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Night in the medina 3

A  musical journey of initiation in the heart of the riads of Fez – from 20h00

Dar Mokri – 20h00 et 22h00

Al Arabi Ensemble – Morocco

My heart can take on any form:
A meadow for gazelles,
A cloister for monks,
For the idols, sacred ground,
Ka'ba for the circling pilgrim,
The tables of the Torah,
The scrolls of the Quran.
My creed is Love;
Wherever its caravan turns along the way,
That is my belief,
My faith.
Ibn Arabi

This Ensemble takes its inspiration from the repertoire of the zaouïa, the great poets like Ibn Arabi after whom they are named, and others such as Ibn Faridh, Al Shushtari, Al Harraq and the great Rabbi Al Adawiya.  The Ensemble  has evolved over the years and represents the great Arab-Andalus tradition. 

 


Dar Adiyel - 20h00 et 22h00
Terra Maïre - France

Medieval Sacred Songs of the Occitan People

The intertwined voices of Terra-Maïre (Terre-Mère or Motherland in the Oc language) bring up a wealth of essential emotions bordering on the sacred and on sorcery. Medieval sacred songs are sung by the two women, Marie Ange and Béatrice, in Occitan, the language of the troubadors and the Cathars. Mother and daughter are united as much by heritage as by their repertoire drawn from their roots in the south of France (from the Rouergue, the Basque country, the Bearn).
This musical adventure began in 1996 when Béatrice and Marie Ange went together on a pilgrimage to their roots. As of then, mother and daughter - each with her own personality and her own artistic background - began to breathe life back into the secular songs of the land of their ancestors. These songs – prayers, laments, psalms – "chevrotés" or “sung in a quavering voice” by men and women who have gone before them and most of whom have disappeared, make up a unique heritage, a timeless tradition in danger of extinction.
Here, with decided intensity and mastery, their two voices explore this traditional music. It is a music made not of notes, but of faces, of sharing, of sensations, where each song has its own colour, its own emotional and spiritual charge. Little by little, Marie Ange and Beatrice became imbued with these songs, and they started to transmit the initiation or the symbolic role of the melodies, a sacred and archaic emotion.
The deep, incantatory chants, the subtle dialogue between the voices, the sensitive participation of a talented cello player (Claire Menguy), mother and daughter’s twirling dances, Beatrice’s mystical dance… all contribute to giving the performance the intensity of an initiatory experience.


Batha Museum – 21h00
The Song of Songs and a tribute to Mahmoud Darwich by Rodolphe Burger

With:
 Rodolphe Burger, guitar, voice
 Mehdi Haddab, oud
 Rayess Bek, Arabic song
 Ruth Rosenthal, Hebrew song
 Yves Dormoy, electronics, clarinet
 Julien Perraudeau , bass guitar and keyboard

Co-production : Compagnie Rodolphe Burger, Scène Nationale de Sète et du Bassin de Thau, Wart.
With the support of SPEDIDAM.
Production déléguée : Scène Nationale de Sète et du Bassin de Thau.
 

'For lo, the winter is past
the rain is over and gone;
the flowers appear on the earth;
the time of the singing of birds is come,
and the voice of the turtle is heard in our land;
the fig tree putteth forth her green figs,
and the vines with the tender grape give a good smell.
Arise, my love, my fair one, and come away.'
Song of Songs
 

'How much do you wish to place my soul-searching into the beaks of these doves?
So that it disappears over the slopes of the horizon --
so that I know that you are Babel, Egypt and Sham
 Fly away doves,
alight doves.'
Fly away doves
Mahmoud Darwich

Beyond his roots in blues, rock and country, Rodolphe Burger likes to create a musical universe that's constantly expanding: between mutant rock, obsessive circles of melancholia, a jungle of samples, electronics acid or lunar, he opens up expression to new horizons where the avant-garde and tradition can combine. It's into the roots of semitic, biblical and contemporary Arab poetry that this very beautiful musical project leads us.

The encounter between one of the most famous biblical texts attributed to King Solomon and the poetry of the great Palestinian Mahmoud Darwich can amaze, as the poet says here in this extract from his Entretiens sur la poésie, published by Actes Sud:

'As you know, I studied in an Israeli school, and some of the books of the Old Testament were on the Hebrew curriculum. I read the Bible as a literary work, not from a religious or historical point of view. .. Three Old Testament texts are highly poetic, and denote a profound human experience: Job, Ecclesiastes and the Song of Songs ... the Song of Songs is considered by the world's greatest poets to be a masterpiece ...'

And then there is the genesis of this project where, just as in matrouz, the words of the Arabic language and Hebrew cross, as Rodolphe Burger tells us:

First of all there was this telephone call one day (it was 2001) from Alain Bashung. He asked me to help him come up with a ceremony for his wedding to Chloé Mons. It wasn't a case of a religious ceremony, but all the same he wanted it to take place in a church in Audinghen in the Pas-de-Calais. My friend Olivier Cadiot had just taken part in the huge Bible Bayard project, with some other contemporary writers. His magnificent translation of the Song of Songs was finished, and I suggested it to Alain and Chloé.


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13 June 2012 : 20H30


Au coeur de la medina