Barai Mohammed Dafallah is a renowned musician, composer, and an accomplished oud player. His contributions have significantly enriched the Sudanese and Arab music repertoires with numerous timeless melodies and musical compositions, many of which have garnered international acclaim and awards. He was honored as the first artist by Sudanese Radio and has been awarded the Golden Medal of Science, Literature, and Arts for his outstanding work in composing and music. Throughout his career, he has presented over 400 works, including melodies and musical pieces, and his compositions have been broadcasted on radio stations across the Arab, African, European, and American regions.
The symposium, which attracted a large audience, featured musical performances and segments showcasing the compositions of musician Barai Mohamed Dafallah, presented by artist Abu Bakr Sayed Ahmed. The pieces included "Ya Adhra Al-Hay" by Abdel Aziz Mohamed Daoud, "Al-Wasiya" by Mohamed Wardi, and "Ya Rohi Salam Alaik" by Obaid Al-Tayeb. The event also presented musical compositions by Barai, performed by his son, Ziryab Barai Mohamed Dafallah, on the violin, accompanied by a musical ensemble. Among the pieces performed were the Sudanese classic "The Most Precious Place in My Homeland is Sudan" by Ibrahim Awad, as well as "The Meeting of the Two Niles" and "The Green Meadows," among other renowned works.
During his address, Dr. Murtada Al-Ghaly emphasized that Barai Mohammed Dafallah’s upbringing in the urban setting of Al-Morada neighborhood in Omdurman, and his urban characteristics, did not hinder his mastery of popular, traditional, and folkloric melodies from all parts of Sudan, particularly those of Kordofan and North Darfur, including the Hakamat singing style, chants, lullabies, and harvest songs. Dafallah's expertise extended to encompass global musical heritages, incorporating coastal regional traditions from West Africa and the Arab North.
During his address, Dr. Murtada Al-Ghaly highlighted Barai Dafallah's profound understanding of local heritage songs and the significance of the tum-tum rhythm in the history of Sudanese music. Dr. Al-Ghaly also acknowledged the contributions of various creative individuals to this musical tradition, including Rabha Tom Tom, Ismail Abdel Moein, Fadl Al-Mawla Zangar, Ibrahim Abdel Jalil, and Abdel Aziz Mohamed Daoud. The latter formed a distinctive partnership with Barai, resulting in a rich and enduring creative legacy.
Dr. Al-Ghaly concluded his presentation by addressing inquiries concerning the inspiration behind Barai's musical themes. Of particular interest were the geographical, emotional, and natural elements that resonated with the Sudanese consciousness. Dr. Al-Ghaly praised Barai's adeptness in composing melodies that harmonize with national, folkloric, and popular songs, encapsulating the diverse dimensions of Sudanese music and singing.
In his analysis, Al-Tayeb Abdel-Majid, a prominent figure in the media industry, detailed the various phases of Barai’s artistic career, hailing him as a timeless symbol within the Sudanese collective consciousness. Notably, Barai’s affinity with the city of Omdurman was emphasized, drawing parallel to his own persona. Acknowledged for his early mastery of the oud and exceptional compositional prowess, Barai etched his name among the renowned. His adept manipulation of the oud and violin facilitated the transcendence of poetry into enduring melodies. Aligned with Barai's artistry was his ability to infuse fervor into poetic verses, endowing them with a poignant essence. His musical legacy, encompassing renowned compositions such as "Al-Murooj Al-Khadra’, Kherir Al-Jadwal, Farhat Sha’b, and Hanadi," elevated Sudanese musical appreciation. Al-Sir Qaddour, a revered Sudanese poet, aptly credited Barai with the restoration of composer's esteem, positioning them alongside esteemed artists.
Al-Tayeb Abdul Majeed, a notable media personality, deliberated extensively on the exceptional collaboration between Barai Muhammad Dafallah and the artist Abdul Aziz Muhammad Daoud. Undoubtedly, their collaboration birthed captivating melodies, including “Ya Halilhom Dawam Batarahum” and “Awdat Qalb,” resonating deeply with audiences and eliciting profound emotions.
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