10.6092/issn.1973-9494/12801
Gli autori di questo articolo analizzano il Dabkeh al Djoufieh (Dabkɛ ālǧwofyɛ) come parte intrinseca del folclore giordano studiato raramente. Mentre la Giordania contemporanea ha vissuto una rapida esplosione di globalizzazione culturale, il canto e la danza rurali di Dabkeh al Djoufieh possono essere osservati come una manifestazione altamente dinamica di appartenenza e come un simbolo di solidarietà nazionale. Una delle caratteristiche distintive del Dabkeh al Djoufieh è che è presente in ogni evento sociale nelle comunità arabe. In secondo luogo, come esempio di musica folk, Dabkeh al Djoufieh continua a essere una vivace risorsa per il pubblico contemporaneo. L'articolo si concentra sulle principali caratteristiche musicali e poetiche di Dabkeh al Djoufieh. L'analisi qualitativa applicata integra idee riguardanti la semantica come rappresentazione del contesto sociale e delle identità etniche, mentre la musica è vista come un indicatore del patrimonio locale. Questo articolo pone le domande: Cos'è Dabkeh Djoufieh? Da dove proviene? E come viene implementato nella cultura folcloristica giordana?
Inoltre, lo studio discute il potere sociale che si trova nei versi popolari poetici, in particolare, il ruolo della metafora come strumento per esprimere realtà comuni ed esperienze individuali. Allo stesso modo, lo studio analizza le caratteristiche musicali del tradizionale Dabkeh al Djoufieh e come si è tramandato attraverso generazioni, confini sacri e sociali, diventando un simbolo della tradizione popolare giordana.
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Mohammed Mallah
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Conservation Science in Cultural Heritage
maqam
Dabkeh al Djoufieh: Exploring the Sustainability of Jordanian Folklore
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Mohammed Mallah
2020
10.6092/issn.1973-9494/12801
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College of Fine Arts, Music Department, Yarmouk University, Irbit, Jordan
1973-9494
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Dabkeh al Djoufieh: Exploring the Sustainability of Jordanian Folklore
https://conservation-science.unibo.it/article/download/12801/12517
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D     ABKEH AL DJOUFIEH: EXPLORING
      THE SUSTAINABILITY OF JORDANIAN FOLKLORE

   Tsonka Al Bakri *
   College of Fine Art and Design, Music Department
   University of Jordan, Amman, Jordan

   Mohammed Mallah
   College of Fine Arts, Music Department
   Yarmouk University, Irbit, Jordan


   Keywords: Dabkeh al Djoufieh, Arab music, folk music, maqam



   1. Introduction

    International ethnomusicological research of Jordanian folklore began in the nine-
teenth century and was carried out by foreign researchers such as: Boneshi, Basset,
Canard, and Palgrave. Yet, the local collection and publication of folklore samples,
legends, and songs only began in the last few decades. The studies dedicated to Jor-
danian folklore have focused on four aspects; the Durub muraqabah (complex rhythms),
the maqam system, the structural processes, and a significant share has focused on
the direct collection of folk songs. Local ethnomusicological studies have been delayed
when compared to similar practices in Western Europe. However, substantial theoreti-
cal leaps have come about during the past decades concerning ethnomusicological
development in Egypt, Lebanon, Syria, later in Jordan, Kuwait, and Oman, which has
undoubtedly led to a resurgence of academic interest in Middle Eastern ethnomusico-
logical inquiry.
    When discussing Jordanian folklore, one must always take into consideration the
geographic position of the Hashemite Kingdom of Jordan, and the Bedouin (badu)
roots of the indigenous populace, the high mobility of the tribes and their family-orien-
tated lifestyle. The Middle East’s natural environment, whether it be the sandy desert,
rocky hills, or short-lived grassy plains, forced Bedouin tribes to live a life of survival.
They were either in constant movement from one place to another, like the nomadic
herders searching for grass and water or in perpetual war with each other over scarce
resources. Arab merchants wandered to distant countries like China and Spain, in
search of wealth and prosperity, far from their desolate homeland. Transfer between
folk practices of distant ethnic groups (from the Barbers of the sub-Saharian region
and North Africa, Sudan, Persia to China, and Europe) have always been part of local
experience. The exchange of knowledge and customs resulted in a cultural hybrid of
adopted elements, a mix of their ‘own’ and ‘foreign’, a culture that was overly sensitive,
uniquely interpreting the world. Yet, the influence of neighboring cultures was significant,
and these interrelations can be traced up to today. “These innate characteristics cause


   * Corresponding author: tsonka.albakri@gmail.com
                                                                                                  the Jordanian folk to be a mixture of Middle Eastern and North African motives” [1].
                                                                                                  Meanwhile, “the people of Irbid and Ramtha (northern regions of Jordan), showed
                                                                                                  cultural similarities with Syrian folklore” [3]. Simultaneously, Bedouin tribes tend to
                                                                                                  have closer musical affinities with the folklore of the Arab Peninsula, and precisely
                                                                                                  Saudi Arabia. As far back as one can go in the history of Arabia, poetry and music pres-
                                                                                                  ent a significant memorial of the locals’ way of life and beliefs. More importantly, they
                                                                                                  were an expression of daily ancient Arab practices and provided the perfect opportu-
                                                                                                  nity for observation, comparison, and analysis, as well as being a basis for investigat-
                                                                                                  ing relations between distant (or not so distant) events. It should be mentioned that the
                                                                                                  Gulf and Jordan Valley population sought to have “a musical life that rivaled or even
                                                                                                  surpassed those of Cairo, Damascus, and Bagdad” [2]. The local, old civilizations flour-
                                                                                                  ished and produced a variegated cultural heritage that also devised a significant im-
                                                                                                  print on the regional cultural development. With the spread of Islam, Arab culture ad-
                                                                                                  opted, on a large-scale, various customs from remote ethnic populations, spanning
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                  from India to Spain, and vice versa, causing these diverse groups to embrace each
                                                                                                  other’s traditions. Thus, the massive impact of external and internal forces constituted
                                                                                                  a relatively similar cultural heritage within the Arab-speaking region. Synchronously,
                                                                                                  some Bedouin tribes, less inclined to a nomadic lifestyle, located in the central areas
                                                                                                  of Jordan, showed a folklore inclination toward more ancestral and ancient Nabataean
                                                                                                  traditions. This resistance towards foreign cultural influences was caused by “the isola-
                                                                                                  tion of these ethnic groups and their detachment from modern society and culture” [4].
                                                                                                  Jordanian Bedouin life revolved around the life cycle, mystical interrelations with divine
                                                                                                  creatures, jinn (dark desert spirits), and strong blood and tribal connections. Thus, the
                                                                                                  perception of nature and its unknowns was highly poetic yet branded with a religious
                                                                                                  recognition of the world. This magical perception of reality led to the creation of an oral
                                                                                                  tradition colored with exceptional distinction; and a music that was interpreted as a
                                                                                                  mediator between the visible world and the one beyond expressions. The echoes of
                                                                                                  the magical interpretation of existence, interwoven with the emotional experience of
                                                                                                  harsh, inhospitable surroundings, can be found within local peoples’ folklore music and
                                                                                                  poetry. “The natural and supernatural are not necessarily separate and incompatible
                                                                                                  domains, but they are often interwoven into the very fabric of human experience” [5].
                                                                                                  The connections between culture, religion, nature, and the mechanism of survival as a
                                                                                                  mode of communication is observed by Sponsel, Naess, Allen, Rappaport, and many
                                                                                                  others. It should be mentioned that for the Westerner, the sound of the unique Bed-
                                                                                                  ouin melodies and lyrics are quite incomprehensible, simple, monotonous, and strange.
                                                                                                  But for the Arabs, they exist as part of everyday life, proclaiming who they are and what
                                                                                                  they have, being a bright reminder of the community past. Many of the songs originate
                                                                                                  in distant times, and “It is not known who created them, who conceived the melody or
                                                                                                  the lyrics. They have been handed down orally by the generations” [6]. Anonymity of
                                                                                                  origin and author are often cited as a “prerequisite for any folklore piece” [7]. Through
                                                                                                  oral transfer, songs travelled across the ages and became subjects of modern interpre-
                                                                                                  tation. “This evolutionary process is natural, thus turning even the most ancient songs
                                                                                                  into a contemporary classic” [8]. Folk chants represent widely shared views, beliefs,
                                                                                                  experiences, values, and contribute to the unification and solidarity of the tribe. “The
                                                                                                  songs would be performed locally and were unique to their respective villages, cities,
                                                                                                  and the region” [9]. The major topics treated in Jordanian folklore are religious worship
                                                                                                  and wedding rituals. “Folk music is of huge importance for the Arab people, as they are
                                                                                                  involved in numerous gatherings and holidays” [10]. Because of their tribal culture,
                                                                                                  Jordanian people based their social life on solid family foundations; gatherings and


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holidays, involving all members of the tribe or village, have been the mainstay of strong
familial relations. Music accompanied every social event and was an inseparable part
of them. In terms of lyrics and melody, Jordanian songs have changed relatively little
over time. “Contributing to the non-changeability of the Jordanian song is its organiza-
tion and simplicity” [11]. Jordanian folk singing is characterized by its simple musical
structure, “The melodies are uncomplicated, beautiful, and are the fruit of instinctive
striving, man’s inspiration to create music” [12]. Jordanian songs are usually performed
by small groups, a maximum of five people, and the largest used interval is a fifth. The
main classification of Jordanian songs can be described in three main categories.

   Bedouin Songs capture the quintessence of ancient Arab culture. They are the
music of nomadic tribes indigenous to the region of Jordan, who scour the vast Arabic
desert searching for food and water. The Bedouins’ songs lack ornamentation; they are
monotonous, performed in a slow, deliberate tempo.

    Village Songs are the most widespread and originate from the farmlands and par-
ishes of Jordan. These songs moved to the cities along with the migration of country
folk. They are quicker and more dynamic than the Bedouin songs. Village music is
more melodical and is accompanied by local instruments, which include the: shababa
(small end-blown reed or metal flute), rababa, (a single-stringed bowed fiddle), al-mijwiz,
al-yarghoul (wind instruments), and tableh (single-headed goblet drum). The songs’
vocal and stylistic features are often reminiscent of Syrian, Iraqi, Palestine, or Leba-
nese folk music. Dabkeh al Djoufieh is part of this group.

    Seaside Songs are the least widespread, as the coastal area in Jordan is limited
to one small region, namely, Aqaba. The genre shows much resemblance to Egyptian
and Saudi Arabian seaside folk music.

     Ethno-musicologists search for the origin of the Jordanian song in the ‘Al Hurani’




                                                                                                Conservation science in Cultural Heritage
style of singing in the Horan region, a plain between Jordan and Syria. Ibn Khaldun
(1334-1406), a poet, historian, philosopher, and traveler, was the first to mention it,
observing that “it had four stanzas, whereby the first, second, and third stanzas dif-
fered, while the fourth was in rhyme with the following stanza”’ [13]. The Jordanian
Dabkeh [chain dance] can also be linked to Gina al Hurani. Dabkeh is a traditional
dance, widespread throughout the whole region and known as Sham (Syria, Lebanon,
Palestine, Jordan). “It is usually performed by young men holding each other by the
hands, and one of them leading the dance’’ [14]. In recent years, one can observe the
spread of folklore samples arranged in the style of ethno-pop under the accompaniment
of an org (keyboard) or other instruments (violin, guitars) that are not part of the tradi-
tional Arab takht (small ensemble).“This new instrumental performance and the fresh
rendition, help the spread of these folk songs without changing their authenticity’’ [15].
Such are the performances of some contemporary Jordanian singers like Metaeb Al
Saggar, Mohammed El’Selman, Tawfiq al-Nimri, Salwa, Ismail Khdara, and Sham al-
Safadi. Simultaneously with the musical modernization of the songs, the language and
lyrics are modified, and obscene words (typical of ancient chants) are discarded. Thus,
over the years, some folk ahazeej (small, commonly known songs) have been recog-
nized by pop musicians and adopted as melodies, but new lyrics have been added. Such
an example is the famous Bint Ashalabieh (Beautiful Girl). Indeed, the modern usage of
folk chants provide us with clear insight that Arab culture is deeply connected with its
heritage, and that “the Arab culture and society is self-sufficient and unchanging” [16].


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                                                                                                     2. Al Djoufieh in a historical context

                                                                                                       In its social context, Dabkeh al Djoufieh is a political symbol, providing a discourse
                                                                                                  of ethnic identity, demonstrating its belonging to a specific cultural heritage. In its
                                                                                                  form of song and dance, it induces intimacy and solidarity between the members of
                                                                                                  the society, shapes social relations, and establishes affection between the people.
                                                                                                  “It is a social and cultural event that is significant for all involved” [17]. Harakat (move-
                                                                                                  ments) of the Dabkeh indicate greater homogeneity and unity. Al Djoufieh songs
                                                                                                  are closely associated with the idea of existential happiness and are performed at
                                                                                                  different haflat (parties), where “the social function for bringing people together pre-
                                                                                                  vails” [18]. Performance of the Dabkeh al Djoufieh in community gatherings symbol-
                                                                                                  izes joy and identity. Dabkeh is a kind of raqs (dance), popular in the area between
                                                                                                  the Gulf countries and Lebanon. It can be found in the Levant territory, “and probably
                                                                                                  originated from the ancient Canaanites” [19]. The Dabkeh is a line dance, conducted
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                  by a leader, called laweeh, who directs the dancers in the steps and movements. The
                                                                                                  dance is characterized by much advancing and retreating of the participants. These
                                                                                                  movements are accompanied by a gradual increase in rhythm and emotional inten-
                                                                                                  sity. The music escalates and reaches its peak, described by the participants as
                                                                                                  hami (heated). Dabkeh can be defined as a highly intensive collective dance, which
                                                                                                  transforms the participants into a single body, presenting an ultimate unity. Several
                                                                                                  studies have been made on the Dabkeh. One of them is by Shayna Silverstein [20],
                                                                                                  who has written extensively about its origins within the territory of Syria, and the an-
                                                                                                  cient Levant. Jean Lambert studied it in “The Arabian Peninsula: An Overview” [21]
                                                                                                  and discussed the fact that Djoufieh is a traditional song that can be sung or performed
                                                                                                  as Dabkeh.
                                                                                                       The Jordanian Dabkeh Djoufieh originates from the Al Jouf region in Saudi Ara-
                                                                                                  bia. The Jouf was once named ‘Jouf al-Sirhan’ after the Sirhan valley. The research-
                                                                                                  er Al-Shurman has established a connection between this valley and the Sirha in the
                                                                                                  Mafraq region of northern Jordan [22]. Haddad also mentions this fact, reporting that
                                                                                                  Dabkeh al Djoufieh may have evolved out of the Arde al Bariie songs (Saudi Arabia)
                                                                                                  [23]. Arda is one of the most important genres of folk poetry known in the Middle East.
                                                                                                  The specific gestures and weapon movements that accompanied these songs can
                                                                                                  be considered as theatrical acting of a war song. Arda is “’demonstration of force,
                                                                                                  and is the most famous of the sung dances, typical for Saudi identity” [21] However,
                                                                                                  the actual performance of Arda does not always correspond with war songs, as over
                                                                                                  time it has transformed into a slower, more modest and religious genre. Ghawanmeh,
                                                                                                  confirmed a similar assumption concerning the origin of Djoufieh: “In the Gulf region
                                                                                                  and Kuwait, a similar folk melody is called al Hadwah and Arda” [24]. Dabkeh al
                                                                                                  Djoufieh is traditionally performed in the following way within the frontiers of Jordan:
                                                                                                  the male performers form a circle interrupted in two points to make two semi-circles.
                                                                                                  Standing in the center is a girl carrying a sword (often substituted by a wooden stick).
                                                                                                  The dancing men try to get close to the girl while she wards them off with her sword,
                                                                                                  not allowing them to touch her1. One group takes up the song, and the second re-
                                                                                                  peat what has been sung, which is referred to as al Djoufieh. The choreography of
                                                                                                  the dance challenges us to look at its social significance. The socio-dramatic dynam-
                                                                                                  ics provide us with insight that this is an ancient dance, deeply rooted in the local
                                                                                                  heritage. The uncomplicated dance and the simple steps reveal to us a pre-literate
                                                                                                  society’s ritual, a collective expression of specific interpretation of past events. One
                                                                                                  can therefore interpret these monotonous advancing and retreating movements as


                                                                  230
symbols from the memories of ancient pagan rituals, reflecting particular ethnic de-
scriptions of the former. The choreography, supported by simple melodies and lyr-
ics, tells us stories of heroism, love, and tragedy. The performance recognizes and
confirms the essential customs of the tribe: who we are, what we stand for, and our
beliefs. Dabkeh al Djoufieh is performed during national events and wedding rituals.
Its melodies are considered to heighten the enthusiasm with their bright melody and
rhythm and are native to a vast region, spanning from Southern Ma’án to Northern
Irbid. Moreover, the dance can be performed with a variety of melodies or employ-
ing the same tune and switching the texts; vice versa applies. Nowadays, Dabkeh
is performed by groups of men, groups of women, or mixed groups, in the form of a
chain dance.


   3. Metaphoric and poetic features characterizing Dabkeh Al Djoufieh

     The role of semantics in music has been studied by Zbikowski [25], Spitzer [26],
and Charteris-Black [27]. Metaphor was interpreted as the transmitter of social mean-
ings into music, a tool of cognition that assists in conceptualizing events and
worldly experience. Critical Metaphor Theory perceives metaphor as both, lexical
and conceptual phenomenon, “linking the cognitive dimension to the social context”
[28]. Critical Metaphor Theory, as part of the Conceptual Metaphor Theory, probes
the intentions and social contexts under the surface of language. According to Char-
ters- Black, metaphor consists of three primary functions: linguistic, conceptual, and
communicative. To identify the conceptual and semantic role of the text in Dabkeh
al Djoufieh, we will base our analysis on the Critical Metaphor Theory to highlight
certain cultural specifics and social inclination within the framework of Jordanian
folk music.
     Delving into the past of the Arab world, one can find poetic metaphor interwoven




                                                                                             Conservation science in Cultural Heritage
within musical songs as a witness to every aspect of social life. Poetry, such as sẖīʾr,
and nashīd (a type of chant), coexisted to produce music genres such as ḥidā, (war
songs) [29], arda “one of the most important genres in folk musical-poetry known
throughout the Peninsula” [30], and sāmrī, performed at night for the entertainment
of tribal chieftains. Many researchers have searched for the origins of these songs
in the Pre-Islamic period (Burckhardt, Campbell, Heller, El Shawan) and suggested
a direct relationship between pagan chants, medieval music, and folklore tradition.
In ancient Arab culture, sung poetry interacted with dance as a presentation of the
sacral idea of a trance [31], and the text represents a special meaning in the form of
symbols implemented into the cultural domain [32]. Therefore, we shall take the
liberty of quoting some Dabkeh al Djoufieh lyrics familiar to the territory of Jordan.
The texts presented will confirm the relationship between the three main poetic genres:
epic, religion, and love, which suggest a vital metaphoric manifestation of the most
important life-cycle events for ancient Arab society. In the discourse analysis, it will
be demonstrated that Dabkeh al Djoufieh is not characterized by narration; the songs,
rather, represent a cut in time or outpouring speech associated with the instanta-
neous experience. “Song text language tends in many cases to differ from ordi-
nary discourse, to be a ‘secret’ language known only to a certain segment of the
society” [33]. In the performance of Arabic folk chants, some syllables are tradi-
tionally contracted, while others are accentuated, which is associated with pre-
literate traditions, and pagan religious ceremonies. (Nelson, Ong, Zwetttler). Dabkeh


                                                                                           231
                                                                                                  al Djoufieh is performed in the Lug’ha A’miieh (spoken language) rather than in
                                                                                                  ālfūsha (the literary form) of the Arab language. In Dabkeh al Djoufieh, refrains are
                                                                                                  mostly absent. The lyrics run uninterrupted with a single repetition of each stanza
                                                                                                  separately.
                                                                                                       These folk songs tell us stories about life-struggle, love, and specific historical
                                                                                                  events. Yet, Arab hunijat (songs) are open to multiple interpretations; linguistic, mor-
                                                                                                  al, historical, and social. Therefore, old Arabic poetry (al shi’r, nashid, inshad, qasida)
                                                                                                  had a dual function: religious and social. These communal experiences have sur-
                                                                                                  vived and transformed into simple folk narratives, retelling individual stories, passing
                                                                                                  memories, preserving collective reminiscences. Thus, as a result of the aspiration of
                                                                                                  maintaining ethnic remembrance, two different literary genres were created, classi-
                                                                                                  cal poetry and folk culture. “With the creation of the enormous Arab-Islamic empire,
                                                                                                  classical culture, including its musical expression, came under various influences,
                                                                                                  making the gap deeper between “literary poetry”’ and the original Bedouin poetry that
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                  survived through oral tradition” [30]. The information concerned with the essence of
                                                                                                  folk heritage came to us from old authors such as Al Kindi, Al Isfahani, and others, who
                                                                                                  mentioned the existence of popular culture, based on local tongues, and composed
                                                                                                  of metrical and rhythmical verses, different from those of classical poetry. As mentioned
                                                                                                  earlier, since folk songs are not delivered in the prestigious literary Arabic, Arab
                                                                                                  scholars have neglected their study for a long time. Nevertheless, the translation of
                                                                                                  Jordanian folklore into English, has been conducted in recent decades by Al Azzam
                                                                                                  and Al Quran [34], and Al Azzam and Al Kharabsheh [35]. The translations have
                                                                                                  highlighted the difficulties associated with the word-to-word translation compared to
                                                                                                  freer interpretations. Researchers who were working with an adaptation of Arabic to
                                                                                                  English pointed out the specific language markers of Aran poetry. These highly ex-
                                                                                                  pressive and symbolic markers bear cultural implications, meaning potentials, and
                                                                                                  hidden social connotations, familiar only to locals. Many folk songs are linked to cer-
                                                                                                  tain narrative elements and occurrences, demonstrating connections to actual events
                                                                                                  or historical, geographical, and cultural settings. These events are sometimes lost,
                                                                                                  making it difficult to trace the specific buried connotations within the communal mem-
                                                                                                  ory. The stories of the songs are familiar for the locals, they identify ties with specific
                                                                                                  events, recognize the chronology of biographical situations, and interpret the moral
                                                                                                  context of the narrative, according to the tribal code [36]. Being primarily oral, this
                                                                                                  poetry, with its intonation, rhythm, and specific sound, fitted naturally into Jordanian
                                                                                                  folk music and became a vital part of the local heritage.
                                                                                                       The folk songs presented in this research are collected from the territory of Jor-
                                                                                                  dan or local academia. Assembled texts suggest that the human memory is not
                                                                                                  literal, and many of the chants appear to be reconstructed or transformed. It was
                                                                                                  observed that some of the melodies emerged attached to the uniform text, but
                                                                                                  sometimes the phrases were restructured, and the pattern of repetitions varied.
                                                                                                  Nettle [37] commented similar shifts between texts and melodies, stating that folk
                                                                                                  songs “show basic interactions by means of constant melodic correspondence,
                                                                                                  and presumably owning their mutual likeness to dissent from a single air, that has
                                                                                                  assumed multiple forms through the process of variations, imitations and assimila-
                                                                                                  tions.” Nevertheless, some texts and tunes appeared more stable than others and
                                                                                                  showed further solid characteristics. Precise analogous and immutable folk texts will
                                                                                                  be examined. Hereafter, the presentation of the texts will follow Seeger, Stross, Gos-
                                                                                                  sen, Hymes, and Nettl. The first example relates Dabkeh al Djoufieh to specific mili-
                                                                                                  tary campaigns [14].


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   Example1.

   Arabic text:

              ‫مجــروح اليوم قلبنا رشيده بو يا‬                 ‫مستظلي وبالحشا غميق جرح‬
               ‫اللوح على ومددوني الخطيب جابوا‬                  ‫يطلي عشيري لما ّ برخا قلت‬
               ‫مسطوح الثوب مقدام عشيري جاني‬                   ‫الـدلالي عشير يا عشيري لّما‬
                          ‫للجوف عمان من طوعناها‬                   ‫الطفيله لحدود الكرك ومن‬
                   ‫بتحوف حوالينا ياللي وينك‬                   ‫غليله يشفي ما قليبك ريت‬
                  ‫الخوف تعرف ما اللي والنشامى‬                      ‫الثقيلة الحمول رجال حنا‬
                        ‫شلال الدم يخلي سبفنا‬                    ‫صويبه يبري ولا سيفنا‬


   English version (authors’ translation):

Father of Rashid, our heart is wounded                  with a deep, bleeding wound.
A fiancé has been brought and was laid on a board2      I said: I’ll be calm until my lover
                                                        comes back
My lover did come with his clothes,                     my beloved, oh, love of my life!
We forced all to submit, from Amman to Jouf             from Karak to the Tafileh border.
Where are You who are around us? 3                      May my boiling heart not heal?
The valiant heroes                                      we are the men carrying the burden,
Our sword makes the blood a torrent                     our sword, which is faultless.




                                                                                                Conservation science in Cultural Heritage
     The presented text is a prime example of how folk songs display a ‘secret’ lan-
guage, a metaphor which only natives may understand. The wording adopts a meta-
phor that does not operate with the underlying meaning of the lexemes but has a hid-
den sense. This approach can be described as a lexical feature of local origin, a lingual
riddle, comprehensible only for the people from the tribe. In this song, the epic subject,
the man who lost his life in battle, is interwoven with the woman’s grief for her beloved
fiancé. Her tribal family answers her mourning calls for revenge. By the law of blood
duties, if anyone of the tribe is killed, the warriors of the clan have to search for imme-
diate blood revenge. Yet, the text provides a significant perception about interlocking
clan relations and group kinship which need to receive complete social homage. Simi-
lar folk tales present incorporated riddles; therefore, “performers have more or less an
abstract representation of the songs in their memories” [38]. The story is telling us an
important fact, when a member of the community is in a difficult situation, her/his plea
for help will be heard and answered by the tribe. The other main topic in the song is the
love story. Love in Arab culture should be spoken out, and personal emotions should
be directed toward social concord and approved by the group. Simultaneously, the
feelings are addressed to God, who is always present in everyday life and witnesses
every emotional or social event of the Arab people.
     The following is a lyrical text originating from the Ma’an region, in which erotic im-
plications have not been substituted. This fact provides us with the trace that the song
has deep ancient roots.


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                                                                                                      Example 2.

                                                                                                      Arabic text:

                                                                                                                   ‫اح تف وتقول خوي يا وخدودها‬                       ‫للمشتهيا الشام من تفاحة‬
                                                                                                                  ‫حنشان وتقول خويا يا وشعورها‬                   ‫عليّه الخلاعاشن بارض حنشان‬
                                                                                                                      ‫رمان وتقول خويا يا ونهودها‬                        ‫مستوية امها على رمانة‬


                                                                                                      English version (authors’ translation):

                                                                                                  Her cheeks, brother, are an apple                     an apple from Sham4, for the hungry,
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                  Her hair is like a snake,                             living on dry earth,

                                                                                                  Her breasts, brother, are like a pomegranate,         a juicy pomegranate, on its mother. 5


                                                                                                      Ancient Arab folklore can strike with its erotic hints springing from the everyday life
                                                                                                  of the tribe. Since times and behavior models have changed, many of the older habits
                                                                                                  and use of voluptuous expressions have become outdated and are now obsolete. The
                                                                                                  presented text employs naïve, sensual euphemisms that are ingeniously expressive
                                                                                                  and simple-hearted. The storyteller is a passionate young man who has shared his
                                                                                                  emotions with his clan friend. This song can be associated with physical beauty, and
                                                                                                  idealization of the subject of the love. The vocabulary used is simple, related to every-
                                                                                                  day dialect. It can be observed as a jocular metaphor, which does not apply to the under-
                                                                                                  lying meaning of the lexemes but presents a colorful and frivolous sense of an intimately
                                                                                                  shared story.
                                                                                                      The next text is associated with the metaphor of heroism and honor, related to the
                                                                                                  epic genre [23].


                                                                                                      Example 3.

                                                                                                      Arabic text:

                                                                                                                          ‫الجندليه حرب يوم ظني هذا‬               ‫الحمايل وعيال الفرسان ذبحة‬
                                                                                                                   ‫بالحميه صيحوا صويت عيال يا‬                    ‫القبايـل سبع عدوكم واذبحوا‬


                                                                                                      English version (authors’ translation).

                                                                                                  This is my thought on the day of the Jandaliie war,   the horsemen and the clansmen were
                                                                                                                                                        massacred,

                                                                                                  Oh, children of Swait, scream furiously, 6            and wipe out your enemy, the seven
                                                                                                                                                        tribes.


                                                                   234
    Here we see another example of the unity of historical events and tales about brav-
ery and courage. This song presents the traditional life of Arab tribes, the life of con-
stant wars in a struggle for wealth and power in the desert between Jordan and Saudi
Arabia. Middle Eastern folklore is rich with historical tales, showing the tribal path of
migrations, presenting the battles they fought, and the price of triumph. These stories
provide us with information about specific events, incidents, details, and clues about
their importance to the community. The first and third samples illustrate the folk epic
genre (khurafi), a reminiscence of the tradition of constant tribal raids within the Arab
desert. They can be defined as a “memorial genre” [39], and as part of an oral turath
sha’bi (folk legacy, heritage).
    The following is a lyrical text combined with religious elements from Northern
Jordan:


   Example 4:

   Arabic text:

              ‫طواني إللي طواك ما عطيه يا‬                       ‫يه خلي طوى اللي طواك ما‬
                                                                                     ّ ‫عل‬
          ‫ليالي عني غبت لن عشيري يا‬                            ‫يه ِغلوك من حولين من عّد‬
                                                                                      ّ ‫عل‬
           ‫تايب ثمّ لك تايب إني الله يا‬                  ‫يه تكتب لا البيض خطايا عن‬
                                                                                 ّ ‫عل‬
        ‫الترايب ّاجو اللحد تحت من خوفي‬                              ‫بل لله ساجد‬
                                                                              ّ ‫يه ومس‬
                                                                                     ّ ‫يد‬


   English version (authors’ translation).




                                                                                                Conservation science in Cultural Heritage
Oh Attiyih, 7 what draws us apart               does not take my thoughts off you

My beloved, when you are far for a day,         it is like missing you for two whole years.

Oh, God, forgive me, forgive!                   Do not write down my small mistakes8

I fear the grave under the dirt;                I bow and cross my hands9.


    Islamic religion has left its imprint on the lifestyle of the people from the region.
Religion is not just a symbol of faith; it represents a daily task and call. Religious
feeling and duties are part of a person’s life, and immutable factors in the local cul-
ture and folklore. This sample is in the form of qus’sa (narration), which encom-
passes a wide variety of emotions, sorrow, fear, and dismay from divine justice. These
types of qusas can be associated with intimate reports of love stories, labeled by reli-
gious beliefs and are a reminder of constant wars and losses. There is the realiza-
tion that all men and women are subject to inexecutable external forces (social and
divine).
    The next example presents Dabkeh al Djoufieh, accessible in southern Ma’an, based
on a heroic theme, part of the war between Israel and Jordan, thus it implies that his-
torically the text was composed in the last century.


                                                                                              235
                                                                                                     Example 5.

                                                                                                     Arabic text:

                                                                                                      ‫ نخزيها والشياطين‬... ‫نخزيها والشياطين‬           ‫ الله ذكر القول أول‬... ‫الله ذكر القول أول‬
                                                                                                   ‫ شمخةاقصوره محلا يا‬... ‫اقصوره شمخة محلا يا‬          ‫ المية حلوة ديرتي‬... ‫المية حلوة ديرتي‬
                                                                                                          ‫ مأسورة عنداليهود‬.. ‫مأسورة اليهود عند‬      ‫ العربية فلسطين‬.. ‫العربية فلسطين‬
                                                                                                   ‫ العروبة شباب تنخا‬.. ‫العروبة شباب تنخا‬            ‫ العربية فلسطين‬.. ‫العربية فلسطين‬
                                                                                                         ‫ شبابالمعانية يا‬... ‫المعانية شباب يا‬            ‫ الأردنية ياشباب‬.. ‫الأردنية شباب يا‬
                                                                                                          ‫ أردنية والدبابات‬.. ‫أردنية والدبابات‬        ‫ اسباعوانمورة كلهم‬... ‫وانمورة اسباع كلهم‬
                                                                                                     ‫ مقهورة اسرائيل منها‬.. ‫مقهورة اسرائيل منها‬     ‫ مقهورة اسرائيل منها‬.. ‫مقهورة اسرائيل منها‬
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                        ‫ مستورة كل فّرعت‬..‫مستورة كل ف ّرعت‬             ‫ نشمية كل زغرتت‬.. ‫نشمية كل زغرتت‬


                                                                                                     English version (authors’ translation).

                                                                                                  By our first words, let us mention Allah x2            and condemn the Devil, x2

                                                                                                  My neighborhood is lovely x2                           Oh, how unshakeable it is x2

                                                                                                  Palestine is Arabic, x2                                prisoner of the Jews x2

                                                                                                  Palestine is Arabic, x2                                calling on the valiant Arab men x2

                                                                                                  Oh, Jordanian valiant men x2                           Oh, Ma’an valiant men x2

                                                                                                  All the wolves and tigers x2                           The Jordanian tanks x2

                                                                                                  Israel is enraged by them x4                           and every maiden, Zaghratat10 x2

                                                                                                  And everyone, uncover her face11 x2


                                                                                                       Most of the songs related to military campaigns show dominant notes related to
                                                                                                  hate, faith, and sorrow. They capture warriors’ confidence in the tribe’s might, and the
                                                                                                  weakness of the enemy. In the present song, the image of the tribe is replaced with the
                                                                                                  power of the army.
                                                                                                       Arab folk songs can be short and contain one or two couplets, even only two to
                                                                                                  three lines, which are repeated multiple times. They can also be long, including seven
                                                                                                  or more stanzas. In the presented samples, rhymes occur at the end of the line or the
                                                                                                  end of each hemistich. Nevertheless, these structural and strophic structures vary from
                                                                                                  song to song and do not follow the strict norms typical of classical poetry. At the linguis-
                                                                                                  tic level, metaphors implemented in the folk songs can be found in correlation with
                                                                                                  a target domain (the society, the group), and association with a contextual surface
                                                                                                  (meaning and genre). As evidenced by the texts, one can conclude that Dabkeh al
                                                                                                  Djoufieh has been associated with the two primary styles, epic and love. The outstanding


                                                                   236
presence of the military subject is a consequence of the historical destiny of the people
from the region, who had been almost constantly at war during their evolution. The
religious topic appears in both indicated genres. In the epic songs, the religious meta-
phor relates to the prayer and hope of physical survival with the glorification of the
Lord. In the case of the love songs, the Lord’s patronage is sought. His wisdom, power,
and protection are asked to supervise and instruct the lovers. The lyrical songs are
tinged with a slight erotic element, typical of archaic Arab folklore. These songs tell us
about love thrills in the singular, while at the same time, the group, the tribe, is informed
of what is taking place. In this way, the feelings become public and socially significant.
The lyrics of Jordanian folk songs are recited in a slightly slurred way, making the pro-
nunciation a little indistinct, the result of pagan culture primordially related to mysti-
cism. For that reason, we register a specific prolongation of the last but one word of
every stanza.


   4. Rhythmical representation of the Dabkeh Al Djoufieh.

    The greatest challenge for Jordanian musicologists seems to be the indication of
the time signature and beat pulsation of the rhythm in the Dabkeh al Djoufieh. In Arab
melodies, the tableh accompaniment seldom coincides with the first strong beat, and
“some folk songs have unusual metrical accents, and are hard to determine” [14]. In
this context, we shall take the liberty of presenting a few Dabkeh al Djoufieh, quoted by
the local academia.

   Dabkeh Al Djoufieh ‘Rashid’s father’ in two variants [23]:


   Example 6:




                                                                                                  Conservation science in Cultural Heritage

   Example 7:




    In example 7, one can notice that the first strong metric beat in the first bar begins
with C, and the musical phrase winds up with the first strong beat, quarter note, D, in
the fourth bar. The beginning of the second phrase starts in the fourth bar, second
weak beat with a repetition of the same sentence. In this notation, a shift of the metri-
cally strong beat occurs in the second phrase, which can be marked as an error.


                                                                                                237
                                                                                                      Most Arab folk songs are performed in a simple time signature of 2/4 or 4/4 [40]. In
                                                                                                  a study published by Ali Sharman, while referring to the Dabkeh Al Djoufieh the author
                                                                                                  comments that “it can be heard mostly in a 4/4-time signature” [22], without, however,
                                                                                                  adding a notation in confirmation of the statement.
                                                                                                      Dabkeh al Djoufieh in another version presented by Haddad [23].


                                                                                                     Example 8:
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                       This example is notated in 2/4-time signature, whereby the first phrase begins with
                                                                                                  F, in a weak first half beat, eighth note, and ends in F, in the same beat of the third bar.
                                                                                                  The second phrase begins in a third bar, on the second half, weak beat, and repeats
                                                                                                  the first sentence literally with a shifted metric accent. The second phrase ends with a
                                                                                                  Tonic in the first beat of the sixth bar.
                                                                                                       We shall take the liberty of presenting a notation of the same song by the authors
                                                                                                  of the paper. This melody is famous in Jordan and can be found supported by different
                                                                                                  texts, as presented by the text examples numbers 1, 2, 3, 4 and 5. The lyrics are shifted
                                                                                                  according to the regions or occasions on which the song is performed.


                                                                                                     Example 9:




                                                                                                     Below are two examples of Dabkeh al Djoufieh, also presented by Haddad [23]:


                                                                                                     Example 10:




                                                                   238
   Example 11:




   In conclusion, let us sum up a few significant features characterizing Dabkeh al
Djoufieh, in terms of rhythm. Most of the familiar folk songs are performed in the time
signature of 2/4 and 4/4, whereby the melodies often start with an upbeat, the weak
beat. The prevailing rhythmic values in the songs are quarter and eighth notes. The
tempo is fast, movable, and well-suited to the performance of the Dabkeh dance.


   5. Musical characteristics of the Jordanian Dabkeh Al Djoufieh12

    The songs, quoted in this research as samples of Dabkeh al Djoufieh found in the
territory of Jordan, were collected through groundwork, and local research. It was
found that sometimes the melody is identical, and texts have been shifted. Simultane-
ously, different tunes can be registered, attached to one text. Yet, many varieties in the
tempo in rhythm can be observed. This diversity can be attributed to the development
and adaptation of folk music; when a text won popularity, it was shifted to another melo-
dy which was more famous in a specific area, and vice versa. Simultaneously, people
transmit the songs through oral means as messages from one generation to the next,
from one region to the next, and from one singer to the next. In this transfer, the text or
music can be transformed or even change completely. Aberrations and additions ap-




                                                                                                Conservation science in Cultural Heritage
peared through such a journey. Research in music cognition shows that in oral trans-
mission, a melody passes not as a literal sample, but is “reconstructed and recreated”
[41]. Folk tradition allows the appearance of many versions of the same tune, while at
the very same time enriching it with different texts, rhythmical models, tempos, modes,
and musical colors. Arab folk songs are relatively simple as rhymical values, in contrast
to the tarab music. Musiqa tarab, cannot be easily translated into English. The context
of the word could be narrowly defined as making music, employing the maqam mood,
accompanied by percussions or heterogeneous ensemble. Tarab can be defined as a
specific connection between listeners and performers who share emotions. Fan al
tarab, (the art of tarab), or alam al tarab (the world of tarab), is acknowledged as a
unique urban culture. Broadly conceived, a tarab experience was described by Racy
as culture which “embraces a wide variety of components: visual, semantic, physiolog-
ical, mental, and associative” [32]. Arab folk music, on the other hand, can be associ-
ated with local al thurathyia (heritage music). Simultaneously, heritage music navigat-
ed and linked all parts of the concord from Islam lands, from Azerbaijan to Spain,
producing a mixture of different cultures. The correlation to distant cultures explains
the internal and external influences that are absorbed, thereby creating one vivid, dis-
tinct style of music. It was noticed that Bedouin folk traditions are born out of the needs
of everyday life and the social events of the tribe or village. Songs reflected the his-
torical, social events, and echoed the military spirit of the warrior campaigns and per-
sonal stories. Simultaneously, the folklore adopted features from religious chanting,


                                                                                              239
                                                                                                  and was highly influenced by Islam. In this regard, one should mention the influential
                                                                                                  work of Talal Asad [47], who discussed the categories in Arab music, defining them as
                                                                                                  sacred and secular. Middle East musical tradition binds religious faith with the every-
                                                                                                  day life of each member of society. Qura’a islami (spiritual chanting) and musiqa sha’bi
                                                                                                  (folk music) transmitted features and borrowed musical expressions from each other.
                                                                                                  Both categories shared similar maqamat, simple melodic lines, a relatively stable rhythm
                                                                                                  (in contrast to musiqa tarab), and a highly emotional and uniform monophonic style of
                                                                                                  performance.
                                                                                                      It was mentioned that in the process of transmitting folklore chants, considerable
                                                                                                  variations were observed, such as shifts in melodies and texts, variations in melodic
                                                                                                  range, rhythmic mode, number, and combination of phrases, and so on. Yet, principal
                                                                                                  components can be found, and it is precisely these major clusters that provide the
                                                                                                  distinctive features of Dabkeh al Djoufieh, which can be defined as:
                                                                                                      Mode: Dabkeh Al Djoufieh is most often performed in Jins, (tetrachord) Al Bayat
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                  with a D as Tonic, and a key signature E half flat and B flat, and Jins Al Rast with a C as
                                                                                                  Tonic, and key signature E half flat and B half flat.
                                                                                                  Mode range: limited, from tetrachord to hexachord.




                                                                                                  Interval amplitude: maximum perfect fifth, in most samples reaching minor third and
                                                                                                  perfect forth.
                                                                                                  Rhythm: simple rhythm, dominated by quarter and eight notes.
                                                                                                  Meter: mostly duple or quadruple. In the case of an upbeat beginning, the metric accent
                                                                                                  is placed on the first quarter note in the second bar.
                                                                                                  Tempo: mostly fast, lively.
                                                                                                  Texture: Monophonic.
                                                                                                  Timbre: No indication. The songs are performed mostly by men: baritones or tenors.
                                                                                                  Intensity: Quite loud.
                                                                                                  Dynamic: mezzo forte, and forte
                                                                                                  Structure: The melodies consist of a single phrase, bright, with restricted scope, no
                                                                                                  ornamentation included.
                                                                                                  Melodic line: The tendency of the melodic line is towards the Tonic center.
                                                                                                  Tonality orientations: more often tending to the minor.
                                                                                                  Melodic contour: generally undulating, with gradual ascending or descending.
                                                                                                  Form: Sections are easy to separate, predominantly arranged in Rondo form. The
                                                                                                  melodic phrases are short, not exceeding eight tones, which are repeated. “The reason
                                                                                                  for the constant repetitions is a typical musical approach, corresponding to the idea of
                                                                                                  an easier remembering of the music” [48].


                                                                                                     6. Conclusion

                                                                                                      The origin of the Dabkeh al Djoufieh is yet to be known with certainty. There is little
                                                                                                  evidence of documentary records concerning the genesis or ethnographic portrait of
                                                                                                  this folk sample. There are some speculations about its historical path, but one can


                                                             240
accept them only as a hypothesis. The researchers were able to recognize and em-
brace only the idea of proximity or affinity with other similar styles, such as Arda and Al
Horani. Nevertheless, it would be proper to state that this folk song stemmed from the
deep ancient past. Whatever the actual origin of the songs, they remain meaningful,
alive, and popular among the people of Jordan. The narrative style of Dabkeh al Djou-
fieh is distinguished by three main thematic topics –heroism, religion, and love. The
presented folk texts are performed in the ancient mother tongue and provide some
hints as to “secret” speech and metaphors, both of which are familiar to the performers
and communities who have taken part in their inception. The samples show how their
transmission and re-experience migrate through generations and areas, adapting their
tunes and texts as they advance. From a musical point of view, the songs are similar
in mode, with melodic lines and rhythm. Hence, in short, the character and musical
features of Dabkeh al Djoufieh show similarities and a unique style. They can be de-
scribed as an echo of the routine of the tribal society, in which every individual is part
of the whole, and every personal event is strictly connected with community life and the
group’s approval. Dabkeh al Djoufieh is part of Jordanian folk heritage, a reminder of
an old musical poetic culture, that is still vital and alive today.


      Notes

      According to Arab customs, only men of the closest family kin may touch the maid-
      1

en’s robe.
    2
      The loved one was ‘stretched on a board’ because he had been killed.
    3
      The singers are addressing the Lord.
    4
      Syria.
    5
      The mother is the tree.
    6
      A tribe on the territory of Jordan.
    7
      Jaatieh (attiyih) is someone close to me.




                                                                                                Conservation science in Cultural Heritage
    8
      According to Islam, the mistakes of each person are written down by an Angel in
a book, by which he/she will be judged on the Last Day of Judgment.
    9
      Hands are crossed for prayer.
    10
       A tongue movement producing a specific loud sound, made by the women during
weddings or joyful events.
    11
       Every woman discloses her face by removing her headscarf to show sublime
happiness.
    12
       The musical analyses of the presented samples will be proposed according to
Sharp [42]; Schinhan [43]; Bartok and Lord [44]; Christensen [45]; Nettl [46].


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   Biographical Notes

    Tsonka Al Bakri is an associate professor at the University of Jordan, College of
Fine Arts and Design, Music Department. She graduated from the Bulgarian School of
Music “Lubomir Pipkov,” Bulgarian Academy of Music, “Pancho Vladigerov” Instrumen-
tal Faculty for Piano, and has a Ph.D. in musicology. Since the age of 9, she has per-
formed solo recitals and concerts with orchestras in Europe and Russia and Turkey
and has recorded two gramophone records and one CD. After her transfer to Jordan
she performed many concerts and became a piano teacher at the National Music Con-
servatory, Yarmouk University, where she established the piano department, and later,
also at the University of Jordan. She is the author of more than 20 research papers in


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                                                                                                  national and international journals covering ethnomusicology, musicology, and meth-
                                                                                                  odology. Her scientific work focuses mainly on Arab ethnomusicology, piano perfor-
                                                                                                  mance, teaching, and history of music.

                                                                                                      Mohammed Mallah is a full professor at Yarmouk University, College of Art, Music
                                                                                                  Department, Jordan. He graduated at Yarmouk University and obtained his MA and
                                                                                                  Ph.D. at Holy Spirit, Kaslik University, Lebanon. He is a member of the Comimittee for
                                                                                                  the Establishment of Music Program for Schools at the Jordanian Ministry for Educa-
                                                                                                  tion and a member of the Jordanian Association of Artists. He has been honored sev-
                                                                                                  eral times by His Majesty King Abdallah II for his impact on music education in Jordan.
                                                                                                  He is the author of more than 20 research papers published in local and international
                                                                                                  journals in ethnomusicology and musicology. The focus of his study is Arab culture.
T. Al Bakri, M. Mallah - Dabkeh Al Djoufieh: exploring the sustainability of Jordanian folklore




                                                                                                     Summary

                                                                                                       The authors of this paper analyze the Dabkeh al Djoufieh (Dabkɛ ālǧwofyɛ) in its
                                                                                                  capacity as an inherent part of Jordanian folklore that has been seldom studied.
                                                                                                  Whereas contemporary Jordan has experienced a rapid burst of cultural globalization,
                                                                                                  the rural song and dance of Dabkeh al Djoufieh can be observed as a highly dynamic
                                                                                                  manifestation of belonging and as a symbol of national solidarity. One of the defining
                                                                                                  features of the Dabkeh al Djoufieh is that it is immanent in every social event in Arab
                                                                                                  communities. Secondly, as a sample of folk music, Dabkeh al Djoufieh continues to be
                                                                                                  a vibrant resource for contemporary audiences. The paper focuses on the main musi-
                                                                                                  cal and poetic characteristics of Dabkeh al Djoufieh. The qualitative analysis applied
                                                                                                  integrates ideas concerning semantics as a representation of the social context and
                                                                                                  ethnic identities, whereas music is viewed as an indicator of local heritage. This paper
                                                                                                  probes the questions: What is Dabkeh Djoufieh? Where does it originate? And how is
                                                                                                  it implemented in Jordanian folklore culture?
                                                                                                       Furthermore, the study discusses the social power found within poetic folk verse,
                                                                                                  specifically, the role of the metaphor as a tool for expressing communal realities and
                                                                                                  individual experiences. Likewise, the study analyzes the musical features of the tradi-
                                                                                                  tional Dabkeh al Djoufieh and how it moved across generations, sacred and social
                                                                                                  boundaries, becoming a symbol of Jordanian folk tradition.


                                                                                                     Riassunto

                                                                                                      Gli autori di questo articolo analizzano il Dabkeh al Djoufieh (Dabkɛ ālǧwofyɛ) co-
                                                                                                  me parte intrinseca del folclore giordano studiato raramente. Mentre la Giordania con-
                                                                                                  temporanea ha vissuto una rapida esplosione di globalizzazione culturale, il canto e la
                                                                                                  danza rurali di Dabkeh al Djoufieh possono essere osservati come una manifestazione
                                                                                                  altamente dinamica di appartenenza e come un simbolo di solidarietà nazionale. Una
                                                                                                  delle caratteristiche distintive del Dabkeh al Djoufieh è che è presente in ogni evento
                                                                                                  sociale nelle comunità arabe. In secondo luogo, come esempio di musica folk, Dabkeh
                                                                                                  al Djoufieh continua a essere una vivace risorsa per il pubblico contemporaneo. L’ar-
                                                                                                  ticolo si concentra sulle principali caratteristiche musicali e poetiche di Dabkeh al
                                                                                                  Djoufieh. L’analisi qualitativa applicata integra idee riguardanti la semantica come rap-
                                                                                                  presentazione del contesto sociale e delle identità etniche, mentre la musica è vista


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come un indicatore del patrimonio locale. Questo articolo pone le domande: Cos’è
Dabkeh Djoufieh? Da dove proviene? E come viene implementato nella cultura folclo-
ristica giordana?
     Inoltre, lo studio discute il potere sociale che si trova nei versi popolari poetici, in
particolare, il ruolo della metafora come strumento per esprimere realtà comuni ed
esperienze individuali. Allo stesso modo, lo studio analizza le caratteristiche musicali
del tradizionale Dabkeh al Djoufieh e come si è tramandato attraverso generazioni,
confini sacri e sociali, diventando un simbolo della tradizione popolare giordana.




                                                                                                  Conservation science in Cultural Heritage




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