The rise of Islamic styles for the purpose of hearing rural oral neoclassical voices.

In the Name of God, Most Gracious, Most Merciful

Peace be upon your head.

Dear Sweetful

Jum'ah Mubarak Alhumdillillah, Sure. I meant to thank you for what you sent. Jezakallah Khatheira. It was insightful and yes I will do such a thing.

The rise of Islamic styles for the purpose of hearing rural oral neoclassical voices.  This is overlooked many classical Muslim scholars, of the Saracen (Eastern) tradition, as rural and therefore too primitive for inclusion as an organized artform. It might require Arabs leaning dialects which they see as derivative or degenerative from classical Qur'anic Arabic or the Urban Hijazi of the present royals castes in the Gulf Region.

The Saracen descendant urban tradition neglects the fact the majority of Muslims and Arabs live in rural climes and have storytelling and storytellers for thousands of years. With the Berbers, this is a caste called Imrads, largely illiterate who are Hafiz al Qur'an but also remember family histories in a continuous growing epic poem.

In the Egyptian diwan tradition, a Muslim might summarize his life with one poem. The linking of diwans together is a far older tradition amongst nomads, Berbers and Bedoins. This gives a very lop sided view of Islamic history and artistic voices in general which this essay supports correcting. That Eastern style and its modern interpretations are best seen in a modern Magazine called MuslimWakeup at http://www.muslimwakeup.com.

In addition to thisI developed two types of poetry to compete with the Shakespearean Sonnet and the classical Epic Poem type styles known in the West. Deliberately my fellow poets dod hundreds or thousands of them so there is no question of the authenticity of this as genuine Islamic styles.

As an Amazigh Berber of Kel Tagelmoust Tuaregs, my style is derivative of African Arab oral traditions going back in North Africa, or Mahgreb, seperate from the Saracen Urban Eastern Arabian sytles for thousands of years.

As you know, the main Islamic styles never mention any other poetry done outside of Persia or the Middle Eastern cities. The Arab classical styles do spiritualism or do sensual delights. This means there is no formal classical Islamic poetry that does both except for the classical writings of Rumi or other like duplicative Sufis.

Although I give a nod to the Sufi traditions, I know of the Amazigh Berbers with our long legacy of oral narrative poetry of Muwashashas or singular Muwashashat. I don't explain this to most people since Islamica is not taught.

The development of the Islamica in French and in English converted from native tongues that preceded modern Arabic requires not only an understanding of classical meter but an additional understanding of drum like rhythm beats. It is the ten beat using syllable count which make sonnets of rhyming couplets for 14 lines so easy and flexible.

By alternating the lines and going 10 stanzas for 40 lines, we developed significant base for doing poems that are classical in sound but can grow to epic in functionality.

The poems with four words going the same length of alternating lines was originally invented to train the mind and it has become popular. Another style then had to be used with three words to train for the four word style. It is mpw exclusively used to train and not for poetry here. Thanks for your interest in all this and I pray that you enjoy it.

The device of a dream is an old device Muslim writers use for more sensual or erotic writings because we are forgiven religiously for what we dream and it did not happen technically. Most of the classic poets have, well, a whole section of ribald poems. These are often considered bar poems but as such, they also very often are sexually deviant. The poems of the Berbers, of like quality, alternately are exclusively hetersexual.

I guess the reason for this is our peoples being primarily rural couldn't grasp the urban witticisms and anti-establishmentarianisms of the Muttanabi-like poets. Well, if I haven't bored  you to death, it is my pleasure to work with you in English poetic traditions insha-allah.

Assalaamu Alaikum.

Abdul Tawala Ibn Ali Alishtari

PS I will save this and publish it as a column with your name as collaborator.