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Egyptian poets known for their literary use of the popular zajal form are Yaqub Sanu, 'Abd Allah al-Nadim, Bayram al-Tunisi, and Ahmed Fouad Negm.[4] Well-known Lebanese zajjaali include Zein Sh'eib, Talih Hamdan, Zaghloul alDamour, Moussa Zgheib, Asaad Said, and Khalil Rukoz.

The statement that none of the extant oral poetry traditions can rival Lebanese zajal in its sophistication, metric variety, extended lineage, and continued evolution may be arguable, but it is hard to contest the fact that none of them enjoys its ardent popularity. Today, many tens of professional zajal poets tour the Lebanese countryside and expatriate communities around the world performing to audiences of thousands of aficionados.

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There seems to be a consensus[7] among the few scholars who have seriously studied the metrics of zajal that it follows two distinct metrical systems. One metrical system is quantitative and is clearly based on some of the strict so-called Khalili meters of classical Arabic poetry (for instance the m3anna and related forms scan according to the classical sari3, rajaz and wafir meters) and the other is stress-syllabic (for instance many sub-forms of the qerradi are clearly based on Syriac metrics, such as the syllabic metric of the Afframiyyat homilies attributed to the 4th-century St. Ephraem.) Both kinds of metrics in zajal are subject to fluid alteration by musical accentuation and syncopation[7] which is possible due to the colloquial's malleability and its inherent allowance (like Syriac) to erode inflections and internal voweling.

The regional variation in the appreciation of zajal in Lebanon mirrors to a remarkable extent the ethnic and sectarian fragmentation, which remains despite six decades of national co-habitation. Traditionally cosmopolitan communities (e.g. the Sunnis, Greek Orthodox and Armenians of the littoral cities) have had relatively little affinity for zajal and have produced, with some notable exceptions, few important zajjali. On the other hand, the Maronites, Druze and Shiites who inhabit, or have their roots, in the Lebanese mountains and rural areas, have disproportionately populated the ranks of zajjali over zajal's centuries-long evolution. This regional bias is also reflected in the imagery of zajal, which mirrors more the bucolic and sensual sensibilities of the rural countryside, than the cerebral and formal concerns of urban intellectuals. However, many colloquial poets were able to transcend these fluid boundaries and have composed verse that expressively tackles virtually the whole spectrum of humanistic concerns.

The relegation of the colloquial literature, including zajal, to a sub-literary class was further solidified by the rise of pan-Arabism in the 1950s and 60s at a time when the Lebanese schooling system witnessed its widest expansion and standardization. A consequence of this socio-politically-conditioned diglossia is that the rich canon of colloquial poetry, of which zajal is the foremost embodiment, remains mostly unwritten and practically never part of curricula at schools and universities (although a few post-graduate theses have treated some aspects of the zajal tradition). Today, the majority of the educated Lebanese do not know a m3anna from a qerradi (the two most common metrical forms of zajal) and are likely to be more familiar with a few forms of French prosody (e.g. the sonnet and the ode) taught in many private and even public schools.

We were familiar enough with TV programs that we knew that watching it with Uncle Abdallah might get awkward real quick. We knew that those shows might turn sexual or profane at any minute. Uncle Oun managed to get a fairly static-free picture and he took a seat among us to see what we got. It took us a second before we realized what we were watching was the live broadcast of a zajal competition. It was like ours, except that all the contestants were Christians from the mountains of the North.

We were doubly surprised. First, that they would broadcast something like this on TV. And second, that our Christian countrymen did zajal like us. To top it all this was a grand presentation. There were poets seated at tables that faced each other, behind them sat drummers and other musicians. A poet at one end of table would spit his verse and sit back while the drummers taunted the other team with a quick rhythmic volley. A poet from the opposing team, at the facing table, would collect his thoughts through the noise and move closer to the mic. The drums would die down and there would be a minute of nerve-wracking silence followed by a verse thrown back. A formidable response.

We were riveted, this was zajal on steroids. But then we noticed something that whittled our thrill. Something that might result in the whole show getting shut down. It was this: after each recitation, the poets took a drink. They were doing shots of arak, to be precise. We recognized it by the milky color.

Zajal meaning "shout", is a spontaneous short verse that is sometimes called the common man's verse. It is often sung in a series of zajals, each zajal acts as a strophe within the poem as a whole and the rhyme pattern changes from stophe to strophe. Each zajal can stand alone. It was created in Moorish Spain in the 9th century and there is a Spanish variation on the form, the Zjel. Some attribute the Zajal to Muqaddam Ibn Mu afa al-Qabrim, the creator of the muwashsha, others give credit to Moorish philosopher and musician of Zaragoza, Ibn Bajja, also known as Avempace. Early Provencal epics were modeled after the zajal.

I have yet to find an example of the structure but according to sources, the number of lines is variable, (only a few lines per zajal). (When written in a series of zajals the rhyme changes from strophe to strophe. therefore probably mono-rhymed. ) Traditionally Arabic lines are long 12 to 32 syllables, often written in 2 hemistiches so to apply this to the zajal would probably be pretty safe.

During my last Saturday evening in Agadir, when I turned on the television, I had given up the notion of ever seeing the muwashshah or zajal. Suddenly, I sat up excited. The program for that night was to be provided live by the Andalusian ensemble in the northern Moroccan city of Oujda.

Muqaddam is credited by almost all historians with being the architect of the muwashshah. On the other hand, a number of music researchers trace zajal back to the famous Moorish philosopher and musician of Zaragoza, Ibn Bajja, known to the West as Avempace, who in his poetry abandoned classical Arabic for the colloquial.

A voice of the ordinary man, it is constantly ironic, often tender, at times brutal but always full of good humour. In the night spots of Lebanon, I would often listen captivated for hours as the performers satirized or praised each other in flowery phrases. In amazing original and impromptu verse, they raised or lowered the emotions of the audience as had the Arab zajal poets in Moorish Spain.

At first, the muwashshahat and zajal, both constituting a departure from the tradition represented by classical poetry, existed side by side and often overlapped. However, in the ensuing centuries, because of the long standing Arab tradition of not writing the vernacular, a good number of muwashshahat and only a few zajals have come down to us in written form. It was thought that because of their smoothness and literary Arabic qualities, the muwashshahat were worthy of preservation. On the other hand, zajal remained on the oral level, influenced by non-Arab speech or Arabic dialects.

The kharjas of the muwashshahat, very similar to zajal, are believed to be the oldest poetic texts of any vernacular in Europe. Hence, they very well could have been the origin of lyric poetry in Romance literature. It is believed that they gave rise to the 15th century villancico, a type of Christian carol to which they bear a close resemblance, and the coplas (ballads), still found throughout the Spanish-speaking world.

Both the muwashshah and zajal poetry are clearly found in the early music and song of Europe. For centuries Arab culture exercised a strong influence on the entertainment of the southern part of that continent. E.G. Gmez writing about Moorish Spain in Islam and the Arab World contends that the muwashshah verse is probably more interesting to westerners than to the eastern Arabs, ancient and modern who, although attracted by its sensuous qualities, regarded it rather slightingly as a cancer on the body of Arab classicism. This appeal to the western ear, no doubt, helped enormously in its incorporation into European music.

The early Provenal epic poems were modeled on the zajal. So striking in form and content is the poetry of southern Europe to the zajal that it cannot be regarded as a coincidence. The first known European poet of courtly love, Prince William, Duke of Aquitaine, is said to have spoken Arabic and is believed to have been familiar with both the muwashshahat and zajal. His poetry is a direct imitation of the Arabic rather than an independent invention. The rhythm of his early verses is very similar to songs still being recited in North Africa.

The zajal poetic tradition is most popular in the North African and Levantine regions of the Middle East, especially in Lebanon and Palestine where professional zajal practitioners can attain high levels of recognition and popularity. The first recorded Lebanese zajal poem dates back to the year 1289, though the tradition is thought to have its roots in ancient Pre-Islamic Arabic literature, and has grown into an integral part of Lebanese folk culture. Major developments in the tradition took place in the Lebanese mountains, where zajal filled an important entertainment vacuum in villages. Modern zajal duels are well-organized public events comparable to poetry slams, but attracting hundreds in festival settings that compete with musical concerts. 006ab0faaa