Salamiyah
Barri Al-Sharqi
The eastern rural region of Hama in Syria is distinguished by its geographical and demographic diversity, as well as its vast agricultural lands due to its location along the banks of the Orontes River. The city of Salamiyah, situated 30 kilometers east of Hama, serves as the region’s center and is often described as a gateway to the desert. One of the key factors that granted it significant importance is its role as a hub for the spread of the Ismaili faith. Salamiyah dates back to the early centuries AD and has witnessed numerous phases of destruction, displacement, and reconstruction. It is home to many archaeological landmarks from various historical periods. Its most recent reconstruction dates back to the mid-19th century when Ismailis from different parts of Syria and Lebanon, such as Tartous, Akkar, and Masyaf, settled there. They began developing the land, cultivating it, and expanding around it. Today, the people of Salamiyah work in both the public and private sectors, as well as in agriculture, livestock farming, trade, and music.
The town of Bari al-Sharqi also saw its first wave of settlement in the mid-19th century. It was known for the fertility of its land, which attracted many families to reside there. All of its inhabitants belong to the Ismaili community, and it has a local Ismaili council. Bari al-Sharqi is considered one of the most important musical centers in the region, as it is the birthplace of the Hadid family, who established the folkloric “Salamoni” singing style, particularly accompanied by the rababa (a traditional bowed instrument).
As a result, music and singing in Salamiyah are often described as a blend of urban and Bedouin styles. The people of Salamiyah were influenced by Bedouin dialects in both song and music, driven by a desire to adapt and understand the customs and traditions of their Bedouin surroundings. The region has produced many poets whose verses have become famous songs, encompassing themes of romance, sorrow, Sufism, and philosophy.
The musical styles in Salamiyah include Ataba, Muwaliya, Nayl, Hijini, and Suweihli, as well as religious chants. The influence of Iraqi music is also notable, as it is highly admired by the local population.
In Salamiyah and its rural areas, music is not merely an art form but an integral part of daily life and a source of livelihood. Traditional instruments such as the Oud, Buzuq, and Rababa are widely used. Local craftsmen in Salamiyah and Bari al-Sharqi are highly skilled in making these instruments, employing diverse materials such as wood, reeds, and animal hides. However, despite their craftsmanship, those who rely on this trade for a living face challenges due to the limited demand for these specialized traditional instruments, making the preservation of this ancient craft increasingly difficult.
Instruments
The Rababa/Rubab
This is the Arabic version of the Rababa, which is part of a family of musical instruments characterised by being wooden and having a single string, and they are played with a wooden bow and often share the same name. The Rababa appeared in ancient times across several civilizations, from India to Persia and the Arab world. Considering the raw materials used to make the Arabic Rababa, its place of origin can be inferred as the Arabian Desert (such as the Iraqi desert, the Euphrates, the Arabian Peninsula, and arid areas such as the Hermel District). These materials are beech wood to make the sound box, sheepskin to cover the surface of the box, a single string made of horsehair, and a wooden bow made of pomegranate wood or bamboo for its flexibility, over which another horsehair string is stretched.
The Mejwiz/Metbeg
A woodwind instrument, with “Mijwiz” meaning “dual” in colloquial terms, because it consists of two pipes. This instrument was historically found in the Levant, where it is known as “Mijwiz,” and in Iraq, where it is called “Metbeg.” The instrument is made from two bamboo pipes of equal length, which are glued together with a thread and beeswax. Two thin pieces of wood, known as “reeds,” are attached to the top of the pipes. These are the primary source of sound and the part where the player blows into. Playing the Metbeg is notable for the use of circular breathing, where the player uses a technique to continuously blow without interruption or pausing to take a breath, allowing them to play long melodies and produce a continuous tone.