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Yemen, a country on theArabian Peninsula, holds a prominent position in the realm of music, garnering recognition for its distinctive musical traditions. Revered as a cultural capital within the Arab world, Yemen has contributed significantly to the musical landscape of the region.
UNESCO proclaimed the tradition of poetic songs ofSanaa, calledal-Ghina al-San'ani, aMasterpiece of the Oral and Intangible Heritage of Humanity.Yemenis commemorate 1 July as theYemeni Song Day, an annual celebration that underscores the integral role of music inYemeni society.[1]
Archaeological excavations have confirmed the antiquity of music in Yemen, demonstrating that it is a unique art form independent of influences from theancient Near East. Yemeni music is deeply rooted in the region, widely disseminated, and influential among various cultures—even reaching the countries of the FarMaghreb.[2]
Archaeological surveys and excavations—ranging frompetroglyphs in regions such asSaada,Tihama,Sanaa (Bayen Jadrain),Haz,Al-Jawf,Marib, andNajran—toartefacts such as coins, statues, andinscriptions—have revealed that music inancient Yemeni civilisations originated when early Yemenis employed a diverse array ofmusical instruments. For example, a French mission in the Saada region uncovered arock drawing depicting thekinara instrument, dating back toprehistoric times. In the Al-Jawf region, columns at the Arn Yedda Temple feature scenes of musical instruments accompanied by dancers, representing wind instruments like the trumpet and thekhushkhishah—a sound-producing instrument—with this artwork dated to the 9th–8th century BC. Additionally, a column at theMa'in Temple displays scenes of musical processions that includestringed instruments such as theTanbura, alongside wind instruments like the trumpet and flute, carried by groups of priests. Numerous other archaeological findings further attest to the rich diversity of wind, percussion, vocal, and stringed instruments in ancient Yemen.[2]
The documentation ofrock art has played a prominent role in shedding light on the musical arts of ancient Yemeni civilisation, beginning in thePaleolithic era. The widespread availability of rock surfaces provided an ideal canvas for recording daily life and activities visually. Al-Eidaroos contends that theserock drawings carry a mystical meaning associated with religious beliefs. For example, a painting from the areaBayen Jadrain, dating back to theBronze Age, depicts dancing figures alongside animals. In addition to numerous rock drawings that also illustrate musical scenes featuring various instruments. Some images show musicians actively playing, while others merely depict the presence of instruments.[2]
In a rock drawing from Al-Mastour Cave in theTihama region—dating back to the Bronze Age—a group of figures is depicted performing a ritual dance traditionally held before hunting ceremonies. This type of dance appears abundantly at various sites, tracing its origins toprehistoric times. Similar scenes are also evident in rock art from theHima region in Najran, where groups of figures are shown engaged in devotional dancing with raised hands. These images highlight significant cultural, religious, and social patterns among the region's ancient inhabitants. Notably, the rock painting represents a primitive depiction of human figures, rendered in a form of drawing style that is closely associated with religious symbolism that was commonly executed on rock surfaces.[2]
In theAl-Baha region, a coloured drawing was found of a group of people dancing in a group, forming a single row, raising both hands and beating what resembles drums, and what their hands hold aredrumsticks for beating the drums.[2]
German scholarHolfritz, during his travels in Yemen, documented over a hundred distinct types of traditional Yemeni music. He attributed this diversity to two main factors: first, the unique cultural and environmental characteristics of theBedouin tribes, and second, the varied geographical landscape of the region. Holfritz concluded that these factors combined to create a rich musical tradition in ancient Yemen that set it apart from the music prevalent in the cities of the Near East.
Holfritz reinforced his observations regarding the diversity of melodies and the transitions between different rhythmic degrees. Notably, he discovered a striking similarity between Yemeni musical melodies and theBerber music ofNorth African tribes, particularly inMorocco. Furthermore, he traced the spread of these musical expressions to the West, suggesting that such melodic traditions had been transmitted since theStone Age via South Arabian (Yemeni) andBerber cultural exchanges. Similarly, In the introduction to his book on the origins of music,Farmer underscores the pivotal role of theSouth Arabian kingdoms in the emergence and development of music, tracing its roots back to the earlyfirst millennium BC. He also references an inscription from theseventh century BC by theAssyrian kingAshurbanipal, which expresses admiration forArab music—remarking that Arab captives spent their time singing and playing music while serving the Assyrian kings.[2]
The Yemeni researcher, Widad Ahmed Qasim Al-Qadasi, argues that the ancient Yemeni migrations, which began at the start of thefirst millennium BC, played a crucial role in spreading the musical arts beyond Yemen. These migrations facilitated the transmission of Yemeni musical traditions to regions such asMorocco, where the influence was clearly evident in theBerber music movement—primarily through commercial caravan journeys. Moreover, historical sources recount legends from thepre-Islamic era that are linked to singing. The oldest of these is the legend ofJaradti ʿĀd," in which two female singers distracted the delegation of Ad from praying and seeking aid from the gods ofMecca through their song. This event is regarded as the origin of female singing.[2]
This is corroborated byAbu Muhammad al-Hasan al-Hamdani in the eighth part ofAl-Iklil, where he recounts an ancient cave containing the grave of Mansik bin Luqaim, the treasurer of Aad. In that cave, on the lower level, he describes "two great statues that God Almighty transformed into stones, fashioned in the likeness of two slave girls. One of the statues bears a transformedArtaba (ancientlute-type), while in its left hand it holds a transformedmizmar." Additionally, the use of thetanbur is attributed to theSabaeans; as Huth noted—based on a manuscript in her possession—the Sabaeans were the first to adopt this instrument.[2]
Likewise,Abu Hilal al-Askari attributed the emergence of Arabic singing to Jaradti, he identified them as they belong toAbdullah bin Jud’an.Al-Qalqashandi, however, contends that singing in theArabian Peninsula predates the era of Jarada and has been known since the time ofĀd.[3]
In theArabian Peninsula, historianal-Masudi traced the origin ofArabic singing to what he called the "Hada," stating, "The Hada is the origin of singing." According to his account, when camels became exhausted on their long journeys, they required something to stimulate them and help them forget the pain of hunger, thirst, and heavy loads—thus, the "Hada" served as one of the best means of revival. He also noted that Yemen was familiar with two distinct types of singing—Himyarite andHanafi—withYemenis preferring the latter. The beautiful vocal quality known as "al-Jadan" is said to derive its name fromAli bin Zaid Dhi Jadan, one of the kings ofHimyar, whose epithet "Dhi Jadan" celebrated the beauty of his voice.
Dr. Muhammad Basalama also observes that the history of singing in Yemen extends back to theSabaean andMinaean civilisations, as evidenced by the widespread use of musical instruments depicted on gravestones carved in marble and lime—often played by women.[3]
Yemeni singers have risen to prominence in various eras. At the close of theUmayyad period and the dawn of theAbbasid era, Ibn Tanbur became renowned for his light style of singing, known as "al-Hazj" (Close to the meaning ofThe Rhyme). Historians have described him as one of the most eloquent and agile singers. For instance,Al-Isfahani, in his bookKitab al-Aghani, distinguishes between three vocal traditions—Arabic, Yemeni, andRoman—citing, among other examples, howIbrahim Al-Mawsili performed a Yemeni tune.Zabid has long been a thriving centre of musical prosperity in the Middle Ages, particularly during the era of theNajahid state. The Najahid family, ofEthiopian origin and following in the footsteps of theirZaydi forebears, were prominent patrons of the musical arts. However, with the collapse of the Najahid state, this flourishing tradition gradually diminished, and many of its distinctive elements may have migrated and dispersed over time.[4] A brief reappearance had occurred during the reign of Imam Sharaf Al-Din and his son Al-Muzaffar. During this time, a celebrated singer performed in the palace of theTurkish governor inSanaa, and credit for his fame is attributed to Isa bin Lutfallah, the grandson of Imam Sharaf Al-Din. Notably, the prohibition and subsequent suppression of singing during that era is underscored by the absence of this singer's name in contemporary accounts of his art.[3]
When Yemen became part of theOttoman Empire, it retained strong ties to its musical heritage—particularly the period of theRasulid dynasty (1229–1453). This era is closely associated with the emergence of theHuminimuwashshah in Yemen, a form that became integral to Sanaa's singing tradition. The earliest Humini muwashshah still performed in Sanaa is attributed to the poetAhmed bin Fleita (d. 1331), whose renown spread during the reign of a struggling Rasulid king. According to Dr.Muhammad Abdo Ghanem, the muwashshah form was introduced to Yemen by theAyyubids (1173–1229). Once in Yemen, however, it assumed a distinct local character—a blend of colloquial and classical elements—and became the poetic foundation of both the Rasulid court's performances andSufi lodge chants. Although this style, which flourished inTihama,Taiz, andAden, later declined withthe fall of the Rasulid dynasty, it experienced a revival under Ottoman patronage, either through musical concerts organised by the Turkish ruler in Sanaa or via support for Sufi groups that continue to practice religious chanting.[5]
The earliest documented evidence of Turkish influence on Sanaa singing appears in the book Sanaa Singing Poetry by Dr. Muhammad Abdo Ghanem—a study for which he received his doctorate from theUniversity of London in 1968 and which was published in 1970. In his study, Ghanem concludes that the Turks made a significant contribution to the development of Yemeni music. He cites an account byIssa bin Lutfallah, the grandson ofAl-Mutahhar bin Sharaf Al-Din, who recounted musical concerts held in the residence of the Turkish ruler in Sanaa. Ghanem further notes that Turkish influence extended beyond these concerts to include a broader renewal and diversification of Yemeni musical composition.[5]
Yemenimusic critic Gamal Hasan sees that the incorporation ofTurkish musical elements did not diminish the uniqueness of Yemeni singing. Rather, the Turkish presence in Yemen left lasting social and cultural influences—music being no exception. Turkish music is recognised as one of the sources of Yemeni singing, alongside indigenous influences that emerged in areas under Ottoman control. Yemeni singing, renowned for its antiquity, served as a reference for the people of the Hijaz and other parts of the Arabian Peninsula. For example, Safina Shihab al-Din's research on songs used inEgypt until the mid-19th century reveals roles written in Yemeni dialects and even identifies Ibn Fleita's muwashshahLi fi Raba Hajar—the oldest Humayni muwashshah still in use within the Sanaa singing tradition.[5]
Art critics date the emergence of modern song inYemen's northern provinces to the period of Sheikh Saad Abdullah, who memorised three thousand lyrical poems and enchanted both people and birds with his singing. He was killed in the city ofMatnah in 1919 CE duringImam Yahya's siege of Sanaa to expel theTurks. In thesouthern provinces, a vibrant group of artists emerged during theBritish occupation of Aden (1839–1967), with singing and music becoming widespread among Yemeni artists.Professor Muhammad Murshid Naji noted thatLahji singing prior to the era ofAhmed Fadhl al-Qumindan was influenced by theSana'ani style. Lahji singers would perform Sana'ani songs, and the singer Hadi Sabit al-Nubi developed hisoud-playing by drawing on the techniques of a northern artist whose name remains unrecorded. Naji attributes the emergence of the first Lahji melody to the poet, composer, and singerFadhl Mater, who is credited with inventing the initial melody set to the Lahji rhythm—an innovation that led Hadi Sabit to sing in the Sana'ani style over one of Al-Qumandan's poems.[3]
In the 1920s and 1930s,Indian musical influences became prominent as numerous musical and theatre groups, as well as films, were introduced inAden andHadhramaut, which had long been under the administration of theBritish Viceroy of India. By the 1940s and 1950s, Yemeni musicians had adapted these influences to create an "Arabized" Indian style, in which tunes fromIndian films were reinterpreted with texts set inclassical Arabic rather than colloquial language. The acclaimed artistMuhammad Juma Khan, known for his mastery of theHadhrami style, became one of the foremost practitioners of this hybrid form.[6]
The distinctive features of Adeni singing developed during the twentieth century as a result of the convergence of multiple Yemeni and foreign musical elements, especially from India. Though a large portion of Aden's pre-independence population was of Indian origin, the evolution of Adeni song was notably influenced byEgyptian melodies, and some musicians even incorporating Western rhythms such as thewaltz.[4]
Yemeni singing is characterised by its diversity, with no single centralised hub dominating its development. According to the Yemenimusic critic Gamal Hasan, the diversity is partly due to the wide range of Yemeni dialects, but it also reflects several other factors—most notably the fragmented political landscape that has prevented the establishment of a stable cultural centre. The lack of a sustained, unified political and civil structure meant that a uniform artistic taste never fully emerged. Moreover, factors such as social stagnation—often linked to class privileges and reinforced by political, religious, regional, or tribal dynamics—have further contributed to the regional variation in singing styles. As a result, each Yemeni region has developed its own distinct musical expressions, with unique melodic forms that vary widely regardless of their apparent simplicity or monotony.[4]
There are five widely regional genres or "colours" (lawn) of Yemeni music;Sanaani,Yafi'i,Laheji,Adeni, andHadhrami.[7] While some sources expand this classification to include additional styles such asTihami andTa'izzi.[8] However,Jaber Ali Ahmed—widely regarded as the pioneer of Yemeni music criticism—argues in his bookTrends of Renewal of Singing in Yemen that these classifications are relatively recent, emerging between the late nineteenth and early twentieth centuries. He argues that these categorisations are scientifically flawed because they fail to capture the distinct character of various regions and do not reflect the true richness of Yemeni singing. According to Jaber, this division is a result of the regional fragmentation that occurred during theBritish colonial period that resulted theFederation of the Emirates of South Arabia.[9]
Sanaa has a rich musical tradition and is particularly renowned for the musical style calledal-Ghina al-San'ani (Arabic:الغناء الصنعانيal-ġināʾ aṣ-Ṣanʿānī), or "the song of Sanaa", which dates back to the 14th century and was designated as aUNESCO Intangible Cultural Heritage on 7 November 2003.[10] This style of music is not exclusive to Sanaa, and is found in other areas of Yemen as well, but it is most closely associated with the city.[10] It is often part of social events, including thesamra, or evening wedding party, and themagyal, or daily afternoon gathering of friends.[10]
Researchers trace the earliest known Sana'ani song, "Ana Ya Abu Ya Ana," to approximately four centuries ago. However, this song likely existed in multiple variants—originally chanted by farmers with differing melodies—and evolved over the centuries to reach its current form.[4]
Efforts to modernise Sana'ani singing have been limited, with attempts made to preserve its character as it existed several centuries ago, or at least over the last two centuries. The rugged terrain aroundSanaa fostered isolation, restricting the influx of external melodic influences that were more prevalent in coastal regions such asHadhramaut,Aden, andLahj. Additionally, Sana'ani singing is noted for its distinctmaqam forms, which usequarter-tone intervals, setting it apart from other regional styles.[4]
The basic format of the Sana'ani singing consists of a singer accompanied by two instrumentalists, one playing theqanbus (Yemeni lute) and the other playing thesahn nuhasi, which is a copper tray balanced on the musician's thumbs and played by being lightly struck by the other eight fingers.[10] Lyrics are in bothclassical Arabic andYemeni Arabic and are known for their wordplay and emotional content.[10] Singers often usemelismatic vocals, and the arrangements feature pauses between verses and instrumental sections.[7] Skilled performers often "embellish" a song's melody to highlight its emotional tone.[10]
In the earliest days of the recording industry in Yemen, from 1938 into the 1940s, Sanaani music was the dominant genre among Yemenis who could afford to buyrecords andphonographs (primarily inAden).[7] As prices fell, Sanaani-style records became increasingly popular among the middle class, but at the same time, it began to encounter competition from other genres, including Western and Indian music as well as music from other Arab countries.[7] The earliest Sanaani recording stars generally came from wealthy religious families.[7] The most popular was Ali Abu Bakr Ba Sharahil, who recorded forOdeon Records; other popular artists included Muhammad and Ibrahim al-Mas, Ahmad Awad al-Jarrash, and Muhammad Abd al-Rahman al-Makkawi.[7]
The music ofHadhramaut is one of the most prominent forms ofArabic music. Its distinctivemaqamat and signature vocal styles—featuring full performances in theHadhrami Arabic dialect, unique rhythmic patterns, and a characteristic humming style known asDan—have made it a vital component of the Yemeni music. This genre reflects a rich blend of local traditions and foreign influences, drawing fromIndian andAfrican musical elements, in part due to Hadhramaut's strategic position along the ancientincense road. The music has also been deeply shaped bySufism.[11]
Key figures in the Dan tradition include poets such as Haddad bin Hassan al-Kaf and Hussein al-Muhdar, alongside renowned performers like Saeed Awad, Haddad al-Kaf,Karama Mursal, andAbu Bakr Salem Balfaqih. In particular, the partnership of Abu Bakr Salem Balfaqih and poet Hussein Al-Mehdhar is widely recognised for transforming and disseminating the Hadhrami Dan style both within and beyond Yemen.[12]
Hadhrami music has not only enriched Yemeni cultural heritage but has also significantly influenced the musical landscapes of regions beyond theArabian Peninsula, notably in parts of Africa and East Asia.[13][14][15]
When singing inSanaa was banned bythe Imams, many performers fled to theSouth Yemen or other countries. According to Gamal Hasan, the court of theSultans of Lahij (Abdali Sultanate), served as a refuge for these artists during the nineteenth and early twentieth centuries—long beforeLahj emerged as a prominent centre of singing under the patronage of one of its princes. Originally, Lahj's musical heritage consisted of a repertoire of chants and simple melodies. TheSultans of Al-Abadali trace their roots to theArhab region north of Sanaa. They arrived in Lahj as part of the army ofImam Al-Mutawakkil Ala Allah Al-Qasim in the late eighteenth century, and following the fragmentation of theQasimid kingdom due to internal divisions, they eventually established independent rule over Lahj andAden.[4]
The development of Lahji singing can be attributed to Prince Ahmed bin Fadhl Al-Abdali (widely known asAl-Qumandan), who played a key role in re-establishing political independence through his revival of Lahji singing in the early twentieth century. In one of his songs, Al-Qumandan touches upon the decline of Sanaa singing, Hasan attributes that as an attempt to politically distance the court from the dominance of that style and, perhaps, assert pride in Lahji's distinct cultural identity. The rise of recorded music in Aden allowed Al-Qumandan to gain exposure to foreign melodic influences, helped by his privileged position as a prince, which enabled him to acquire records from India andEgypt. Through his talent and creativity, he successfully integrated these foreign musical elements into Lahji singing while maintaining the genre's inherent uniqueness. AfterAl-Qumandan's death in 1941, new melodies began to appear, but Lahji singing did not undergo significant evolution. Instead, it experienced a period of stagnation, retaining its traditional melodies as it struggled to introduce innovative changes.[4]
The song "Ya Ward Ya Kadhi," set in theBayati maqam, is one of Al-Qumindan's most renowned compositions and has become a staple at Yemeni weddings. Its uniqueness lies in Al-Qumindan's ambition to emulate therumba rhythms he had encountered. Promising his close associates that he would perform a "rumba" song for them, he secluded himself duringRamadan to create this piece, resulting in a lively, joyful tune that inspires dancing. The melody unfolds gradually, beginning with a modest refrain and then moving into the repeated chant of "Ya Ward Ya Kadhi...," where the'Re' note is reiterated continuously and the vocal extension is emphasised on "Ya Kadhi..."[4]
The melodic journey expands further with repeated phrases on the'Sol' note in "Ya Qamri Al Wadi." At this point, Gamal Hasan considers Al-Qumindan's melodic approach as innovative and daring, as he makes an unprecedented leap fromC toF—a move that is exceptional in traditional Yemeni singing, which typically relies on subtle, gradual transitions.[4]
Al-Qumindan also incorporated traditional local rhythms, such as thezaffa and the marous, into the song. By drawing on the melodic theme, he crafted what is considered the first Yemeni rumba—and perhaps even the firstArab rumba—according to Hasan, imbuing the composition with a distinct local character.[4]
During the twentieth century,Aden emerged as a major hub for Yemeni singing. It was there that the first recordings ofSanaa singing—and various other forms of Yemeni music, including those ofYemeni Jews—were produced. Record production companies played a significant role in fostering artistic activity, marking what Gamal Hasan considers "the firstbourgeois singing phenomenon in Yemen". Following independence, however, these companies gradually withdrew as asocialist trend took hold, and musical production became state-sponsored.[4]
The distinctive features of Adeni singing developed during the twentieth century as a result of the convergence of multiple Yemeni musical elements. Although a large portion of Aden's pre-independence population was of Indian origin, the evolution of Adeni song was notably influenced byEgyptian melodies. This influence is especially evident in the works ofAhmed Qasim. With his academic background in music, Qasim sought to refine the melodic structure and place greater emphasis on the musical refrain. He diversified the melody and enhancedmaqam transitions in several compositions, even incorporating Western rhythms such as thewaltz. Songs like "I Miss You" and "We Met by Chance" represent early attempts to broaden the appeal of Yemeni singing beyond its local context and integrate it into the widerArab musical landscape. Nonetheless, according to Hasan, his approach appeared less pragmatic compared to that of his contemporaryMohammed Saad Abdullah, even though both are recognised as key figures in Yemeni composition and singing.[4]
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The national song emerged in Yemen amid intense political turmoil, when the idea of national resistance against theBritish rule inDemocratic Yemen took root, andnorthern Yemen began to reject the imposition of theImamate's rule. This musical phenomenon became particularly significant in tandem with two major revolutions—26 September 1962, and14 October 1963.[18]
Aden became the cradle of this transformation in music, largely due to its openness to the world and the influx of musical influences, notably from theArab Republic of Egypt. In contrast, Sanaa suffered decades of isolation under theImamate, which hindered its cultural and musical exchange.[18]
In the North, leading figures in Yemeni revolutionary art includeAbdullah al-Baradouni, Dr.Abdulaziz Al-Maqaleh,Saleh Sahlol,Muhammad Mahmoud Al-Zubairi,Al-Qardaei, among many others. These artists enriched their poetry with revolutionary themes, and numerous Yemeni writers have amplified this impact both domestically and internationally. Prominent among them areAbdullah Abdul-Wahhab Noman (Al-Fadhol),Mutahhar Al-Eryani,Ali Sabra, andJaber Rizq.
Many poets’ works have been transformed into songs that resonate widely with the Yemeni people. Examples of iconic revolutionary song works include the collaboration of the duoAl-Khader and Al-Anesi on "Our Army, O Our Army... Our Army, O Hero"; Al-Sunidar's "I Am the People";Ali Al-Samah's "My Brother, O Youth of Redemption"; There is also a poignant song by the artistHamoud Zaid Issa, which echoes the sentiments of Yemeni immigrants: "My brother the immigrant, the time of the individual has passed, and your free people have displaced the family of tyranny." Likewise,Abu Al-Hawarith Mohammed Hamoud declares, "This is my land and this is my homeland; I will sacrifice my soul and blood for it." Among these also isAyoub Tarish's stirring refrain:[19]
"Long live the September of Liberation,
Dawn of struggle,A revolution that moves with faith on the path of excellence—
It crushes the oppressor, destroys injustice, and brings about the impossible."[19]
Additionally, theThulati Kawkabani were instrumental in shaping the national song. Their popularity surged after they performed the stirring anthem "Oh Sallal, Oh Sword of God, Oh Destroyer of the Enemies of God", in honour ofPresident Al-Sallal duringthe Seventy Day Siege, significantly boosting the morale of the army.[20]
In the South, many patriotic songs emerged during the14 October Revolution, performed by artists such asMohamed Morshed Naji,Mohamed Mohsen Atroush,Mohamed Saad Abdullah,Ahmed Qasim,Mohamed Abdo Zaidi, and others. These songs introduced a new musical style that reflected the revolutionary spirit—a shift toward a musical expression of resistance against colonial rule, updating both the form and content of traditional songs.[18]
This evolution is exemplified in works likeAl-Morshedy's "Akhy Kablouni," (My brother, they have tied me) whose lyrics poignantly capture the relationship between the citizen and the coloniser, conveying the deep oppression and tyranny endured by those yearning for freedom.[18]
Similarly, Mohamed Mohsen Atroush's well-known song, "Get out, colonialism, from the land of the free," features an inspiring melody that galvanises listeners against oppression. In response, the voice of artistYoussef Ahmed Salem echoes, "October, the holiday of the revolution, we shattered the legend in you."[18] Furthermore, among the most emblematic pieces of this revolutionary period is "We Revolted" byAhmed bin Ahmed Qasim, a song that powerfully embodies the genuine struggle againstBritish colonial rule,[18] in addition to: "O Brother, O Son of Yemen... You Are the Past, You Are in the Mouth of Time.".[19]
Southerners writers and poets that have amplified this impact include:Al-Mehdhar andLutfi Jaafar Aman.[19]
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Rap and hip-hop culture existed as early as 2005 but it only achieved widespread popularity in 2008 when the hip-hop in Yemen took a leap forward and began to spread around the youth of Yemen, especially inSanaa andAden.
Thehip-hop major outbreak inYemen is often associated to the influence ofHajaj Abdulqawi Masaed (also graphed as Hagage Masaed or best known as "AJ"), an American-Yemeni rapper producing music since 1997. Although he had grown in the United States, AJ has successfully reached Yemeni audience by addressing to local issues and incorporating traditional musical language into his hits. This versatility was also one of the reasons he drew international recognition, since he entered in the Yemeni music scene, he has been partnering up with several Yemeni artists, such asHussein Muhib, Fuad Al-Kibisi, Fuad Al-Sharjabi, Ibrahim Al-Taefi, Abdurahman Al-Akhfash and others, and helping new ones to develop their talents. He has also played a major role on propagating the understanding ofrap as a means of change.[21]
One contributing factor to the development of the music is also the creation of Yemen Music House in 2007[22] that has been providing assets to the development of a contemporary music scene.[23] In 2009, took place the first Yemeni Rap public festival, co-sponsored by the French and German foreign-missions.[24] Due to the importance of this event, AJ draws a comparison between it and the fall of theBerlin Wall.[25]
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