Ibn Rushd Fund for Freedom of Thought

Al Qafila 2018: Konzert in Berlin 29. Juni 2018

Der Kulturkarawane auf der Reise des Lebens entlang der 'Balkanroute'

Der Ibn Rushd Fund für freies Denken lädt Sie zu dem Konzert der Kulturkarawane Al Qafila 2018 ein. Dieses ist das Abschlusskonzert der Qafila al-Hayat, der Reise des Lebens, entlang der sogenannten “Balkan Route”, die von Athen, Griechenland, über Belgrad, Zagreb, Ljubiljana und München verläuft und dann in Berlin, Deutschland mit einem Konzert am 29. Juni endetDieses findet um

20:00 Uhr in der St. Johanniskirche in Berlin-Moabit

statt und steht unter der Schirmherrschaft des Berliner Kultursenators Klaus Lederer. Die Al Qafila wird geleitet von Rebal Alkhodari und ist Gastgeber des Berliner Begegnungschores unter der Leitung von Michael Betzner-Brandt.

 

Die Opens internal link in current windowQafila al-Hayat sendet Künstler und Musiker aus sieben arabischen Ländern auf eine Reise des Lebens, auf der sie den Fußspuren/Spuren der Männer und Frauen folgen, die vor Krieg und Zerstörung in ihrer Heimat im Nahen Osten entlang der sogenannten 'Balkanroute' geflohen sind. Und während sie die Reise ihrer Landsleute nachempfinden, haben diese jungen Leute zugleich eine Mission: dem lokalen Publikum die reiche Kultur zu zeigen, den Schatz, die Menschen auf diesem schicksalhaftesten Weg ihres Lebens in eine neue Zukunft mitbringen.
In ihrem künstlerischen Gepäck haben die Qafilers ihre Stimmen und ihre Musikinstrumente - Oud, Kanun, Violine, Perkussion und Klavier für den ersten Teil der Veranstaltung, benannt nach Opens internal link in current windowZyriab, dem legendären Musiker aus andalusischen Zeiten. Und mit den noch nachhallenden süßen Melodien können die Zuhörerinnen und Zuhörer sich aufmachen zum zweiten Teil der Veranstaltung, der weitere Beispiele arabischer Kunst für sie bereit hält - einem Kulturmarkt benannt nach dem berühmten Opens internal link in current windowUkaz aus vorislamischen Zeiten, auf dem Dichter miteinander um das perfekte Gedicht wetteiferten und miteinander so die arabische Sprache formten. Auf dem Ukaz der Al Qafila sind handgemalte Bilder und typische Holzschnitzereien erhältlich, sowie arabische Gewürze wie Baharat, Camum, Sumak und Hal - und die berühmten Ma'amoul, das Gebäck das seine/die Kekse die hinter/in ihr soliden Äußeres verraten mit einem Duft von Rosenwasser und einer ebenso köstlichen Dattelfüllung - und viele weitere Dinge.

Al Qafila - vergangene und gegenwärtige Fakten:

  • 35 Teilnehmer aus 7 arabischen Ländern: Ägypten, Irak, Jordanien, Libanon, Marokko, Palästina und Syrien – und einige aus ihren neuen Heimaten in Deutschland, Island und Kanada.
  • 13 Frauen
  • 22 Männer
  • 16 Sänger*innen
  • 7 Oud
  • 2 Kanun
  • 1 Violine
  • 1 Piano
  • 1 Percussion
  • 1 Markt, der die traditionellen Künste der verschiedenen arabischen Regionen repräsentiert
  • 1 Kultursenator, der unser Projekt unterstützt
     

29. Juni, 20:00 Uhr
Unter der Schirmherrschaft des Kultursenators Klaus Lederer
Al Qafila unter der Leitung von Rebal Alkhodari
Gastchor: Begegnungschor unter der Leitung von Michael Betzner-Brandt

St Johanniskirche, Alt Moabit 25, 10559 Berlin

(nächster U-Bahnhof: Turmstraße (U9), S-Bahn Bellevue)
Karten (Abendkasse) 5/3 € (Geflüchtete kostenlos)

Bitte melden Sie sich unter diesem Link an: REGISTRATION

 

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Al Qafila ist eine Karavane.

Al Qafila, قافلة A qafila is a caravan: a group of people traveling together, often on a trade expedition. Historically, caravans were used mainly in desert areas and throughout the Silk Road, where traveling in groups aided in defense against bandits as well as helping to improve economies in trade. In historical times, caravans connecting East Asia and Europe often carried luxurious and lucrative goods, such as silks or jewelry.

Caravans could therefore require considerable investment and were a lucrative target for bandits. The profits from a successfully undertaken journey could be enormous, comparable to the later European spice trade. The luxurious goods brought by caravans attracted many rulers along important trade routes to construct caravanserais - roadside stations which supported the flow of commerce, information, and people across the network of trade routes covering Asia, North Africa, and southeastern Europe, especially along the Silk Road.

Caravanserais provided water for human and animal consumption, washing, and ritual ablutions. Sometimes they had elaborate baths. They also kept fodder for animals and had shops for travellers where they could acquire new supplies. In addition, some shops bought goods from the traveling merchants. However, the volume a caravan could transport was limited even by Classical or Medieval standards. For example, a caravan of 500 camels could only transport as much as a third or half of the goods carried by a regular Byzantine merchant sailing ship. Present-day caravans in less-developed areas of the world often still transport important goods through badly passable areas, such as seeds required for agriculture in arid regions. An example are the camel trains traversing the southern edges of the Sahara Desert.

Another very important version of a contemporary caravan is the Al Qafila transporting the cultural goods of exchange, communication, mutual understanding and respect brought into fashion by the Al Qafila project developed by the Syrian singer Rebal Alkhodari and Cora Josting from the Ibn Rushd Fund, and the indispensable team on the ground in the Middle East Muntasir Aladwan, Alaa Altaybe and Qasem Elhato, this year joined in Athens by the renown oud-player Tarek Al Jundi, who sends his special greetings through musical messengers to the caravanserais in Belgrade, Zagreb, Ljubljana, Munich and Berlin.

Al Qafila 2018 caravanserais along the Balkan Route in:

  • Athens, 14-18 June Concert: June 18, 21h Al Qafila led by Rebal Alkhodari and Tareq al-Jundi guest: Martha Frinzila Baumstrasse Center, Servion 8, 10441 Athens
  • Thessaloniki, 19 June
  • Belgrade, 20+21 June Concert: June 21, 19h - Al Qafila led by Rebal Alkhodari CZKD, Paviljon Veljković, Birčaninova 21, 11000 Belgrade
  • Zagreb, 22+23 June June 23, 18h Al Qafilers walk through Zagreb with the Danish artist in residence Maj Horn, Zagreb local artists, refugees and residents of Zagreb; followed by a concert-picnic at 20h in Park Tuškanac with music provided by singers + musicians of Qafila al-Hayat, led by Rebal Alkhodari, and a picnic prepared by Qafila al-Hayat's Arabic chefs and the Kolektiv Sjemenčice at Zelena Akcija kitchen; all organized in collaboration with Lab852 art agency
  • Ljubljana, 24+25 June Musical interventions in the old city
  • Munich, 26 June Musical interventions in the old city
  • Berlin, 27 June to July 3 Concert: June 29, 20h Under the patronage of Cultural Senator Klaus Lederer Al Qafila led by Rebal Alkhodari Guest choir: Begegnungschor led by Michael Betzner-Brandt St Johanniskirche, Alt Moabit 25, 10559 Berlin

 

 

Ziryab, eine Erklärung auf Englisch

Ziryab, زرياب literally means 'Blackbird'.

The artist was well-known for his black skin and versatile tongue, which inspried his nickname. This universal artist lived in Iraq, Northern Africa and Andalusia from 789-857 and was a singer, oud player, composer, and teacher knowledgeable in astronomy, geograühy, meteorology, botanics, cometics, fashion and culinary art, and a father of ten. He came to fame at the court of Abd ar-Rahman II of the Umayyad Dynasty. Abd ar-Rahman II was a great patron of the arts and Ziryab was given both a generous living and a great deal of freedom which he used to revolutionize the court at Córdoba and make it the stylistic capital of its time. Whether introducing new clothes, styles, food, fashion, hygiene products, or music, Ziryab changed al-Andalusian culture forever. The musical contributions of Ziryab alone are staggering - he is said to have improved the oud by adding a fifth pair of strings and using an eagle's beak instead of a wooden pick, and established one of the first schools of Music in Córdoba that was open to both male and female students - laying also the early groundwork for classic Spanish music. Ziryab transcended music and style and became a revolutionary cultural figure in 8th and 9th century Iberia. (abbreviated version of entry in Wikipedia)

 

 

Ukaz, der Marktplatz. Eine Erklärung auf Englisch

 'Ukāz, عكاظ Marketplace and site of fairs and poetry contests in Mecca from 4-7 century.

The time it took place was tied to the pilgrimage season in pre-Islamic times and the location served as a place where warring tribes could come together peacefully to worship and trade together. It was abolished by Mohammed but a similar practice was established during the Haj. For those who'd like to know more, the Dictionary of Islam by Thomas P. Hughes, first published in London in 1885, quotes a Mr Stanley Lane Poole, who is quoted below with his description of the market that is much more eloquent and elaborate than our short explanation based on Wikipedia. There was one place where, above all others, the Kaşeedehs (Qaşīdahs) of the ancient Arabs were recited: this was the 'Okádh ('Ukāz), the Olympia of Arabia, where there was held a great annual fair, to which not merely the merchants of Mekka and the south, but the poet-heroes of all the land resorted. The fair of the 'Okádh was held during the sacred months, - a sort of 'God's Truce', when blood could not be shed without a violation of the ancient customs and faiths of the Bedawees. Thither went the poets of rival clans, who had as often locked spears as hurled rhythmical curses. There was little fear of a bloody ending to the poetic contest, for those heroes who might meet there with enemies or blood-avengers are said to have worn masks or veils, and their poems were recited by a puclic orator at their dictation. That these precautions and the sacredness of the time could not always prevent the ill-feeling evoked by the pointed personalities of rival singers leading to a fray and bloodshed is proved by recorded instances; but such results were uncommon, and as a rule the customs of the time and place were respected. In spite of occasional broils on the spot, and the lasting feuds which these poetic contests must have excited, the fair of 'Okádh was a grand institution. It served as a focus for the literature of all Arabia: everyone with any pretensions of poetic power came, and if he could not himself gain the applause of the assembled people, at least he could form one of the critical audience on whose verdict rested the fame or shame of every poet. The Fair of 'Okádh was a literary congress, without formal judges, but with unbounded influence. It was there that the polished heroes of the desert determined points of grammar and prosody; here the seven Golden Songs were recited, although (alas for the charming legend!) they were not afterwards 'suspended' on the Kaabeh; and here 'a magical language, the language of the Hijáz', was built out of the dialects of Arabia, [...]. "The fair of the 'Okádh was not merely a centre of emulation for Arab poets: it was also an annual review of Bedawee virtues. it was there that the Arab nation once-a-year inspected itself, so to say, and brought forth and criticized its ideals of the noble and the beautiful in life and in poetry. [...]