Music of the Nubians, Northern Sudan

The northeastern portion of Africa known as the Sudan is an area that has endured terrible warfare and suffering in recent decades with a horrific humanitarian crisis taking place now amid famine and violence.  Moreover, the gutting of USAID makes the situation much worse and the need for the people there even more acute and urgent.

The history and culture of the Sudan is incredibly ancient and rich, including its music, and this post features a two-disc set, released in 1998 on compact disc and 1980 on vinyl, by the Staatlische Museen zu Berlin, an institution under the Prussian Cultural Heritage Foundation, celebrating the music of the Nubian people of Northern Sudan.

The recordings date to 1973 and 1974 with the kisir (lyre) being the dominant musical instrument along with a frame drum called the taar.  Clapping and the stamping of feet are also used to accompany singing, whether soloists, small ensembles and large groups and the 33 songs are representative of such themes as religion, patriotism, work in the fields, lullabies for children, weddings and many others.

There is a great booklet with thirteen photographs and detailed text by Artur Simon discussing Sudanese history, culture and specifics about the music, instrumentation and the varied pieces.  A second booklet includes musical transcriptions and the lyrics.  These are valuable enhancements to a fascinating listening experience, especially as Simon observes that a lack of instrumentation, compared to Western nations, is hardly a lack of musical expression, which is abundant on this memorable recording.

Mustafa al Sunni: Songs of the Sudan

This fantastic Nimbus Records release features the music of Sudanese oud master and singer Mustafa al Sunni.  Accompanied by percussionist Abd al Haziz Karar, whose work is sensitive and subtle, but highly effective, al Sunni plays his instrument with great skill and variety, while his keening vocals are beautifully done.

The liner notes do a great job of providing historical context for the music of this nation that has been rent apart by factional fighting for so many years, an irony given the many references in the essay to the wide-ranging influences in the music from many parts of northern and central Africa and beyond.  The narrowed focus of political factions has so little to do with the long tradition of musical elements that are imported and absorbed into existing local ones.

Also noteworthy are the lyrics and the emphasis on poetry, whether the songs are traditional turath, or those passed down through generations, praise songs called savra that talk about the bravery of warriors, or hagiba, classical pieces with the most intent poetic lyrics.  The intensity of these can be read in the translations provided in the notes.

Hearing the nimble playing of the oud, the excellent percussive accompaniment and the yearning singing and then thinking of the horrors that have emerged from the Sudan over recent decades, this recording is a reminder of how the music of Mustafa al Sunni represents a part of his nation's heritage and traditions that hopefully will survive the terror and turmoil.