Showing posts with label Muhammad al-Adra`i. Show all posts
Showing posts with label Muhammad al-Adra`i. Show all posts

Saturday, April 30, 2011

Scenes from the Sit-In (! معتصمين)

[a re-post with updates]

 In French, when you want to refer to a sit-in, you have to resort to “un sit-in”.  (It sounds even wimpier in French -- “uhn seet-eeeen”.)  In German it’s ein Sit-in.
In English, sit-in is all right -- part of the genius of the language that produced teach-in, bake-off, freakout, and much else.   But it does sound pretty passive.

Arabic, by contrast, has a particular verb for “to sit in”, i`taSam; a noun, ‘sit-in’, i`tiSaam;  and a participle mu`taSim, plural mu`taSimiin:  which is the title of the third and final song we shall link to, from that memorable evening in Taghyir Square:


Arabic is a strong and forceful language;  Yemeni, a dialect capable of especially warrior-like expression;  and the root `-S-m is one of signal strength:  both phonetically, with its quintessentially Arabic `ayn, its emphatic (pharyngealized) Sâd, and finally the mîm -- in itself a soft letter, but in closing out the defiant word mu`taSim, it is like a powerful jaw, champing down and not letting go; and semantically, surrounded  as it is  with a corona of splendid paronyms:  `iSâmî ‘noble’, `âSim ‘guardian’, and ma`Sûm  ‘sacrosanct’. 

Where the first piece  was in jog-trot treble-time,  in keeping with its elfin satire -- now we have the rhythm of the anvil beneath the smith. 
So let us join the democracy demonstrators  in this pile-driver of a chant.


[More here.]
~ ~ ~
Updates:
http://www.nytimes.com/2011/03/19/world/middleeast/19yemen.html?_r=1&ref=global-home



At Sahat Taghyir, they keep coming back for more:


Notice the Korans on the chests of the dead.


[Update 1 April 2011]
"a narrative of Shakespearean proportions":
http://www.washingtonpost.com/world/yemens-future-hinges-on-its-two-most-powerful-men/2011/03/29/AFLxOnCC_story.html

[update 5 April 2011]
An even-handed survey:
http://www.newyorker.com/reporting/2011/04/11/110411fa_fact_filkins

More protest-wit:
http://latimesblogs.latimes.com/babylonbeyond/2011/04/syria-red-card-youre-out.html


[update 30 April 2011]  After the GCC initiative, hardline rejectionists were quoted as demanding "a departure, not an initiative" -- hardly winged words.  But in Arabic, it rhymes (mughâdarahmubâdarah).



[update 1 May 2011]
When the GCC put forward its moderate and face-saving initiative, and Saleh publically embraced it, many of us breathed a sigh of relief.  Enough of the street stuff -- now on to the real task of rebuilding the nation.  A guarantee of immunity from prosecution for the ex-(to-be)-Prexy is a small price to pay, and maybe even a benefit:  the nation does not need a show trial or other spectacular distractions.   The crisis of water resources should be front and center now.  So when much of the opposition hooted the initiative down, it seemed impractically maximalist;  le mieux est l’ennemi du bien.   But by golly, b’gum, b’dad, turns out they were right to distrust him:  the old eel has some wriggles in him yet:

Saleh refused to sign the accord yesterday in his capacity as president, saying he would only ratify it as chairman of the ruling General People’s Congress.

A baffling semantic nicety without the explanation:

“If he signs as chairman of the party and the party says it rejects his decision, he will remain president.”

That sort of ploy has long been in evidence among tyrants, from Napoleon on down.

(http://www.bloomberg.com/news/2011-05-01/yemen-accord-signing-has-been-postponed-gulf-official-says-2-.html)

Wednesday, March 16, 2011

Another bravura performance


In the first volume (Hadhramaut) of the multi-volume masterwork of M. le comte de Landberg, a Swede writing in French about Yemeni Arabic,  Etudes sur les dialectes de l’Arabie Méridionale (adequately to praise which, words fail  in every language), we find a panoramic portrait of music and poetry in nineteenth-century  Yemen.   And one transcribed piece  begins thus:

            dan dan daani dan, dann-dandan…

This ancient refrain (the “doo-wop” of Felix Arabia  -- sometimes referred to by the noun dandaana) is with us yet: 
LIVE from Taghyir Square, San`aa!  --


Classical Arabic poetry is characterized by rhythmic complexity;  and we certainly see this here, in a delivery that is not so much syncopated as…  phlogisticated.  Yallah!

Here the incomparable Muhammad al-Adra`i  does not take the easy path of satire, nor of bare defiance:  he sings, with love and longing, of the wretchedness into which his own country has fallen -- a plunge as tragic as the bursting of the Ma’rib dam, lo those many centuries ago…  The song contrasts the condition of “people” -- al-naas -- that is, other people, normal people -- with the sad state of “us”:  the folk of Yemen.


There is a word for this in Arabic, Tarab --  scarcely translatable (unless it be by the Portuguese fado):  in music, elation and anguish, intertwined like the rose and the briar …   Those more knowledgeable than I, must weigh in as to the musical mode, which seems to go back as far as Orpheus.

Superficially, visually, the present piece may resemble that posted earlier, al-naas yuriid isqaaT al-niZaam.   But it is really quite different -- and hints at something of the range of this consummate artist, previously known only as a comedian.   In the earlier piece, he played the buffoon, with lots of wordplay, and deliberately let himself be squashed by the resolute audience, by running on a bit over the prescribed length of the verse (much like the dithering President he was imitating):  but the People will not be deterred, they chime in intoning “The People demand the fall of the regime”, right on time, every time. -- In the present piece, by contrast, there is no psychic split between singer and audience:   all lament, in exaltation, their fallen state.   (Actually, come to think of it, a perfect piece for Lent…)

God be with the Yemeni people.

[More here.]

Yemeni excellence


الشعب يريد اسقاط النظام

[Note:  for the latest updates to the upheaval in Yemen, click here.]

I don’t usually allude to Arabic on these pages, for a number of reasons;  but currently we are witness to acts of stunning bravery and discipline in many parts of the Arab world.  In particular in Yemen, where a broadening coalition of workers, intelligentsia, and tribal peoples, add their traditional good-natured humor to the mix.    And here we see the long history of Yemeni political poetry  coming brilliantly to fruition  in a sort of Gesamtkunstwerk  of poetry, music, dance, and fist-pumping  all in one, performed recently in Taghyir Square -- literally 'Change Square', the recently bestowed nom de guerre of the esplanade abutting the University in San`aa, after Tahrir Square ('Liberation Square', as in Cairo) was pre-emptively occupied by government supporters.  (The words rhyme in Arabic; and in that sense, were a taste of things to come.  Think:  May '68, Paris.)

You would have to go back to the Berlin of the Weimar republic to find any comparably excellent mix of artistry and insurrection.   And even that is not really comparable, since Brecht and his buddies performed in the relative safety of fashionable cabarets -- not in the public square, surrounded by the police.


The principle performer is Muhammad al-Adra`i,

محمد الأضرعي

a comedian and activist from Dhamar.  Here, he chants a witty ironical poem, written for the occasion.   This, over an ostinato or basso continuo (“The People --  demand -- the fall of the regime!”), courtesy of the masses in attendance at this historic demonstration.   Towards the end, new themes join the mix:  the national anthem  (“Bilad al-Yemen”), and an anthem born of the Tunisian struggle, which has spread across the borders (“Idha l-sha`b yawman arâd al-Hayaa”).  This intricate blend is notable in itself, since  traditionally  Arab music has not been polyphonic.

Antiphony, by contrast, is quite characteristic of Arab political demonstrations, leading to much more interesting chants than the monotonous old monophony of our own antiwar demos during Vietnam ("Hey, hey, LBJ, how many kids did you kill today?" -- da capo al fine, ad nauseam).   Here the relation between the chant-leader and the mass audience is more complex, since he does not overtly share their point of view, but pretends to be President Saleh pleading with "his" people:    "Oh you who have been patient for a year -- it wouldn't hurt you to just sit tight another day.   Please, don't be precipitate -- even if the heat turns scorching.  Why the hurry?  Please, people, whaddaya say you just chill out -- say, for another thirty days."  (A veiled allusion to Saleh's thirty-two years in office.)  --  Solidly, stolidly, the demonstrators reply with the refrain  in one voice:  al-sha`b  -- yuriid -- isqaaT al-niDHaam !

[Update 25 III 11: ] This slogan, incidentally, has gone international.  It was the arrest of children in Syria for spray-painting it, that triggered the deadly riots and repression in Dar`aa (درعا‎)
Similarly, the simple central slogan in Cairo's Tahrir Square,  irHal  'Leave!  Depart!  Hit the road!'  resounds in Yemen as well, and is painted on arms and faces.   Often, though, with a Yemeni twist, in wry allusion to the profusion of local subdialects in that fractured land:  irHal ya`ni barra` ya`ni ... -- as it were, "Scram! (and if you don't know that word) Skedaddle! (and if that one baffles you) Vamoose!"


We salute the valor, vim, and determination of the people of Yemen. 
May that tortured land  become Arabia Felix once again.

[More here.]

And.... Bonus link:
Moroccan excellence

[For more Yemen-related posts, click on the Label "Yemen" below]

Footnote:
We alluded above to the esprit ludique of mai soixante-huit.   Something of the sort bloomed on Cairo's Tahrir Square as well, as recounted in a very interesting article in today's NYTimes:

http://www.nytimes.com/2011/04/06/world/middleeast/06cairo.html?_r=1&ref=global-home

[update 1 May 2011]
South of the Sahara, the popular protest chant comparable to the Arabic al-sha`b yuriid isqaaT al-niZaam -- or simply, "irHal!" is the French "Quitte le pouvoir !", originally from Ivory Coast. Recently this slogan has achieved prominence in Burkina Faso.


*
Si cela vous parle,
savourez la série noire
en argot authentique d’Amérique :

*
[update 1 Aug 2011]
Click here for a visual summary of events, simplified for the busy businessman.

[Update 31 Aug 2011]
Eat, dance, and be merry...


[Update 24 January 2015]  Well, it was nice while it lasted.  As for now, a Web of Enmity:

[Update 31 Dec 2015]  A bright spot in a currently somber landscape:
https://www.washingtonpost.com/world/middle_east/these-singing-sisters-are-wildly-popular-in-yemen-and-theyre-israeli-jews/2015/12/30/88f66dfa-a419-11e5-8318-bd8caed8c588_story.html