Kingdom Academy deepens research into the history of Yemen’s civilization and its intersections with Morocco

Interest in the civilization and history of Yemen “to develop scientific research” and “to enhance the depth of fraternal, historical and cultural ties” with Morocco. He attended the Academy of the Kingdom of Morocco, in an international symposium, the activities of which began yesterday, Wednesday, and is expected to continue today, Thursday, in cooperation with the Embassy of the Republic of Yemen.

This international symposium discusses the issues of languages ​​and ancient antiquities in Yemen, its lyrical and musical heritage, and its intellectual and material cultural heritage, with the participation of academics and specialists from Morocco and Yemen, and with an opening lecture delivered in Arabic by Jean Lambert, a French researcher specializing in the musical heritage of Yemen and the Arabian Peninsula.

Moroccan-Yemeni cultural brotherhood

Abdeljalil Lahjamri, Permanent Secretary of the Academy of the Kingdom of Morocco, said that this international symposium is organized with “distinguished cooperation between the Academy of the Kingdom and the Republic of Yemen,” recalling “the depth of the fraternal, cultural and linguistic historical ties between the Kingdom of Morocco and the Republic of Yemen,” to search for “the glow of the Yemeni cultural heritage.” “Who had a great contribution to enriching human civilization.”

Within the framework of the new structure of the Academy in order to contribute to works that define the cultural, civilizational and artistic heritage of human civilizations and Moroccan civilization, and to enhance the values ​​of common humanity, to contribute to scientific and cultural progress, Lahjamari spoke about the basis for organizing such scientific meetings “in the belief that civilizations are the fruit of geniuses that have come together and competed, and come back.” To different origins, and it is ignorance and neglect to claim that it is limited to a certain time or group of people, and every civilization has something to offer to other civilizations.”

He continued, stressing that in a time of wars that destroy heritage and globalization that destroys identities, the importance of “awareness of open identities distinguished by the originality of their creativity, the humanity of their openness, and the eternity of their meanings” is highlighted, adding: “I am not one of those who specify a specific date for building civilizations; Because they are accumulations, built on interactions of give and take.” Then he added: “The Yemeni civilization is one of the oldest civilizations (…) and has left its mark on the course of human heritage, through the genius of its engineers, its talents, and its contributions.”

He also mentioned “Yemen and blessings” in naming “Happy Yemen,” and “expressive wisdom that is correct in opinion and action.” Wisdom is Yemeni,” and “the strategic location that qualified it to be an important center for global trade, and a river flowing with human civilizations, built of palaces, dams, skyscrapers, and monuments.”

Among what the Permanent Secretary of the Academy touched upon were “the landmarks and values ​​of dignity, freedom, and human rights in Yemeni society,” and “the political roles of Yemeni women; While the call to increase political representation is still an urgent demand in our time,” noting that “the Yemeni person’s preoccupation with the pain of society and issues of his rights has been witnessed in written and oral traces,” with the continuation of the “Yemeni genius” in the modern era in literary and artistic saying, and poetic, novelistic, and lyrical creativity. And the cinematic.

Izz al-Din Saeed al-Asbahi, Ambassador of the Republic of Yemen to the Kingdom of Morocco, who began his intervention by saying that “it is difficult to talk about Yemen, whose civilization we remember in a completely different reality,” spoke about “the bright legacy from the land of the beginning of the cradle to the land of the Almohads and Almoravid,” and “from the cradle of Arabism.” To the bond of goodness,” and “the steadfastness of the bows of love in the extended geography.”

He continued: “The keenness of the Academy of the Kingdom of Morocco to organize this meeting with the Yemeni embassy has an important significance in strengthening bridges of creative communication, the ties of which have never been severed between the two brotherly countries (…) The beginning of the bow is on the outskirts of Tangier, and its end is in the Gulf of Aden… and despite the distance in place, The two countries are the closest in common history, culture and heritage.”

He gave an example of this in “the arts of clay architecture and the close and identical dialect, even in fashion and songs,” while recalling the relationship of the two countries as “an example of mutual cooperation and a sincere brotherly spirit.” “Morocco’s king, government, and people are with us. It stood with us at all junctures and tribulations, and Yemen has been a support for Morocco from the achievement of independence until the completion of territorial unity.” In this context, he gave an example of Allal El Fassi’s speech at the United Nations before Morocco’s independence, which was made with a card bearing the name “Mission.” Yemen”.

Among what the Yemeni ambassador’s speech touched upon was “the bright history of commonalities,” “the growing Moroccan role regionally and internationally, its unity from Tangiers to Al-Gouira, and the faces of the Berbers and their songs that represent the joy of Yemen,” and he spoke far “from the race of seniority,” triumphing for “ Cultural integration,” which “is unhindered by any obstacle, and is confirmed by songs from the Atlas Mountains to the shores of Tihama, and colors as well.”

This similarity also includes the frequent confusion in Yemen between the voice of a locally known Yemeni artist and the voice of the Moroccan artist Muhammad Ruisha, and the similarity of names and lineages, and the use of sayings such as describing what is not admired as “a disappointed woman,” and describing every beautiful person as a “deer.”

This research pause on the Yemeni cultural heritage is not a “temporal appropriation,” according to the Republic’s ambassador, but rather “a glance toward the future and the era (…) and an enhancement of confidence in the capabilities of our nation, which has lived gloriously, and this is a passing setback.” “The most beautiful days are those that are yet to come.”

Yemeni music

In his inaugural lecture, Jean Lambert, a specialist in social sciences and Yemeni musical heritage, introduced the first commercial music recordings in Aden, between the years 1935 and 1960, at a time when Yemen was divided into two parts.

He continued: “These recordings are the first documentation of Yemeni music and song. They are recordings that were made in Aden, which was a large city of trade, culture, and economy, and there was mixing with the British occupation.”

These recordings inspire artists to this day musically, according to the specialist; It is “a musical memory for Yemen in the first place,” and the first company recorded by the foreign “Odeon,” which is German and English, well-known internationally. Then, after its departure, it opened the door to local recording companies such as: “Al-Taj Al-Adani Company,” “Jafarfon Company,” and “Kayaphone Company.” “.

While he presented samples of recordings that have become rare today, among what the researcher pointed out was that there is a large Yemeni community in India whose sons include the singer Jumah Khan. It is a community that partly moved to Indonesia and Malaysia, and “the Hadramis still have great family and cultural ties,” as they are trading families that led them to settle in various regions.

The lecturer warned that this Yemeni musical art is “threatened,” despite it being a “historical memory.” “Cylinders have become rare, and have become a trade like the antiquities trade. Many of them came out of Yemen and are in private collections, most of them in Europe and America. We, along with Yemeni colleagues, must collect information, documentation, and recordings to save them from extinction.”

Lambert explained the features of a project launched four years ago, in which he and Yemeni researchers “documented the existing musical pieces in a database, documenting the beginning of the song, the artist, the production company, the source, and the owner (…) and it is a searchable database.”

He added: “This is a major project that has not yet been completed to create a special site for this valuable heritage. We are trying to have all Yemeni, Arab and Western amateurs cooperate with us via the Internet, to participate in documenting heritage, especially due to the difficult circumstances that Yemen is currently experiencing, and we are trying to make technology serve heritage.”