Waaberi
"New Dawn"
Waaberi was
a troupe of singers 300 strong of the Somali National Theatre prior to the
civil war. Waaberi is the Somali word
meaning “new dawn”. Their music is well
loved by Somalis as representing a better time, of stability and progress when
it seemed our country had a future.
Their songs always are ones for reminiscence and reflection. The
dictatorship of Siad Barre during its slide into civil war, banned artists such
as Maryam Mursal (above) and caused the break up of Waaberi. Their music however, has been kept alive by
Somalis in the hope of another “New Dawn”.
”
In several
Muslim societies music is accepted but holds no high status. There is a
tendency to separate religious forms of music from social music. The Somalis,
always a very pragmatic and practical people, revere Islam and love music. In
recent years, Somali musicians have adapted influences from Indian, Chinese,
and Western music. Their repertoires are a blend of traditional songs, urban
dance "Jazz" music, and vaudeville type performances mixed with
comedy and satire. The
language and music of Somalia is a mixture of Africa and Arabic influences.
Trade and migration of African and Arabic nomadic tribes has contributed to the
cultural exchange for centuries. West Indian lutes and frame drums found their
way to the region via Egypt, long before Islam. In the fourteenth and fifteenth
centuries, Arabic conquest and migration to Sudan and the horn of Africa
completed the gradual Islamisation of the area. Most songs are performed in
unison: the Arabic instrument “Oud” is central but it is displayed in a
distinctly Somali style. The scales are predominantly pentatonic but,
especially when sung, they often include embellishments, inflections, and
tuning strongly influenced by Arabic microtonal scales. The result is an
appealing hybrid music and songs that make Westerners think of a special Somali
Blue.
A circle of
singers sit on decorated pillows, drinking sweet tea. The atmosphere is intense
but relaxed as they slowly warm up, singing their way through songs of love and
death, of the beautiful lover with the long neck, of desire and of the sensible
advice of the wise old men.
This is the
good life. Lots of talk and music among friends, witty and sharp comments back
and forth between performers and audience - this is no passive crowd. People
sing and play along gently, always respecting the direction and authority of
the master singers. When the song culminates, or when the singer ad-libs the
double entendre lyric variation, they explode in laughter and shouting. There
is no amplification. To hear the singer, musicians keep the volume down while
maintaining the high energy. Traditionally, the nomads could not afford to
carry instruments on the camels, so they learned to beat on the nearest thing
that sounded good; today teacups and bottles are perfect percussion instruments
- clear but not loud. The musicians follow every little sign and wink as they
support the lead singer, interpreting the sorrow and joy of the people.”
Acknowledgement realworld.caroline.com
Click here for my
favourite instrument The Ud!
Beled Weyne (Beer Lulala) Wardheer
Haddaad Diido Hadalkeeyga Qarad
Sidiri Gum Goroyo
Waa In Laysla Dhawraa Isha Baydhabo
Darmaan (With Saado) Iga Tiiri Caashaqa
Weer Samater (You Name it)
Xayaat Shibleey Haadeey