Dhon Hiyala and Ali Fulhu

by Abdullah Sadiq

The beginning
Translation by website authors

hen I was very young, I used to hear a man's voice singing along with the beat he played on a large empty tin. People said it was The raivaru of the Lady of Buruni. Then, I had no idea what the song was about, and the raivaru style didn't appeal to me at all.

Years later while working at Aaliya School as a Dhivehi language teacher, I happened to see a book belonging to one of my students, Haleema Yusuf of Naifaru. The manuscript was old, written in soot ink on plain white paper and though the author was unknown, its title The story of the Lady of Buruni was enough to convince me I had to read it. The poetry had been changed into prose with the pious intention of improving it, but the story remained largely undeveloped.

Shortly after, I heard this same raivaru being sung by the famous Kafa Kuda Thakkaan in a house in Galolhu ward [Malé]. As I listened, my heart went through inexplicable feelings. This was no longer just a raivaru. It was a fascinatingly beautiful romantic story told in the special raivaru form of rhyme and rhythm. I had never seen anything like this in Dhivehi prose. It contained no colour, simile, or metaphor from foreign literature. The story relied solely on Dhivehi language and customs for its inspiration. In short, it was a linguistic picture of atoll life in a much earlier time.

Reflecting the close relationship between Maldivians and the sea, the descriptions of fishing and travelling in the ocean-going odi were quite sensational, and formed the central part of the story.

The perfect and clear use of Dhivehi language filled me with joy, and at that very moment, listening to the raivaru, I decided to write the story in prose worthy of such inspiration.

Later I mentioned my plans to Sheikh Al-Usthaaz Al-Haajj Mohamed Jameel Didi, and he advised me to first listen to the version of the story told by Moosa Abdul Rahmaan (Dhon Moosabé) of Ihavandhoo, Haa Alif. I went there and spent two weeks with Dhon Moosabé before travelling to the nearby island of Hoarafushi where I had heard that Ahmed Thakurufaan sang an even more perfect rendition.

Though there were some variation in the singing styles of Moosabé and Thakurufaan, the story was essentially the same. But there were many differences with Kafa Kuda Thakkaan's version which I had heard in Malé.

These three raivaru were the inspiration for Dhon Hiyala and Ali Fulhu, though Moosa Abdul Rahmaan's interpretation provided the basic story. I have tried to use plain language in a way that retains the originality of the raivaru form.

This work would not have been completed without the kind help of Al-Usthaaz Noon Thaa Hassan Didi, Thakandhoo Alifulhu Katheeb, and Yusuf Fulhu of H. Sandhubarakage. Many thanks.

Abdullah Sadiq, 1976