced Dan songs with a distinct, nomadic flavour.
The proliferation of Sufi religious schools (rabat) helped to preserve and continuously develop this art form, which bears similarities to the Tihami chanting style.
In many parts of Hadhramaut, annual festivals—coinciding with occasions such as the Islamic New Year, the Prophet’s birthday, the mid-point of Shaʿban, and the Friday of Rajab—feature religious chanting and poetic recitations.
Although some conservative segments of society have historically viewed music as contrary to religious principles, these celebrations have persisted as important expressions of communal heritage and artistic practice.
[2] A central component of Hadhrami musical heritage is the Dan, a unique form of folklore song native to the interior region (Wadi Hadhramout) that has also been embraced in coastal areas.
Regular Dan gatherings—social events where poets and composers improvise verses while enjoying a traditional tea known as “Bahari”—foster both poetic contests and collaborative creativity, resulting in the spontaneous creation of new melodies and lyrics that reflect themes of love, pride, and social or political commentary.
One school of thought attributes the term to the sound of Dandanah (which is close to humming)—a low, indistinct speech—while another contends that it derives from the Arabic word al-danu, meaning "approaching.".
Over time, it spread into major urban centres, including Mukalla, Ash Shihr, Seiyun, Tarim, Shibam, Daw'an, Amd, and Sah.
[7] Although the exact date of the Dan’s emergence is unknown, ancient poetic texts suggest that this form originated around the tenth century AD.
In particular, the duo of Abu Bakr Salem Balfaqih and poet Hussein Al-Mehdhar is widely recognised as one of the most influential partnerships in the modern history of Hadhrami Dan, and they are credited with disseminating the form beyond Hadhramaut and Yemen to other Arab countries.
[10] Hadhrami Dan is not a monolithic tradition; it encompasses several distinct variants, with nomenclature that is often interchangeable and largely dependent on regional and scholarly classifications.
This variant flourishes in the eastern regions of the Hadhramaut coast, and is followed by another type known as Al-Nayyed, meaning Najd, referring to the inhabitants of the valleys and deserts.
[8] Numerous art critics note that the Hadhrami Dan has played a pivotal role in shaping vocal traditions throughout the Arab world, particularly within the Persian Gulf region.
This distinctive musical form is regarded as a foundational element for many singing schools, with contemporary artists continuing to draw inspiration from its rich heritage and folkloric melodies.
However, it has been argued that many Hadhrami and Yemeni musical works have been appropriated by Gulf musicians without proper attribution to their original composers and poets.
While these perceptions may be understandable in light of contemporary identity concerns—a point elaborated by Lambert in his paper The Yemeni Sources of Poetry and Music in the Sawt of the Gulf: The Role of the Aravian Diaspora in India—they should be contextualised within broader historical and cultural exchanges.
This call-and-response pattern continues, with additional poets contributing successive verses that conform to the established metre and rhyme scheme.
He noted that local media and Arab outlets often describe this art simply as “Yemeni,” he argues that the art form should be recognised and referred to specifically as Hadrami heritage, preserving its unique identity—just as the origins of “Sana'ani” or “Tihami” genres are clearly identified—in order to preserve its unique identity rather than merging it into a broader Yemeni category.
[4] Women have also played a crucial role in the evolution of Hadhrami music; pioneers like Aisha Naseer (1901–1974) and Fatima Mansour al-Shatri (1926–2003) helped lay the groundwork for subsequent generations of female artists.
Abu Bakr Salem Belfkih (1932–2017), for example, modernised al-Dân songs by incorporating contemporary musical instruments, while poets such as Haddad al-Kaff (1910–1970) and Hussein al-Mihdhar (1932–2000) enriched the tradition with their lyrics.
[14] Hadhrami music has significantly influenced the cultural landscapes of regions beyond the Arabian Peninsula, notably in parts of Africa and East Asia.
The zafin, a devotional music and dance form originating in Hadhramaut and closely associated with the Arabic lute, uniquely blends elements of worship and entertainment.
Instruments such as the gambus, alongside performances of salawāt and hadrah, are used to commemorate religious events such as the Prophet’s mawlid, marriages, circumcision ceremonies, and other significant occasions.
During the period from 1724 to 1948, Hadhrami migrants were recruited to serve in the armies, and they brought with them their cultural traditions—including distinctive musical styles—that have since contributed to the region's local heritage.
In Muslim Southeast Asia (notably in Indonesia, Malaysia, and Brunei), the qanbūs evolved which later gave rise to an entire musical genre.
Notably, the hajir is believed to have been introduced to Hadhramaut (and Yemen as a whole) from India and Africa,[2] while Hadhrami migrants later carried the mirwas to Muslim Southeast Asia (especially Indonesia, Malaysia, and Brunei), where it is used in Zapin and Gambus musical genres.
They are usually accompanied by Darbuk, a thicker instrument fulfils a similar rhythmic role, contributing a deeper tone when used alongside the maraqees.
