Gnasiqic heritage in the operetta of the city of Basra

Abstract

Artistic heritage constitutes a great wealth of values, customs, traditions and popular knowledge of material culture, arts and music in particular, and heritage and heritage are the history of our ancestors, and everything that is transmitted from singing, music and folkloric artistic dances from generation to generation. However, the lyrical and musical heritage (Gnasqi) has formed an important element as an artistic material for the operetta mold, and the operetta art became using the Gnostic heritage to present its performances artistically in order to preserve the Iraqi heritage and heritage.With the development of the art of operetta historically at the level of formulating lyrical and musical compositions, new structures developed in musical texts that were inspired by the ancient past as a folk heritage and present them in a contemporary way that reflects and preserves the image of the heritage, as the art of the operetta relied on important criteria that contributed to treating the dramatic text, singing and music as a treatment. Expressive, whether this singing is individual or collective, accompanied by ancient folk and historical folk dances, and most operetta tunes reflect the image of the heritage, whether it is singing or music, so it is therefore a Gnostic heritage that came to form a new contribution to the sustainability and preservation of history and identity. And since the art of operetta in the city of Basra is one of the important arts that was distinguished in reviving the Gnostic heritage in a renewed manner in line with the various melodic and rhythmic forms in the music of this city, these performances made the recipient live in a state of interaction between the themes of the folklore (singing and music) from which the art of operetta is formed. .

Keywords

Gnasiki, operetta