ZAWAYA 3150 18th Street, #523 Mail Box #505 San Francisco, CA 94110 (415) 255 -9330 email: [email protected]www.zawaya.org Program Design by: Fayeq Oweis - www.oweis.com Aswat Ensemble Founder & Director: Nabila Mango Photo by Amro Younes/ www.lanterne-rouge.com Zawaya Presents Aswat’s Winter Concert Founder & Director Nabila Mango Guest Music Director Sari Dowidar A Night of Arabic Folkloric and Classical Music January 24, 2009 Photo By Falak Shawwa/ www.Falakshawwa.net
Aswat’s Winter Concert Founder & Director Nabila Mango Guest Music Director Sari Dowidar
A Night of Arabic Folkloric and Classical Music
January 24, 2009
Photo By Falak Shawwa/ www.Falakshawwa.net
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Acknowledgments
Al-Juthoor Palestinian Dance Company Andrew Roth Audio Recording
Arab Cultural and Community Center/ SF Promotion Arab Film Festival Promotion
Arab Resource and Organizing Center Promotion Barney Jones Sound Engineer
Bay Area Turkish Community Promotion Brownpapertickets.com
CASA MANGO Stage Design Fayeq Oweis Program Design
Georges Lammam Ensemble - Promotion Jidda Morrar Ticket Sales
KPFA Promotion Lina Del Roble Editing
Marty Atkinson Sound Engineer Mia Coo Internet Promotion
Michael Carriere Internet Promotion NAAP-Northern California Promotion
Samer El Bandak Promotion Skyline College
Summer Harrarah Media Suzy Abu Nie Media
Parenting on the Peninsula Magazine Promotion Aurora Theater Promotion
Amro Younes / Lanterne-rouge.com Photography Maurice Jacobsen Videographer
ZAWAYA and ASWAT would also like to thank
all the 40 volunteers without whom this concert would not be possible.
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Zawaya gratefully acknowledges the following foundations for their
support:
AAPIP - Asian Americans/ Pacific Is-landers in Philanthropy
The William and Flora Hewlett
Foundation
Thanks to our community sponsors Fuad Daya
Suzanne El-Gamal Pamela Hodel Adil Jadallah
Medhat Kamal Family Ferial Kardosh
Alice Nashashibi Bahgat Saad Family
Amel Tafsout Margaret Titus
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ASWAT Ensemble was founded in the Bay Area in January 2000. Founder Nabila Mango, a Palestinian American cultural activist, has been selflessly dedicated to ASWAT since its incep-tion and, through years of hard work
and tireless dedication, has brought together a family of musical ambassadors supportive of her deep love of Arabic music. In just eight years, ASWAT has transformed itself from an informal com-munity choir to a professional performing group selling out con-certs at each of its biannual performances. Born simply from the desire to sing, ASWAT has become an anchor in the Bay Area Arab- American musical scene. The very act of singing itself preserves musical legacies dating back thousands of years, and celebrates songs that express the es-sential soul of Arab culture. ASWAT’s growth is itself an accom-plishment, taking place in the shadow of hate crimes and mounting hostilities aimed at Arabs and Muslims following the 9-11 tragedy. ASWAT has enabled musicians to learn and expand their knowl-edge of Arabic classical and folk music. It is a forum in which both Arab and American musicians alike form bonds with each other through a shared experience. For the Arab-American AS-WAT members, the group is an affirmative collective where they can experience their culture as a living thing that not only brings them pride but serves as a conduit for inviting others to appreciate their often maligned and misunderstood heritage. ASWAT welcomes anyone who is interested or even curious about Arabic music to learn more by contacting ASWAT at: [email protected] or [email protected].
Nabila Mango: Founder and Director Jose-Antonio Nasser: Internet Administrator Danny Fryer and Nabila Mango: Arabic Language Teachers
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About the Music and the Instruments
Aswat Ensemble performs classical and folk songs from various Arab countries. The ensemble plays traditional mu-sical instruments such as the qanun (trapezoidal zither), ‘ud (lute), nay (reed flute), Kaman (violin), riqq/daff (tambourine), tar and darbukkah/tablah (goblet drum).
The program features a number of songs using different maqamat (modes). The performance includes muwashsha-hat, and songs of major artists in Egypt and Lebanon of the 19th and 20th centuries such as Fairuz, Abdel Halim Hafiz, Abdel Wahab, Um Kulthum. The ensemble also performs folk songs from Syria, Palestine, Jordan, Iraq, and the Ara-bian Gulf.
GLOSSARY Debke – line-dancing in Jordan, Lebanon, Palestine and Syria. Darbukkah – goblet shape hand drum Maqam (maqamat) – mode; an Arab system of pitch or-ganization that allows for the construction of melodies and improvisation (taqseem) within a scale. Muwashshah – a “post-classical” singing form not rigidly governed by the qasidah, originated in the Middle East, and integrated into the music of Al-Andalus in the 10th Century Qad Halabi – a folkloric song based on the melody of an-other regional folk song, especially Turkish or unknown older Arabic songs. Qadim – old (unknown composer) Qasidah – a poem set to music consisting of 10-25 or more lines of poetry Riqq – fish skin tambourine Taqsim – non-metric improvisation played in a maqam ‘Ud – Arabic style fretless lute
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Ya Ghusna Naqa (Oh Pure Branch)
O my beloved,
O you, crowned with gold and pure beauty like the branch of a tree.
I would give my life to save you from harm, I swear to you by my mother and father.
You are always in my dreams. Have pity on me,
you whose love could be the remedy for my heart.
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ZAWAYA was founded in 2003 by Nabila Mango and Haya Shawwa Ben Halim to promote the pub-lic expression of Arab art and culture in the Bay Area. ZAWAYA is the umbrella organization for ASWAT and its affiliated branches for literary, educational and visual arts. ASWAT is comprised of a twenty member orchestra and another twenty
singers. ASWAT provides the only expression of traditional, cul-turally rooted Arabic music in the Bay Area. Zawaya means “aspects” or “corners”, suggesting the multiple artistic expressions to be discovered and enjoyed in Arabic culture. The organization is working toward a time when it will be able to celebrate all aspects of Arab heritage including dance, theater, the oral arts including poetry, recitation and storytelling, calligraphy, needlepoint and pho-tography. ZAWAYA is a tax- exempt, tax-deductible organi-zation with 501(C)(3) status.
ZAWAYA’s philosophy is one of pluralism and inclusion. The board, musicians, singers and audience are diverse both by intention and because ZAWAYA attracts people from a wide spectrum of cultural, ethnic and racial backgrounds. In 2009 ZAWAYA will start a youth ASWAT music ensemble and youth Debke classes in the Peninsula. ZAWAYA has grown and expanded despite an in-hospitable politically-charged climate. We sincerely welcome your support, donations and attendance.
ZAWAYA’s Executive Committee:
Duraid Musleh, President Haya Shawwa Ben Halim, Vice-president
Lucia Volk, Recording Secretary
Board members: Margaret Coyne
Suzanne El-Gamal Nabila Mango Maher Sabry
Shahdan Shazly
For more information, visit our website: www.zawaya.org or contact us directly at [email protected]
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ASWAT Ensemble Guest Music Director: Sari Dowidar
Founder & Administrative Director:
Nabila Mango
Guest Artist: Mohammed Nejad (Nay)
Instrumentalists:
Mohammad Arrabi (Nay) Rima Ayyash (Violin) Hamid Banaei (Violin)
Kristina Ben Arab (‘Oud) Hector Bezanis (Nay, Mijwiz) Yates Brown (Bass, Guitar)
We Had a Mill How wonderful were the nights, when love awaited us, and we
met. The night and the roaring waters took us far. My grandfather used to grind wheat then, and
evening gatherings took place for the neighborhood. People roamed those courtyards, singing along the roads,
some holding bags, some on carriages. The days went by, the mill fell silent on the shoulder of the spring. And now, my grandfather has become the mill of
memories, grinding shadows and sunlight.
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Sirat Al Hubb (The Story of Love)
All my life I have been afraid of falling in love, for I know the stories of tears and sorrows.
Then I met you, and fell for you at first sight. Your eyes invited me to love you, and now I am in love with you day and night. Yes, indeed I got hurt and cried, but there is nothing in this
world sweeter than love.
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ASWAT Ensemble Guest Music Director: Sari Dowidar
Founder & Administrative Director:
Nabila Mango
Vocalists: Muhammad Arrabi Yasmeen Daifallah
Lina Del Roble Hala Fauzi Faten Helal
Christine Horsley Barney Jones Marwan Mero Rana Mroue
. Sari Dowidar's musical style is an apt reflection of the latest trends in Arabic music in the 21st century – the product of cross-fertilization between Middle Eastern and Western sensibilities. Mr. Dowidar's brilliance is evident in his ability to maintain the integrity of tradi-tional Arabic music while incorporating non-traditional elements such as Western harmony and instru-ments. The result is a breathtaking musical landscape of depth, layer, and texture that is at once new and famil-iar. Mr. Dowidar is trained in classical Arabic music at the Academy of Music in Cairo. He has conducted various university choirs, including that of the American Uni-versity in Cairo. He is a notable composer for such prominent Egyptian opera house singers as Ahmad Ibrahim, Azza Balba, and Reham Abdal-Hakim. Last July, Mr. Dowidar conducted the Arabic Music Ensem-ble at the Opera House in Cairo. Prior to his stint with Aswat, he was conductor of the Popular Folkloric Arts Troupe for the Cairo "Ballone" Theater.
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The Ginawi Jugs Beautiful are the Ginawi jugs; there are none like
them. Come and buy a couple. Do not go on wasting your money on what is not made by your fellow countrymen. What is wrong with the world,
Zalabawi? It has gone mad! See the banks trying to take away our money while we are penniless. If you care about your
fellow countrymen, encourage his craftsmanship, and he shall progress. Put your hand in his hand, for he is your countryman. He will not disappoint you. Nothing should
separate you.
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Message of a Drowning Man If you love me, help me leave you, and recover from you. Had I known the danger of love, I would never have loved. Had I known how deep the sea was, I would never have taken sail. Had I known my end, I would never have begun. I long for you. Teach me how not to, how to uproot your passion from my heart, how to resist the tears in my eyes. Teach me how love dies and how longing impales itself. You made the world poetic for me, then planted your wounds in my chest and took away my resistance.
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Featured Artists:
Yasmeen Daifallah is from Egypt and is currently writing her doctoral dissertation in Political Theory , UC Berkeley. Lina Del Roble is a multicultural arts and media communi-cations consultant. She sings in languages of the cultures that have shaped her soul. Hala Fauzi is from Egypt. She is the founder of Haladance.com. Husain Resan - Born in Iraq, Husain Resan is a composer, musician and a singer. He studied 'oud at age 14 in Bayt al-Fann in Baghdad and joined its music ensemble at age 16. In the US, he studied violin at City College. Husain plays 'oud, violin, and bass, he sings and is presenting his first composi-tion tonight "Wajhun min al-Madi". Marwan Mero is from Saudi Arabia . He graduated recently from San Francisco State University in Business Administra-tion. Rana Mroue is from Lebanon and is currently writing her doctoral dissertation in Molecular Biology , UC Berkeley. Gunsu Temirer is from Turkey . She identifies as a domes-tic engineer while preparing for her CPA future career. She has been in awe of Arabic music and dance since her early teens.
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Masters of Ceremony: Christine Stouffer and Jose-Antonio Nasser
MUSIC PROGRAM PART 1
1. Layali Al- Jaz’air composed by Muhammad Abd El-Wahab (1907-1991). Maqam Nawa Athar. Taqsim on the violin by Angela Ramsey. 2. Ya Asmar il- lon arranged by Sari Dowidar. Maqams Naha-wand dokah, Rast dokah. 3. Rubbama Lyrics by the Palestinian poet Samih al-Qasem, composed by Ziad Butros for his sister, the singer Julia Butros. Unadikum Lyrics by Palestinian poet Tawfiq Zayyad, composed by Ahmed Kaabour, featuring Yasmeen Daifallah. 4. Il-Hilwa Di composed by Sayyid Darwish (1892-1923) on 4/4 beat. Maqam Hijaz dokah. Arranged by Sari Dowidar, S. Dowidar on Piano. 5. Tayr al-Wirwar composed by Rahbani Brothers for Fairuz. Maqam ‘ajamdo, featuring Rana Mroue. 6. Mohammed Fawzi Medley composed by Muhammad Fawzi (1918-1966). Maqams: Hijaz dokah, Nahawand dokah, Rast Nawa. Arranged by Sari Dowidar. 7. Ulli a’mallak ayh albi composed by Muhammed Abd el-Wahab (1907-1991). Maqam Huzam featuring Husain Resan. 8. Aswat Youth Ensemble
1. A’tini in-Nay music for piano by Najib Hankash, featuring Sacha Moufarrej on piano. 2. Nassam ‘alayna al Hawa text and music by Rahbani Brothers, featuring Sabine Moufarrej. 3. La Inte Habibi by Rahbani brothers. Arrangement for piano by Antoine Farah and Najat Farah Nohre, featuring Karim Abedrabbo on piano.
9. Wajhun min al-Madi, composed by Husain Resan from Aswat. Taqsim on the violin by Husain Resan. 10. Dame la Libertad (Spanish/Arabic) composed by Juan Pene Lebrijano, featuring Lina Del-Roble, Yates Brown on Guitar. 11. Bil-Ladhi Askara a muwashshah of an unknown composer on ¾ beat. Maqam Bayati dokah. Arrangement by Sari Dowidar. Taqsim on cello by Sarah Michael.
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Qadduka al Mayas (The Slender-waisted Beloved)
O, my beloved and my life,
you are like a lilac branch in full bloom. You are the prettiest in my eyes.
My beloved and I are in the garden, with rose bushes surrounding us.
And now I pray, let no envious people come in between, to separate us.
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Billadhee Askara The nights concealed the secret of our passion.
Their darkness could have hidden us forever, but for the sunlight of new days, when our lucky star fell straight down
with a good omen for a brighter day. The scent and the tan of your lips sipping from goblets, your dark and beautiful eyelids, and your teeth like pearls made
magic bow and get closer to your beauty.
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Masters of Ceremony: Christine Stouffer and Jose-Antonio Nasser
MUSIC PROGRAM PART 2
1. Al Hubb Al- Awwal composed by Muhammad Abd
el-Wahab (1907-1991). Maqam ‘ajamdo. Taqsim on the violin by
Rima Ayyash.
2. Adduka Al Mayyas Qad Halabi of a Turkish folk song on 4/4
beat. Maqam Hijaz Dokah. Music and choral arrangement by Sari
Dowidar, featuring Barney Jones, Taqsim on ‘oud by Bashar
Kellow.
3. Risalah min taht il-maa’ composed by Mohammad al Mawgi
(1923-1995) for Abdel Halim Hafez (1929-1977). Maqam ‘ajam sol,
featuring Marwan Mero.
4. Al-Ghulal Al-Ginawi, taqtuqah by Sayyid Darwish (1892-
1923) on 4/4 beat. Maqam Rast. Arranged by Sari Dowidar.
Taqsim on violin by Husain Resan.
5. Siret el-Hob composed by Baligh Hamdi (1934-1993) for Um
Kulthum (1902-1975), Maqam Rahat Al- Arwah, featuring Gunsu
Temirer. Taqsim on Nay by Hector Bezanis.
6. Taqsim on Percussion by Louay Dahbour.
7. Kan ‘inna Tahun composed by Rahbani brothers for Fairuz.
Maqam Nahawand dokah, featuring Hala Fauzi, Barney Jones on
Trumpet and Yates Brown on Guitar.
8. Ya Ghusnu Naqa a muwashshah on ¾ beat. Maqam Huzam.
Taqsim on ‘oud by Ala Kallel.
9. Taqsim on violin by Sari Dowidar; Aswat guest conductor.
10. Palestinian Medley: Dal’ona, Ya Zarifa at-Tul and Jafra,
featuring two debke dancers, Rana Mroue from Aswat and
Muhammad Al-Shurafah from Al-Juthoor Dance Company.
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Asmar Al loon (The Brown colored beloved) O you tan skinned lover, O my sweet brown one.
O my darling Leila, I'm tired of being tossed around.
My eyes are full of tears and sadness, and I'm afraid to talk about my longing for you,
for someone may prevent us from being together.
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Ulli A’mallak Ayh albi (Tell me what my heart did to you)
Tell me what my heart did to you. My heart that you are ignoring. Tell me who I should bring to read my thoughts to you, and who would listen to my words, my passion, and my love. Where were you hiding all this indifference? Could you tell me what's wrong
between us?
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Il Hilwa Di [That Pretty One]
That pretty one got up to knead at dawn, while the
rooster crowed. Let us go and seek our sustenance.
Daylight appeared on empty pockets, no one is in worse state than the workmen. Patience has become endless.
Toughen up Abou Salah, just depend on the Lord, and let us get going for time is wasting.
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Tayr al wirwar [The Bee Eater (bird)]
Dear Bee Eater, pass by the loved ones, give them my re-gards and let me know how they fare. On the hills of the forgotten sun and the yellow Sycamore leaves, we fly and arise slowly until the world becomes smaller. In the fig orchards, November calls. Often in the silence of the
moon, I hear your voice calling me, I fear my parent may awake one night and the secrets sadly wear out.
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Give me the freedom of the oceans and the seas
Give me the freedom of the storm
Give me the freedom of the very land itself
Give me the freedom of the air and sky
Dame la Libertad (Spanish/Arabic)
Dame la libertad del agua de los mares Dame la libertad de la tormenta
Dame la libertad de la tierra misma Dame la libertad de la tormenta
Dame la libertad del aire Dame la libertad de los pájaros de las marismas
Vagadores de las sendas nunca vistas De noche mi corazón conmigo mismo pelea
Si eso no es mal vivir, que venga Dios y lo vea Al moro me fui a buscarte, en tu casa me metí
Y ahora que estamos juntitos, a ver quién me aparta a mi
Dame la libertad del agua de los mares Dame la libertad de la tormenta
Dame la libertad de la tierra misma Dame la libertad del aire
Dame la libertad de los pájaros de las marismas Vagadores de las sendas nunca vistas
Unos le rezan a Dios y otros le rezan a Alá Y hay quién se quea callao que es su forma de rezar
A ver si llega la hora, a ver si tú te das cuenta Que lo que está bien predio, ni se busca ni se encuentra
Dame la libertad del agua de los mares
Dame la libertad de la tormenta Dame la libertad de la tierra misma
Dame la libertad del aire Dame la libertad de los pájaros de las marismas
