الفاتنة نيويورك تستمتع بالموسيقي والغناء السوداني

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By JON PARELES
Published: July 23, 2007
For the length of a concert on Sunday afternoon at Central Park SummerStage, Sudan was symbolically made whole. At the Sudanese Music and Dance Festival, dozens of performers shared the stage. They came from northern and southern Sudan, which ended a civil war with a 2005 peace agreement, and Darfur in western Sudan, where violence continues.

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Nicholas Roberts for The New York Times
Omar Ihsas singing at SummerStage in Central Park on Saturday. The performance was part of the Sudanese Music and Dance Festival.

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Nicholas Roberts for The New York Times
Members of Al Balabil performed with other musicians at the concert. The show was taped for Webcast.
Many of the performers are now expatriates, in part because the strict Islamic sharia law now enforced in Sudan has severely restricted music. Muslim women danced onstage with their ######### uncovered, as they cannot do in Sudan. And an American audience, as well as the Sudanese who cheered lyrics in Nubian and Arabic, had a very rare glimpse of a tenacious musical culture. It was videotaped for Webcast and can be seen on StayTunedTV.tv.

There were traditional and new songs, including one about the city of Kajbar, where snipers recently fired on a peaceful protest march. There were songs about the land of Sudan, which is Africa’s largest country in area. There were songs about lost love, about beautiful girls, about mourning and about unity. In mini-sets of a few songs each, singers chose material from across the regions of Sudan. Nearly all of it was dance music.

Sudan’s music is not insular. It takes in Arabic and Egyptian influences from the north; the Nile Music Orchestra, which accompanied the singers and duos, resembled an Egyptian pop orchestra, including strings, saxophones and accordion. (Ancient Nubia overlapped what is now Egypt and Sudan.) From the South, Sudanese music draws on sub-Saharan rhythms — often six-beat, three-against-two patterns — and modal or pentatonic melodies, along with the gleaming lines of Congolese-style electric guitars. Vocal styles arrive from both directions, with Arabic-style glides and quavers — echoed by the strings — or African leaps and exhortations.

There are also touches of Western styles. The strongest music was a kind of Sudanese funk, similar to music from Ethiopia but with Sudanese roots. Different grooves — galloping, handclapping, bouncing, pattering — backed the singers Ali al Sigeed, Atif Anees, Al Balabil, Omar Bannaga, Ahmed Bass, Abd Al Hadi, Osama al Elshekh and Hadeel & Azza. Yousif Elmosley, the music director, also took a turn as singer, remaking a traditional song with new lyrics urging men to support women.

Triplet rhythms moved in syncopated, overlapping patterns as violins introduced melodies and countermelodies, then replied to the vocal lines, along with the saxophones. Omar Bannaga, who updates traditional songs, started with a sustained vocal prelude like a classical Arabic singer, then moved into a galloping, accelerating beat that pulled people upfront to dance. Abd Al Hadi began one song with a tambur, a traditional Nubian lyre, to be joined by the orchestra with an Afro-Cuban lilt. Emmanuel Kembe looked to the West, using a reggae beat and singing part of his songs in English, urging change in Sudan.

The concert featured two-thirds of one of Sudan’s most popular groups: Al Balabil (the Nightingales). They are a trio of sisters, formed in 1971, who continue to record and perform together. Two sisters who now live in the United States, Amal and Hadia Abdelmageed, appeared on Sunday while the third sister remained in Sudan. Their four songs — with high, curving unison vocal lines as asymmetrical as traditional music — were drawn from western, central and southern Sudan, and their mini-set included a costume change, from national to Nubian-style dresses.

The final songs were by Omar Ihsas, who is from Darfur. “We are all here for our homeland, for Sudan,” he said. With vehement, determined phrases, his song urged, “Let’s live together.”

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http://www.nytimes.com/2007/07/23/arts/music/23cent.htm...ner=rssyahoo&emc=rss

صبري
حاول تنزل مقال الاستار ليدجر و مقابلة البي بي سي لو امكن

وبعدبن ما تنوم بالصور زي كل مرة

يبدو انة مهرجان غنائي جميل يا صبري

up

حفل رائع

وفي انتظـــــــــــــــــــــــار المزيد من التفاصيــل..


شكرا لك

Dear Sabri
Thanks for the information

تحياتي الي الجميع

اخص ادارة سنترال بارك لجعل هذا ان يكزن ممكنا اخص الدطتور النشط الذي يتمتع بصدق وحب للسودان

والتحية للموسيقيين والفنانين للاستجابة لنداء ان تكون الاغنية اداة من ادوات الوحدة والحب والسلام

فالتحية للقابضين علي جمر القضية لعكس قضايا الصراع بدارفور والحنوب ولا زال جون قرنق حيا وماساة جكبار اصبحت قضية صعب ان تتجاوزها من دون المساندة والوقفه مع النفس اولاشعبنا يحتاج الي الصدق والتضامن من اجل حل القضايا الشئكه التي اتت بها الجبهة الاسلامية
بعد تجارتها بالدين في اسواق نخاستهم/هن توجهوا الي القبلية والجهوية كورقه بديلة بعد ان فشلت الدولة الدينية بتاعتهم


لقد عبر الاخ اسامة خلف الله عن وجهة نظره بطريقة ديمقراطية ولقد اخذت صور له وهو ينادي باسقاط دولة العسس القبيحة
وبعض الناس تصرفوا ضده بطريقة همجية بل بعضهم اراد تغطية اللافتهبعلم السودان الجريح وكان هذه الكتابة عورا والفعل القبيح ساكتين /ات عنه لزمن طويل لقد اخذت صور بكاميرا الموسيقي ازهري القادم من انجاترا للمشاركة يا ريت لو يساعد بانزال الصور وايضا اخذت لبعض المعترضين علي تعبير اسامة.


لقد ابدع الجميع اتمني من الاخ الموسيقار الموصلي انزال المواد لو كان بالامكان


البلابل قدمن وصلة فنية غاية الروعة اترك التعليق للنقاد والموسيقيين لكن اصبحن في ذهن الجميع بعد هذه الغيبة الطويلة رقص وموسيقي وتعدد فنون

هذا هو السودان اما المسخ الموجود علي الرقعة الجعرافية لا يعبر عننا كشعب متعدد الثقافات والاديان والفنون

Photos by Hatim Salih

مزيدا من الصور يا بحر
مزيد من الغناء

نريد ان نعد الارض للنشيد والموال الجديد
لسودان خالي هوس ديني ودي زي خالي كلسترول لكن اعتقد ان فايرس الهوس الديني اصاب العقل ونريد كوه ضوء تخرجنا لسماوات

المعرفة والاستنارة والحرية

كوستاوي نزل اغنية حقوق الطبع محفوظة

وعلي الشعراء انزال النشيد لعل الدواء عبر القصيدة والاغنية يجدي

http://www.staytunedtv.com/vidplayer.php?vid_id=83