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من عز النوم فيروز 

أنت الزائر رقم:

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

By Tayseer Nazmi

       On March 27^th. Alfawanis and Al-Warsha  (Jordanian-Egyptian) theatrical groups, will inaugurate their 12^th. International festival in Amman which will last up to 5^th.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 9^th. 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 11^th. 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.

    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

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 ?