Music of Qatar
The historical importance of pearl fishing have deeply resonated within the region's artistic expression, manifesting in melodies, tunes, and dances that reflect the enduring bond between humanity and the sea.
Music has served multiple cultural purposes in Qatar in the past, ranging from being used in weddings and other celebrations to religious rituals, as lullabies (hadhada), and in military parades.
[6] Qatar adopted its current national anthem, As-Salam al-Amiri, on 6 December, 1996, shortly after Hamad bin Khalifa Al Thani became emir.
[7] A distinctive social tradition among the Persian Gulf people involves communal gatherings known as the "majlis", where friends and neighbors convene to discuss matters of mutual interest over cups of Arabic coffee.
In the past, the "dour," or spacious rooms designated for these gatherings, hosted seafarers, dhow captains (noukhadha), and enthusiasts of folk arts between pearl fishing seasons.
The pastoral setting differs from the agricultural, coastal, and urban environments, each possessing its own distinct culture, specific tasks, and unique forms of production.
Qatar's environment, being predominantly coastal due to its peninsula geography, shapes the lives and work of its people around the sea, fostering cooperation and community engagement.
Within this coastal setting, there exist songs whose rhythms are synchronized with various work movements such as pushing ships, hoisting sails, rowing oars, and pulling ropes.
[12][13] Each song, varying in rhythm, would narrate a different activity of the pearling trip, including spreading the sails, diving, and rowing the ships.
[12] Furthermore, when the noukadha (captain) ordered the sails to be rigged, the crew would sing while the al naham would give praise to Allah and Muhammad.
Various versions of al-fujairi, such as "al-bahri," "al-adsani," and "al-hadadi," offer diverse expressions of this art form, each characterized by unique performances and styles of dancing.
It is considered a celebration of the highest degree and is performed at important events such as royal weddings, high-ranking governmental visits, and national feasts.
This song was historically sung by women standing by the coastline, anxiously awaiting the safe return of their male family members from their pearl diving expeditions.
Her most popular song was Gharby hawakom ya ahl el Doha (Arabic: غربي هواكم يا أهل الدوحة), released in 1988, which was played and adapted by other artists all over the Persian Gulf region.
Her participation marked the first time a woman has performed this art on stage in the Gulf, with choreography and music designed by Mohamed Al-Sayegh.
[27] Folk nursery rhymes serve as a medium for transmitting cultural values, educational information, and social norms to children within Qatari society.
The first was al-moradah, which involved women and girls of all social classes gathering in a secluded area where they would sing and dance in embroidered clothes.
As children progressed through various developmental stages, folk songs tailored to each phase played a role in their upbringing, from lullabies soothing newborns to celebratory tunes marking milestones like teething and first steps.
Ihmido yal qalqani uplifted children, while Bil nafila yammul shahm wal lahm was sung during the mid-Sha'ban month's fast, signifying anticipation of treats from neighbors in a tradition called Garangao.
On festive occasions like Eid al-Fitr, songs such as Baker Al-Eid and Al-Ayedoh united children and adults in joyful celebration.
An example of this transformation is evident in the mirwas, which originally existed as a large, rudimentary drum but has since evolved into a smaller instrument, slightly larger than the palm, yet remains an integral component of folklore troupes.
[32] Constructed from carved wooden tubes covered on both ends with goatskin, the mirwas was traditionally handcrafted by specialized artisans in the Persian Gulf region, where the leather coating industry flourished.
In the Persian Gulf region, rhythmic clapping is performed by groups of men seated in rectangular formations around musicians, with participants ranging from 10 to 40.
[34][35] The Arab Gulf States Folklore Centre was founded in Doha, Qatar, in 1981 with the objective of preserving the region's culture and history, including folk music.
[45] Local music artists are subject to many barriers in Qatar, such as lack of awareness, high prices of recording studios and a deficiency of agents.
[50] As a tribute to renowned folk singer Salem Faraj, Mansour Al-Muhannadi remade his song Blessed Be Our Eid, composed by Qatari poet Khalifa Jumaan.
The lyrical content of patriotic songs encompasses a wide range of themes, including religious devotion, martial prowess, love for the homeland, loyalty to leadership, and pride in national achievements.
Common motifs include references to swords, symbolizing strength and heritage; flags and masts, representing national sovereignty; and elements of the local environment.
Khalil Al Shabrami, a poet dubbed Shayr Al-Million, is another popular artist who sang Tamim Aali Mistawa, which was accompanied by an ardah performance.
The band regiment has participated in numerous international festivals across the Arab States of the Persian Gulf, Europe, the US, and China, showcasing Qatari songs intertwined with Western instrumentals, particularly bagpipes.
