When Melodies Gather: Oral Art of the MahraMain MenuOverviewAcknowledgmentsBorn to be Digital?About the MahraHuman and Geographical ContextFind Your PoemTheory of ClassificationIndex of PoemsGlossary (please wait while the terms load)BibliographiesbibliographySamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
Bakhīt bir Ḳuṭrān
12017-10-10T20:51:27+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a1282414singer and poetplain2018-06-11T16:29:21+00:00Samuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10Bakhīt bin Ḳuṭrān was a Mahri poet, singer and musician from the 1960s and 1970s. He is credited by ʿAskarī Ḥujayrān with being the first singer of Mahri poetry to accompany himself with a musical instrument other than the large drum, known locally as the hāyer or ṭabla. Bakhīt bir Ḳuṭrān would play the mizmār in between singing lines of poetry, which he himself frequently composed. Bakhīt bir Ḳuṭrān was also one of the first performers to make use of professional or semiprofessional musicians for backup, although accompaniment in Bakhīt bir Ḳuṭrān’s case was limited to drummers. His backup band was known as “The Band of Drummers” (Firqat al-ṭabbālīn) and consisted of Khamīs bir ʿAshūra, Hidāyat bir Nāṣir, and Jumʿān bir Maṭwāna.
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12017-10-10T20:51:26+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824I Have a Little Lady7poemplain2018-06-11T16:30:01+00:00Samuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10