The Cultural Significance of the Muwashshah
Today, I delve into the fascinating world of the Andalusian muwashshah, a topic I promised to explore in my previous article. This poetic form serves as a poignant reminder of the cultural exchange and dialogue that has flourished between the East and West of the Arab world. It is widely acknowledged that the East often plays the role of a cultural source, influencing the Maghreb, where Moroccan culture has embraced and adopted what is deemed worthy of preservation, thus intertwining the legacies of both regions. The Arabic culture in the East is, in essence, the same as that in the Maghreb, a truth that starkly illustrates the origins of Arab culture in the East. Yet, this narrative sometimes overlooks another undeniable reality: Moroccans were not merely passive recipients of Eastern cultural products; they were also significant contributors to Arab culture, enriching it in various forms and expressions. When a language becomes integral to the lives of individuals and communities, it transcends mere words and phrases; it embodies emotions, thoughts, and meanings, ultimately becoming a profound expression of identity for both individuals and groups.
Arabic made its way into the Maghreb and the East alongside the Arab conquerors in the seventh century, and it quickly garnered attention and a commitment to mastery in both regions. Within a mere two centuries, Arabic emerged as the dominant language, enabling Moroccans to actively engage in the production of Arabic literature. Among the earliest poets of this burgeoning literary scene was Al-Rahman ibn Ziyad Al-Qayrawani, who journeyed to Iraq, where nostalgia for his homeland inspired him to lament:
"I remembered Qayrawan, and my longing surged; where is Qayrawan in relation to Iraq?"
This poet represents just one of many who pioneered Arabic poetry in the expansive territories of Morocco, including the island of Sicily, from which Jawhar, the commander of Al-Muizz, hailed, leading to the opening of Egypt and the establishment of Cairo as the capital of the Fatimids. While we are familiar with this historical narrative, we often overlook the cultural richness of Arabic Sicily, which thrived under Arab rule from the ninth to the eleventh century. During this golden age of Arabic culture in both the East and West, Sicily emerged as a beacon for scholars seeking knowledge. The remnants of Sicilian Arab heritage reveal a flourishing literary tradition, showcasing 170 poets whose verses total approximately 20,000 lines. Among them was Ibn Hamdis, whose longing for his homeland, now under Norman control, is poignantly captured in his poetry.
"I remembered Sicily, and sorrow stirred my soul; a place of youth now lost, where the nobles once thrived."
Interconnected Histories of Arabic Culture
Discussing our Arab culture in Morocco and Andalusia, as well as the interactions and exchanges that took place between Moroccans and Easterners, is a conversation that seemingly has no end. The subject we address—be it the name of a figure or a historical artifact—is deeply intertwined with history and heritage. How can we talk about Jawhar without also discussing Sicily? Or mention Sicily without acknowledging Ibn Hamdis? Similarly, how can we discuss Ibn Khaldun without referencing Andalusia, where his kin settled, and Morocco, where he was born, as well as Egypt, where he migrated to engage in writing, teaching, and judiciary work, ultimately meeting his Creator?
Moreover, how can we discuss the Andalusians who innovated the muwashshah without also mentioning the Eastern poets who adopted this form, notably the Egyptian poet Ibn Sana al-Malik? He, along with numerous others from Egypt and beyond, was highlighted by Salah al-Din al-Ayyubi in his work "Tawshih al-Tawshih," where he states: "Among the people of Egypt was the esteemed judge Hibat Allah ibn Sana al-Malik, who is the standard-bearer of this craft, and others such as Nasr al-Din ibn Qalaqas, Al-As'ad ibn Mamati, Ibn Wazir, and many more, all of whom contributed significantly to this art."
Not only did Ibn Sana al-Malik compose poetry in this newly embraced Andalusian form, but he also authored a book detailing the origins and rules of the muwashshah, playing a role akin to that of Al-Khalil ibn Ahmad in the science of prosody. The muwashshah is a distinct poetic form, characterized not by individual verses as in traditional poetry, but by stanzas, each with its own rhythms and rhymes, concluding with a refrain or 'kharja' composed in colloquial language. The popular songs and everyday vernacular of Andalusia are the roots from which the muwashshah blossomed, merging classical Arabic with colloquial expressions. This connection explains why poets often deviated from conventional metrical forms when composing muwashshahs, as the rhythm in singing differs from that in recitation or reading.
In this regard, Ibn Sana al-Malik remarked: "The second category of muwashshahs contains elements that bear no relation to Arabic metrics. This category is extensive and unquantifiable, and I intended to devise a system for them, but their diversity proved too vast to categorize. They have no metrics except melody, no rhythm except the beat, and no structures except the melodies, nor any causes except the strings..."
In conclusion, I return to my earlier statement regarding our understanding, as Easterners, of the contributions made by our Moroccan counterparts. I reiterate that this knowledge is impressionistic and requires further exploration and validation. I restate my call from the previous article, emphasizing the need for deeper appreciation and acknowledgment of our shared cultural heritage.
As reported by aawsat.com.
