Originality
Movement

حـــــــــركة
إبــــــــداع

Ebrahim Tatlises Kara uzum
habbesi

Can't help falling in love
with you

Tayseer Nazmi avec Nancy
Ajram
On the request of Nancy Ajram the above
photo was taken at Jerusalem Hotel in Amman one day before
Nancy's first participation in Jerash Festival 2003 in which
Nazmi expressed his anger about the Arab participant cultural
activities and persons.Tayseer Nazmi at that time admired
Nancy Ajram more brave than Arab Intellectuals!
Bir guzal
zaman gecti !!
Dima hem cuk guzal, cunku elza gibi

Olur ? Olmaz?
Oldu?
Buyuk ada nerede ?
sam get savas kadin
get cabuk cabuk avec
hepse sizin
para

Latest
News and Our Sites

مواقع
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To Maryoum Nizhad in Asfahan

Sizin
icin bu sarki benimdan
guzal zaman
gelyor
T.N.

Spanish Music

سلم لي عليه
فيروز

سنة عن سنة
فيروز

جبلية
فيروز

دبكة لبنان
فيروز

كيفك انت
فيروز

يا جبل الشيخ
فيروز

زوروني كل سنة مرة فيروز

شط اسكندرية
فيروز

خطط قدمكم
فيروز

ألف ليلة
فيروز

شو بخاف
فيروز

أحب من الأسماء
فيروز

مش قصة هاي
فيروز

من عز
النوم فيروز

أنت الزائر
رقم:

مش كاين هيك تكون
فيروز

إنشاالله ما بو شيه
فيروز

الوداع
فيروز

دخلك يا امي
فيروز

بذكرك بالخريف
فيروز

رباعي وخماسي نجوى
كرم

دايما معاك دايما فريد
الأطرش

بيتهوفن السيمفونية
التاسعة

الجوبي

Amman's 12th.International
Theatrical Festival

Amman's
12th.International Theatrical Festival

By Tayseer Nazmi

On March 27th. Alfawanis and Al-Warsha  (Jordanian-Egyptian)
theatrical groups, will
inaugurate their 12th. International festival in
Amman which will last up to
5th.April.This joint experience started in 1994 and
was dropped in 2003 because of the war on Iraq.

All the participants are non-government Arab and
international theatres, mostly Europeans . During the last 12
years, the festival built its own unique character in the
region distinguishing itself from the other two main festivals
in Jordan like Jerash
festival and the Jordanian theatre festival.

Instead of focusing on its characteristics the press
focused on (AITF) being funded by foreign money, an issue
which is controversial politically rather than culturally. Up
to its 9th. Round  the (AITF) was funded
by Ford Foundation which was one of 28 American institutions
and foundations that had been banned from practicing any
financial activities abroad by George W. Bush after September
11th. 2001 for being suspected in connection with
terrorism .However, the (AITF) continued and survived by the
least amount of money that reached its budget from Amman the
greatest municipality(15000J.D) and the ministry of
culture(3000J.D) but shrinked its duration accordingly from
more than two weeks to the half of this period.

The controversy built on the foreign funding was
between two political points of view. The first argues that
the (AITF) is pro-normalization with Israel. The second
defending that this dogmatic political view is out of point
since no Israeli group or performance took part through the
last 12 years and Ford Foundation is a cultural American
foundation that has nothing to do with Ford Company nor did it
oblige the (AITF) to apply any pre-condition views in return
of its funding.

Unfortunately ,the controversy neglected the cultural
material indicated in many excellent performances which were
very progressive and creatively done whether they were Arab or
western performances. That's why I adopted a third point of
view depending on the materials of this festival since its
third round when peace treaties were still fresh and
controversial.

From the start I argued that art itself is a human
business and was ever controversial and can't be bounded
whether by geography or by politics and
borders.

On the other hand there were and still
other considerable reasons for a third political and cultural
point of view to be taken into
consideration:

First, both the Jordanian and the Palestinian sides
give priority to the political activities rather than the
cultural ones. While the (AITF) experienced the opposite
priority giving the major focus to the broad minded artistic
and cultural point of view which is based on a wide
humanitarian heritage.

Second, no Israeli
participation was quoted throughout 12 years in the (AITF)
activities. Nor did it explicitly or by implication adopted
any Israeli or pro-Israeli
policy.

Third, on
the contrary, the (AITF) embraced many Palestinian
performances and trainings in its workshops that had been
aided by Swedish foundations.

Forth, the attackers of this experience did not show
genuine interest in theatre art or based their views on what
the content of the (AITF) says or
conveys.

Fifth, I (personally) was confident of my previous
experience in the Kuwaiti
press

(about 3 decades) in how to tackle such
a matter, since we (in the cultural dailies) faced the same
problem after 1979 peace treaties of Camp David. The same
dogmatic political attackers were available and more stronger
at that time in dealing with the whole literary achievements
of the Arab Noble prize winner Najeeb
Mahfouz.

At that time I
argued if other Arab novelists are better than the Arab novel
pioneer Mahfouz, and reached a kind of compromise with them by
writing about Al-Taher Wattar. So, do those who disapprove of
the (AITF) achievements have a better one or an equivalent for
it?

الورد

أسقينيها

أهوى

أنا
الي أستاهل

يالي هواك

امتى
حتعرف

بعض
أغاني الشيخ إمام (طيب الله ثراه)

الحمد لله
خبطنا.

حارتنا.

بلح
ابريم.

المجد.

دعوة
عشا.

احيت امسية موسيقية في بيت
الشًعر * فرقة بلدنا تدمل جراح القلب بقبلة وشمعة
وأغنيات

عمان -
الدستور

في لقاء
حميمي استعاد شيئا من رحيق الغناء الملتزم ، احيت فرقة بلدنا
مساء اول امس ، امسية غنائية في بيت الشعر ، ضمن برنامج ثلاثة
اقلام الثقافي ، اعاد فيها الفنان كمال خليل باغنياته وموسيقاه
المفعمة بالألق والحنين ، روح الحضور الذي ملأ اركان قاعة الحفل
الى زمن الغناء الجميل ، والى معانقة تراب الوطن باغنيات الحب
والفرح الذي لا يتقنه سوى الاحياء وان كانوا محاصرين ببعد
الوطن.

الامسية
التي جاءت على عجل ، وزادت عن الساعة بقليل ، احتضن بها عود كمال
خليل صوته وصوت ابنتيه ، بيسان ولما ، اللتان شاركتا ابيهما
الغناء تارة ، باحساس خلاب ، وتارة باستماع كامل ، حين يؤدي الاب
الغناء منفردا.

وتنوعت
الاغنيات التي قدمتها بلدنا ، فجالت على السنين التي كانت متقدة
فيها ، وقطفت اغنياتها ونوعت في الغناء لرزق ابو زينة وابراهيم
نصرالله وغسان زقطان وزهيرة زقطان.

ووسط ترقب
الحضور بدأ كمال خليل الغناء منفردا "اعتذار خاص للوطن" وتلاها
بالاغنية مشتركة مع بيسان "نعمان" ، ومع اعطى الصوت لبيسان لتنشد
"يابو الزلف" ، قبل ان يقدم منفردا ايضا "عكا.. فرس الموج على شط
البحر".

وقدم
"رحل" المهداة الى احد شعراء الفرقة الراحل خليل زقطان ، ثم "من
مثلك يتقن الحياة بكل هذا الفرح" مع بيسان ولما ، وغنوا "احبك
اكثر يا وطني". وقبل ان يغنوا معا "شايفك حيران وموغوش" قدم كمال
موال "في ناس زي الشجر" ، ووسط تفاعل الجمهور وطلباتهم ، غنت
الفرقة مجتمعه "هلي بزغرودة وقمر ـ غنيله ياحلى المدن ـ احمد على
الموت انتصر ـ ما ازهى شمسك يا وطن" ، بعد موال لكمال "هذا الوطن
للناس واحنا عزوته".

ثم قدمت
الفرقة "عمي يابو الفانوس" ، وختمت الوصلة بنشيد فرقة بلدنا
"علمونا كيف نصنع من ظلام الليل شمعه".

http://www.nazmi.org/Come%20Undone%20%20-Duran%20Duran.m3u
Undone  -Duran
Duran.m3u

http://www.nazmi.org/01 - Track
1.m3u

http://www.nazmi.org/05%20-%20Ron%20y%20Coca%20Cola.m3u
- Ron y Coca Cola.m3u

http://www.nazmi.org/عنبية.m3u

http://www.nazmi.org/ياراعي
القصب.m3u

http://www.nazmi.org/ياحلو
ياقمر.m3u

http://www.nazmi.org/ورقو
الاصفر.m3u

http://www.nazmi.org/Che Givara-natalie
gordone.m3u

http://www.nazmi.org/NEVER%20EVER%20-%20ALL%20SAINTS%20.m3u
EVER - ALL SAINTS .m3u

Folk Dance... A Reflection of The
Day-to-Day Life

Every Yemeni folk dance
has its own flavor. Even if they seem to be similar to one
another, the instruments used and the ground music are
different.
Different kinds of dance prospered in Aden.
The many foreign communities that settled in Aden
helped contribute to the variety of dances in this beautiful
city. It is said that some of the folk dances are a mixture of
Indian, Somali and other flavors.
People of Wadi
Hadhramaut recognize about 46 dances all over the governorate.
The great number of dances may, to some extent, be attributed
to the vastness of the city. Mirikoz, Sahrh Addan, Sharh
Azzarbadi, Al-Hinaa, Baraa, are some of those popular dances
in the city.
However, there are a number of dances which
are no longer practiced, such as those expressing the life and
work of fishermen. These vanished dances date back to the
pre-Islamic period, when Yemenis worshiped many Gods. One of
these dances is called 'Assuban', which, in fact, was the name
of the God of the Sea.
In Shabwa, dances vary as the
topographic relief of the city. Some kinds of dance are
confined to those inhabiting the mountains, while others are
practiced by inhabitants of the coast. Some dances are related
to occasions such as wars. One of these is 'Assakrah.'

Despite the modern aspects of technology, all folk dances
are still performed in the company of primitive instruments
such as drums and pipes.
In Al-Maharah, there are some
dances which are performed by a single dancer and others which
are performed by more than one. Similar dances are performed
elsewhere in the neighborhood but the names are different.

There are many dances in which both men and women together
dance to the beats of drums, especially on happy occasions
such as wedding ceremonies.
All kinds of dance in
Yemen seem to be a
reflection of the day-to-day life or the surroundings. This
may explain the secret of the continuation of these kinds of
dances until the present time.

Learn to dance ?