Syrian Cassette Archives is honored to present this article from Syrian journalist Zeina Shahla. In her field dispatch from Salamiyah, Zeina travels with the SCA team to explore the region’s deep-rooted musical heritage. From rababa improvisations to poetic ataba verses, she traces the voices, families, and fading gatherings that have preserved Salamoni folk music across generations. • • • During my first meeting with the Syrian Cassette Archives team earlier this year in Damascus, I listened to musician and producer Yamen Mekdad speak with a sparkle in my eyes. This project, which I’ve been following for years and whose immense efforts and unique approach to documenting parts of our culture and heritage have always fascinated me, was now before me, with a proposal for me to join them. A thrilling prospect, given my deep interest in Syria’s intangible heritage. About a month later, we were driving from Damascus to Hama on a journey filled with anticipation, not knowing what awaited us but expecting it to be richly rewarding. Spanning an area of about 10,000 square kilometers, Hama Governorate extends through central Syria, from fertile agricultural plains and vast plateaus in the west to the steppe and desert in the east. It features a rich and diverse musical landscape, and on this journey, we had the opportunity to explore one of its distinctive characteristics: the music and singing of the Salamiyah region and its countryside. The Salamiyah Folk Tradition The city of Salamiyah lies 30 kilometers east of Hama and has witnessed several historical transformations that have profoundly reshaped it. The current city, as we know it, dates back to the mid-19th century. After being nearly destroyed by successive natural, historical, and human factors, it became a new home to thousands of Ismailis from various parts of Syria and Lebanon, such as the Akkar Plain, Tartous, and Masyaf. These newcomers rebuilt, farmed, and established various professions, expanding the city into its current form. Over the decades, Salamiyah grew into a city distinguished by its elevated cultural, scientific, and artistic profile. Situated between Hama and the Syrian desert, Salamiyah serves as a cultural gateway, bridging the eastern desert with the cities and hills to the west. This geographical peculiarity profoundly influenced the region’s artistic expression, giving rise to a distinctive musical style known locally as Salamiyah Folk. At the heart of this tradition is the influence of Bedouin culture, brought by tribes from the east who traveled to Salamiyah for trade or work, along with their beloved instrument – the rababa. The people of Salamiyah absorbed and reinterpreted this musical heritage, mastering Bedouin dialects and musical styles. They adapted the rababa to create their own unique 'eastern style' characterized by its melodic steadiness, in contrast to the louder, more improvisational 'western style' found in the hills of western Hama and the coastal mountains. A hallmark of Salamiyah music is its seamless integration of the rababa with the human voice, creating a deeply resonant harmony. Poetic imagery, often complex and layered, plays a central role. Local performers pride themselves on their mastery of eloquent phrases and intricate rhymes, drawing inspiration from celebrated regional poets. Additionally, Iraqi and Euphrates Valley music influences are evident, treasured by the people of Salamiyah and often performed during celebrations. Salamoni Folklore Thanks to its position as a midpoint between Hama and the Syrian desert, Salamiyah has functioned as a gateway linking the desert in the east to the cities and hills in the west. This unique geographical setting has left its mark on the local artistic scene, resulting in a distinct musical style locals call Salamoni folk singing. What sets this style apart is the clear influence of Bedouin culture. As Bedouins from the eastern desert regions frequented Salamiyah to shop or work, they brought along their favorite musical instrument, the rababa. The people of Salamiyah embraced this cultural import, learning Bedouin dialects, songs, and playing styles, particularly on the rababa. However, they developed these traditions further, adding their touches and creating a uniquely Salamoni style that remains recognizable and captivating today. This style, often referred to as the 'eastern mode,' features a steady and elongated vocal delivery, distinguishing it from the 'western' or 'mountainous' mode prevalent in the western regions of the governorate and the coastal mountains. The latter is characterized by higher-pitched vocals and a greater reliance on improvisation, unlike the eastern mode. https://syriancassettearchives.org/tapes/SMA_0735?lang=en A central feature of the Salamoni style is its treatment of the rababa, which has evolved into a prominent instrument that blends astonishingly well with the human voice, creating a unified harmony. The lyrical content is often sophisticated and poetic, with Salamiyah’s folk singers excelling in crafting vivid imagery and intricate rhymes. They rely heavily on local poets who have become influential figures in the region's culture. Another significant influence on Salamiyah’s music is Iraqi and Euphrates-region art, which enjoys widespread appreciation in the area and is frequently performed at various gatherings. https://syriancassettearchives.org/tapes/SMA_0695?lang=en Among the prominent Salamoni folk song styles are the ataba, muwaliya, nayl, lala, and sweihli. The ataba, one of the most popular forms in Salamiyah, comes in two variations: one influenced by Bedouin traditions, featuring complex poetic imagery and a Bedouin-like dialect, and another with a distinct 'Salamoni composition,' using simpler words and phrases. Regardless of the variation, local artists consider the poetic imagery 'sacred' and believe it must be performed verbatim without altering the words or pronunciation. https://syriancassettearchives.org/tapes/SMA_0437?lang=en The Salamoni muwaliya is slower, with a rhythmic steadiness and a richness in vocabulary influenced by Bedouin culture. Salamoni songs generally revolve around themes of love, longing, the passage of time, and various life experiences, often drawing from the region’s lived heritage. They are sung in various musical modes, most notably Bayat, Saba, and Sika. An essential factor in the preservation of these songs has been the widespread use of manzuls—gathering places where locals meet with singers and musicians to spend evenings singing and playing, especially ataba and muwaliya. These gatherings continue today in private settings where families and locals invite folk singers to revive these traditions, despite the growing preference for more contemporary musical styles among younger generations. Additionally, dynamic folk songs accompanied by the mijwiz (a double-pipe wind instrument) used to be a major feature of celebrations, particularly weddings that once lasted for days in public squares. However, such traditions have largely disappeared, replaced by modern weddings held in indoor venues with recorded or electronically performed music. https://syriancassettearchives.org/tapes/SMA_0731?lang=en Bari Al Sharqi and Mohammad Sadiq Hadid No discussion of Salamiyah’s musical tradition would be complete without mentioning the town of Bari Al-Sharqi, located 15 kilometers east of Salamiyah toward the desert. The town is considered the birthplace of Salamoni folk music and home to one of its most iconic families: the Hadids, particularly the legendary Mohammad Sadiq Hadid, nicknamed the King of Ataba. The story began with Sadiq Hadid, a native of the town, who learned to play and sing with the rababa. He collaborated with several poets steeped in Bedouin culture, eventually passing his unique style to his children. However, it was Mohammad, known as Abu Sadiq and born in 1938, who took this style to new heights, solidifying its foundations and achieving fame across Syria and beyond. https://syriancassettearchives.org/tapes/SMA_0968?lang=en Mohammad Sadiq Hadid, who worked in the police force, lived between Damascus, its countryside, and his hometown, where his home was located at the town’s entrance. He performed in numerous concerts, recorded many songs for Syrian radio and television, and worked with recording companies such as Al-Ahram. His distinctive voice, exceptional rababa playing, and ability to sing for hours, embellishing both his vocals and instrumentals, elevated the rababa from its simple one-string origins to a versatile musical companion. https://syriancassettearchives.org/tapes/SMA_0678?lang=en Hadid became synonymous with the ataba and rababa performances, captivating audiences with his poetic prowess and the soul-stirring melodies of his music. His recordings remain a cornerstone for anyone interested in exploring Salamoni music, serving as both an artistic benchmark and a historical archive. His children carried forward his legacy, further enriching the tradition. Despite the simplicity of the rababa, often described as a 'modest' instrument, Mohammad Sadiq transformed it into a complex and expressive medium, using it to convey the depth of human emotion. He played with an exceptional precision that blended seamlessly with his vocal improvisations, delivering performances that could move listeners to tears or laughter in equal measure. His mastery of rhythm and meter, combined with his deep connection to the poetic tradition of ataba, created a powerful synergy between words and music that few have rivaled. https://syriancassettearchives.org/tapes/SMA_0677?lang=en Challenges in Preserving Salamoni Music As with many forms of intangible cultural heritage, Salamoni music faces significant challenges. The displacement of communities, the influence of modern media, and shifts in social customs have all contributed to a decline in traditional practices. While the manzuls and family gatherings still exist, they are less frequent, and the younger generation often gravitates towards more mainstream music genres, leaving traditional forms at risk of fading away. Recording technologies, which once played a pivotal role in spreading Salamoni music through cassettes and radio broadcasts, now face obsolescence. The lack of institutional support for archiving and documenting this musical tradition further threatens its survival. Local artists and cultural enthusiasts are left with the Herculean task of keeping this heritage alive through private efforts, oral transmission, and occasional performances. Despite these obstacles, the spirit of Salamoni music endures in the hearts of its practitioners and audiences. The melodies of the ataba and the resonant tones of the rababa continue to evoke the region's cultural identity, serving as a reminder of the intricate interplay between human creativity and the landscapes that inspire it. A Journey Worth Every Note As we traveled through the Salamiyah countryside and met with the locals, it became clear that Salamoni music is not merely an art form but a way of life, intricately tied to the community's history, geography, and identity. Each song, each performance, and each story shared by the artists provided a window into the soul of Salamiyah, a place where tradition meets innovation, and where music serves as a bridge between the past and the present. https://syriancassettearchives.org/tapes/SMA_0729?lang=en The journey to document and preserve this music is far from over, but it is a journey filled with beauty, discovery, and an enduring sense of cultural pride. It is a reminder of the importance of protecting our intangible heritage, not just as a historical record but as a living, breathing testament to the resilience and creativity of communities like those in Salamiyah.