post

Arameans


<h2 class="wp-block-heading has-text-align-center">Lyrics</h2>



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<p>Kukwo dsafro ḥabibto<br>&#8216;Al zabno lo kmaṣethno<br>Zliqo dfothakh gmaneh li<br>&#8216;Al qumthakh gmidaywano<br><br>Lwash a lbushe zehyanek<br>&#8216;Ma ḥemre w marwodanek<br>W zmar li ma zmirothe<br>D&#8217;al a nahre mqadshanek<br><br>Maḥwe li a karmaydhan<br>Wa bnotho di shawthaydhan<br>Wi &#8216;ezayo drḥemli<br>Wi dawmo du ḥaqlaydhan<br><br>Tey li susyo komawo<br>W sargo sumoqaydhi<br>Wa sfoqe du ṣaydawo<br>W ḥze li bu ṣaydadhi<br><br>Ṣayodo lgmarḥamno<br>Wma kibe lgzoya&#8217;no<br>Bṣafro w lalyo korakhno<br>Bethr u mawto grohatno<br><br>Maḥwe li a gabore<br>Lgzay&#8217;i ma kurhone<br>Me ḥyerto me &#8216;aynotha<br>Gmar&#8217;alno a ṭurone<br><br>Mawraqqe a ṭurone<br>Wa warde da shalwone<br>W mhalalle a bnotho<br>&#8216;Ma qole da ṣafrune<br><br>Nḥiri emre wa arwone<br>W simi laḥna qurbone<br>Lu klilo da tre rḥume<br>Rqadu w zmaru aḥunone</p>
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<p class="has-text-align-right has-serto-antoch-bible-font-family has-large-font-size">[Chorus]<br>ܣܘܪܝܳܝܐ ܐ̱ܢܐ، ܣܘܪܝܳܝܐ ܐ̱ܢܐ<br>ܒܗܘ ܓ݂ܷܢܣܰܝܕ݂ܝ ܣܘܪܝܳܝܐ ܐ̱ܢܐ<br>ܣܘܪܝܳܝܐ ܐ̱ܢܐ، ܣܘܪܝܳܝܐ ܐ̱ܢܐ<br>ܒܗܘ ܓ݂ܷܢܣܰܝܕ݂ܝ ܣܘܪܝܳܝܐ ܐ̱ܢܐ<br><br>ܡܗܘ ܐܰܬ݂ܪܰܘܐ ܕܰ ܓܰܒܳܪܶܐ<br>ܡܶܢ ܛܘܪ ܥܰܒܕܝܢ ܐܰܬ݂ܳܝܐ ܐ̱ܢܐ<br>ܡܗܘ ܐܰܬ݂ܪܰܘܐ ܕܰ ܓܰܒܳܪܶܐ<br>ܡܶܢ ܛܘܪ ܥܰܒܕܝܢ ܐܰܬ݂ܳܝܐ ܐ̱ܢܐ<br><br>[Chorus]<br><br>ܣܘܪܝܳܝܐ ܐ̱ܢܐ، ܠܐ ܓܡܰܢܟܰܪܢܳܐ<br>ܙܰܒܢܵܐ ܟܣܗܕܝ ܐܰܒܪܶܗ ܕܡܰܢ ܐ̱ܢܐ<br>ܣܘܪܝܳܝܐ ܐ̱ܢܐ، ܠܐ ܓܡܰܢܟܰܪܢܳܐ<br>ܙܰܒܢܵܐ ܟܣܗܕܝ ܐܰܒܪܶܗ ܕܡܰܢ ܐ̱ܢܐ<br><br>ܒܗܰ ܛܝܡܰܝܕ݂ܶܗ ܟܳܝܳܡܶܢܐ<br>ܗܘ ܐܰܬ݂ܪܰܝܕ݂ܝ ܠܐ ܓܛܳܥܶܢܐ<br>ܒܗܰ ܛܝܡܰܝܕ݂ܶܗ ܟܳܝܳܡܶܢܐ<br>ܗܘ ܐܰܬ݂ܪܰܝܕ݂ܝ ܠܐ ܓܛܳܥܶܢܐ<br><br>[Chorus]<br><br>ܣܘܪܝܳܝܘܬ݂ܐ ܗܝ ܐܘܡܬ݂ܰܝܕ݂ܝ<br>ܐܳܪܳܡܳܝܶܐ ܗܰ ܔܷܕܕܰܝܕ݂ܝ<br>ܣܘܪܝܳܝܘܬ݂ܐ ܐܝ ܐܘܡܬ݂ܰܝܕ݂ܝ<br>ܐܳܪܳܡܳܝܶܐ ܗܰ ܣܳܒܰܝܕ݂ܝ<br><br>ܛܘܪܥܰܒܕܝܢ ܝܐ ܗܘ ܛܘܪܰܝܕ݂ܝ<br>ܒܶܝܬ݂ܢܰܗܪܝܢ ܗܰܬ ܗܘ ܐܰܬ݂ܪܰܝܕ݂ܝ<br>ܛܘܪܥܰܒܕܝܢ ܝܐ ܗܝ ܕܘܟܬ݂ܰܝܕ݂ܝ<br>ܒܶܝܬ݂ܢܰܗܪܝܢ ܗܰܬ ܗܘ ܐܰܬ݂ܪܰܝܕ݂ܝ<br><br>[Chorus]</p>
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<p>The morning star, my love<br>To time, I won&#8217;t listen<br>A ray of your face heals me<br>On your stature I go mad<br><br>Wear those shining clothes<br>With the necklaces and those earrings<br>And sing to me from the songs<br>On those holy rivers<br><br>Show me our vineyards<br>And the girls of our neighborhood<br>And that goat which I liked<br>And the tree of our field<br><br>Bring me that black horse<br>And my red saddle<br>And those hunting tools<br>And watch me in my hunt <br><br>A merciless hunter<br>And from the pains I am not scared<br>In morning and night, I walk around<br>After Death I run<br><br>Show me the mighty ones<br>Who aren&#8217;t scared of kurhone<br>From a look from her eyes<br>Makes me rock (shake) the mountains<br><br>The mountains became green<br>And the flowers of the valleys<br>And the girls cheered<br>With the voices of the birds<br><br>Lambs and calves were nhiri<br>And became sacrifices to us<br>To the matrimony of the two lovers<br>Dance and sing, brethren</p>
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<h2 class="wp-block-heading" id="metadata">Song Metadata</h2>



<figure class="wp-block-table"><table class="has-fixed-layout"><tbody><tr><td>Lyricist</td><td>Shabo Bahi</td></tr><tr><td>Composer</td><td>Nouri Iskandar</td></tr><tr><td>Year</td><td>1968</td></tr><tr><td>Album</td><td>O Habibo</td></tr><tr><td></td><td></td></tr></tbody></table></figure>



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Audio

Habib Mousa – Kukwo dSafro

Edward Joseph – Suryoyo no

Ninib Lahdo – Gerke Shamo

Ninib Lahdo – Bi Hubo Nafilina

Aboud Zazi – Izla Shafirto

Jan Karat – Durina lu Athro

Pascal Bachir – O Rhime Maruli (Manyo Dmerwaila)

Habib Mousa – Shamo Mar

Wadih El Safi – Greshla Idi

Ninib Lahdo – Zabne w Dore

Ninib Lahdo – Hano Qritho

Aramean Talent Adrian Lahdo Signs with Club Como

New Midyat Project Seeks to Draw Syriac-Arameans Back to Tur Abdin

The Story of Hanne Safar and His Family

The Enduring Roots: Aramean Clan and Family Structures in Tur Abdin

The Society of the Arameans in the Ancient Era

The Murder of Ibrahim Shabo, the Last Aramean Mayor of Midyat

Rozune—Coin in the Bread

King Abgar V of Edessa and the Letter to Christ

Tlawhe—Aramean Lentil Soup

Cuisine

Music

Dances

Traditional garments and embroidery motifs that show the region, celebration, and community pride.

Clothing

Arts and Crafts

Traditions

Religion

Identity

Ancient history

Modern history

Syriac history

History

Language

Biographies

Sayfo

Gabola—Aramean Wheat Porridge Dish

Basle am Behe—Chives with Eggs

Labaniye—Aramean Yoghurt Soup

Video

Telkari: Aramean Art Form of Making Delicate Jewelry

Faith and Tradition

Hano Qritho: A Little Spring of Joy Before the Great Fast

Syriac Orthodoxy or Assyrian Orthodoxy in North America and the USA?

Native Aramean Population of Tur Abdin

Modern Assyrian Identity Revival

Arameans in Germany

Ancient Syria & Anatolia: Aramean Mythology, Religion & Traditions

Ancient DNA from the Halzi Gate (612 BC) Confirms Aramean Continuity in Mesopotamia and What It Means for Modern Arameans

Ancient Aramean Laws and the Origins of Justice in the Ancient Near East

Syriac-Aramean Battle for Azakh During Sayfo

Syriac-Aramean Village of Arnes During Sayfo

Syriac-Aramean Village of Armun During Sayfo

Syriac-Aramean Village of Arkah During Sayfo

“The real missionaries of culture in the empire were the Arameans (Syriacs), who were connected with the West by their Christianity, and in their translations diffused Greek literature through the Orient.”

Arameans (Syriacs) played a key cultural role in the Sassanid Empire by acting as intermediaries between the Greek-speaking West and the East. Through their Christian connections and translation work, they spread Greek knowledge and literature across the Orient.

Aramean Missionaries

"And among the Greeks and among us, this is indeed the very name as it is expressed; but among the Hebrews, it is properly rendered as: 'I am Yéhyéh; Yéhyéh has sent me to you.' And it is translated into our language—that is, that of us Arameans, who are Syriacs—as 'the Being.'

Indeed, we find that our holy Syriac teachers—Mor Ephrem, Mor Jacob, Mor Isaac, and Mor Philoxenus—also constantly call God by this name, saying 'the great Being,' 'the hidden Being.' Likewise, we find that the holy Greek teachers also consider it proper to use this name above all others when speaking of God, in preference to other names."

Arameans and the Name of God

Mor Dionysius Abdelnur of Urhoy, Bishop of Kharput, remarked that the scholars from the monastery of Mor Barsawmo "adorned the nation of the Arameans with splendor."

“Lament on the Destruction of the Monastery of Mar Barsauma near Malatya” by Mor Dionysios ‘Abd an-Nur is a mourning text that reflects on the ruin of one of the most important Syriac Orthodox monasteries. It likely combines grief over the monastery’s physical destruction with praise for its past role as a major center of learning, spirituality, and leadership in the Syriac/Aramean tradition.

Adorning the Aramean Nation

"Aram, from whom sprung the Syriacs, whose Name anciently was Aramei; the Children of Aram. A Name not unknown to the ancient Grecians; for Homer mentions the Αερμις in his second Book of Iliads; and so doth Hesiod; and Strabo also saith, that many understood by the Arimi, the Syriacs. And the Syriacs at this day call themselves Arameans."

17th-Century Syriacs

Material / Technique
Metal (silver)
Dimensions
Weight: 254.87 g
Diameter: 7.8 cm to 8.5 cm
Height x Width x Thickness: 7.85 x 8.42 x 0.8 cm

Geographical References
Place of discovery: Sam'al (Near East)
Modern location: Sendschirli

Silver bars belonging to King Barrakib

Material / Technique: Ceramic

Dimensions:
Height: 8 cm
Width: 14 cm
Thickness: 10.5 cm
Weight: 1 kg

Geographical References:
Modern location: Babylon
Location: Babylon (Near East)
Location details: El-Kasr Mound

Babylonian brick with an Aramaic inscription

Material / Technique: Basalt

Dimensions
Height: 17 cm
Width: 6.8 cm
Depth: 5.6 cm
Weight: 1.07 kg

Geographical References
Place of discovery: Guzana (Ancient Near East)
Modern location: Tell Halaf (Syria)

Statuette of a Aramean woman with a bucket

Material / Technique: Basalt

Dimensions:
Height: 16.7 cm
Width: max. 7 cm
Thickness: max. 5 cm

Geographical References:
Place of discovery: Guzana (Near East)
Modern location: Tell Halaf

Statuette of an Aramean woman with her arms bent

Aramean children in the church yard near the village school of Beth Qustan, 1998, gathered with their teacher (malfono), reflecting the close bond between faith, education, and community life in Tur Abdin.

Children with Teacher, Beth Qustan

Qusnoye men and boys gathered at the village well during the hot season, sharing water and moments of daily life under the sun.

Qusnoye men and boys at the well

Four Aramean men in the village of Beth Qustan, Tur Abdin, during the 1960s; brotherhood and village life

Men of Beth Qustan, 1960s

A glimpse into a cherished moment from 1974–1977: the wedding of Sabri and Aznif Elma dBe Barsaumo in the village of Beth Debe (Badibe). Villagers gathered together in joy and celebration, sharing laughter, music, and tradition. The sound of the kemence filled the air as people came together in happiness, preserving a timeless expression of Aramean culture, unity, and love.

Be Barsaumo Wedding in Badibe

"And Jacob stole the heart of Laban the Aramean, because he told him not that he was going." Greek: Jacob, however, hid his heart from Laban the Syriac."

Bar Hebraeus records “Laban the Aramean” in the Syriac Peshitta and gives the Greek equivalent “the Syriac,” expressed in Aramaic as “Suryoyo,” treating the two as synonymous.

Laban the Aramean Rendered Suryoyo

Habib Mousa – Kukwo dSafro

Lyrics

Song Metadata

Related posts

Edward Joseph – Suryoyo no

Syriac Pearls

Ninib Lahdo – Gerke Shamo

Syriac Pearls

Ninib Lahdo – Bi Hubo Nafilina

Syriac Pearls

Aboud Zazi – Izla Shafirto

Syriac Pearls

Jan Karat – Durina lu Athro

Syriac Pearls

Pascal Bachir – O Rhime Maruli (Manyo Dmerwaila)

Syriac Pearls

Habib Mousa – Shamo Mar

Syriac Pearls

Wadih El Safi – Greshla Idi

Syriac Pearls

Ninib Lahdo – Zabne w Dore

Syriac Pearls

Ninib Lahdo – Hano Qritho

Syriac Pearls

Lyricist	Shabo Bahi
Composer	Nouri Iskandar
Year	1968
Album	O Habibo