Traditional Songs

The folklore of the five wilayats of the Dhahirah Governorate reflects the character of the local inhabitants. They are famous for their courage and love of entertainment and song. The folklore of the Dhahirah also echoes some of the Governorate's customs and traditions.

Al Ayyalah

"Al Ayyalah" is the leading traditional song and dance form in the Dhahirah Governorate. Its rhythm is produced on four types of instruments:
1. The flat "Kaser" drum, both sides of which are covered with cowhide. It is struck on one of its sides with a stout stick;
2. The "Rahmani" drum, which is struck on both sides with the palm of the hand;
3. The "Daff", "Taar" or "Samaa". It is a tambourine covered on one side with sheepskin and is struck with the open palm;
4. The "Taasah" or the "Sahhaal". This consists of two flat, brass cups which are shaken to produce a jingling sound.
In some parts of the Dhahirah Governorate the "Taasah" is not used in the "al Ayyalah".
The dance consists of rows of men with performers between the rows. Each man in the rows takes his neighbour's wrist in one hand, while in the other hand he holds a stick, which he waves in time to the triple beat - either from side to side or up and down. Simultaneously, and in time with the beat, he moves his head repeatedly up and down. His feet are not moved, though he moves his knees slightly in harmony with the movements of his head and the stick.
The performers between the rows comprise a number of men carrying guns, swords, khanjars and sticks. The men with the swords throw their swords up in the air and catch them skilfully when they fall. Some of the men with the guns do likewise, though the usual practice is to hold the gun in both hands and describe a complete circle with it in the air. The men with the sticks perform a similar movement. All rotate in short, sedate jumps in time with the beat, mingling with the musicians, who are sometimes more than fifteen in number

Al Razha

"Al Razha" is a display of swordsmanship and "poetic duelling".
In the old days it was used as a communal means of expression of the people's demands to the Walis, and also as a way of declaring war, mustering the warriors, announcing victory and mediating between disputing parties. It begins with a roll of drums to assemble the men. Then each tribe's poet improvises verses on the subject which has led to the gathering.
Men also gather for "al Razha" for the sake o1 entertainment or so that their skilled swordsmen can display their prowess with sword and shield and the tribal poets can show off their mastery of love poetry, panegyric, satire, stories and conundrums - the literary equivalent of swordplay.
The name "Razha" is taken from the verb "yarzah" (to feel a burden), meaning that the performer feels the burden of his sword. It also implies that he is required to bear this burden without faltering, so that when he jumps up into the air he lands firmly on his feet.
The tradition of throwing the sword up into the air and catching it by its hilt - regardless of its weight or sharpness - enables "al Razha's" performers to show off their skills to one another.
There are different types of "al Razha", which vary according to the movements of the performers, the type and speed of the dominant rhythm, the metre of the verse and its style of delivery, and the subject improvised by the poet. The names of the different types of “al Razha” refer to the poetry recited, the movements of the performers or the area from which it originates. One of the best known types is “al Razha al Mashubah”, in which the verse is either love-poetry or panegyric.
in the case of “Razha al Harbiyat” the potery deals with an aspect or the aim of war through satire, or its sanctions a raid, tells of a previous victory or resolves a dispute.
in “Razhat al Hawwamah” one of the rows – usually the row representing the host group or tribe-begins by remaining in its place, while the other row circles the area. While it is doing so, its position becomes – for a time- parallel with that of “fixed row”. It then continues on its way unit it is facing the “fixed row”, which then begins a similar circling movement.
"Al Razha al Khalidaiyah", is named after Wadi Bani Khalid in the Sharqiyah North Governorate.
In "Razhat al Nahiyah", the group forms a single line, which then divides into two. Each half stands facing the other half.
When two tribes meet for "al Razha", each tribe brings its own drums with it. The drums are usually passed on from one generation to the next.
Two drums are used - the "Kaser" and the 'Rahmani". Both are struck on both sides with a thin stick. The drums of the row that is singing are silent until the row has been provided with the words and music of the verse. The two drummers move between the rows until the verse is finished. Their drums then fall silent. The drums of the other side are beaten when the new verse begins. This new verse is usually in reply to the previous verse. Verses are then recited and sung alternately by the two rows until "al Razha" has achieved its objectives.

Al Hambal

"Al Hambal" is a "singing procession" of men going to or coming from the venue of "al Razha".
It is called "al Masirah" (procession) because it involves movement from one place to another. It is also called "Zamil al Rijal" (men's song and dance).
"Al Hambal" has a brisk, double beat.
The "Kaser" and "Rahmani" drummers lead the procession. They may be accompanied by the "Burgham" (a type of wind instrument) player, who plays a series of staccato notes to summon the people to "al Hambal".
The drummers at the head of the procession either face forwards (like the other members of the procession), or face the procession and walk backwards.
The members of the procession form themselves into short parallel rows, one behind the other, with a reasonable space between each row to allow each individual to carry his gun or sword in a forward inclined position, in a display of boldness and courage.
"Al Hambal" may consist solely of men, without women. However, if the event to which the procession is heading is one in which women would participate - such as greetings on the birth of a child - the women will join in the procession, with their children, behind the last row of men.

AI 'Aazi

"Al 'Aazi" is a poetry recital without song or music. The poem is recited by a poet or story-teller.
The poet leads his group holding his sword and shield and walks forward delivering his "fakhr" (boast) or panegyric. He shakes his sword at each pause in his delivery, causing its blade to tremble.
Behind the poet is a group of men who circle the area within the two rows of the "Razha". These rows arrange themselves in a square around the poet and his followers, who repeat a series of short, traditional, one-word exclamations such as "Wa salimt" ("May you be safe"). In the old days rifles would also be fired. Today, guns are still ranged audibly on the around in time with the exclamation, which - generally - follows the first couplet of the verse delivered by the poet.
Another exclamation is "Al mulku lillah yidoom" ("Sovereignty remains with Allah"). The performers elongate the letter "alif" as an expression of reverence and to emphasise the meaning of the words. This is also repeated at the end of the verse.
In some parts of the Sultanate the poet concludes his verse with an expression of "fakhr" (boasting) or praise of his family, friends or tribe.
There are three types of "'Aazi" poetry. In the first "al Alfiyah” every verse starts with a letter of the alphabet, in sequence, beginning with the letter "alit (hence the name "alfiyah"). The last verse begins with the letter “ya”.

However, some poets find themselves unable to recite a complete poem with verses beginning with all the letters of the alphabet, so in practice the system varies somewhat.
The second type of "'Aazi" poetry is called "al Adadiyah" (numbered), because the first three verses -atthe very least- begin with a number. The poet says "Firstly", and recites a verse, after which he says "Secondly", and recites another verse, and so on. The length of the poem depends on the ability and skills of the poet.
The third type of "'Aazi" poetry is called "al Mutlaq" (unrestricted), because the verses are not subject to any "alphabetical" or "numerical" systems or rules.
In "al'Aazi" the poem usually begins with "Bismillah" (In the Name of Allah) and ends with blessings and peace upon the Messenger of Allah.
These days "al 'Aazi" poetry is mainly used to praise His Majesty Sultan Qaboos and the achievements of his reign.
"Al 'Aazi" may be preceded or followed by what is called "al Ta'aweetah" - or "al Ta'yiytah". This occurs particularly in the Wilayats of Yanqul and Ibri in the Dhahirah Governorate.
"Al Ta'aweetah", which is a form of panegyric, begins with the word "sood" - from "siyaadah" (dominion) and "su'dad" (power, sovereignty) - followed by the name of the person the poet wishes to praise. Then the poet speaks about his Wilayat, his country and its Sultan, and various aspects of local history. The chorus repeats the word "sood" and the poet recites the names of those being praised. The performance ends with the words "wal Muslimeen takabbar" spoken by the poet.

Al Tareq

"Al Tareq" belongs to the beduin tradition. The singers sit either on a camel or on the ground.
Two singers take part. One of them begins, and then the other takes over at the end of the couplet and produces a version that is identical in words and music to the first singer's.
The tune remains constant throughout the poem and is almost invariably the same from one singer to another and from one Wilayat to another.
"Al Tareq" can have a wide variety of themes; the most common are love poetry, nostalgia or praise of the singer's camel.
"Al Tareq" is generally sung from a slow-moving camel. Hence its rhythm differs from that of "al Taghrood", which is sung from trotting camels.
The name (and style) of "al Tareq" varies from one Governorate of the Sultanate to another. In the Dhahirah Governorate it is called "al Radha".

Al Taghrood

"Al Taghrood" is sung either on camel-back or on horseback to stimulate enthusiasm in either the animal or its rider. The camel "Taghrood" is called "Razhat al Bedu" or "Razfat al Bedu". It has a single, unchanging tune which does not vary from one place to another and is sung by a group of men. The vowels are lengthened in a melodic form that corresponds to the movement of the animals.
"Al Taghrood" is also called "shallat al Rukkaab" or "Hambal al Rukkab". The meaning of both these terms is the same - that is, "Masirat Al Rijaal" (men's procession). The specifically camel "Taghrood" has many names, including "al Ghairood", "al Ghaarood", "al Taghreedah", "al Taghreed", "al Gharroodah", "al Gharood" and "al Gharoodah".
Originally "al Taghrood" would be sung by a group of camel-riders heading for, or victoriously leaving, a battle. The bedouin also used to sing it for entertainment in their desert camps.
The horse "Taghrood" is a song in which the singer praises his horse. It is interspersed with shouts to animate the animal.
The horse "Taghrood" is usually sung by horsemen to arouse their horses before they take part in a race. Its verses include themes like courage and coming to the aid of the weak.

Al Wannah

Memories and love are generally the themes of this type of song. In the old days a bedouin man would sing it to himself to while away the time on a long camel journey. Nowadays the singer sings it seated on the ground with one of his cheeks resting on his open hand and his eyes closed, surrounded by bedouin. He may be accompanied by another bedouin singer, who takes over the poem and the tune at the end of the couplet and echoes it in precisely the same form that it was originally sung.
Apart from being devoted to nostalgia and love, this type of poetry occasionally takes praise for the camel as its theme. It is sometimes called "al Nuha" ("Lament") because of its sorrowful character.
In the Wilayat of Buraimi it is called "Walad al Arab" (son of the Arabs) to indicate that it is of bedouin origin. In the other Wilayats of the Dhahirah Governorate it is called "Bint al 'Arab" (daughter of the Arabs) for the same reason.

Dance with Wind Instrument Accompaniment

There is a type of entertainment in the Wilayat of Dhank in which one or more women perform skilful solo dances to the music of a double "Mizmaar" (reed pipe) and a group of singers playing a large variety of drums, including the "Kaser", the "Rannah", the "Rahmani" and the long "Rahmani".
The music consists of a single phrase which only changes very slightly to conform to the verse. The piper plays a musical phrase, which is echoed in verse by the group of singers.
The rhythm is a simple double beat. The dance consists of two steps with a slight bending of the knees and an energetic toss of the arms. When there is more than one solo dancer, each dancer dances freely as the mood takes her, her movements only being dictated by the beat of the drums.
Some elderly men may be attracted by the music and join in the dancing in a spirit of merriment and fun.
In this type of Dhahirah folklore it is customary to throw money on to the head of the woman who is dancing.

Al Wailah (Women's Dance)

"Al Wailah" is a form that is found specifically in the Wilayat of Ibri in the Dhahirah Governorate. the performers (all of whom are women) sing and move their bodies in unison in time with the beat.
The women form themselves into groups, each woman placing her right arm round her neighbour's shoulders. Each group moves in unison like a single body.
To begin with, each woman shakes a silver rattle which she holds in her free hand, to mark and emphasise the simple rhythm. Then, when the leader of the group has given her silver rattle a long shake, the groups of women exchange places, following a traditional predetermined series of movements, and form circles. The silver rattle is shaken continuously while the groups of women are changing places.
In the Wilayat of Ibri "al Wailah" is accompanied by a number of "Kaser" or "Rahmani" drums.
The women form two rows. In front of each row is a group of drummers. The drummers lead their rows women round the open area where the performance takes place. At the end of the "movement" the two rows exchange places. The dance continues to the accompaniment of singing and drumming.

Al Talmees "Qranqashooh"

This is a children's celebration to mark the night of the middle of Ramadhan. The children tour the streets of their area, visiting the houses and singing for halwa. The song has a simple, double rhythm and consists of the words "Qranqashooh. Qranqashooh. Give us some halwa".
To mark the beat the children use seashells from the Batinah coast.
The name "Qrangashooh" is onomatopoeic and is taken from the sound of the rough outer surfaces of the shells rubbing together.
In some places the celebration is calle 'Qranqahooh". This is a mispronunciation of the correct name.
In the Witayats of the Dakhiliyah Governorate the children Sing the same song, but they mark the beat by striking two pieces of rock together. In the Dakhiliyah Regic 'Qranqashooh" is called "Tawq Tawq", from the sound of the two pieces of rock being repeatedly struck together.
The words of the "Qranqashooh" (or "Qrangahoof Dr "Tawq Tawq") songs are the same words that have been sung by generations of children. The form the take is determined by the reception the children receive from the occupants of the houses where they beg fc halwa. If they get a positive response, the children sir a poem in which they praise the people of the hour and wish them well. If the occupants do not give them anything, the children revile them and wish them ill.
In the Wilayats of the Dhahirah Governorate "Qranqashooh" is also called "al Talmees" (begging), because the children beg halwa from the occupants of the houses they visit.
In the Wilayat of Al Khabourah "Qranqashooh" is called "al Ra'aboob" after the type of seashell that the children use to mark the rhythm.

Al Razha Al Kabirah

It is called "Kabirah" (big), because it is the "Razha" of the top swordsmen and the leading poets, who "duel" with verse, stories and conundrums.In the old days it was the "Razha" of war and peace, and the "Razha" of mediation between disputing parties. These days it is the "Razha" of greetings and praise for His Majesty Sultan Qaboos and the achievements of his reign.
"Al Razha Al Kabirah" has a slow, sedate, triple rhythm in harmony with the movements of the performers.
The poet provides the words of the verse to one of the two opposing rows, after the word "Lal" has been repeatedly sung using the same tune and the same sedate rhythm as the metre of the poem. As soon as the drums start to play - the drums of the side whose turn it is to sing the verse -the display of prowess with sword and shield begins.
Swordsmanship has its own firm traditions and rules. The seniors precede the juniors in order of performance. In addition, both performers in a duel must be of a similar standard, so that a poor swordsman does not challenge a skilled one (or vice versa). Each swordsman's objective is to strike the thumb of his opponent's left hand - the hand holding the shield - so that he drops his defence.
When the two duellists have "achieved their objectives" in the duel they stop. If one side or the other is a clear winner, a third person intervenes and separates the two combatants' swords by slicing his sword through the air, bringing the duel to an immediate halt.
In these cases the rule is that the person who decides the result of the duel, or stops it by slicing his sword through the air, should be one of the senior men; that is to say, senior in years or status, or both.