Nader Al-Obaid: The Kuwaiti Al-Zuhairi is 200 years old... Do not neglect it!

Poet Nader Al-Obeid affirmed that “Al-Zuhairi al-Kuwaiti” is one of the poetic arts, with a history spanning more than 200 years, yet it has been largely overlooked by the public. He called on cultural authorities to preserve this heritage and introduce it to new generations, adding, “Do not neglect it.”

Al-Obeid’s remarks were made during the dialogue session titled “Echoes of Heritage in Poetry and Al-Zuhairi,” organized by the Kuwaiti Society for Heritage on Tuesday evening and moderated by researcher in heritage and Arabic linguistics, Hanan Al-Jassar.

Al-Obeid considered Al-Zuhairi a national project, emphasizing its importance in the national heritage reservoir to ensure it remains accessible to future generations. He highlighted its most prominent poets, including Abdullah Al-Faraj, Fahad Al-Boursali, Fahad Al-Khashram, and Abdulrahman Al-Duwayhi. He also identified artists Ibrahim Al-Khashram and Sulaiman Al-Mousa as the foremost figures who have sung in this style.

He noted that one of the aesthetic features of Al-Zuhairi poetry is that the poet selects three hemistichs ending with a similar word but differing in meaning, followed by three more hemistichs ending with a similar word that differs from the previous set. The final hemistich ends with the same word as the first three. He explained that these hemistichs and words, which typically range from 35 to 42 words, must carry multiple meanings and intricate plots, conveying a message. He clarified that this form is distinguished by its ability to prompt the audience to deduce the meaning, akin to verbal riddles.

Al-Obeid discussed the origins of “Al-Zuhairi,” noting that there is no clear historical documentation of this art form as a type of poetry that regained its prominence after nearly declining with the discovery of oil. The economic boom led to the abandonment of the diving profession, which had been the foundation for the popularity of Al-Zuhairi poetry.

He hinted that the period of disinterest in Al-Zuhairi, coupled with a shift toward lyrical poetry due to the decline of the diving profession, led a small number of enthusiasts to attempt its revival. They did so through musical modes and oud improvisations that begin with Al-Zuhairi poetry as an introduction to songs, particularly in the vocal art form, during folk gatherings and evenings.

He pointed out that the great poet Muhammad bin Labun played a significant role in establishing and popularizing the art of Al-Zuhairi poetry in the region. This was followed by the great poet Abdullah Al-Faraj, then poets Hamoud Nasser Al-Badr and Fahad Al-Khashram, with Abdulrahman Al-Duwayhi being the most recent to carry this banner.

Al-Obeid cited several claims, including one suggesting that Al-Zuhairi is named after the “Al-Zuhairi” tribe, whose lineage traces back to King Zuhair ibn Jadhima, the pre-Islamic king of the Arabs. He countered, “However, this claim is weak and lacks substantiation, especially since this poetry is not in standard Arabic, but rather in various dialects.”

He explained that Al-Zuhairi is divided into two types: “Al-Zuhairi al-Ahmar” (Red Al-Zuhairi), where the meaning changes in each word ending a hemistich, and “Al-Zuhairi al-Abyad” (White Al-Zuhairi), where changing the meaning at the end of the hemistich is not required. “Thus, Al-Zuhairi al-Ahmar is more difficult than Al-Zuhairi al-Abyad, and those who compose it boast of its distinction due to the richness of vocabulary and the ability to play with words.”

He continued, “In the Arab world, we find Al-Zuhairi as an art form known by different names in some countries, such as Al-Mawalia in Qatar, Al-Musabba’ in the Sultanate of Oman, and Al-Abudhiya in Iraq. The names also vary, including Al-Zajal al-Shami, Al-Mawwal al-Sharqawi, and Al-Sharouqi in Syria, and Al-Ataba and Al-Mijana in Lebanon, Palestine, and Jordan. Meanwhile, in the Maghreb Arab countries, this type is called Al-Mawwal al-Baghdadi.”

He added, “In Upper Egypt, it is known as the art of Al-Sab’at (the sevens), although it differs from the Gulf Al-Zuhairi in its singing style.”

Al-Obeid noted that a common error is the pronunciation of “Nabati poetry” as “al-shi’r al-nabati.” The correct pronunciation is “al-shi’r al-nabti,” as it is derived from the concept of inference (istinbat) in speech.

The dialogue session was attended by a large gathering of heritage researchers, along with representatives from cultural institutions, led by Dr. Muhammad Al-Jassar, Secretary-General of the National Council for Culture, Arts and Letters; former Ambassador Abdulaziz Al-Sharq; and members of the Kuwaiti Heritage Society, including its President Fahad Ghazi Al-Abdulgaleel, as well as Saleh Al-Misbah, Hani Al-Saousi, Nawaf Al-Asfar, and Fudha Al-Maileel. The event also featured the presence of the distinguished composer Ghannam Al-Dikhan and his son, Maestro Dr. Sulaiman, among others.