Aswat Ensemble Founder & Director: Nabila Mango - Zawaya
Aswat Ensemble Founder & Director: Nabila Mango - Zawaya
Aswat Ensemble Founder & Director: Nabila Mango - Zawaya
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<strong>Aswat</strong> <strong>Ensemble</strong><br />
<strong>Founder</strong> & <strong>Director</strong>: <strong>Nabila</strong> <strong>Mango</strong><br />
Photo by Amro Younes/ www.lanterne-rouge.com<br />
ZAWAYA<br />
3150 18th Street, #523<br />
Mail Box #505<br />
San Francisco, CA 94110<br />
(415) 255 -9330<br />
email: zawayasf@gmail.com<br />
www.zawaya.org<br />
Program Design by: Fayeq Oweis - www.oweis.com<br />
28<br />
<strong>Zawaya</strong> Presents<br />
<strong>Aswat</strong>’s Winter Concert<br />
<strong>Founder</strong> & <strong>Director</strong> <strong>Nabila</strong> <strong>Mango</strong><br />
Guest Music <strong>Director</strong> Sari Dowidar<br />
A Night of Arabic Folkloric and<br />
Classical Music<br />
January 24, 2009<br />
Photo By Falak Shawwa/ www.Falakshawwa.net
2<br />
27
Acknowledgments<br />
Al-Juthoor Palestinian Dance Company<br />
Andrew Roth Audio Recording<br />
Arab Cultural and Community Center/ SF Promotion<br />
Arab Film Festival Promotion<br />
Arab Resource and Organizing Center Promotion<br />
Barney Jones Sound Engineer<br />
Bay Area Turkish Community Promotion<br />
Brownpapertickets.com<br />
CASA MANGO Stage Design<br />
Fayeq Oweis Program Design<br />
Georges Lammam <strong>Ensemble</strong> - Promotion<br />
Jidda Morrar Ticket Sales<br />
KPFA Promotion<br />
Lina Del Roble Editing<br />
Marty Atkinson Sound Engineer<br />
Mia Coo Internet Promotion<br />
Michael Carriere Internet Promotion<br />
NAAP-Northern California Promotion<br />
Samer El Bandak Promotion<br />
Skyline College<br />
Summer Harrarah Media<br />
Suzy Abu Nie Media<br />
Parenting on the Peninsula Magazine Promotion<br />
Aurora Theater Promotion<br />
Amro Younes / Lanterne-rouge.com Photography<br />
Maurice Jacobsen Videographer<br />
ZAWAYA and ASWAT<br />
would also like to thank<br />
all the 40 volunteers<br />
without whom this concert would not be possible.<br />
26<br />
<strong>Zawaya</strong> gratefully acknowledges the<br />
following foundations for their<br />
support:<br />
AAPIP - Asian Americans/ Pacific Islanders<br />
in Philanthropy<br />
The William and Flora Hewlett<br />
Foundation<br />
Thanks to our community sponsors<br />
Fuad Daya<br />
Suzanne El-Gamal<br />
Pamela Hodel<br />
Adil Jadallah<br />
Medhat Kamal Family<br />
Ferial Kardosh<br />
Alice Nashashibi<br />
Bahgat Saad Family<br />
Amel Tafsout<br />
Margaret Titus<br />
3
ASWAT <strong>Ensemble</strong> was founded in the<br />
Bay Area in January 2000. <strong>Founder</strong><br />
<strong>Nabila</strong> <strong>Mango</strong>, a Palestinian American<br />
cultural activist, has been selflessly<br />
dedicated to ASWAT since its inception<br />
and, through years of hard work<br />
and tireless dedication, has brought together a family of musical<br />
ambassadors supportive of her deep love of Arabic music. In just<br />
eight years, ASWAT has transformed itself from an informal community<br />
choir to a professional performing group selling out concerts<br />
at each of its biannual performances. Born simply from the<br />
desire to sing, ASWAT has become an anchor in the Bay Area<br />
Arab- American musical scene.<br />
The very act of singing itself preserves musical legacies dating<br />
back thousands of years, and celebrates songs that express the essential<br />
soul of Arab culture. ASWAT’s growth is itself an accomplishment,<br />
taking place in the shadow of hate crimes and mounting<br />
hostilities aimed at Arabs and Muslims following the 9-11 tragedy.<br />
ASWAT has enabled musicians to learn and expand their knowledge<br />
of Arabic classical and folk music. It is a forum in which<br />
both Arab and American musicians alike form bonds with each<br />
other through a shared experience. For the Arab-American AS-<br />
WAT members, the group is an affirmative collective where they<br />
can experience their culture as a living thing that not only brings<br />
them pride but serves as a conduit for inviting others to appreciate<br />
their often maligned and misunderstood heritage.<br />
ASWAT welcomes anyone who is interested or even curious<br />
about Arabic music to learn more by contacting ASWAT at: aswat08@gmail.com<br />
or nabila@sbcglobal.net.<br />
<strong>Nabila</strong> <strong>Mango</strong>: <strong>Founder</strong> and <strong>Director</strong><br />
Jose-Antonio Nasser: Internet Administrator<br />
Danny Fryer and <strong>Nabila</strong> <strong>Mango</strong>: Arabic Language Teachers<br />
4<br />
About the Music and the Instruments<br />
<strong>Aswat</strong> <strong>Ensemble</strong> performs classical and folk songs from<br />
various Arab countries. The ensemble plays traditional musical<br />
instruments such as the qanun (trapezoidal zither), ‘ud<br />
(lute), nay (reed flute), Kaman (violin), riqq/daff<br />
(tambourine), tar and darbukkah/tablah (goblet drum).<br />
The program features a number of songs using different<br />
maqamat (modes). The performance includes muwashshahat,<br />
and songs of major artists in Egypt and Lebanon of the<br />
19th and 20th centuries such as Fairuz, Abdel Halim Hafiz,<br />
Abdel Wahab, Um Kulthum. The ensemble also performs<br />
folk songs from Syria, Palestine, Jordan, Iraq, and the Arabian<br />
Gulf.<br />
GLOSSARY<br />
Debke – line-dancing in Jordan, Lebanon, Palestine and<br />
Syria.<br />
Darbukkah – goblet shape hand drum<br />
Maqam (maqamat) – mode; an Arab system of pitch organization<br />
that allows for the construction of melodies and<br />
improvisation (taqseem) within a scale.<br />
Muwashshah – a “post-classical” singing form not rigidly<br />
governed by the qasidah, originated in the Middle East, and<br />
integrated into the music of Al-Andalus in the 10th Century<br />
Qad Halabi – a folkloric song based on the melody of another<br />
regional folk song, especially Turkish or unknown<br />
older Arabic songs.<br />
Qadim – old (unknown composer)<br />
Qasidah – a poem set to music consisting of 10-25 or more<br />
lines of poetry<br />
Riqq – fish skin tambourine<br />
Taqsim – non-metric improvisation played in a maqam<br />
‘Ud – Arabic style fretless lute<br />
25
Ya Ghusna Naqa<br />
(Oh Pure Branch)<br />
O my beloved,<br />
O you, crowned with gold and pure beauty<br />
like the branch of a tree.<br />
I would give my life to save you from harm,<br />
I swear to you by my mother and father.<br />
You are always in my dreams.<br />
Have pity on me,<br />
you whose love could be the remedy for my heart.<br />
24<br />
ZAWAYA was founded in 2003 by <strong>Nabila</strong> <strong>Mango</strong><br />
and Haya Shawwa Ben Halim to promote the public<br />
expression of Arab art and culture in the Bay<br />
Area. ZAWAYA is the umbrella organization for<br />
ASWAT and its affiliated branches for literary,<br />
educational and visual arts. ASWAT is comprised<br />
of a twenty member orchestra and another twenty<br />
singers. ASWAT provides the only expression of traditional, culturally<br />
rooted Arabic music in the Bay Area. <strong>Zawaya</strong> means<br />
“aspects” or “corners”, suggesting the multiple artistic expressions<br />
to be discovered and enjoyed in Arabic culture. The organization is<br />
working toward a time when it will be able to celebrate all aspects<br />
of Arab heritage including dance, theater, the oral arts including<br />
poetry, recitation and storytelling, calligraphy, needlepoint and photography.<br />
ZAWAYA is a tax- exempt, tax-deductible organization<br />
with 501(C)(3) status.<br />
ZAWAYA’s philosophy is one of pluralism and inclusion. The<br />
board, musicians, singers and audience are diverse both by intention<br />
and because ZAWAYA attracts people from a wide spectrum of<br />
cultural, ethnic and racial backgrounds. In 2009 ZAWAYA will<br />
start a youth ASWAT music ensemble and youth Debke classes in<br />
the Peninsula. ZAWAYA has grown and expanded despite an inhospitable<br />
politically-charged climate. We sincerely welcome your<br />
support, donations and attendance.<br />
ZAWAYA’s Executive Committee:<br />
Duraid Musleh, President<br />
Haya Shawwa Ben Halim, Vice-president<br />
Lucia Volk, Recording Secretary<br />
Board members:<br />
Margaret Coyne<br />
Suzanne El-Gamal<br />
<strong>Nabila</strong> <strong>Mango</strong><br />
Maher Sabry<br />
Shahdan Shazly<br />
For more information, visit our website: www.zawaya.org or<br />
contact us directly at zawayasf@gmail.com<br />
5
ASWAT <strong>Ensemble</strong><br />
Guest Music <strong>Director</strong>: Sari Dowidar<br />
<strong>Founder</strong> & Administrative <strong>Director</strong>:<br />
<strong>Nabila</strong> <strong>Mango</strong><br />
Guest Artist: Mohammed Nejad (Nay)<br />
Instrumentalists:<br />
Mohammad Arrabi (Nay)<br />
Rima Ayyash (Violin)<br />
Hamid Banaei (Violin)<br />
Kristina Ben Arab (‘Oud)<br />
Hector Bezanis (Nay, Mijwiz)<br />
Yates Brown (Bass, Guitar)<br />
Bilel Bouraoui (Qanun)<br />
Loay Dahbour (Percussion)<br />
Hisham Dahud (Trap Set)<br />
Amina Goodyear (Percussion)<br />
Gregory Hamburg (‘Oud)<br />
Sandy Hollister (Percussion)<br />
Barney Jones (Trumpet)<br />
Ala Kallel (‘Oud)<br />
Bashar Kellow (‘Oud)<br />
Sarah Michael (Cello)<br />
Guilnard Moufarrej (Qanun)<br />
Angela Ramsey (Violin)<br />
Husain Resan (Violin)<br />
Faisal Zeidan (Percussion)<br />
6<br />
We Had a Mill<br />
How wonderful were the nights, when love awaited us, and we<br />
met. The night and the roaring waters took us far.<br />
My grandfather used to grind wheat then, and<br />
evening gatherings took place for the neighborhood.<br />
People roamed those courtyards, singing along the roads,<br />
some holding bags, some on carriages.<br />
The days went by, the mill fell silent on the shoulder of the<br />
spring. And now, my grandfather has become the mill of<br />
memories, grinding shadows and sunlight.<br />
23
Sirat Al Hubb<br />
(The Story of Love)<br />
All my life I have been afraid of falling in love, for I know the<br />
stories of tears and sorrows.<br />
Then I met you, and fell for you at first sight. Your eyes invited<br />
me to love you, and now I am in love with you day and night.<br />
Yes, indeed I got hurt and cried, but there is nothing in this<br />
world sweeter than love.<br />
22<br />
ASWAT <strong>Ensemble</strong><br />
Guest Music <strong>Director</strong>: Sari Dowidar<br />
<strong>Founder</strong> & Administrative <strong>Director</strong>:<br />
<strong>Nabila</strong> <strong>Mango</strong><br />
Vocalists:<br />
Muhammad Arrabi<br />
Yasmeen Daifallah<br />
Lina Del Roble<br />
Hala Fauzi<br />
Faten Helal<br />
Christine Horsley<br />
Barney Jones<br />
Marwan Mero<br />
Rana Mroue<br />
Jose-Antonio Nasser<br />
Khaled Nikro<br />
Vitrae Nune<br />
Dilek Seren<br />
Christine Stouffer<br />
Gunsu Temirer<br />
7
Guest Music <strong>Director</strong><br />
Biography<br />
Sari Dowidar<br />
.<br />
Sari Dowidar's musical style is an apt reflection of the<br />
latest trends in Arabic music in the 21 st century – the<br />
product of cross-fertilization between Middle Eastern<br />
and Western sensibilities. Mr. Dowidar's brilliance is<br />
evident in his ability to maintain the integrity of traditional<br />
Arabic music while incorporating non-traditional<br />
elements such as Western harmony and instruments.<br />
The result is a breathtaking musical landscape of<br />
depth, layer, and texture that is at once new and familiar.<br />
Mr. Dowidar is trained in classical Arabic music at the<br />
Academy of Music in Cairo. He has conducted various<br />
university choirs, including that of the American University<br />
in Cairo. He is a notable composer for<br />
such prominent Egyptian opera house singers as Ahmad<br />
Ibrahim, Azza Balba, and Reham Abdal-Hakim. Last<br />
July, Mr. Dowidar conducted the Arabic Music <strong>Ensemble</strong><br />
at the Opera House in Cairo. Prior to his stint with<br />
<strong>Aswat</strong>, he was conductor of the Popular Folkloric Arts<br />
Troupe for the Cairo "Ballone" Theater.<br />
8<br />
The Ginawi Jugs<br />
Beautiful are the Ginawi jugs; there are none like<br />
them. Come and buy a couple.<br />
Do not go on wasting your money on what is not made by<br />
your fellow countrymen. What is wrong with the world,<br />
Zalabawi?<br />
It has gone mad! See the banks trying to take away our<br />
money while we are penniless. If you care about your<br />
fellow countrymen, encourage his craftsmanship, and he<br />
shall progress. Put your hand in his hand, for he is your<br />
countryman. He will not disappoint you. Nothing should<br />
separate you.<br />
21
Message of a<br />
Drowning Man<br />
If you love me, help me leave<br />
you, and recover from you.<br />
Had I known the danger of<br />
love, I would never have loved.<br />
Had I known how deep the sea<br />
was, I would never have taken<br />
sail.<br />
Had I known my end, I would<br />
never have begun. I long for<br />
you.<br />
Teach me how not to, how to<br />
uproot your passion from my<br />
heart, how to resist the tears in<br />
my eyes.<br />
Teach me how love dies and<br />
how longing impales itself. You<br />
made the world poetic for me,<br />
then planted your wounds in<br />
my chest and took away my<br />
resistance.<br />
20<br />
Featured Artists:<br />
Yasmeen Daifallah is from Egypt and is currently writing<br />
her doctoral dissertation in Political Theory , UC Berkeley.<br />
Lina Del Roble is a multicultural arts and media communications<br />
consultant. She sings in languages of the cultures<br />
that have shaped her soul.<br />
Hala Fauzi is from Egypt. She is the founder of<br />
Haladance.com.<br />
Husain Resan - Born in Iraq, Husain Resan is a composer,<br />
musician and a singer. He studied 'oud at age 14 in Bayt al-<br />
Fann in Baghdad and joined its music ensemble at age 16. In<br />
the US, he studied violin at City College. Husain plays 'oud,<br />
violin, and bass, he sings and is presenting his first composition<br />
tonight "Wajhun min al-Madi".<br />
Marwan Mero is from Saudi Arabia . He graduated recently<br />
from San Francisco State University in Business Administration.<br />
Rana Mroue is from Lebanon and is currently writing her<br />
doctoral dissertation in Molecular Biology , UC Berkeley.<br />
Gunsu Temirer is from Turkey . She identifies as a domestic<br />
engineer while preparing for her CPA future career. She<br />
has been in awe of Arabic music and dance since her early<br />
teens.<br />
9
Masters of Ceremony: Christine Stouffer and Jose-Antonio Nasser<br />
MUSIC PROGRAM PART 1<br />
1. Layali Al- Jaz’air composed by Muhammad Abd El-Wahab<br />
(1907-1991). Maqam Nawa Athar. Taqsim on the violin by Angela<br />
Ramsey.<br />
2. Ya Asmar il- lon arranged by Sari Dowidar. Maqams Nahawand<br />
dokah, Rast dokah.<br />
3. Rubbama Lyrics by the Palestinian poet Samih al-Qasem,<br />
composed by Ziad Butros for his sister, the singer Julia Butros.<br />
Unadikum Lyrics by Palestinian poet Tawfiq Zayyad, composed<br />
by Ahmed Kaabour, featuring Yasmeen Daifallah.<br />
4. Il-Hilwa Di composed by Sayyid Darwish (1892-1923) on 4/4<br />
beat. Maqam Hijaz dokah. Arranged by Sari Dowidar, S. Dowidar<br />
on Piano.<br />
5. Tayr al-Wirwar composed by Rahbani Brothers for Fairuz.<br />
Maqam ‘ajamdo, featuring Rana Mroue.<br />
6. Mohammed Fawzi Medley composed by Muhammad Fawzi<br />
(1918-1966). Maqams: Hijaz dokah, Nahawand dokah, Rast Nawa.<br />
Arranged by Sari Dowidar.<br />
7. Ulli a’mallak ayh albi composed by Muhammed Abd<br />
el-Wahab (1907-1991). Maqam Huzam featuring Husain Resan.<br />
8. <strong>Aswat</strong> Youth <strong>Ensemble</strong><br />
1. A’tini in-Nay music for piano by Najib Hankash,<br />
featuring Sacha Moufarrej on piano.<br />
2. Nassam ‘alayna al Hawa text and music by Rahbani<br />
Brothers, featuring Sabine Moufarrej.<br />
3. La Inte Habibi by Rahbani brothers. Arrangement for<br />
piano by Antoine Farah and Najat Farah Nohre, featuring<br />
Karim Abedrabbo on piano.<br />
9. Wajhun min al-Madi, composed by Husain Resan from<br />
<strong>Aswat</strong>. Taqsim on the violin by Husain Resan.<br />
10. Dame la Libertad (Spanish/Arabic) composed by Juan Pene<br />
Lebrijano, featuring Lina Del-Roble, Yates Brown on Guitar.<br />
11. Bil-Ladhi Askara a muwashshah of an unknown composer on<br />
¾ beat. Maqam Bayati dokah. Arrangement by Sari Dowidar.<br />
Taqsim on cello by Sarah Michael.<br />
10<br />
Qadduka al Mayas<br />
(The Slender-waisted Beloved)<br />
O, my beloved and my life,<br />
you are like a lilac branch in full bloom.<br />
You are the prettiest in my eyes.<br />
My beloved and I are in the garden,<br />
with rose bushes surrounding us.<br />
And now I pray, let no envious people come in between,<br />
to separate us.<br />
19
Billadhee Askara<br />
The nights concealed the secret of our passion.<br />
Their darkness could have hidden us forever, but for the<br />
sunlight of new days, when our lucky star fell straight down<br />
with a good omen for a brighter day.<br />
The scent and the tan of your lips sipping from goblets, your<br />
dark and beautiful eyelids, and your teeth like pearls made<br />
magic bow and get closer to your beauty.<br />
18<br />
Masters of Ceremony: Christine Stouffer and Jose-Antonio Nasser<br />
MUSIC PROGRAM PART 2<br />
1. Al Hubb Al- Awwal composed by Muhammad Abd<br />
el-Wahab (1907-1991). Maqam ‘ajamdo. Taqsim on the violin by<br />
Rima Ayyash.<br />
2. Adduka Al Mayyas Qad Halabi of a Turkish folk song on 4/4<br />
beat. Maqam Hijaz Dokah. Music and choral arrangement by Sari<br />
Dowidar, featuring Barney Jones, Taqsim on ‘oud by Bashar<br />
Kellow.<br />
3. Risalah min taht il-maa’ composed by Mohammad al Mawgi<br />
(1923-1995) for Abdel Halim Hafez (1929-1977). Maqam ‘ajam sol,<br />
featuring Marwan Mero.<br />
4. Al-Ghulal Al-Ginawi, taqtuqah by Sayyid Darwish (1892-<br />
1923) on 4/4 beat. Maqam Rast. Arranged by Sari Dowidar.<br />
Taqsim on violin by Husain Resan.<br />
5. Siret el-Hob composed by Baligh Hamdi (1934-1993) for Um<br />
Kulthum (1902-1975), Maqam Rahat Al- Arwah, featuring Gunsu<br />
Temirer. Taqsim on Nay by Hector Bezanis.<br />
6. Taqsim on Percussion by Louay Dahbour.<br />
7. Kan ‘inna Tahun composed by Rahbani brothers for Fairuz.<br />
Maqam Nahawand dokah, featuring Hala Fauzi, Barney Jones on<br />
Trumpet and Yates Brown on Guitar.<br />
8. Ya Ghusnu Naqa a muwashshah on ¾ beat. Maqam Huzam.<br />
Taqsim on ‘oud by Ala Kallel.<br />
9. Taqsim on violin by Sari Dowidar; <strong>Aswat</strong> guest conductor.<br />
10. Palestinian Medley: Dal’ona, Ya Zarifa at-Tul and Jafra,<br />
featuring two debke dancers, Rana Mroue from <strong>Aswat</strong> and<br />
Muhammad Al-Shurafah from Al-Juthoor Dance Company.<br />
11
Asmar Al loon (The Brown colored beloved)<br />
O you tan skinned lover,<br />
O my sweet brown one.<br />
O my darling Leila,<br />
I'm tired of being tossed around.<br />
My eyes are full of tears and sadness,<br />
and I'm afraid to talk about my longing for you,<br />
for someone may prevent us from being together.<br />
12<br />
Ulli A’mallak Ayh albi<br />
(Tell me what my heart did to you)<br />
Tell me what my heart did to you. My heart that you are ignoring.<br />
Tell me who I should bring to read my thoughts to you, and who<br />
would listen to my words, my passion, and my love. Where were<br />
you hiding all this indifference? Could you tell me what's wrong<br />
between us?<br />
17
16<br />
Il Hilwa Di<br />
[That Pretty One]<br />
That pretty one got up to knead at dawn, while the<br />
rooster crowed.<br />
Let us go and seek our sustenance.<br />
Daylight appeared on empty pockets, no one is in<br />
worse state than the workmen.<br />
Patience has become endless.<br />
Toughen up Abou Salah, just depend on the Lord, and<br />
let us get going for time is wasting.<br />
13
Tayr al wirwar<br />
[The Bee Eater (bird)]<br />
Dear Bee Eater, pass by the loved ones, give them my regards<br />
and let me know how they fare. On the hills of the<br />
forgotten sun and the yellow Sycamore leaves, we fly and<br />
arise slowly until the world becomes smaller. In the fig<br />
orchards, November calls. Often in the silence of the<br />
moon, I hear your voice calling me, I fear my parent may<br />
awake one night and the secrets sadly wear out.<br />
14<br />
Dame la Libertad (Spanish/Arabic)<br />
Dame la libertad del agua de los mares<br />
Dame la libertad de la tormenta<br />
Dame la libertad de la tierra misma<br />
Dame la libertad de la tormenta<br />
Dame la libertad del aire<br />
Dame la libertad de los pájaros de las marismas<br />
Vagadores de las sendas nunca vistas<br />
De noche mi corazón conmigo mismo pelea<br />
Si eso no es mal vivir, que venga Dios y lo vea<br />
Al moro me fui a buscarte, en tu casa me metí<br />
Y ahora que estamos juntitos, a ver quién me aparta a mi<br />
Dame la libertad del agua de los mares<br />
Dame la libertad de la tormenta<br />
Dame la libertad de la tierra misma<br />
Dame la libertad del aire<br />
Dame la libertad de los pájaros de las marismas<br />
Vagadores de las sendas nunca vistas<br />
Unos le rezan a Dios y otros le rezan a Alá<br />
Y hay quién se quea callao que es su forma de rezar<br />
A ver si llega la hora, a ver si tú te das cuenta<br />
Que lo que está bien predio, ni se busca ni se encuentra<br />
Dame la libertad del agua de los mares<br />
Dame la libertad de la tormenta<br />
Dame la libertad de la tierra misma<br />
Dame la libertad del aire<br />
Dame la libertad de los pájaros de las marismas<br />
Varaderos de las sendas nunca vistas<br />
Give me the freedom of the oceans and the seas<br />
Give me the freedom of the storm<br />
Give me the freedom of the very land itself<br />
Give me the freedom of the air and sky<br />
15