VA – Oman Bagpipe Singers: Songs of returning and leaving (2026)

In a compelling musical revival, two Omani groups from the Ash-Sharqiyah region have recorded an album that preserves the intertwined heritage of African rhythms and traditional Arabian bagpipe music. The project, produced on location by Grammy Award-winning Ian Brennan, showcases the voices and instruments of descendants from a historic African slave trade corridor.

The album features Al Ajial and Al Khair, ensembles composed of multi-generational musicians whose families trace their roots in Oman back over a century. Their repertoire centers on Al-Mudema — or "sailor songs" — primarily performed in Swahili, a language reflecting the enduring cultural ties between East Africa and Oman. These songs recall the experiences of ancestors brought forcibly across the Indian Ocean centuries ago.

Contrary to common assumptions that the bagpipes found in Oman were introduced by British colonial forces or borrowed from Scottish traditions, archaeological evidence indicates a much older presence of similar wind instruments in the Arabian Peninsula. This predates the instrument’s known history in Europe by roughly two millennia, positioning the qurbah, or Omani bagpipe, as an indigenous and ancient musical element.

Accompanying the bagpipes is the jem, a conch shell blown during performances, symbolizing the musicians’ intimate connection to maritime life. Percussive elements also play a vital role, including the majur—a belt adorned with goat hooves—worn by many performers to add rhythmic texture. The fusion of these sounds evokes the harsh and hopeful realities of seafaring communities.

The recording sessions took place along Oman's rugged coastline, where the desert mountains slope dramatically into the sea, dotted with unusual rock formations. Against this backdrop, the two groups performed outdoors, with the distant sounds of fishing boats reinforcing the maritime context of their music.

Historically, Oman was a central hub in the Indian Ocean slave trade, maintaining political and economic ties with Zanzibar from the late 17th to mid-19th centuries. Slaves from the Swahili coast were transported to Oman and onward to other parts of the Middle East, making the region a pivotal nexus in this traumatic history. The Ash-Sharqiyah region, where these musicians live, was home to the principal port facilitating this trade.

Slavery in Oman persisted legally until as late as 1970, and while contemporary laws strictly prohibit references to slavery, societal hierarchies and remnants of this legacy remain socially perceptible. Despite official denials or minimizations by some locals regarding the severity of enslavement, the music presented by Al Ajial and Al Khair offers a poignant reminder of the lived experiences that underpinned these historical structures.

Today, the musicians proudly identify as "bagpipe singers," a title that encapsulates both their vocal traditions and instrumental mastery. Their music serves as a cultural bridge, connecting African, Arabian, and maritime influences, and illuminating the often overlooked narratives of Oman’s diverse heritage.

This album not only preserves a unique musical tradition but also contributes to a broader understanding of cultural exchange and historical memory in a region that sits at the crossroads of Africa, Asia, and Europe. Details about the album’s release date and additional production information remain limited, but its significance in documenting this rare musical and historical fusion is clear.

In sum, the collaboration between Ian Brennan and these Omani musicians offers a rare auditory window into a complex past marked by migration, maritime culture, and resilience. By bringing Al-Mudema’s evocative songs to a wider audience, this project deepens appreciation for Oman’s multifaceted cultural landscape and the enduring legacy of its African-descended communities.