Al-Jazira songs are considered a reservoir of folkloric stories and a history of coexistence
Music and songs are one of the most common things that unite the residents of al-Jazira (Kurds, Arabs, Syriacs and Yazidis). The songs include distinct cultural connotations for each community, as their lyrics, melodies and musical arrangements provide perceptions of the distinctive customs, ideas and general values of each society.
From this point, the coordinators and volunteers of the (Bayt al-Jazira – Mala Cizîrê – ܒܝܬܐ ܕܓܖܪܬܐ) project started the activities of the Songs Week through conducting several meetings with artistic figures and people interested in the folklore of the different residents.
The popular artist, Hayel al-Mustafa, who learned to play the Rebec from an early age, was a guest of the team of the project of (Bayt al-Jazira – Mala Cizîrê – ܒܝܬܐ ܕܓܖܪܬܐ) on the first day of the Songs Week at the GAV office in the city of al-Hasakah.
During the meeting, al-Mustafa said that Rebec is one of the traditional musical instruments that has maintained its high position in the field of Arab traditional song despite the great changes that have taken place in the music world during the last century.
According to al-Mustafa, The Rebec emerged hundreds of years ago and has become a part of the life of the Arab community over the years, as it was used to present various colors of the Arab folklore, such as: (the Ataaba, al-Nayel, the Poem, the Mawwal, and others).
On the second day of the Week, the team visited the artists, Ahmad and Nabil in the Yazidi village of Qamar, where they talked about the history of the folkloric song, which consolidated a long history of tragedies and sorrows.
Throughout their long history, the Yazidis relied on songs as one of the basic tools in preserving the heritage, documenting the calamities they went through, and a main means of preserving their mother tongue. These songs reflected the traditions of the Yazidi community and the patterns of its development through which it preserved its existence as one of the most important communities of the region.
Then, the team went to (Qamishli/ قامشلو /(ܖܐܠܝܢ) to meet Dr. Oweis As’ad, the grandson of the famous musician, Gabriel As’ad who is considered the godfather of the Syriac song.
As’ad, who is considered a writer and has a great familiarity with the Syriac music, spoke about the ecclesiastical character of music, in addition to the role of the Syriac song in preserving the language and the cultural identity of this community.
“The golden age of the Syriac folk song extends between 1966 – 1980, when the interest in music and songs increased, coinciding with the emergence of a number of people that shone in the sky of the Syriac folkloric song such as artists, composers and writers, whose rhythms are still heard today,” As’ad said.
The Songs Week also included an interview with the artist Farhan Ibrahim, known as Abu Medya, in his house in al-Salihiya neighborhood in the city of al-Hasakah.
Abu Medya comes from an artistic family, as his father was interested in Arabic songs and he was a Rebec player, while Farhan mainly chose Kurdish song. His artistic career began at an early age on the bouzouki instrument through his participation in holding weddings and other social and national events such as Nowruz.
Abu Medya said that since ancient times, the Kurds have sung epics of historical heroes and love stories which were reflected in the songs, not to mention that they were used as a means expressing the political situations they went through for decades. The song also was one of the oral literature methods that the Kurds resorted to in order to preserve their heritage and their mother tongue.
The team of the coordinators and volunteers in the (Bayt al-Jazira – Mala Cizîrê – ܒܝܬܐ ܕܓܖܪܬܐ) project concluded the Songs Week by organizing a live broadcast on Facebook with the participation of a number of the members of Judy folk band, in addition to the artists and musicians Awdeh Hussein and Yassin Abboud, along with the Syriac artist Rabi Morro.
The guests who presented traditional songs, talked about the phases of the development of the Kurdish, Syriac, Arabic and Yazidi songs and their role in بيثpreserving the general cultural pattern that characterizes the residents of al-Jazira with their various communities as one of the most important means of preserving heritage and customs, not to mention its contribution to building a common life that brought Kurds, Arabs, Syriacs and Yazidis together.
The (Bayt al-Jazira – Mala Cizîrê – ܒܝܬܐ ܕܓܖܪܬܐ) project launched by the (GAV) organization at the beginning of last August, is an attempt to celebrate and promote cultural differences as a fundamental pillar in building and preserving civil peace and sustainable coexistence, and enhancing societal cohesion factors through deepening knowledge of the communities with each other and opening unconventional channels of communication among them.
Kurdî
Stranên cizîrê gencîneya çîrokên kevneşop û dîroka hevjyanê ye
Stran û mûzîk yek ji hevbeşiyên herî xurt di navbera pêkahateyên Cizîrê ji (Kurd, Ereb, Suryan, Êzdî) ye.
Stran di nava xwe de gelek belgeyên çandî ji her pêkhateyekî re dihewîne, her wiha gotin û awazên strana di nava xwe de gelek wêneyên kevneşopî, hizir û nirxên giştî dide xuyakirin.
Destpêkê heftiya stran xwebexş û kordînatorên mala cizîrê dest bi hevpeyvînan bi kesayetên hunermend û pisporên folklora gelêrî re kirin
Hayil Mistefa yê ku di piçûkaniya xwe de fêrî kemançê bûbû, li ofîsa rêxistina Gav li Hesekê bû mêvanê xwebexş û kordînatorên heftiya stranan a projeya mala cizîrê.
Mistefa li ser kemançê wiha got: tevî pêşketinên mezin di warê alavên mûzîkê de çêbûne, lê ta vê gavê cihê kemançê di werzê stranên erebî ên folklorî de heye.
Li gor Mistefa kemançe berî sedê salan derketiye û bûye beşek ji jiyana civaka erebî, kemançe ji bo pêşkêşkirin gelek rengên cuda hatiye bikaranîn wek( Gilî,pexşan,helbest, mewal….)
Roja duyem xwebexş û kordînatorên mala Cizîrê serdana Ehmed û Nebîl li gundê (Qemer) yê Îzîdî kirin, Ehmed û Nebîl li ser dîroka stranên folklorî yên di nav xwe de dîrokek êş û azaran dihewîne, axivîn.
Gele Êzîdî di dîroka xwe de pala xwe gelekî dane stranan wek alavek bingehîn ji bo belgekirina serpêhatiyan û navgînek bingehîn ji parastina zimanê dayikê re, stranên gelê Êzîdî ew kevneşopiyên berê derxistin pêş her wiha şêwazê pêşketina wan di rêya van her du tiştan de hat xuyakirin bi vî rengî hebûna xwe wek pêkhate li herêmê parastin.
Piştî wê xwebexş û kordînatoran berê xwe dane Qamişlo ji bo hevpeyvînê bi bijîşk Hewîs Aseed re bikin, Hewîs neviyê mûzîkvanê bi navûdeng Gabriyêl Eseed e, Gabriyêl wek bavê canî ji stranên Suryanî re ye.
Eseed nivîskar û mûzîçkjen li ser rêbazê mûzîka dêran axivî ye, her wiha rola mûzîkê di parastina nasname û zimanê pêkhateyê suryan da xuya kirin.
Eseed got: serdema bingehîn ji stranên suryanî re di navbera salên 1966 -1980 de ye, di vê demê de baldarî gelek bi stran û mûzîka kurdî hat kirin, gelek navdarên folklora suryanî derketin wek hunermend, mûzîkjen û nivîskaran, dengê wan ta roja me ya îro tê bihîstin
Di nav heftiya stranan de hevpeyvîn bi hunermendê bi navûdeng Ferhan Ibrahîm (bavê Mîdya) li mala wî li bajarê hesekê li taxa Salihiyê hat kirin
Bavê Mîdya dibêje: Kurd ji berê de xwedî efsaneyên lehengî, dîrokî û çîrokên evînê ne, ev piştî demekê bûne stran, her wiha bi rêya stranan rewşa siyasî ya ku têde derbas bûyî didan xuyakirin. stran wek navgînekê di wêjeya devokî ya ku kurda têde ziman û folklorê xwe parast
Xwebexş û kordînatorên mala Cizîrê heftiya xwe bi çalakiyeke weşana zindî li ser facebook bi dawî kirin, bi beşdarbûna koma Cûdî ya folklorî, hunermed( Oda hisên- Yasîn Ebûd) her wiha hunermendê suryanî (Rabî Moro)
Mêvana çend stranên foklorî gotin li ser qonaxên pêşketina stranên kurdî,suryanî, erebî û êzîdî axivîn, her wiha rola wê di parastina çanda giştî ya ku gelê cizîrê dide naskirin anîn ziman, wek navgîna ku kevneşopî û folklor diparêze pênasekirin, stran û mûzîk jiyanek hevbeş di nav Kurd, Ereb, Suryan û Êzdiyan de avakir
Projeya mala cizîrê ya ku rêxistina Gav di destpêka tebaxê de dest pê kiribû, hewldaneke ji bo cêwziya çandî pîroz bike û pêş bixe ji ber wek cewher ji avakirin û parastina aşîtiya navxweyî û jiyana hevbeş ya domdar e, her wiha girêdana civakê xurt bike di rêya naskirina pêkhateya ji hev re û vekirina rêyên ne kilasîkî di nav wan de.
