When I first opened Volume One of the Syrian Studbook some twenty five years ago, the first thing that struck me was the very limited number of horses that traced to the Sba’ah Bedouin tribe. After all, this powerful and wealthy tribe which is part of the larget ‘Anazah confederation spent its summer quarters in the area directly east of the city of Hama in central Syria. As a result it was familiar to Western travelers and government agents who took off from Aleppo, Damascus or Beirut, in search for Bedouin Arabian horses. Another result of this geographical location was that many of the early desert-bred imports to the West and Egypt, which form the antecedents of many of today’s Arabian horses, hailed from the Sba’ah tribe. Major Roger Upton, for instance, spent some time with Sba’ah leader Shaykh Sulayman Ibn Mirshid in 1874, and bought horses like Kesia, Yataghan and Haidee from his tribesmen. Similarly, Lady Anne and Wilfrid Blunt visited with Beteyen Ibn Mirshid a few years later and some of their best known early desert imports were bred by the Sba’ah: Queen of Sheba, Meshura, Azrek, Pharaoh, Dajania, Hagar, etc. Some of the horses imported by Homer…
Hurrian Hymn N.6, also called the “Hymn to Nikkal” is the most ancient piece of music in the world to have reached us, dating from 3,400 years ago. Nikkal was a Canaanite goddess of fertility (of the soil and of humans). French archaeologists discovered the melody in 1955 on a clay tablet in the ancient Canaanite site of Ugarit, on Syria’s Mediterranean coast (not far from my mother’s town). I was reminded of it yesterday while listening to Ibrahim Maalouf’s “Levantine Symphony N.1” (extract here).