The Time of People.. and the Time of Kamal Tarbas

Sudan Events – Mohammad Sheikh Hussein

Until the people of Sudan agree on who the popular artist is, Kamal Ibrahim Suleiman, known as Kamal Tarbas, will remain one of the sweetest, most beautiful voices that filled our lives with singing, new without pedantry or gossip, it is a confirmation that a voice occupies a spacious place in the forest of the Sudanese popular Sudanese songs. He filled it with bouquets of songs and delicate melodies that were overwhelming. This veracious forest is full of light, despite the savage sounds that nest in some of its dark coners.

Spontaneity
When Tarbas speaks, he does not go back to the past and his utterances are not a reflection of selfishness, but he speaks with spontaneity and insight that looks to the future in order to establish that art is the work that reaches the audience directly and is affected by it, understands it and preserves it.
When he begins to present what is new, his message seems clear and he does not have any ambiguity in his mind about the concepts of total quality management, as the intonation of his artistic work begins with the good selection of the poem.

The Secret of Success
Tarbas’s secret lies in the fact that he does not confine himself to a specific poet, even though he has dealt with outstanding poets in lyrics writing, such as Al-Sir Ahmed Qaddour and Al-Tijani Haj Musa. However, the poem is the guide for Tarbas to opt for his new songs, and therefore you see him keeping his choices open, selecting from a wide range of open space of poetry.
Here is the talisman of the secret of the diversity and multiplicity of his artistic works. He is the artist who presents to us an extremely sweet work (The Nature of the World is similar to the sea waves) by a poet who passed away in full poverty, like the late Awad Jibril. He is also the artist who presents to us a poem written by someone who is known to be extremely rich, like Ashraf Sayyid Al Hussein, the Cardinal.

Perhaps the two models come as an example but are not limited to reinforcing that the poem is the main factor in choosing his new song to perform, and the meaning is clear, as the artist in the deep heart of Tarbas is objectively biased towards the poem, which becomes a qualitative and quantitative addition to his artistic career. It seems clear that Tarbas has charted his path as an artist who presents works that establish the major role, for the artist in life.

An educated Audience
This role increases in importance for Tarbas when he acknowledges that the Sudanese audience is “educated” and admires “good” singing, since “singing devoid of content,” according to Tarbas’ expression, does not reach the audience at all. What is important in this proposition is that Tarbas consciously points out that the artist is the one who delights the audience by presenting something new and useful, and the importance of this information is that the artist, as an artist, is not required to become a political leader or an international activist who sings for the toiling people who are waiting for the train that has not yet arrived.
Attention to Appearance
There is a second issue represented by Tarbas’ keenness on the artist’s general appearance. He often wears the popular dress of the people of Sudan, the Jellabiya, with the abaya over it, with unmistakable elegance, and he completes it with a six-meter turban whose fame has exceeded borders. I had a personal experience in Abu Dhabi years ago when I wanted to buy a turban. From the English Total, then the Indian seller asked to me (My friend, you have a big head and you have to have a turban like that of Tarbas).
Thus, it is possible to talk about the time of Kamal Tarbas. Singing in the time of Tarbas was everyone’s space, and what would benefit people should stay in their inner hearts. This is Tarbas’ point of view that deserves respect.