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
Dāndān and samʿīn (Occasional)
12017-10-10T20:51:42+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a1282413cyoa9plain2018-05-07T18:40:46+00:00branching_parent_pageSamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
You’ve opted to compose a socially resonant poem that is yet unconstrained by the rules and political expectations of the tribal ode. As such, your poem may be linked to a sung performance (which is generally not the public domain of the political and religious elite) and be composed of less challenging, two-part (hemistich) lines. Less formal than poems composed of three-part (tristich) lines, you’ll enjoy greater topical and performative scope. The next question is about the role of melody in your poetic career:
Do you have a musical ear and/or a decent singing voice?
You may sing this poem or not; it’ll be fine either way.
Yes; and the melody in mind preceded the words.
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12017-10-10T20:51:40+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Genre Marked (Occasional)Angela Erisman2cyoa4plain2018-04-14T19:51:12+00:00branching_parent_pageAngela Erismanb6dabb1f11fcdb28bac14756ccc7be44d987971a
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12017-10-10T20:51:39+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Dāndān5cyoa18plain2018-05-07T17:29:16+00:00branching_parent_pageSamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
12017-10-10T20:51:39+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Samʿīn3cyoa19plain2018-04-14T19:04:24+00:00branching_parent_pageAngela Erismanb6dabb1f11fcdb28bac14756ccc7be44d987971a