• Je cherchais des références pour une #chanson, dont j’ai écouté une version contemporaine et « hybride » par un chanteur-artiste dans un concert à #Riace, en #Calabre, organisé par l’association #Radicare...

    Le concert de #Fabrizio_Piepoli s’intitule #Trabtella (une #fusion entre #tarantelle et #trap) :

    Tarabtella è un sound che fonde i beat elettronici contemporanei, il groove della tarantella pugliese, e una vocalità evocativa e melismatica, che vuole indurre al tarab, lo stato di commozione estatica associato tradizionalmente al canto arabo.

    E’ il sound di una nuova scrittura d’autore, un inno all’incontro tra Oriente e Occidente, fra tradizione e contemporaneità, ribadito da una scrittura dei testi che si muove tra il suono “percussivo” del dialetto barese, l’italiano e il potere evocativo della lingua araba.

    Tarabtella è un concerto che affianca a brani originali alcuni brani di tradizione – tra Sud Italia e Medioriente – rivisitati in chiave contemporanea, elettronica, ambient, urbana.
    Tarabtella esplora il senso delle radici, dell’appartenenza, della libertà, seguendo una visione umana e sonora di fusione tra culture, inclusività, convivenza orizzontale.


    ▻https://www.fabriziopiepolimusic.com/?page_id=275

    Je cherchais notamment des informations sur une #chanson qu’il a chantée à la fin et qu’il avait présentée ainsi :

    « #chants d’#amour chantés par des femmes à des hommes sous les #prisons, c’était en réalité un #code_secret, sous le couvert de chansons d’amour il y avait des messages politiques. Ces chansons sont nées sous le mandat anglais et puis la tradition a continué pour résister contre les Israéliens »

    Je cherchais aussi la référence aux #montagnes, car j’avais noté un lien avec la #montagne :
    « À vous qui allumaient le feu, à vous qui arrivez des montagnes j’espère que vous soyez en sécurité là-dedans » (là-dedans = en prison).

    En commentaire, ce que j’ai trouvé, mais si quelqu’un·e a plus d’informations, elles sont bienvenues (surtout en lien avec la question des montagnes, car j’avais pensé peut-être écrire un petit texte pour une rubrique du Journal of Alpine Research | Revue de géographie alpine : ▻https://journals.openedition.org/rga.

    #tarantella

    • Women - Led Resistance Movements in #Palestine

      The melody is like a gentle breeze or lullaby that instantly evokes goosebumps. The lyrics are phonemically Arabic, yet strangely indiscernible. The song is a #tarweedeh, an encoded art form developed by Palestinian women while under British colonialism (1923-1948) to deliver encrypted messages of resistance.

      During the Great Palestinian Revolt of 1936-1939, the British imprisoned an overwhelming number of Palestinian men just for speaking up against their rule. The incarcerations severed communication between revolutionaries and their village-dwelling families, leaving behind many women whose brothers, fathers, husbands, and sons were wrongfully imprisoned. In response, Palestinian women developed and deployed tarweed to secretly transmit instructions for their loved ones’ liberation.

      The encryption in tarweed involves inverting the last letters of words, repeatedly inserting the letter L (“lam” in Arabic), or using poetry, symbol, and analogy with embedded meanings. This process transformed the original message into a gibberish that neither the occupiers nor their translators could comprehend. Women walked along the outside walls of the prisons, delivering messages in serenades that wafted through the barred prison windows. To the occupiers, the sight of Palestinian women strolling and singing folk songs was innocuous, yet it proved instrumental to the prisoner’s escape.

      Tarweed survived the Nakba (“catastrophe”), the 1948 ethnic cleansing of Palestine when at least 700,000 indigenous Palestinians were violently expelled from their homes and homeland by Zionist terrorist militias and Israeli military forces to establish the state of Israel. Today, these folk songs continue—along with traditional food, clothing, storytelling, poetry, and folk dance—as markers of Palestinian identity and preservers of a scattered folk heritage ever-threatened by a system of apartheid and genocide. Palestinians within the occupied territories and in the shatat (“diaspora”) continue to pass on these traditions in the ongoing fight against their erasure.

      Tarweed embodies an aspect of Palestinian history too often belied by Western mainstream narratives: the vital role of women in the struggle. While these narratives depict Palestinian women as voiceless entities in an “inherently patriarchal” society, in reality women-led resistance movements have been an essential part of the more than century-long fight against colonization and oppression in Palestine. The artfulness of tarweed further highlights women’s resourcefulness and ingenuity in this ongoing resistance.

      Although there are multitudinous examples of Palestinian women’s resistance, Fatima Bernawi and Shadia Abu Ghazala are two women who made critical contributions to the struggle for Palestinian liberation. Bernawi, who was born in 1939 and survived the Nakba with her Palestinian mother, reunited with her Nigerian father, who had fought in the 1936 revolt, shortly thereafter. She became an active participant and leader in the struggle for freedom. She is the first woman prisoner listed in the records of the Palestinian women prisoners’ movement. Shadia Abu Gazala was one of the early members of the Popular Front for the Liberation of Palestine, founded in 1967. She led women’s military units and was deeply dedicated to the education of the people, though she died in late 1968. A school named after her in the Gaza strip was the site of an Israeli massacre in December of 2023.

      Women’s Leadership in the First Intifada

      Palestinian women were a cornerstone of the First Intifada (“uprising”) that erupted in December of 1987. After decades of Israeli military occupation and settlement expansion, an Israeli truck collided with a civilian car in Gaza; killing four Palestinians in Gaza proved to be the last straw. Palestinians in Gaza and the West Bank mobilized as a united front, catching Israel off guard. Israel responded with a swift and brutal crackdown. Countless Palestinian men were arrested and imprisoned, deported, or killed. Palestinian women quickly stepped in to fill the void and formed the backbone of the uprising.

      Women from urban cities and traditional villages mobilized as part of the First Intifada, uniting across generations, political factions, and class lines. They organized at the grassroots level, rallying hundreds of thousands of Palestinians in a series of coordinated efforts against the Israeli occupation. Every major Palestinian faction formed a women’s committee disguised as a homemaking group because it was illegal to be a member of any political party or student union. Publicly, they called for knitting, cooking, and sewing meetups, but they were secretly planning the intifada.

      During the First Intifada Palestinian women initiated mass political strikes and spearheaded the first mass boycott against Israel. In defiance of Israel’s restrictive laws, they found innovative ways to provide home-grown alternatives to Israeli goods, setting up backyard gardens and farming cooperatives where women learned to grow their own food. When Israel shut down Palestinian schools and universities to prevent students from mobilizing politically, Palestinian women organized teach-ins in basements and abandoned buildings. They taught themselves medicine and set up teams to provide emergency care to protesters injured by Israeli violence. The civil strikes and coordinated boycotts across Palestine caused such a hit to the economy that Shimon Peres, who was the Foreign Minister at the time, warned the economy was “in danger.”

      Not surprisingly, the Israeli government doubled-down with intimidation and aggression, imposing daily curfews, ordering mass arrests, and giving Israeli soldiers the infamous orders to ‘break the bones’ of Palestinians. They cut phone-lines in Palestinian towns and villages and placed huge swaths of organizers under house arrest. Palestinian women, and the resistance as a whole, found ways around every barrier that Israel put in their way. When Israel outlawed the Palestinian flag, women formed knitting circles and made their own flags to fly at demonstrations. When Palestinian women leaders were placed under house arrest, they baked bread and placed communiques in each loaf, which they distributed across villages, towns, and refugee camps undetected by Israeli forces.

      Women’s efforts throughout the First Intifada captured global attention, forcing Israel’s staunchest ally, the United States, to withhold its financial support in response to Israel’s unwillingness to negotiate. For the first time since 1948, Palestinians brought Israel to its knees and women were front and center in the movement.

      The nonviolent groundswell of resistance we know as the First Intifada was cut off at the knees in 1991 by the secretive signing, at the White House, of the Oslo Accords, an agreement that has worsened the lives of Palestinians to this day. Beyond significantly increasing the number of illegal settlements, the Accords created a corrupt political class known today as the ‘Palestinian Authority’ that actively collaborates with the Israeli occupation to crush resistance.

      Sumud as a Political Practice

      To truly understand Palestinian women’s tireless fight for thawabit (their “inviolable rights”), it helps to invoke the cultural value of sumud, or steadfastness. Sumud emerged in full force following the June 1967 war, or Naksa (“setback” or “defeat”), when Israel annexed and occupied the West Bank, East Jerusalem, and Gaza, more than tripling its size. Since then, sumud has persisted as an ideological theme and political strategy for surviving Israel’s colonization, military occupation, and hegemony.

      All of the active and organized resistance efforts enacted by Palestinians over the years are built upon the foundation of sumud. It is resistance at the psychological level, akin to revolutionary optimism inasmuch as it offers an antidote to nihilism at the hands of an oppressive government and ignites faith in the power of the people to usher in the society they deserve. Sumud has sustained Palestinians in the face of the severe policies and tactics that Israel has relentlessly employed in an effort to “break” them.

      From massacres, expulsion, dispossession, and genocidal wars, to the surveillance and control tactics of occupation—checkpoints, barriers, curfews, closed military zones, settlements, “settler-only” roads, watchtowers, gates, nightly raids, and mass arrests; from denying Palestinians access to water, healthcare, and education; to burning olive trees and bulldozing homes, Israel’s goal has been to make the daily lives of Palestinians unbearable, and ultimately, to force them to leave their homes in search of a better life elsewhere. Sumud declares to the occupier: You may break our bones, but you cannot break our spirit!

      Sumud encompasses a range of everyday acts by which Palestinians fight for their right to exist in their homeland, stay rooted in their culture, and maintain some semblance of normal life under conditions that are anything but normal.

      The spirit of sumud is on stark display in the enduring commitment of women in the Palestinian territories to creating and nurturing life, even as they are forced to live like prisoners under deplorable conditions. For a society that has faced the threat of extinction for over 75 years, the choice to have and care for children is deeply entwined with survival and solidarity. Performing domestic roles and caring for children in the Palestinian territories, which have been occupied piece by piece since 1948, requires unthinkable levels of willpower, determination, and fortitude. As one journalist Meryem Ilayda Atlas put it, the woman who bathes her two children in the rubble of a building in Gaza is serving a public role.

      Unfortunately, this women’s struggle has been weaponized by Israel and maligned by narrow, decontextualized notions of “first world” bourgeois feminism that are the handmaid of capitalism. For example, in an article titled “Why are so many of the victims in Gaza Children?” the Economist attributed the high death toll of children in Gaza since October 7th to the high fertility rate. The article went on to link high fertility rates to poverty and low levels of education (while Gaza does have a high poverty rate, it also has a high rate of literacy among women) while never mentioning the actions of Israel or the Israeli Occupying Forces. This narrative turns a blind eye to the Gazan women doctors caring for babies who could not survive on life support after the hospital’s electricity was cut off, or the Gazan women journalists calmly broadcasting to the world in English amid terrorized shrieks, or the Gazan women trying their best to go on in the ruins because they have no other choice.

      In the village of Nabi Saleh in the central occupied West Bank, red-tiled roofs of illegal Israeli settlement houses dot the adjacent hilltop. The vast majority of the land in this Area C village is under Israeli military control. Between 2009 and 2016, the villagers organized demonstrations against Israeli settler expropriation of village land and water that were met with fierce and sometimes deadly repression by the Israeli Army.

      “Zania” a young Palestinian mother from Nabi Saleh recounts the time she had to throw her two-year-old daughter out a second-floor window and into the safety of a neighbor’s arms when the Israeli army fired a tear gas canister into her home. For Zania and other Palestinian women, sumud is embodied in the determination to maintain a physical presence on the land—knowing that if they leave, they may never be able to return by their jailers, the Israelis—and the ability to adapt to adverse and ever-worsening conditions:

      “The important thing is to stay in our house, in front of the Israeli soldiers and the occupation,” Zania says. “If we stay in our house it says ‘we are not afraid of your guns.’ We stay in our house, we live a normal life, and ah, this is our fortitude under occupation, this is the important thing.”

      At its core, sumud is existence as resistance. More than a mindset, it is a duty to fulfill the commitment to liberation. It is not blind hope that change will one day come, but an active awareness that only through struggle and solidarity can Palestinian lives be transformed. And Palestinian women have been its torch-bearers. As the intense U.S.-backed Israeli brutality wages on in Gaza, killing tens of thousands of people and displacing millions from their homes, sumud and tarweed remind us that the Palestinian resistance has a long history. Palestinians have resisted imperialist genocide in countless and creative ways and will continue to do so.

      ▻https://breakingthechainsmag.org/women-led-resistance-movements-in-palestine
      #résistance #femmes

    • Reviving Palestinian Tarweedeh in Modern Music

      Preserving Heritage through Tarweedeh in Palestinian Resistance Songs

      Imagine hearing “perlalalafct” and trying to determine its meaning. You might guess “Pearls,” “Pre-effect,” “Blanket,” or “Perfect.” This illustrates the confusion caused by mispronunciation. If you’re learning English and struggle with “perfect,” hearing “perlalalafct” makes understanding impossible. This is similar to the Palestinian Tarweedeh, or “Mwalalala,” where Palestinian women in the late 19th century inserted “lalalala” into Arabic words to confuse British colonizers, despite their knowledge of Arabic.

      Palestinian Tarweedeh, or “Mwalalala,” was developed by Palestinian women in the late nineteenth century. It involves pronouncing Arabic in the Palestinian dialect and inserting “lalalala” in the middle of words, making it harder for British colonizers to comprehend conversations, despite their potential knowledge of Arabic.

      Today, Tarweedeh persists in Palestinian culture, particularly in traditional songs performed at weddings and gatherings, often by female artists. Influenced by the current situation of Israeli settlements and ongoing conflicts, many Arab artists have revived Tarweedeh in their music as a symbol of resistance against occupation. This resurgence has gained popularity, making Tarweedeh a notable trend once again.

      One recent example is Dana Salah’s song “Ya Talie’en,” which combines Arabic poetry with two traditional Palestinian Tarweedeh songs—one originally by Reem Albanna and a traditional song from the late nineteenth century named “Shamali,” meaning “the north.” This blend of languages and musical styles distinguishes Dana’s song, making it both trendy and culturally significant, enhanced by a richly symbolic music video.

      Dana Salah, a Jordanian-Palestinian youth artist born and raised in Amman, continued her education at Duke University and began producing her music in New York City. She embodies hope and solidarity through her music, bringing attention to the enduring cultural heritage of Tarweedeh.X$
      Palestinian Tarweedeh in Modern Resistance Music: A Cultural Revival

      The integration of Tarweedeh into modern resistance music represents both a cultural resurgence and a potent form of political expression. As demonstrated in Asalah Nasri’s latest video clip for “The Natives,” this ancient Palestinian musical style serves as a powerful medium for conveying messages of resistance, pride, and solidarity. This revival has gained popularity because it has touched on some emotional points that were rarely touched before.

      The use of traditional music forms like Tarweedeh in resistance art also attracts international attention, educating global audiences about Palestinian culture and struggles, thereby fostering empathy and support worldwide. Artists like Dana Salah bridge local traditions with global platforms, amplifying the Palestinian voice on the world stage.

      The role of Palestinian Tarweedeh in modern resistance music underscores the enduring power of cultural heritage. By blending ancient art forms with contemporary issues, artists create a layered narrative that resonates deeply with local and global audiences alike. This cultural revival honors the past while empowering present and future generations in their ongoing pursuit of justice and peace.
      “Ya Talaeen”: A Poetic Journey of Nostalgia and Hope

      The song “Ya Talaeen” by Dana Salah blends touching Arabic verses with a heartfelt English chorus, telling a story full of hope, strength, and longing. It came out during a time of regional turmoil and political unrest, capturing the desire of a community for freedom and to go back to their homeland. and draws upon vivid poetic imagery deeply entrenched in Middle Eastern culture. References to mountains, fire, and gazelles evoke themes of strength and passion, resonating with historical narratives of endurance and struggle. These symbolic motifs not only affirm a cultural identity but also foster a sense of unity among listeners through shared heritage.
      Themes of Longing and Resistance

      The lyrics of the song poignantly articulate a profound longing for liberation and justice. Lines such as “From the river to the sea, my people tasted freedom” vividly paint a collective desire to overcome oppression and reclaim sovereignty. The refrain “Hold on, just a little longer, we’re going home” underscores a message of resilience and optimism amidst adversity, striking a chord with those who empathize with struggles for self-determination and dignity.

      During a period marked by heightened political tensions and social movements advocating for human rights, “Ya Talaeen” serves as both a reflection of current realities and a call for change. It embodies the aspirations of a community determined to carve out a better future, urging listeners to envision and actively pursue progress. The song’s release against the backdrop of global movements for justice amplifies its relevance and impact.

      Musically, “Ya Talaeen” seamlessly blends traditional Arabic elements with contemporary influences, creating a melodic tapestry that enhances its lyrical poignancy. The interplay of Arabic verses with an English chorus not only broadens its accessibility but also bridges cultural divides, allowing the song to resonate globally while preserving authenticity. This musical fusion amplifies its emotional resonance, reinforcing themes of unity and solidarity across borders. and that also reflected on the artist herself as an Arab American.
      Cultural Revival through Tarweedeh and its significance

      The incorporation of the Palestinian Tarweedeh style into “Ya Talaeen” signifies a profound cultural revival within modern resistance music. Its adaptation in contemporary music by artists like Dana Salah not only preserves Palestinian heritage but also connects today’s war with a legacy of resilience against oppression. Tarweedeh’s adaptation of “Ya Talaeen” serves multiple purposes, including the coding communication of Tarweedeh and the emotional resonance through The traditional melodies and rhythms of Tarweedeh evoke nostalgia and strengthen emotional bonds within the community, fostering solidarity and unity among listeners. including the symbolic imagery Dana Salah’s accompanying visuals in the song’s video further amplify its message, featuring poignant scenes such as olive trees, Al-Aqsa mosque, and children with rocks against the armor of occupiers, reinforcing its historical and cultural significance. and historical references that resonate with the enduring struggle for justice.
      Contemporary Relevance and Global Impact

      In current resistance movements, music serves as a powerful medium for raising awareness and mobilizing support. The incorporation of Tarweedeh into “Ya Talaeen” educates global audiences about Palestinian culture and its ongoing struggles, fostering international empathy and support. Artists like Dana Salah bridge local traditions with global platforms, amplifying Palestinian voices on the world stage.
      Tarweedeh as a Tool of Resistance

      “Ya Talaeen” outperforms its role as a song; it represents a history of hope, resilience, and cultural pride. Through its lyrics, mixing melodies, and the integration of Tarweedeh, the song encapsulates the aspirations and struggles of a people striving for freedom and justice. Dana Salah’s artistic expression through “Ya Talaeen” not only honors Palestinian heritage but also empowers present and future generations in their quest for justice and peace. It stands as a testament to music’s transformative power to inspire change and unite communities in pursuit of a shared future.

      The integration of Tarweedeh into modern resistance music not only preserves Palestinian cultural heritage but also serves as a potent form of political expression. Artists like Dana Salah and Asalah Nasri continue to bridge local traditions with global platforms, amplifying the Palestinian voice and garnering international support for the Palestinian cause.

      This cultural revival through Tarweedeh underscores the enduring power of heritage in the ongoing struggle for justice and peace in Palestine.

      ▻https://www.youtube.com/watch?v=cmHm8zju41E&t=1s

      ▻https://www.arabamerica.com/reviving-palestinian-tarweedeh-in-modern-music

      –-> References to mountains, fire, and gazelles evoke themes of strength and passion, resonating with historical narratives of endurance and struggle. These symbolic motifs not only affirm a cultural identity but also foster a sense of unity among listeners through shared heritage.

      #montagne #feu #gazelles

  • #MBL (#Musicisti_Basso_Lazio)

    #MBL (#Musicisti_Basso_Lazio) è il nome sia di un progetto culturale che di un gruppo folk italiano, fondato dal musicista e cantautore #Benedetto_Vecchio, nel 2000. Da oltre quindici anni il gruppo è impegnato nel recupero e promozione della specifica identità regionale del sud Lazio, grazie alla sua attività di ricerca storica e folclorica sia nel settore della musica che della danza. Leggi altro...


    ▻http://www.musicistibassolazio.it

    #musique #folk #musique_populaire #Italie #Lazio #Latium #pizzica #tarantelle #tarantella

    ▻https://www.youtube.com/watch?v=9wQk9Wfchks