Emily Nasrallah, 86

Emily Nasrallah, Lebanese Novelist and Activist, Dies at 86
by Sam Roberts, The New York Times, March 16, 2018

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Assia Djebar, 78

Assia Djebar, Novelist Who Wrote About Oppression of Arab Women, Dies at 78
by Maïa de La Baume, The New York Times, February 13, 2015

Sabah, 87

Sabah, Lebanese Singer and Actress, Dies at 87
by William Yardley, The New York Times, November 28, 2014

Emerging arts leadership in Qatar

Sheikha al-Mayassa Hamad bin Khalifa al-Thani of Qatar Museums
by Carol Vogel, The New York Times, December 26, 2013

Khalid Albaih: Cartoonist of the Arab Spring

Cartoonist’s Pen Leaves Mark Across Arab World
by Ismai'il Kushkush, The New York Times, June 7, 2013

Mira Awad's "Arabic Fusion"

A Rainbow of Fragility
Mira Awad at the Metropolitan Room
by Stephen Holden, The New York Times, June 5, 2013

"Singing Sexuality" brings multimedia diversity education to Palestinian youth

Sexuality and gender taboos challenged by Haifa project
by Jillian Kestler-D'Amours, The Electronic Intifada, May 24, 2013

The heroic song of Emel Mathlouthi: World Nomads Tunisia

Tunisian vocalist-guitarist Emel Mathlouthi (photo by Ghaith Ghoufa)

Emel Mathlouthi--exalted voice of the Arab Spring--concluded the live performance offerings of French Institute Alliance Française's World Nomads Tunisia last evening, accompanied by pianist Emmanuel Trouvé and guitarist Karim Attoumane. (The festival's film and visual arts presentations continue. See here.) Mathlouthi, who spent several years abroad in France where she could freely develop her career, is revered by progressive forces in her homeland. Her "Kelmti Horra" ("My Word is Free"), a song from 2007, became a major anthem of Tunisia's uprising. At Florence Gould Hall, she took a full and mesmerized audience on a ninety-minute tour through a spectrum of emotions--from alienated despair to thoughtful hope and even giddiness.

Mathlouthi is quite a mix: bare feet not quite squaring with the resplendence of her tomato-red party dress; pure, mellifluous vocals channeling anger and heartbreak not quite aligning with the impulse to sprinkle a couple of songs with Stevie Nicks spins. "Ethnia Twila," or "The Road is Long"--dedicated to "all those courageous people who fought for dignity and freedom"--veers from ballad to power ballad to New Age, Celtic-tinged folk reminiscent of Ireland's Máire Ní Bhraonáin (the voice of Clannad) and Canada's Loreena McKennitt.

Her gorgeous voice, soaring over the poetic, sometimes spooky work of Trouvé and Attoumane, often strongly evokes Björk. I noted that Björk resemblance and, later in the evening, chuckled to myself when, with an expression of ruefulness and yearning, Mathlouthi actually pulled Björk's "All Is Full of Love" from up her sleeve. Oh, and there was a Canadian angle, too, both unexpected and, curiously, expected. Can you guess? Yes, Leonard Cohen's "Hallelujah," little more than dutiful in execution yet well-received.

Mathlouthi also doesn't need the reverb effects she occasionally applies to her songs. From art song to full-throated protest, her straight-ahead singing is quite enough.

It's regretable that FI:AF did not make provision for at least one or two more shows with this inspiring artist. But let's hope that the audience response--warm and loving--will encourage them to bring her back. While she need not have worried that her show would suffer without the two musicians who were unable to secure visas in time, it would be grand to have her return someday, able to share her songs in the way that, to her taste, represents them best.

Download Mathlouthi's Kelmti Horra CD here.

Connect with FI:AF here.

Cirène: Multimedia Fairy Tales

The Metropolitan Museum of Art presents

Cirène: Multimedia Fairy Tales

Saturday, June 16, 3pm

Violinist Colin Jacobsen, cellist Eric Jacobsen, dancer Maile Okamura, percussionist Shane Shanahan, and painter/animator Kevork Mourad reimagine timeless tales from the Arab lands and craft them into presentations of dance, music, live painting, and animation. Magical images are projected behind the performers and spring to life in unexpected ways.

This concert is presented in celebration of the opening of the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.

Click here for more information and tickets.

The Grace Rainey Rogers Auditorium
Metropolitan Museum of Art
Fifth Avenue at 82nd Street, Manhattan
(directions)

The Arab contribution to Western music

The Metropolitan Museum of Art

presents

The Arab Contribution to Western Music

Thursday, February 9, 6pm

Without the brilliant, sophisticated music that informed the courts of Cairo, Baghdad, and Damascus, European music as we know it today would be quite different. Arabic music traveled west with Jewish troubadours and took root in Moorish Spain, lecturer and author Nimet Habachy will explain during this event. Refreshments will be served.

With musical examples from both worlds performed live by Simon Shaheen, the renowned violinist and oud player, we trace the influence of music of the Arab world to Mozart's Magic Flute and The Abduction from the Seraglio.

 Tickets: $25 (unreserved seating)

The Bonnie J. Sacerdote Lecture Hall

Uris Center for Education

The Metropolitan Museum of Art

Fifth Avenue at 82nd Street, Manhattan

(directions)

Anthem for revolution

Out of Protest, an Anthem for Egypt's Revolution
by Kristen McTighe, The New York Times, December 7, 2011

Suraya Hilal honors Arab dance traditions

Fiery Arabic dance transcends cultural divides
by Miki Perkins, theage.com.au, September 28, 2011

Arab spring: Art heralds revolution

Arab Art as an Early Indicator of Revolution
by Aida Alami, The New York Times, October 5, 2011