Qatar’s folk arts continue to play a vital role in maintaining the country’s cultural identity, particularly during Eid celebrations, experts say. Despite rapid social and technological changes, these traditional practices serve as a living connection between past and present, preserving collective memory and fostering a sense of national heritage.

Heritage researchers, musicians, and cultural critics have highlighted how folk arts have long been integral to Eid festivities in Qatar, encapsulating the holiday’s spirit of joy and community values. Audio-visual archives maintained by the Qatar Media Corporation, along with scholarly documentation efforts, contribute to the preservation of these traditions as an enduring legacy.

Ibrahim Al Mutawa, a writer and music critic, pointed to the rich body of Qatari and Gulf folklore, which includes chants and songs associated with significant life events such as Eid, weddings, work, seafaring, and pearl-diving. He emphasized the influential role of the late composer Abdulaziz Nasser, whose work since the 1970s has been transformative in safeguarding Qatar’s musical heritage. Among Nasser’s notable contributions is the traditional Eid song “Ya Al-Aido,” recorded in 1970 for Qatar Radio. This song remains deeply embedded in the country’s festive culture and retains its original folk lyrics and character, set to a melody inspired by local traditions utilizing the Al-Daza rhythm—commonly linked to celebrations and weddings in Qatar and the broader Gulf region. Other enduring Eid folk songs include “Bajer Al Eid” and “Al-Aidooh,” which continue to evoke the holiday’s festive atmosphere.

Faisal Al Tamimi, a heritage researcher and composer, noted that folk arts reflect social life, professions, and customs and are often tied to specific seasons and occasions. He mentioned a traditional children’s chant, “Eidkum Mubarak ya Ahl al-Bayt,” which has evolved into a widely recognized Eid greeting. Al Tamimi also observed that some contemporary artists introduce new rhythms and melodies into traditional forms, viewing such changes not as modernization but as innovation grounded in established foundations.

Performance traditions vary by gender during Eid. Women engage in Al-Muradah, a private celebration involving two opposing lines of singers who perform spontaneous call-and-response chants without instrumental accompaniment. These performances feature synchronized movements, rhythmic footwork, and traditional attire embellished with embroidery and gold jewelry. Men commonly perform the Al-Ardah sword dance in public spaces after afternoon prayers, a custom deeply rooted in Qatari cultural expression.

Composer and artist Matar Ali Al Kuwari described folk arts as a cornerstone of Qatar’s cultural heritage but expressed concern about gaps in documentation. He underlined that Qatari folk culture extends beyond music and dance to encompass maritime traditions, Ardah and Samri arts, children’s songs, social customs, games, and traditional crafts—all contributing to national identity. Al Kuwari has worked to develop and reinterpret traditional forms, including Samri performances and folk operettas in collaboration with the Ministry of Culture.

He stressed the importance of establishing institutional frameworks dedicated to preserving and documenting Qatar’s heritage. Al Kuwari emphasized that heritage should remain a dynamic cultural expression rather than solely a relic of the past. According to him, Eid in Qatar is closely linked to simplicity, family bonds, and shared memories, with children’s anticipation beginning well before the holiday itself. Preserving these experiences, he concluded, is crucial to safeguarding Qatar’s intangible cultural heritage for future generations.