If you want to preserve your country and your culture, you must protect your language.
Dubai based Egyptian chanter @ZigZagGhanim visits Maya Kesrouany’s @nyuabudhabi Arabic literature class in advance of his performance at #Hekayah tonight.
Language is sacred, but not just because it’s the language of religion, but also because of the role it plays in human identity. Language is a living being.
When languages encounter other languages, they change and morph. @ZigZagGhanim’s music mixes classical language and modern forms (like house music) - question: is that encounter “fusion”?
Lucky students didn’t realize they were going to start their day with an intimate performance by @ZigZagGhanim
Discussion of how @ZigZagGhanim focuses on how he learns all the intricate grammatical and poetic rules of Arabic. He intentionally chooses to sing in Classical Arabic vs MSA, languages of the people, in order to save the language. Question: who is excluded by this?
“We should be holding the stick from the middle.”
If we get stuck in one or the other, we’re not going to move forward.
What does this mean in relation to the UAE as a crossroads, growing at an exponential rate?
Audiences said to ZigZag, they have no idea what he is singing, because he’s using Classical Arabic. Yet, he was honored by the UN for the same reason.
The UN appreciated the fact that he’s contributing to saving the language, even though there are audiences who don’t understand. He shares a concern that there is language being used now that make no sense.
ZigZag uses music as a companion to language. Here’s a funk track with language that Prof. Maya Kesrouany notes is very difficult Arabic. But the accessibility of the music brings the emotion across even to non-Arabic speakers.
Question about role of performance. @ZigZagGhanim talks about how the movement needs to be purposeful - a key to an imagined future.
ZigZag sees his mission as ordained for him. He feels like his purpose is to imagine a future, and to promote and remember an inclusive and loving vision of Islam.
He discussed how even the rulers of the UAE write poetry. Tonight at #Hekayah, @ZigZagGhanim will sing a song using the text of a poem by HH @HHShkMohd bin Rashed. This is probably not how you imagined the music sounding.
His physical appearance also represents his youth. This is a conscious choice to love his beliefs and not see them in conflict with being part of his generation.
Give me the basics and I will learn the details. ZigZag talks about moving to the UAE from Egypt, and is now learning English. Prof Maya Kesrouany talks about how this also applies to learning Arabic where the dialects are almost like unique languages.
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Poet @thedesertpearl Danabelle Gutierrez visits @SabynJaveri’s @NYUAbuDhabi class Real and Imagined: Women’s Writing Across Worlds and discussed her transition from writing novels to poetry.
She also talks about the ongoing conundrum: where is home? She grew up in 3-4 different countries. She started her time as a poetry focusing on Love Poetry. She admits that it was in part a shield to protect herself from being self-revealing.
Discussion of @RebeccaSolnit and the way that female poets often get classified as “confessional”. “Even if I wasn’t revealing elements of myself in my poetry, people were still interpreting it as “confessional.”
Starting the first @NYUAbuDhabi class visit by @RaviColtrane to two classes combined. Music Technology Fundamentals and What is Music?
Ravi answers the first question.
Music is organized sound.
He goes on to talk about his parents @JohnColtrane and Alice Coltrane. They were pioneers in building a home studio in their house when he was a child. John passed away before he could use it, but Alice used it frequently.
He launches quickly into a discussion of sound, and the role that microphone choice profoundly influences his sound. He built his own recording studio in 1999, built around a Tascam early 24 track unit - tape and hard disc based. It changed everything. Then Pro-tools etc entered
In the wake of @NYUAbuDhabi Climate commitment yesterday, listening to the conversation on Creative Placemaking and the tension between cultural tourism vs serving local community via @GCDNet’a Adrian Ellis. Gonna listen to @AlserkalAvenue’s Vilma next
Interesting conversations about what qualifies as quality of live and how the pandemic reshaped behaviors, needs, and wants, patterns of development and redevelopment. And what we need from our art.
As the conversations goes on, focus on values-based work in terms of behavior, and accountability, but also imagination, storytelling, expression and civic responsibility
This morning, @candocodance Artistic Director Charlotte Darbyshire talks to Lee Singh’s Movement and Meaning class in the @NYUAbuDhabi 1st Year Writing Program. Starts with a brief history of the company and how their decision making process functions.
They started with collective leadership. Eventually funding channels led them to more singular leadership. Post-pandemic they are again thinking about collective leadership, and majority led by people with disabilities.
Discussion about creative restrictions. Charlotte reflects that their limitations are primarily financial. The big curatorial consideration is balancing well-known choreographer/ reputation with riskier, lesser known choreographer
Another @NYUAbuDhabi class visit. Sam Anderson from the first year writing program leads a conversation with @cromwellojeda for The Politics of Spectacle
The conversation starts with a discussion of how Cromwell works as a multi-hyphenate artist - musician, graphic designer, and now he opened a burger joint in Dubai as a “side hustle.”
His interest was sparked by design for album covers. So his day job as a designer is directly related to his music life - DIY marketing for punk rock shows, etc.
He started as a designer without a computer, design software.