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
ʾAḥmad ʿAlī Mbārek
12017-10-10T20:51:23+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a1282414poetplain2018-06-12T18:25:25+00:00Samuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10ʾAḥmad ʿAlī Mbārek was the youngest active poet in the Mahri language whom I encountered. He looked to be in his early thirties and, unlike Ḥājj Dākōn for instance, only composed Mahri-language poetry that hewed to the traditional themes and formulas of Mahri poetics. Remarkably for someone so young, ʾAḥmad ʿAlī Mbārek was also one of the few Mahra I met whose command of Arabic was less than fluent. The Mahra for whom I replayed my recordings of ʾAḥmad ʿAlī Mbārek agreed that he was a very talented Mahri-language poet, that he used the trade- and place-specific idiom of Mahri poetics masterfully, and that he expressed his meanings through inventive metaphors. I recorded thirteen poems composed and recited by ʾAḥmad ʿAlī Mbārek. Unfortunately, his voice did not come through very clearly in any of the recordings that I made: ʾAḥmad was reticent to speak into the microphone and angled away from it. Also, because we were recording outside near his livestock pens, there was a large amount of ambient noise. The low quality of my recordings of ʾAḥmad ʿAlī Mbārek meant that my consultants preferred working with poems they could hear better.
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12017-10-10T20:51:19+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824A Message from Sinǧēr15poemplain2018-06-12T17:55:14+00:00Samuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10