مدي 1 تي في : الفنان والموسيقي عمر متيوي - 14/12/2024
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00:00This is a production of the Center for Contemporary Art in the Lebanese Capital of the Middle East.
00:05The Center for Contemporary Art in the Lebanese Capital of the Middle East
00:10presents
00:13The Art of the City
00:18With music that rises and falls away from the distractions and the constraints of life,
00:24and with music that travels through time and place,
00:27crossing the geographical borders without a passport,
00:31and in a hot and crowded world,
00:34the world becomes one home with the effect and magic of music.
00:40Welcome!
00:54The Art of the City
01:24The Art of the City
01:55The Art of the City
02:05Music is an integral part of the Moroccan musical heritage
02:10and it is as important as other musical, cultural and spiritual colors.
02:15However, it did not cross the borders of the Moroccan region
02:20and did not reach the ears of the East.
02:23In this context, we will try to focus on the most important reasons
02:27for the absence of musical instruments in the Eastern space.
02:30In order to facilitate the conversation,
02:32I would like to invite someone who works and strives to serve the musical instrument,
02:37the artist and music researcher Omar Mtewi Siomar.
02:41Welcome!
02:43Thank you, Mr. Diahossam, and thank you for the invitation.
02:46I would like to thank you for this live program
02:49for the cultural and artistic field in particular.
02:52Welcome, Mr. Siomar, a dear guest.
02:55I am also happy to have with us the consultant of the program,
02:59Dr. Ahmed Dhafri, Mr. Ahmed.
03:02Welcome!
03:03Thank you, Mr. Diahossam.
03:05So, with all subjectivity, Mr. Siomar,
03:08we will start the conversation simply, Ahmed,
03:11and away from the language of wood.
03:13I mean, you said in media releases
03:16that the musical instrument is a material heritage for humanity
03:20and opens the door to the world.
03:22First, do you see today that the musical instrument
03:26has taken its natural place among other musical and cultural colors?
03:31Perhaps, in practice,
03:35it does not reach from musical connections to the East
03:40or even to Western countries, and it is not enough.
03:45So, it has not taken its place enough
03:48among other musical colors in the Arab East?
03:51Yes, this is in practice,
03:54but in theory, it exists in musical theories
03:58at a high level,
04:01in books, in studies, in research, it exists.
04:06Okay, and this is enough, in your opinion,
04:08to reach the ears and ears of the East, Mr. Siomar?
04:12Yes, it is enough.
04:14I mean, there is a lot of effort
04:17around the content, the way it is published,
04:20and the way it is conveyed to the Western and Eastern listeners
04:26in general,
04:29and for everyone to taste it and its peculiarities.
04:33So, we find that the Western listener
04:36does not like the large group with many instruments
04:41and prefers the small groups
04:44in which each instrument is heard one by one.
04:48And perhaps in the East,
04:50since the East is used to the musical groups
04:54in the Moroccan Andalusian ensembles,
04:58the Eastern ensembles are also an extension
05:02of the Moroccan Andalusian ensembles.
05:05So, we can deal with a larger group
05:09in terms of size.
05:11Okay, to follow up on this, Mr. Siomar,
05:14despite this peculiarity, this beauty,
05:17and despite the history of Andalusian music,
05:21we find that it did not cross the Moroccan borders
05:25and did not reach the Middle East.
05:27I mean, let me go from books and references
05:30to the ears of the East.
05:33Why, in your opinion, despite everything
05:35that Andalusian music is characterized by today?
05:37Perhaps we, as Moroccans,
05:41strive more to connect our culture and music
05:45with the East, especially Egypt,
05:48which is neighboring Tunisia and Libya.
05:52I mean, we must strive and dedicate episodes
05:56so that the East understands.
05:59Of course, because we rely on the main
06:04instrument in Andalusian music,
06:08the ala.
06:10But when we sing,
06:13the Moroccan dialect enters
06:17and when we sing the ala,
06:21the Moroccan dialect enters.
06:27Also, there is what is called taratin,
06:31which are empty words,
06:34but they complete the melody.
06:37And this makes it difficult for the East
06:40to hear a word, then a taratin,
06:43then another word,
06:45so they lose the meaning of the song.
06:48Mr. Omar, it is difficult for the East
06:50to understand this color.
06:52But did this color reach the East
06:55and the East did not accept it,
06:57or it was difficult for them to accept it
06:59and to understand it,
07:01or the musical color did not reach the East?
07:04So, is it a shortcoming from the people
07:07who play music here,
07:09or did the East not accept this color?
07:12So, where is the football today?
07:14In whose stadium?
07:16In both stadiums.
07:18So, in both stadiums.
07:20Let's start with the stadium here.
07:22Let's start from here.
07:24From here, I mean,
07:26the atmosphere here is like in Morocco,
07:29in Baata, with the Ministry of Culture,
07:32or with any ministry in Baata,
07:35it is like in Morocco,
07:37in Osbou Taqafi, in Balad Ma'i, etc.
07:40We have to think about how to present this music to them.
07:43The musical elements.
07:45The musical elements, we have to work on them,
07:48we have to work seriously,
07:50and we have to work on the words,
07:52so that the words are understood,
07:54because the music is a song,
07:56it is based on the human voice,
07:58so the pronunciation, the letters,
08:00the order of the words,
08:02has to be in line with the Arabic taste,
08:05which is fundamentally different
08:08in the way the words are pronounced.
08:12Mr. Dhafri, what do you think?
08:14Yes, I think that
08:17it is related to the promotion
08:23of cultural heritage in every country,
08:26and there were always great means
08:29that contributed to the promotion of cultural heritage,
08:32as well as the artists of every country.
08:35For example, cinema had a big role
08:38in introducing a group of arts.
08:43For example, Egyptian cinema introduced us
08:46to the Eastern musical heritage,
08:48and we became connected through cinema.
08:51Also, through the image,
08:54and the radio production,
08:56as well as the big festivals
08:58that were produced and promoted
09:00in the rest of the countries,
09:02so that in Morocco,
09:04we can get to know
09:06the great Western musical waves.
09:10We have a successful experience in this field.
09:14For example, the experience of popular art,
09:16the people of Ghiwan,
09:18which through cinema,
09:20like Ahmed Al-Maanouni,
09:22Martin Scorsese,
09:24who is a great director,
09:26was able to watch this art,
09:28be impressed by it,
09:30and contribute to its promotion.
09:32So, I think that we have the ability
09:35to do this through a strategic work
09:38at the level of production,
09:40cinema, art, television,
09:42and promotion as well.
09:44Yes, and this is what we can contribute
09:46through promotion.
09:48So, if we have a strong cinema,
09:50and a strong media,
09:52we might be able to reach this.
09:54However, in Morocco,
09:56we are proud of our musical heritage,
09:59and we might be able to enjoy it
10:01in these moments,
10:03so that we have the opportunity
10:05to get to know others,
10:07because there are others
10:09who also have their heritage,
10:11and they were not able to reach us,
10:13even in the Middle East.
10:15In the Middle East, in Syria,
10:17in Iraq, there are many heritages
10:19that were not reached by us.
10:21Yes, and to show the beauty
10:23and magic of Andalusian music,
10:25and musical instruments,
10:27Mr. Omar will play for us
10:29a piece of music,
10:31as well as a song.
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12:05¶¶
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12:26Mr. Ahmed,
12:28when you hear these melodies,
12:30this magic of Andalusian music,
12:32you might say that
12:34Andalusian music today
12:36has a speciality
12:38that is different
12:40from the taste
12:42of the Arab East.
12:44Therefore,
12:46more work should be done
12:48in order to reach
12:50this musical color
12:52of the East,
12:54what do you think?
12:56Yes, and I would like to
12:58remind you, Mr. Hussam,
13:00that there are musical groups
13:02in the Arab East
13:04that have traveled
13:06in the framework of
13:08meetings and festivals
13:10to the Arab East,
13:12especially in Egypt,
13:14and the audience enjoyed
13:16the songs and melodies
13:18and discovered them
13:20for the first time.
13:22More than that,
13:24there was a surprise
13:26when some researchers
13:28in music began to ask
13:30why we don't know
13:32this musical color
13:34of the West,
13:36of Andalusia,
13:38of North Africa.
13:40Therefore,
13:42there is a will,
13:44but there are also
13:46possibilities,
13:48and these possibilities
13:50are not known
13:52to us and the rest of the
13:54other countries.
13:56In response to your words,
13:58Mr. Dhafri,
14:00there is the artist
14:02Abeer Al-Abid,
14:04when she participated
14:06in one of the
14:08Arab competitions,
14:10and she sang the
14:12Shuguri color
14:14in front of the
14:16Judiciary Committee.
14:18The traditional music,
14:20the musical treasures
14:22in Morocco,
14:24must first reach the East
14:26for the East to enjoy,
14:28because the musical ears
14:30have tasted.
14:32Speaking of the artist
14:34Abeer Al-Abid,
14:36she graduated
14:38from the Institute of Music
14:40in Tanja,
14:42and started in Andalusian music,
14:44and she also sang
14:46the Andalusian music,
14:48the Moroccan music,
14:50which is the classical music
14:52that should be
14:54started,
14:56and after that
14:58to other colors.
15:00More than that,
15:02what we should be proud of
15:04in Morocco,
15:06is that in all the
15:08Moroccan music institutes,
15:10when a student joins
15:12the institute and starts
15:14studying the music,
15:16the musical instruments,
15:18all its components,
15:20and this,
15:22of course,
15:24makes it a kind of music
15:26specific to Morocco.
15:28Therefore, it is not necessary
15:30to be famous in different
15:32regions of the world,
15:34because each country has
15:36its own musical heritage,
15:38which must be preserved.
15:40That's right.
15:42We must preserve
15:44this specificity,
15:46as Dr. Dhafri said,
15:48and this specificity
15:50is what will give us the knowledge,
15:52that is, from the language of
15:54the borders,
15:56we will become world famous.
15:58Why? Because the history of
16:00Moroccan Andalusian music
16:02does not intercede for it,
16:04because first, it goes back
16:06to historical eras and centuries
16:08of exploration,
16:10which were created by the greatest thinkers,
16:12Ibn Bajja,
16:16and then came many
16:18Moroccans who created
16:20this art,
16:22and left us a huge
16:24heritage that is
16:26incomparable in the East.
16:28We have schools,
16:30like the school of Fes, the school of Rivat,
16:32the school of Setouan.
16:34Without going into the details,
16:36the group that gathers the truth,
16:38the group that gathers the poems
16:40and the poems
16:42that were used in this music,
16:44is a large literary
16:46collection,
16:48and it is based on
16:50centuries of testimony and thinking.
16:52When we talk
16:54about the mixture
16:56between other music,
16:58Flamenco
17:00can
17:02be compared
17:04to the
17:06northern popular music,
17:08and with the Mouwari.
17:10Mr. Omar, in view of the value
17:12of Andalusian music,
17:14you are working on a large project
17:16recently,
17:18I would like you to give us
17:20a brief introduction
17:22about this project,
17:24about this work,
17:26and the great efforts that are being made in this context.
17:28Thanks to the Moroccan investors,
17:30there is no need to mention their names,
17:32and thanks to the efforts
17:34of the Andalusian Music Association
17:36in Morocco,
17:38which is located in
17:40Al-Dar Al-Bayda,
17:42a new anthology has been created
17:44for classical music,
17:46and it will present to the audience,
17:48the listeners,
17:50the interested parties, and the students,
17:52new tools for work.
17:54So,
17:56in this context,
17:58it is all in one tablet,
18:00in which
18:02everything can be seen.
18:04Everything can be seen.
18:06You have the words,
18:08the poetic content,
18:10which accompanies the music.
18:12It accompanies
18:14the section,
18:16the recitation,
18:18the repetition, and the melody.
18:20It is an easy tool
18:22for memorization, recitation,
18:24and teaching, and even
18:26for enjoyment,
18:28because the techniques,
18:30which were recorded
18:32under the supervision of the great
18:34professor, Mr. Mohamed Brioul,
18:36and in the studio
18:38of the
18:40university in
18:42the city of Fes,
18:44it was a
18:46Moroccan-Moroccan production.
18:48This project is very beautiful,
18:50and these efforts, Mr. Afri.
18:52Yes, so what may be missing
18:54is to take advantage
18:56of all
18:58the means of promotion,
19:00even if it requires
19:02social media networks,
19:04so that this project
19:06which is ambitious can be achieved.
19:08Therefore, I believe
19:10that the music,
19:12the instruments, should not be feared
19:14in Morocco, and Morocco
19:16is still watching
19:18at the global level to defend
19:20this heritage,
19:22even the West,
19:24especially the Spaniards, who
19:26are working
19:28in Morocco to maintain
19:30this musical
19:32human heritage.
19:34Also, perhaps today
19:36the musical ears
19:38have different requirements
19:40than perhaps
19:42what was presented in the past,
19:44Mr. Omar. How can
19:46today work on
19:48perhaps a development or
19:50addition of a touch
19:52to Andalusian music or
19:54to preserve the spirit of work,
19:56the spirit of this heritage?
19:58In my opinion,
20:00we can only thank
20:02our teachers
20:04who brought this music
20:06in any way,
20:08and they worked hard
20:10and perhaps at the expense
20:12of their personal lives to preserve
20:14a heritage that was not
20:16documented in any way.
20:18In the past,
20:20they did not believe in
20:22the use of what is now
20:24called contemporary solfege,
20:26etc.
20:28It was a library
20:30in Beyond.
20:32That's why we say
20:34the teacher, Mr. Ahmed Al-Wutili,
20:36or Mr. Abdelkarim Al-Rais,
20:38or Mr. Mohamed Al-Arabi
20:40Al-Tamsamani,
20:42they dedicated
20:44their lives
20:46to preserving
20:48and then developing
20:50and recording
20:52as well as the national radio.
20:54They had a great favor
20:56in publishing this music
20:58and we all listened to it
21:00between the second and the third
21:02in the evening
21:04at the hour of Qaylula,
21:06but anyway,
21:08we listened to it with passion
21:10and we passed through the old city
21:12and we met all the people
21:14who opened the radio
21:16to listen to that hour
21:18But, Mr. Hossam,
21:20a very important issue
21:22is whether we can
21:24inject new blood
21:26to the level of this art
21:28so that it can adapt
21:30and develop
21:32with the new forms
21:34at the level of receiving
21:36and listening to new instruments
21:38or a group of interventions
21:40between stations
21:42in between
21:44to create another model
21:46Yes, they closed
21:48a couple of big directions
21:50The western direction
21:52is calling us
21:54to preserve the origins
21:56and the old instruments
21:58and the old origins
22:00in Egypt and so on
22:02and to go back
22:04to the Arab Oud
22:06the original Moroccan Oud
22:08the Syrian Oud
22:10even though the east
22:12is waiting for other things
22:14because there is
22:16an inspiration in the west
22:18and the introduction of the western instruments
22:20Mr. Omar, today, the upper generations
22:22you know
22:24that they have a lot of requirements
22:26and they deal with
22:28everything that is technological, everything that is modern
22:30Can we develop
22:32the Andalusian music
22:34or the musical instrument
22:36in the way that it deals with
22:38the old tastes today?
22:40In my opinion,
22:42this is dangerous
22:44If we deal with the styles
22:46that are sung today
22:48in just a few minutes
22:50to make a song
22:52or to make a buzz
22:54it doesn't work with this idea
22:56We can't
22:58bring a Beethoven symphony
23:00and play with it
23:02and this
23:04with the artificial intelligence
23:06we can use
23:08these ways
23:10but not
23:12the development
23:14in the framework of
23:16studying and going back to the past
23:18and reading history
23:20and reading the strong issues
23:22that we have
23:24In my opinion,
23:26we have to go back
23:28to advance
23:30This process is very important
23:32In the end, Mr. Omar
23:34what do you think is the way
23:36to spread the musical instrument
23:38in the Arab world
23:40and in the Arab East
23:42specifically?
23:44Thank God
23:46we won't forget the efforts
23:48that were made
23:50to record
23:52the musical instrument
23:54in the UNESCO
23:56within the international
23:58intangible heritage
24:00as was the case
24:02with the Gnawa art
24:04and the Ahwash
24:06The future goal
24:08is to work on
24:10a strong file
24:12and thank God
24:14everything
24:16required in this file
24:18is there
24:20we have to collect
24:22and be
24:24and I hope
24:26that the Moroccan Academy
24:28will help
24:30with the Ministry of Culture
24:32which is the first ministry
24:34in this work
24:36to add their efforts
24:38with the associations
24:40to record this musical instrument
24:42in UNESCO
24:44after the Hafiz
24:46and it will be an honor
24:48for the Moroccan Academy
24:50to work on this heritage
24:52to develop it
24:54and to deliver it
24:56to the youth
24:58Yes, more
25:00This project is
25:02a preparation
25:04and thinking
25:06and to be sure
25:08that the musical instrument
25:10for Morocco
25:12is a strong support
25:14to spread
25:16the Moroccan culture
25:18worldwide
25:20This is what we wish
25:22and we hope
25:24to keep this musical treasure
25:26this heritage
25:28represented in the Andalusian music
25:30Thank you
25:32very much for coming
25:34with us today
25:36the artist and researcher
25:38Mr. Omar Mtewi
25:40Thank you Mr. Hossam
25:42and I wish to have
25:44a good audience
25:46and to have
25:48Mr. Hossam
25:50and Dr. Dafri
25:52as guests
25:54Thank you
25:56and thank you
25:58Dr. Hossam
26:00Thank you
26:02So, our audience
26:04the dialogue of cultures
26:06and civilizations
26:08is a human necessity
26:10and through the creation
26:12of creative works
26:14the distances between
26:16communities are reduced
26:18and music remains
26:20one of the most effective
26:22communication tools
26:24and a bridge between
26:26cultures and civilizations
26:28Thank you for watching
26:30Goodbye