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Sultanate of Oman Ministry of Heritage and Culture

To Whom It May Concern

Ministry of Heritage and Culture hereby certifies that the art of Al-Ayyala is a registered art in the National Inventory List under No. 5.63. This list has been prepared with the participation of the groups and communities concerned from both the public and private sectors and civil society organizations.

Kind regards

Director General of Literature and Arts /signed and stamped/ ------~~~----~ ------

Su{tanate of Oman Ministry of :Jleritage & Culture

P.O. Box: 668 Muscat, Postal Code: 113, Tel.: 24641300 / 24641325, Fax: 24641331 mm,. , ~t.i .mmTo 1 mm .. :o.Liu .m :1/JJ..)!-ll _:,..}1 .w...... m :yiJ" Website: www.mhc.gov.om :.::..:._;;.:.'11 ~ o;Jjj.JI ti_,.. E-mail: [email protected] ,_,._.,>:i.S..J'il J,.l~l VISI N

Omani Intangible Cultural Heritage Inventory Lists Omani Traditional Arts

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Elements of Traditional Arts No. Name of Details of Element Components Element Element 511 Almadar Traditional arts Almadar is a dancing lyrical art practiced by men and in Merbat women, agilely moving in waves forward and backward, Province with men wielding sticks, daggers and swords and ladies raising their hands. 5/2 Alzamel Traditional arts Alzamel is a lyrical march where participants stand in in Merbat short parallel rows using drums. It has two types: the Province slow one where qasaba is played against a background of serious poetry accompanied by drums and tambourines; the quick one, known as "alsharh" which is performed in a quicker rhythm and supplication poetry. 5/3 Female Traditional arts Female drum (Arab drum): One ofMerbat province's arts drum in Merbat used as entertainment for ladies at their gatherings, (Arab Province weddings, feasts and circumcision parties in the past. drum) Dancing ladies gather in a circle and in the middle of the circle 2 to 4 female drummers stand and beat their drums and then signing starts along with the beats of drums. 5/4 Albarah Traditional arts Albarah is a dance previously practiced by men during in Merbat feasts, weddings and circumcision parties. Men sit in a Province triangle shape. Movements in this dance include jumping and other movements in harmony with the sound of drums. During the show, one of the spectators throws coins from above the dancing men (locally known as altarh). Such coins are given to the drummers. 5/5 Alraboba Traditional arts It is a compound movement that needs great accuracy. in Merbat Four male players stand in a row faced with four dancing Province ladies. On the rhythmic drum beats, one man passes throw two ladies and one lady passes throw two men. Its types include: alwaseeh, alwaqee'e and aldagiga. It is performed by one man and one lady or more. 5/6 Negro Traditional arts It is practiced in great occasions, such as the National dance in Merbat Day, religious feats, where a number of men gather Province around big drums such as ( almesendo, alkaser and alrahmani drums). Such drums are known as (aleda) and a big shell taken from the sea is blown into (known as albooq) and some ladies dance (Arab drum dance) on a quick tempo. The man moves forward and the lady advances in front of him while he blows into the whelk and sways. The dance is usually staged on Friday afternoon. 517 Lanzeeh Traditional arts It is an art show staged during public and private in Merbat occasions and religious visits and performed by ladies Province and men together. VISI N

5/8 Almesh'eer Traditional arts It is a rural art practiced by ladies directly after autumn. in Merbat This season is known locally as "alsarb". It is also Province practiced during national festivities during autumn when ladies give greater attention to their beauty so that they can show their beauty during alsarb season. Ladies gather together from neighboring villages (known as alsokon) and perform this dance when the moon is full. Ladies stand in two opposite rows, each laying her hand on the other's shoulder swaying right and left; the first row advances forward to the second row and then back again, and the second row moves to the first and so on. All this is done against the melodies of alnana art. No drums are used in tllis dance. 5/9 Wali Traditional arts A rural collective art performed during public and private Makbar in Merbat occasions. Similar to almesh'eer, wali makbar does not Province use drums, but the dance is different as one of the men dances while brandishing a sword and facing a lady who performs a dance similar to that of almesh'eer. 5/10 Alnana art Traditional arts It is one of the mountain arts performed in the local in Merbat mountain dialect. It is a kind of singing performance that Province depends on the performance of individuals and groups without any rhythm instrument, and rather depends only on VOICe. 5/ 11 Alhaboot Traditional arts A singing march in which participants stand in short rows art in Merbat similar to that of schools. Each row contains 5 or 6 Province people with sheikhs and elderly in front and then younger people. Performers carry swords and daggers and jump into the air with special jumps. They repeat a song called "aldani don" with a loud voice. 5112 Aldan art Traditional arts It is one of the arts known in Merbat Province. This in Merbat show is staged when one of its leaders dies or when an Province important person dies. It is performed over three days. On the first and second days, drums are used. As for the third, known as Sandieeh, drum is used and grief appears on all participants. 5113 Kheib ann Traditional arts It is an art in the province of Merbat similar to albarah, dance in Merbat and performed by men collectively. Province 5114 Geeboh art Traditional arts It is one ofthe arts known in Merbat Province and in Merbat performed by ladies in special occasions such as Province expectation of travelers. 5115 Silam art Traditional arts A male art known in this province performed during in Merbat public and private occasions. Province I 5/16 Aqinot lee Traditional arts I An art known in the province of Merbat and performed I

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in Merbat by ladies and men during public and private occasions. Province 5/17 Rot Traditional arts It is one of the arts in the Merbat province. Swords are alsagheer in Merbat used in this art. Province 5/18 Alsharh Traditional arts One of the greatest arts to the inhabitants of the in Merbat govemorate, especially the citizens of Merbat. It is Province performed by two men who move on the rhythm and signing and drumming, with one hand on the drum and the other being waved in the air. The two performers put on a tidy and clean sash made of silk or wool. They move and fold their knees when standing upright. 5/19 Alramsa It is a type of traditional arts performed in weddings and during feasts. Men stand in two rows facing each other, each brandishing a stick in the right hand and surrounded by drummers. Men carrying swords come out dancing and hurling swords high and then catch them back. 5/20 Aldan Around 50 men stand in two facing rows, laying their hands on the shoulders of one another. Then drummers come in th~ middle and one of the men comes out to dance. 5/21 Alshba One row of men stands parallel with a row of ladies and drummers come between them, repeating nice songs in love of the Sultan and the nation. Ladies move forward and backward slowly and lightly and move their hands in very beautiful patterns. 5/22 Alrawah It is practiced perfectly by Bedouin men in the govemorate of Musandam. A group of men stand in straight line with their drums which include alkaser, alrahmani and alrana. The number of such men is fifteen or more and move forward and backward while raising their legs in simple movements backward. It is performed in the morning, noon time, afternoon and evening time according to their desire. 5/23 Alnadba It is an art known in the govemorate ofMusandam. Each (alkabob) tribe stands asymmetrically and in the middle someone known as alnadi stands and lifts his right hand in the air and lays the left one on his face or forehead. Members of the tribe repeat with alnadi the shouts he makes, taking pride in their tribe. 5/24 Zabezt Practiced for the A group of men gathers around a sick or stung person in person stung by order to raise his morale and most of the times the sick or snake or stricken stung person feels better. This type of art is not practiced by illness nowadays. 5/25 Ahmed Alhadra A type of Sufi chanting known in Salalah and performed VISI N

Alkbeer on the occasion of Sufi hadras or visits to a pious Sufi saint, to exorcize evil spirits, when vows are fulfilled, during national and religious feasts, such as Greater and Lesser Bairarns. In that show, the leather-made altar (sarnaa) instrument is used along with daggers, swords and sharp pins. 5/26 Ern Bbern Kamota, also Traditional musical mode performed by ladies and men pronounced together and played in the Province of Badya where it is Mobarn or Orn known as Kamota. Men beat drums, compose poetry and Born clap their hands, and ladies sing and dance. It is performed during Sufi hadras or visits to a pious Sufi saint, to exorcize evil spirits, when vows are fulfilled, during national and religious feasts, such as Greater and Lesser Bairarns. In that show, the leather-made altar (sarnaa) instrument is used along with daggers, swords and sharp pins. This art is practiced in the govemorate of Dhofar and the city of Salalah. 5/27 Baket A musical and acting arty with the main theme of embodying conflict between good and evil through singing and movements. It is practiced in three roles, which are: Sirwan, acting and puppets. It is practiced as entertainment shows during weddings and different other occasiOns. 5/28 Bin Abadi A traditional musical mode traditionally practiced by loca! ladies, playing on a musical instrument known as "alkosli" or "qerhaf'. Other Arab ladies take part by dancing. It is practiced during evening parties and as entertainment during feasts. 5/29 Buzalaf A type of traditional modes performed by ladies in festive events along with men who beat their drums and recite poetry. Such type of poetry is known for its improvising style and it is practiced during wedding and circumcision parties, and national and religious feasts, and sometime as I a type of entertainment. It is performed in the provinces of Western Region in Sour, Al Kamel, Al Wafi, Jaalan I Bani Bu Hassan, Jaalan Bani Bu Ali, Bani Khaled Valley, Ras Al Had, Badya, Al Qabel, Niabti Al Ashkhara and Ras Al Had. 5/30 Altabseel It is the process of date cooking. Huge quantities of dates smgmg are dried and then part of them is locally consumed and the other quantities are exported out of Oman. Peasants recite poetry against the rhythms of traditional music. Lines of poetry are short and small in number, including razha and other patterns. Two teams of men exchange the chanting of this poetry. It is known in the provinces of - I VISI N

Albatna, Alrestaq, Alawabi, and Nakhl. In the eastern region, in Almudebi, Ibra, Badya, Jaalan, Bani Bu Hassan, Wadi Beni Khaled, Dema and Altaaeen. In the internal region in Samael, Azki, Nazwa Bahla, Al Harnra, Adam and Menh. Al Dhahra region: Abri, Y anqol and Danak. This singing is performed without musical instruments. 5/31 Tashah Traditional musical mode performed by a group of ladies Shah during weddings along with men, by beating drums and composing poetry. It is performed during parties of vow fulfillment, feasts, weddings, circumcision parties and national days. It is practiced on leather instruments, such as rahmani, kaser, ranaa and tambourine, and other percussion instruments such as altasat. It is performed in the provinces ofNorthen Batna, such as Barkaa, Al Masnaa, Alsweeq, Alkhabora, Saham, Sohar, Lwei, and Shnas; in the eastern region in: Sour, Jalaan Bani Bu Hassan, Jalaan Bani Bu Ali, Alkamel, Alwafi, Badya, Alqabel, Era, Almudaibi and Massira. 5/32 Tasseef Hashash alseef It is a type of singing performed by working peasants smgmg while harvesting barley or wheat in summer. It is performed in Batna, Al Dakhlia, Al Sharqia, AlDhahra, Musandam and Dhofar. 5/33 Tasweet Nahma A type ogf traditional singing performed by the sailors of commercial ships. It is performed by a solo singer accompanies by other sailors onboard. It is practiced by sailors to help themselves perform their duties. It is performed on the following instruments: rahmani, kasser, bato, toos and snoog in Batna, Dakhlia, Sharqia, Dhahra, Musandam and Dhofar. 5/34 Taaweep Nahma A type ogftraditional singing performed by the sailors of commercial ships. It is performed by a solo singer accompanies by other sailors onboard. It is practiced by sailors to help themselves perform their duties. It is performed on the following instruments: rahmani, kasser, bato, toos and snoog in Batna, Dakhlia, Sharqia, Dhahra, Musandam and Dhofar. 5/35 Taghrood Taghrood albosh It is singing on camelback, performed by one man or a group of men during their long trip and may be performed while seated during evening parties. This singing mode is performed in different dialects without any musical instruments in places like Batna, Dhahra, Sharqia, Dhofar, Wosta, and Dakhlia. 5/36 Toloylo Toloyo Performed for entertainment by one person or more while doing the daily works of grazing cattle. It is also I

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performed by ladies lulling their babies and usually without any musical instruments. Singers repeat the recurring phrase of"lulu ya ya" at the end of each line of poetry. Geographical location: Central Area, especially Hima Province. 5/3 7 Altanjelia Procession of the A party and singing ceremony practiced by villagers on circumcised boy the occasion of circumcising boys. Men, ladies, young people and children take part in the ceremony. Musical instruments used: masando, rahmani, kasser and a wind instrument, in the governorate of Muscat in the two cities of Qeriat and Muscat, and the eastern region in the Province of Sour. 5/38 Altimina Altimina­ A festive event organized by the Koran teacher and the alkahtm­ family of the child (boy or girl) after their memorization alkhatma­ of the Koran. The march is headed by the mutawaa or the alwahba Koran teacher who recites some prayers and people following him in the procession say "Amen". In the middle of the procession, a lady from the family of the child walks with a basked covered by a greed sash. In that basket, the lady carries a gift from the father of the child to the teacher, and mostly it is a superior quality garment. It is practiced in the governorates of Muscat, Dhofar and Buraimi, along with the Eastern and Dakhilia regions, Central region, Dhahra, Musandam governorate and Batna region. 5/39 Aljedad Pronounced as It is a work and type of singing practiced during the smgmg ydad in some harvesting season_ of palm trees m summer. It IS regiOns perfonned by aljedad, the person who climbs the palm tree and harvests the dates in solo or accompanied by those who collect the dates from the ground. This type of singing is usually practiced by peasants without any musical instruments in Muscat, Batna, ,Dhahra, Buraimi, Dakhlia, Sharqia and Musandam. 5/40 Hambora Bassayr One of the female musical modes. The role of men in this art is only restricted to beating the drums and reciting poetry and clapping hands. It is practiced with musical instruments such as rahmani and kasser in the provinces of Sour, Alkamel, Al Wafi, Jalaan Bani Bu Hassan, Jalaan Bani Bu Ali, Bani Khaled Valley, Badya and Alqabel. 5/41 Dan Dan Dan dan is a common phrase in the Omani songs. It is a type of musical arts related to occasions such as weddings m some govemorates and areas, such as Khaboura, Saham, Sohar, Lawi, Shnas, Alrastaq, Alawabi, Nakhl and Maavvel Valley, in addition to Badbad, Smaeel, '----~------L------~----- VISI N

Nazwa, Bahla, Azka, Abri, Dank and Yanqol. Most of the members are ladies and men only beat the instruments of rahmani and kasser. In some cases, the small tambourine I is used. 5/42 Dan The dan in Its performance is related to customs and traditions. The Musandam Musandam is performer should be barefoot. It IS performed m known as weddings, circumcision parties, Greater and Lesser Kawasa in Batna Bairams, national and popular feasts and official festivals. area Musical instruments: rahmani and kasser; practiced in Musandam governorate in the provmces of Khasab, Bakha and Deba. 5/43 Debrart Traditional singing performed by men without musical instrurnents during evening parties, performed in Arabic mountainous dialect (shahria) about various social issues. It is known for the long lines of poetry during evening parties. It is practiced in Dhofar in the provinces of Salalah, Taqa, Merbat, Sadh, Rekhyout and Dalkout. 5/44 Dawasa Sobol beating A collective singing performed during the harvesting of smgmg wheat and barley. Long fronds of palm trees are used for drumming. _ ------~ 5/45 Alrazha A traditional musical mode commonly known in Oman, staged in different occasions, including wedding parties, circumcision parties and national days. 5/46 Alrazfa Traditional musical art performed by Bedouin men in different governorates of the Sultanate of Oman. They stand in two facing rows. Alrazfa is known for the movement of heads by participating men. It is practiced without musical instruments, except in Musandam where leather instruments are used, such as rhmani and kasser. This art is practiced in places like Batna, Dakhilia, Sharqia,Wosta arid tbe govemorate of Muscat and its provmces. 5/47 Reqat It is a type of singing practiced by men, ladies and singing children during harvesting palm trees and collecting fallen dates. It is practiced in Dakhilia, Eastern region, Batna, Dhahra and Buraimi. 5/48 Ramasia Razeef or Razfa Practiced by men who brandish their swords, rifles and sticks and engage in duels with swords, chanting and reciting improvised poetry. It is practiced in Dakhilia, Eastern region, Batna, Dhahra and Buraimi 5/49 Alrwah Practiced in One of the traditional musical modes practiced by men specific seasons and ladies m urban areas, and even by Bedouins under different (inhabitants of mountains) during weddings and names: Alserihi harvesting seasons of wheat and barley and during in the morning, national and religious events such as the Greater and

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indicating the Lesser Bairams. Musical instruments are used in such art, time of grazing including rahmani, m the governorate Musandam, goats; alsodari: provinces of Khassab, Bakha, Deba and Medha. afternoon and before sunset. Alrwah from before sunset to after sunset, which is the time of rest. Alserei, the period of night after the evenmg prayer. 5/50 Riwa One of the Omani traditional musical modes practiced by Omanis during evening parties. Men and ladies take part in this performance for the purposes of healing people and exorcising evil spirits haunting people. 5/51 Sameen Singing for memories and eulogizing people and tribes. Sameen Practiced by a solo performer in events such as circumcision and it is usually done without any musical accompaniment m the governorate of Dhofar, m provinces of Salalah and Themreet. 5/52 Alsinawa Almeqwad Singing accompanying work of getting water from wells smgmg to water plants. A peasant performs this type in solo style or alternatively with his colleague while riding camels and extracting water from the well. This art is practiced in Salalah, the governorate of Dhofar. 5/53 Soma A type of singing and male playing for entertainment in the end of wedding parties. It is performed at night after performing other musical pieces. Musical instruments: rahmani, kasser and ranna; places: Muscat, Matrah, Batna, Sohar, Sehem and Khaboura. 5/54 Shabanya Shubanya Traditional musical art performed by male sailors. Movement performance is done in two types: one by men, as they jump vertically using sticks and another by girls where they stand in the middle of the space. This art is performed in different events, such weddings and other official and traditional events. Instruments include: rahmani and kasser. It is practiced in Salalah and Taqa in the governorate of Dhofar. 5/55 Sharh It is named after the Bani Khaled valley province where alwadi he grew up and moved into the Eastern region provinces. Men and ladies participate in the show in two teams; one row of men standing and faced with a row of ladies. One of the poets prompts the beginning of the "shala" (text or

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melody) for the participants and the smgmg IS accompanied by free clapping by a group of men and percussion instruments played by two men. One or more ladies get out of the row to dance and then back again to their positions, and then other ladies go out of the row and so on. In the meantime, money is thrown on the heads of ladies to encourage them and as a sign of appreciation of their dancing. This mode is made by use of the following percussion instruments: rahmani and kasser on social occasiOns, such as weddings and circumcision. It is also held in national and religious events along with popular festivals. This mode IS practiced at the eastern region in the provinces of Bani Khalid Valley, Badya, Al Kamel, AI Wafi, Jalaan Bani Bu Ali, Jalaan Bani Bu Hassan, AI Qabel and Era. 5/56 AI Shobani Sea Poems A type of traditional music performed by sailors in (shalat albahar) accompaniment of traditional Omani percussion music while working in land or aboard big wooden vessels used for travel and maritime transport of commodities and passengers. Every shala has different text and melody according to the type of work performed by workers of vessels at sea or in land. Sailors use several percussion instruments such a: Musando, AI Shobani, Rahmani, Kasser, and other instruments such as the toos (castanets), bato (tenek) and wind instrument: jm (sea shell) and sometimes the pipe, sern<:!i. Clapping is deemed to be an important and complementary part of the rhythm. With work and changing, sailors perform some movements in order to giVe some sort of entertainment and encouragement. This art IS practiced m the coastal provinces of Sharqia, Batna and the two governorates of Muscat · and by colored citizens in the provinces of Merbat and Salalah in Dhofar. 5/57 Negro A great number of colored men, ladies, young people and VOICe girls. Participants are divided into several groups chanting and dancing at a spacious place. Some of them wear anklets or wooden, copper or metal kharakheesh in the feet, giving a metal sound while the performer is doing his role. This art is performed in the governorate of Dhofar in the two provinces of Salalah and Merbat during weddings and national days, circumcision and for entertainment. Musical percussion instruments are used, such as Rahmani, Kasser, Masando Negros. Wind instrument: jem. '-5_/_5_8_._F_i_s_h_in__,.g"--_.l______[_A __ t--<.)....: 'P-'---e of solo or collective singing performed while ,

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shalat doing all activities related to fishing at all coastal areas of the sultanate. One of the most famous shalat performed by fishers: shalat ya sobalina (hubalania), sound of net loading, pot sound, net throwing and lifting sound and aldhaghia sound. It is practiced in all coastal provinces in the govemorates and regions. Generally, such singing modes do not have a certain movement performance as other musical modes as they are related to the works of fishers and they vary from one region to another along the Omani coasts. 5/59 Al Tareq Radah, Radaha Al Tareq means the melody in the different Omani and Twaireq accents. It is a solo singing accompanied by chorus (one or more). It is a type of Bedouin singing known in most of the sultanate regions. Al Tareq is performed during evening parties, without any musical instruments. It is practiced in most provinces, including: Batna, Sharqia, Dakhlia, Wosta, Dhofar, Dhahra and Buraimi. 5/60 Arab drum Ladies drum/ A traditional musical mode practiced by bands made up drumming of ladies and men, led by a famous singer. Members of the band are colored Omani citizens. The role of members of the band is to repeat what the singer says, and men play musical percussion instruments, such as rahrnani and kasser. Ladies and girls make movement performance, known as allaeb (playing). This mode tackles themes of courtship and eulogy of ladies, and is generally practiced during weddings, national days, evening parties and entertainment, in coastal cities such as Dhofar, Salalah, Taqa, Merbat, Sadah and Rekhyoot. ~~~~--~---+------~------~----~~~ 5/61 Al Tanbora An uncommon musical mode where spnng musical instruments are used by the farther or mother of Al Tanbora. It is practiced by certain colored Omani families who pass it down from generation to another. The head of the family is known as father or mother. It is used to treat a person with exorcism through certain shalat in Swahili or a lingua franca between Arabic and Swahili. It is practiced for entertainment and during evenmg and national events. Beside Al Tanbora, the following percussion instruments are used: Al Manjor, and four masando drums and bato (tenek). It is practiced in the eastern region in the province of Sour. 5/62 Al Azi A musical mode composed of a mix of recital and chanting, performed by a poet or a person who memorizes Al Azi poems with a good voice and an ability to give a moving performance. Al Azi is practiced during weddings and circumcision parties, along with

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swords, rifles and drums and horn blowing. It is practiced m Batna, Dakhlia, Sharqia and Wosta and the governorates of Muscat, Dhahra, Buraimi and Musandam. 5/63 Ayyala A traditional musical mode practiced specially by men at public spaces and m front of forts and castles. Participants stand m two facing rows exchanging improvised poetry. This art is practiced during weddings, circumcision parties and feasts. Musical instruments are used in this art, including kasser, flat kasser, rahmani, alrana, altarat, and copper castanets. It is practiced in the areas of the following provinces: Batna, Dhahra and Buraimi. 5/64 Ayyala Al Wahhabia A traditional musical mode practiced by colored Omani Sweiq citizens. Male and female participants proceed in a march with slow steps until the group reaches the place of the event. Then, all participants stand in facing rows. Ayyala Al Sweiq is practiced during festive events, such as weddings, circumcision parties, national and religious r-----+------ir------+-d_a_,y'---s.e.,_a_n_d_i~s_s_o_m_e_tl_·m_e_s performed for entertainment. 5/65 Al Karaia Al Mistah or A type of solo singing performed by the weaver or smgmg loom alternatively with another person. It is made up of

J selected shalat of different musical arts. He may sing shalat al wanna, or alrareq or almesabat or others, in a way that corresponds to the intensity and tempo of work. 5/66 Kawasa Al Wailia in Preparation for singing is made while sitting and when Dhahra, the melody goes in a straight line, all people stand up and Buraimi, kawasa begins. Kawsas is performed as people stand in AlDannin two facing rows who move forward and backward. This Musandam art uses percussion instruments such as kasser, rahmani and rana. It is practiced in Batna, Soham, Sohar, Lwi and Shnas. 5/67 Komak A type of traditional music perfomted by Beloushis while standing and seated. They form a circle and move counter ' clockwise with a pipe player in the middle. r-----~-r~---~r------+1---~------~~~L------~5/68 Liwa A traditional type o. f music practiced by men and ladies as participants stand in closed circle moving counter · clockwise, while singing and making moving perf01mances. They move around the players of percussion instruments ·as the center of the circle. It is held during social occasiOns, such as weddings, circumcision parties, Greater and Lesser Bairarn, and for entertainment and evening parties. 5/69 Mald Mald Bahrani A religious reading and chanting made by non-Arabs at I Bahrani different places according to the nature of the occasion. It

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is performed on the occasion of the birth of Prophet Mohamed, and during circumcision parties and weddings. 5170 Mald Al Jalalah Chanting of Sufi poems expressing the adoration of Allah Huama and his prophet. Performers stand up in two rows, each of them in front of the other. 5/71 Mahawaka A traditional type of music with African touch. This art is practiced by men and ladies who participate together in chanting and playing music. Dancing is only performed by ladies. It is practiced at evening parties, treatment and exorcism. 5/72 Madima Andema A musical type performed by sailors. The most important part is clapping and dancing where people show their individual skills. One person chooses another to replace him in playing. This act is known as Al Shambi. 5/73 Merdad A chant of poems by great Arab poets such as Antara Bin Shad ad Al Absi, Abu Nawas and others. This lS performed by men and chanters choose the poems for the eulogy of prophet Mohamed, courtship and morals. 5/74 Swinging Maranjoha, The singing of girls whole playing with the swing. It was smgmg Mernjah practiced by ladies even after the teenage or by married women for entertainment in the afternoon or at night. 5/75 Mozayfia Taqliba, Zaffin A type of singing and dancing of Bedoins performed by two facing rows, ladies and men. Between every two ladies a man stands and between every two men a lady stands. Th~ rows keep in harmony by holding one another. It is performed in weddings and at leisure time at night or during evening parties and for entertainment, without any musical accompaniment. 5176 Meghyaz Meghayz Group singing where two groups of ladies exchange songs. This art is accompanied by dance by some ladies and the clapping of others, with trills and famous shalat. 5/77 Mekwara A type of music performed by colored men and ladies for purposes of exorcism. Performance lasts for several days and this art is used also for entertainment and as a type of treatment ritual. 5/78 Moled Readings of some passages from the Prophet's biography Berzanji and chanting of poems written by Mr. Jafaar Bin Al - Sayyed Ismael Al Medani Al Berzanji (c. 1126- 1177 A.H.) "The Most Honored Newborn", known as Berzanji. 5/79 MoledAl Readings from the Glorious Koran along with verses Dawbai'e from Al Dawbai biography of Prophet Mohamed, in a form of supplication and prayer. 5/80 Maydan A type of traditional singing where men and ladies take part in the form of rounds: round of prayer; beginning; role of sunnah, for poets and guests, round of greeting: 1.' • VISI N

salutation to the family of the bridegroom and bride. 5/81 Nana This singing mode is practiced by groups or individuals of ladies and men. It is preferred that the performer is seated. It is performed during evening parties and for entertainment. 5/82 Nayrooz It is a popular festival held by some social classes at the end of summer. When the dates season begins, coastal people begin to move into urban areas during the feast of Nayrooz. Percussion instruments, such as rahmani, kasser, tarat, fronds, and boughs are used. It is practiced in Muscat and Qeriat. 5/83 Habban Qerba A type of traditional music performed by men in the form of a closed circle. It is similar to madema but the use of habban instrument gave it a special touch. 5/84 Hambal Al Traditional mUSlC performed by Bedouins while on Beloush camelback as solo or group performance. It is used as entertainment while travelling on long roads. Themes include memories, courtship and eulogy of camels. This art is performed without any musical accompaniment. 5/85 Hambal Al Chanting of men while on horseback when they Khail participate in weddings or circumcision parties or as salutation to the ruler during feasts. Chanters chant poetry eulogizing horses_. 5/86 Heriaba A type of singing and playing by ladies used as a means to invite others to return from their travel abroad. It is a supplication to Allah to keep travelers and protect them and to make them return safely back home. 5/87 Al Waqia Al Wasia A type of poetry and traditional playing used by colored citizens during evening parties. It is performed by Bait Shamsa Band and Bait Johar Band, the two families known for their practice of traditional types of music. It is performed during weddings and national days. 5/88 Wanna Noha, Tanheeda A sad type of singing performed by Bedouin men at night and Bent Al while chatting in front of their tents or around fireplace. Arab It may be performed by as solo by one Bedouin man for I amusement and to ward off sleep while on carnelback on long roads. 5/89 Wayyad Sad singing performed by Bedouin men using an old melody at night while chatting in front of their tents or around fireplace. It may be performed by as solo by one Bedouin man for amusement and to ward off sleep while on camelback on long roads. 5/90 Waylia A type of traditional music performed by ladies and has ! different features in every area of practice, in terns of I music instruments and the style of performance. It lS L__ 1

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performed at Dhahra by standing ladies who are facing one another exchanging shalat and swaggering to the right and left. In the province of Yanqol, rows stand still. Waylia is practiced during weddings, circumcision parties and national days, with the use of skin percussion instruments (rahmani and kasser).

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Omani Intangible Cultural Heritage Inventory Lists Omani Musical Instruments

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Elements- Traditional Musical Instruments

No. Name of Details of Components of element element element 12/1 Aldof or A percussion instrument with one drumhead tambourine made of skin and stretched over a wooden circular frame, with castanets fixed on the wooden frame. The membrane for the drumhead used to be traditionally made of sheep and goat skin, and nowadays it is made of plastic. This I instrument is used in Albatna, Dhofar Govemorate, and Aldakhilia, Govemorate of Muscat and the Easter Region. The tambourine is used in the following arts: altsheh tsheh, rashah and baraa. 12/2 Altar Alsmaa A percussion instrument on a frame with a thick skin membrane made of sheep and goat skin stretched on the circular wooden frame. There are different types of Altar used in the Omani mus1c: some with castanets, others with dangling castanets and fixed by screws in the frame. This instrument is used in Albatna, Dhofar Govemorate, Aldakhilia, Govemorate of Muscat and AI Dhahta Region. Altar is used in traditional Omani arts, such as Ahmed AI Kabir, Ayyala and Almald. 12/3 Waqafi A big conical drum on three legs, and it is considered the longest and biggest drum in the almesndo instruments used in traditional Omani music. It is covered with a drumhead made from tanned cow or sheep skin, fixed in rows of wooden pegs on the mouth of the idiophonic box. This instrument IS used in the Easter Region, Dhahra and Batna. Almesando alwaqafi is used in the field. 12/4 Mesndo A wide barrel-like drum with three legs, with alliwa the sound box made of bitham, shresh or sedr wood. A drumhead of tanned cow skin is

stretched over the box and then fixed with 1 /i> j ~ - _ wooden pegs. It is used in Batna region and V):J~ _ ~ ~ Muscat Govemorat. It is used in alliwa art only /~- IS~ _ ():!'~ 12/5 Mesndo A barrel-like drum with a base made from a ~ ~ negro vmce hollow coconut trunk and a drumhead made of ~;--.,s.r.?'"'~ . c1! :..:.:.----- p..b \0\ u z.ant~n•' "'o ' J \(~~ 1-egal I 5 ~LATtON &. 'O'Ur;,~ VISI N

~N&B ~skin stretched over it. It is used in Salalah · and Merbat, Dhofar Governorate. It is used in negro voice. 12/6 Mesndo A barrel-like drum used in Sour. It is made of altanbora the trunks of bitham, shresh or sedr trees and other suitable trees. It has four types and is used in Sour, Eastern Region. It is used in tanbora art. 12/7 Mesndo A mesndo drum, with a big tube-like wooden alshobani conical box open from the two ends. It is made of the trunk of bitham, shresh or sedr trees, with a drumhead made of cow skin which is fixed with wooden pegs. It is used in mesndo alshobani and madima. 12/8 Flat kasser Kasser Ayyala A small circle type of Omani traditional drum. Its wooden frame is made from the trunks of suitable trees. The two ends are covered in two drumheads made of cow or camel skins, and stitched with a skin rope. It is used in Buraimi, Dhahra and Batna. It is used in the art of Ayyala. 12/9 Rahmani A basic drum in the traditional Omani musical mode. It has two shapes: one like barrel, and the other like an hourglass. Rahmani drums are made of trees with suitable trunks which are resistant to different climatic conditions. It is used in all parts ofthe Sultanate and accompanyies kasser, which is smaller in size as a basic instrument in Oman's traditional music. 12/10 Kasser A skin drum with two drumheads, and it has two shapes: one like a barrel, and the other like an hourglass. It is made from bitham, shresh or sedr trees with suitable trunks. It is used in all parts ofthe Sultanate and accompanies rahmani, which is bigger in size as a basic instrument in Oman's traditional music. 12111 Merwas A small barrel-like drum with a sharp sound, made of trunks of suitable local trees. It is used in Salalah and Merbat in Dhofar Govemorate, Sour, Eastern and Muscat. Merwas is used as a basic instrument in Alsharh and alsout in Salalah, Sour and Muscat. 12/12 Mahjar A barrel-like A barrel-like drum whose use is restricted to the -

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drum vovernorate ofDhofar. It is made from coconut tree and other trees with suitable trunks. Mahjar is used in Salalah, Taqa, Merbat, Sadh and Rekhyout in the Governorate ofDhofar. Mahjar is used in performing most modes of Omani traditional music in accompaniment with other percussion instruments in the cities of Dhofar Governorate. 12/13 Mahar Oysters, shells A type of shell known in the Omani coast and (Rabob) used as a idiophonic percussion instrument. It is used in the Governorate of Muscat, Batna, on the occasion of qaranqosha. 12/14 Hongo An idiophonic percussion instrument made from gourd fruit through which a wooden arch passes with notches in the upper part where a solid wooden tool is used. It is used in the provinces of Almesnana and Alswaiq. 12/15 Castanets Castanets, Castanets, a musical instrument made of brass. sehal, tasat When beaten together, they give a resonant metal sound. It is used in the Eastern region, Dhofar, Muscat, Batna, Dhahra and Buraimi. It is used as a percussion instrument in Ayyala in Batna, Dhahra and Buraimi, Alshobani, Madima, Mekwara in the Eastern region, Muscat and Batna. It is used also in the performance of Lanzeeh in Salalah, Taqa and Merbat in Dhofar and other places. 12/16 Qerhaf An instrument made of wood in the shape of a clog. Two pieces are used as a percussion instrument, giving a unique wooden sound when they are hit together. Qerhaf is used to control rhythm in Em Bern singing. Qerhaf is used in the Eastern region, in Sour. f-:--:-:--t------t------:----··-l------""------'------1 12/17 Bato Tanak A metal empty gas container used in some coastal areas of Oman as a percussiOn instrument after being emptied of air. Bato is used in the provinces of Sour and Jalaan Bani I Bu Ali in the Eastern Region and the provinces of Masnaa and Sweiq in Batna, Muscat Govemorate, in the provinces of Muscat and Qeriat. It is used as a percussion instrument in alliwa, alshobani and madima. 1------:-~+---:-:-~--:-:-+--~--- 12118 Madaq/pestle Mayja, moqaaj_Thisl 1s a pestle, either large and wooden or

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~ON& B ~ and made of metal. It is used in kitchens · to grind grains. It is used on its own or in a duet, where two people use the pestle alternatively to the singing of peasants while at work in Salalah. In buzalaf, the pestle is used as a musical instrument in Dhofar and the Eastern region. The pestle is used in the following musical modes: peasant singing while at work in Salalah and buzalaf in the Eastern region. 12/19 Mangor Kherkhash A band of cloth with some sheep hoofs or dried altanbora goat hoofs sewn into it, and worn strapped around the waist of the male dancer during the performance of altanbora. Kherkhash is used in the Eastern region in Sour. 12/20 Aljazra Altarkiba , An instrument made of several wooden parts, almanjor fixed and movable, known as jazra or tarkiba. It is made of different types of wood, such as bitham, palm trunks, sedr and qarth. Aljazra is used in most of the provinces of north of Batna. ~--~~------+------~------L------~ 12/21 Khashkhash Kharshana An idiophonic percussiOn instrument that contains a spherical or semispherical tool made of white metal and with a wooden handle. It is used by women in some provinces of Northern f------1------+------+-B_a_t_naand Coastal Eastern region. 12/22 Addad An idiophonic percussion instrument fashioned as a br~celet, circular in shape and worn on arms and legs. It is used by women to control the rhythmic time with group smgmg m the waylaya of women. It is used in the Dakhilia region in Manah province. 12/23 Qssaba Madroof A reed-like cylindrical traditional instrument from the flute category, with open ends and made of metal. It is found in the city of Salalah, Dhofar Governorate. Qassaba is part of the performance of alsharh and albaraa. 12/24 Sernai Naghar, pipe A wooden pipe instrument with a double quill in and sernai a cylindrical shape. It gradually widens to a conical funnel-like end. Sernai is used in coastal Eastern and Northern areas, Batna, Muscat and Sharqia, accompanymg alliwa, alshobani, alsirwan and alkonzak. 12/25 Jem Yem A trumpet-like shell. The mouthpiece IS an opening in the spiral side. Jem is used in Batna,

~ ... - ... ··-~. ~ . '• - " ~ .. ~· VISI N • 1 ' I .<. ~ '0 Zahra Abidi ~le 1% Legal Transl3tor ~ -~;, , ~.c<-~ -...... :.:..tufV& Bu~:.. r-Muscat , Sharqia and Dhofar, in many traditional musical modes, such as alliwa, voice of negros, almidan, alshobani and madima. 12/26 Shabora An idiophonic percussiOn instrument m the shape of a solid tube made of bamboo with notches on it where a solid wooden tool is used to make sounds. It is used as instrument in Mehwaka m Batna and the provmces of Almesnana and Alswaiq. 12/27 Bumagroon Double pipe An instrument made of ghab (roogh) with two p1pe pipes equal in length and width, each of them having a single quill. Each pipe has five circular opemngs. It is used in the governorates of Dhofar, Muscat and Batna. Bumagroon is used in pipe singing in Dhofar and zomor in Dhahra and some arts of Beloushis in Batna. 12/28 Barghom Bergham A traditional Omani musical trumpet-like instrument made of addax horns (bin solaa). It is used in Dakhlia, Sharqia and Batna areas and the governorate of Muscat. Barghom is used to perform alrazha and alazi. 12/29 Habban Qerba It is a musical instrument made of magroon pipe and habban qerba. A single quill is fixed at one end of the habban, and in the other two pipes are fixed with ten openings distributed equally (five per pipe). The qerba is made of goat or sheep skin. Habban is used in Batna region. Habban or qerba is commonly used in a type of singing · known as yasni alhabban and other musical arts practised during evening parties and weddings. 12/30 Lute Qobos A string basic instrument in Omani music used by Omani musicians as an instrument

1 accompanying singing. Lute is used in GCC singing (alsout), albaraa and altasmee'e. 12/31 Qobos Qonbos and A traditional string instrument dating back to qoboz the civilization of Old South Arabian. Leading Omani musicians used Y emeni qambos made of one trunk of wood which is carved out to create the idiophonic box. Part of it is covered in goat skin, while the other part is covered with a slim wooden piece with a single opening used in Salalah, Dhofar Governorate. Qobos is used in performing alsharh m Salalah, Dhofar VISI N

Govemorate. 12/32 Tanbora An open string instrument whose box is made of different types of wood. It is used in Sour in the Eastern region.

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Sultanate of Oman Ministry of Heritage and Culture

Ministry of Heritage and Culture in cooperation with Oman Center for Traditional Music Ministry of Information

Elements of Intangible Cultural Heritage (Traditional Omani Musical Arts)

Project of National Intangible Heritage List Inventory and Documentation of Omani Traditional Musical Arts

All rights reserved to the Ministry of Heritage and Culture www.mhc.gov.om

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Sultanate of Oman Ministry of Heritage and Culture

Ministry of Heritage and Culture in cooperation with Oman Center for Traditional Music Ministry of Information

Elements of Intangible Cultural Heritage (Traditional Omani Musical Instruments)

Project of National Intangible Heritage List Inventory and Documentation of Omani Traditional Musical Instruments

All rights reserved to the Ministry of Heritage and Culture www.mhc.gov.om Inventory of Omani Performing Arts Inventory of Traditional Omani Musical Arts 'I ;;.9\.ii;JI .9 ~L...... U.. ~~.~~ .. ABU DHABI TOURISM & CU"i.TURE AUTHORITY

The following (names attached) took part in the workshop entitled, "Inventory Update with Community Participation" held in Al Ain on 17-20 March 2013. The workshop was a joint initiative between the United Arab Emirates and the Sultanate of Oman, and included reviewing safeguarding measures for Al-Ayyala as well as updating the inventory.

A group of researchers and representatives of Al Ain community, Al Ain Municipality and several associations were trained on field research techniques and the preparation of inventory lists by experts from the Intangible Heritage Department.

The Communities:

Al Ain Municipality

Al Hai Al Kuwaiti Ayyala Group (Oman)

Ras Alkhaima Ayyala Group (UAE)

Al Rams Ayyala Performing Group (UAE)

Two individual experts (UAE)

NGO'S:

Sheikha Amna Center for Heritage and Culture (UAE) Historical Cultural Village -Al Ain (UAE) Heritage Village (Al Ain)

Education :

Abu Dhabi Education Counsel (UAE) Mouawia bin Abi Soufian School (UAE) National Omani Committee for Education Culture and Science (Oman)

+W\ \" lOV l \V\ u>:;t., PO Box 2380 Abu Dhabi, United Arab Emirates t. +971 2 657 6171 w. tcaabudhabi.ae Women Associations:

Family Development Organization (UAE) Women Association (UAE)

Government Institutions:

Tourism and Culture Authority (UAE) Ministry of Culture, Youth and Community Development (UAE) Department of Culture and Media- Sharjah (UAE) Ministry of Heritage and Culture (Oman) Ministry of Culture (Saudi Arabia)

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I hereby acknowledge that I have taken part in the workshop of preparing Ayyala submission to UNESCO. I have previously taken part in inscribing Ayyala on the heritage inventory list for information update which was recorded before. I acknowledge that I am fully informed that the Sultanate of Oman is working with the UAE on preparing a multinational submission to inscribe Ayyala on the Intangible Cultural Heritage Representative List. It is true that popular arts are varied in Oman, but the Sultanate is known for certain arts, such as Ayyala, along with the UAE, with little differences in terminology. Young people became interested in different new things, and nothing encourages them to preserve such art except for their interest in such arts and the troupes practicing them. For this reason, they should be locally and internationally inscribed. Festivals must be organized to promote such arts which should be supported and encouraged. For the above, we, the undersigned, have freely participated in updating the inventory lists and the preparation of the Ayyala submission along with the UAE.

1- Abdullah Bin Ali Bin Abdullah Al Khayouri, So for Al Khabora Troupe, 97016001 2- Salem Bin Mubarak Bin Abdullah Al Bereiki, Al Qassabia Al Beriek Troupe. 3- Khalifa Bin Sultan Bin Salem AI Kendi, AI Konod Troup, 99459897.

99337141 , Salem Mubarak Al Berieki, Qassaiba AI Bereik Troupe, Muscat, 3/3/2012, Sultanate of Oman

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/' w_/G Sultanate of Oman Ministry of Heritage & Culture The Minister

Ministerial Resolution no. 54/2009

Based on work interests, it is resolved:

Article 1: A work team shall be formed to prepare the Omani intangible heritage list as follows: 1- Mr. Saeed Bin Sultan Bin Yarob AI Busaidi Ministry of Heritage & Culture Chairman

2- Mr. Mohamed Bin Ahmed AI Ameri Ministry of Sports Affairs Member

3- Mr. Salem Bin Mohsin Bin Nasser AI Bemani Ministry of Social Development Member

4- Mr. Mussalam Bin Ahmed AI Ketheri Ministry of Information Member

5- Nasser Bin Saeed AI Jahori Sultan Qaboos University Member

6- Mohamed Bin Mustahel Bin Saeed AI Shahri Omani Encyclopedia Project Member

7- Mrs. Aliaa Bin Sal em Bin Mohamed Al Hannaia Public Authority for Craft Industries Member

8- Mr. Salem Bin Rashid Al Mehairi Omani National Committee for Education, Culture & Science Member

9- Mr. Ibrahim Bin Saif Bin Sal em Bani Arraba Ministry of Heritage & Culture Rapporteur

Article 2: This resolution shall take effect as of its date and all those concerned should put it into action.

Passed on: 10/3/1430 A.H. Corresponding to: 8/3/2009

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Haitham Bin Tareq Al Saeed Minister of Heritage & Culture

CC: Minister's Office Secretary+ Minister's Advisor Offices of Undersecretaries Director General + Human Resource Dept Manager Financial Affairs+ Internal Auditing Personnel Affairs + Stakeholders Personal file+ file ...

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I Abu Mayyan, Said bin Khalfan (Ed.). l993. Poetrv of AI- .tLw:a.. Ayyala and Al-Ahalla (in Arabic). Ras Al Khaimah, tJAE: AI ~I ··'I Nakheel Publishing .rw ~.)~\

AI-Haddad, Sai.d Mubarak. 2005. Terminologies of AI-Ayyala (il! Arabic). AI-Ain. UAE: Zayed Centre Tor Heritage and Btstory.

I AI-Jenaibi, Nasser Ha bib. 2010. Traditional Dance in the United Arab Emirates and its Apylication on Stage (in Arabic). MA Thesis, Higher Institute for Popular Ar1s. Cairo.

Ministry of Information. 1990 Traditional Arts from Oman. Muscat: Ministry of [nfonnation Publishing.

Ohan. Farouq. 1999. From Popular Performance to Theatre: The Case of AI-Ayyala (in Ara5ic). Dubai: Nadwat al Thaqafa wa al Oloum Publications.

Research and Documentation Centre. 2009. Aspects of Drama in Emirati Popular Heritage (in Arabic). Ras Al Khaimah, UAE: Research and Documentation Centre Websttes: www.mhc.gov.om (Ministry of I Ieritage and Culture) www.omannet.om (Ministry of Information) www.octm-folk.gov.om (Oman Centre for Traditional Music

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