Posts
Its been some weeks since I've been back in the country. School has started back, and time has ran away from me. Egypt was the adventure of a lifetime...a culturally shocking experience that this southern girl will always keep close to her heart. I do plan on coming back to Egypt, and when I do, I'll revisit this blog. But for now, I will leave with some of the last remaining photos and videos that I haven't posted yet.
Ma'a Salam ya Misr.
Sharm el Sheikh
Nile Cruise and Arabic Music Ensemble Concert Photos
Zaar Concert
Showing posts with label study abroad. Show all posts
Showing posts with label study abroad. Show all posts
Wednesday, January 21, 2009
Sunday, December 21, 2008
Updates and coming home
The last couple of days in Cairo have been full of amazing adventures...and then the internet cut out of the entire Middle East. Really. A ship off the coast of Alexandria weighed anchor and cut the main DSL line giving Egypt, the Sudan, and some other countries internet. The entire country of Egypt was without internet for 48 hours.
I have lots of pictures and stories to post, but in my last few days here in Cairo, I am trying to save my moments. I should have the following posted before the New Year when I am back in the States with a fast internet connection:
- Pictures from Sharm El Sheikh
- Pictures from Luxor, Aswan, and everthing in between
- Pictures and video! from the traditional Zaar I saw in Cairo
- Write up of the Sufi Dance troupe of Egypt (no video at the performance hall)
- Write up of my experiences from my sufi dance lesson with Said Tanoura
Youtube videos of the following:
- Sufi dance show with both Sufi and Istaradi styles at al Azhar park in Islamic Cairo
- Folkloric troupe I saw in Giza - Saiidi/ beledi style
- AUC folkloric troupe - Saidi + tahtib + fellahi styles at AUC campus
- Zaar performance from Makaan cultural center off Saad Zaghlul in Cairo
- 3 separate performances of Randa Kamel on the Nile Maxim, pretty good lighting!
- Video my myself being taught sufi dance, you wouldn't beleive how heavy those skirts are!
I have lots of pictures and stories to post, but in my last few days here in Cairo, I am trying to save my moments. I should have the following posted before the New Year when I am back in the States with a fast internet connection:
- Pictures from Sharm El Sheikh
- Pictures from Luxor, Aswan, and everthing in between
- Pictures and video! from the traditional Zaar I saw in Cairo
- Write up of the Sufi Dance troupe of Egypt (no video at the performance hall)
- Write up of my experiences from my sufi dance lesson with Said Tanoura
Youtube videos of the following:
- Sufi dance show with both Sufi and Istaradi styles at al Azhar park in Islamic Cairo
- Folkloric troupe I saw in Giza - Saiidi/ beledi style
- AUC folkloric troupe - Saidi + tahtib + fellahi styles at AUC campus
- Zaar performance from Makaan cultural center off Saad Zaghlul in Cairo
- 3 separate performances of Randa Kamel on the Nile Maxim, pretty good lighting!
- Video my myself being taught sufi dance, you wouldn't beleive how heavy those skirts are!
Wednesday, November 26, 2008
Arabic Percussion
Last Monday two guests artists, Met’hat Mamdua and Khaled Abu Higazzi came to my Arabic music theory class class to give a lecture on Arabic percussive instruments. Mr. Met’hat is a very accomplished tabla player, who plays for Arabic singers all around Egypt - including Amr Diab! He also is involved in a Turkish band that recently played at the Sakia el Sawy this month. Mr. Khaled, who gave most of the lecture, specializes in the riqq and also performs regularly with ensembles and Arabic singers. After the lecture, which is summarized below, both musicians accompanied the class for rehearsal for our concert next Thursday.
Khaled started off the lecture by introducing the main percussive instruments of Arabic music. There are three main instruments, the tabla, the duff, and the riqq. The tabla is a goblet shaped hand drum that can come in up to four different sizes. The largest size is called a dahola, and the smallest is played by acclaimed percussionist Raquy Danziger. The standard Egyptian tabla weighs about six to seven kilos. The drum head, or the ra’ima as it is referred to, used to be made of fish skin, but now is made from synthetic materials. The reason for this change was the constant hassle of retuning the fish skin head as the material would stretch. Drummers would have to heat up their drums on heating pads to make sure the drum head would not stretch to be out of tune. Now, with the synthetic head, drummers do not have to have that hassle or worry about temperature change as much as in the past.
Players lay the tabla on their lap with the head of the drum facing in towards the opposite knee. The doum, or the strong beat, is normally played with the right hand giving an even base tone. The tak, or the weak beat, can be played by both the left or the right hand and in many different styles that include the normal tak sound on the very edge of the drum, or within rolls, pops, and snaps. The third type of sound is ‘es’. Es is the filling of silence between the doums and teks, or the heartbeat of a darb (darb is Arabic for rhythm).
The next instrument Khaled introduced was the riqq. The riqq, or the Arabic tambourine as it is sometimes called, is a small frame drum played upright with two hands. The doum and tek are opposite of the tabla as the doum is played on the edge of the drum frame, and the tek is caught in the middle of the drum. The es is mostly emphasized by the galagel, the five groups of four sets of cymbals set around the frame of the riqq. Like the tabla, the riqq used to have a ra\ima made of fish skin, but now it is synthetic. Another interesting feature of the riqq is that its frame is tunable. Players may tune a riqq higher or lower for different sounds throughout a piece.
The third instrument introduced was the duff. The duff is a large frame drum that keeps the heart beat of a darb. Duff players do not play ‘es’, rather they play the doums and teks of a darb whilst the tabla and riqq players elaborate. The duff is mostly recognized with the zeffa, a wedding procession in which a distinct darb is played for the bride and groom as they walk together through family and friends being presented as newly weds. A cousin to the duff, the maz’har is a duff with cymbals. The maz’har is slightly smaller than the duff, but both are considerably bigger than the riqq.
Arabic percussive sections change according to the type of ensemble. The two most popular ensembles are the takht and the firqa. A takht is a small chamber ensemble that consists of a qanoon (similar to a zither), kamanga (violin), ney (wind instrument), oud (the grandfather to the lute), and percussion instrument, most often the riqq. In these ensembles and smaller firqas the riqq is the lead percussion. When in larger ensembles, such as a firqa, the tabla becomes the lead instrument for the percussion section. In addition to this, the riqq is usually featured in pieces with longer darbs, while tablas are mainly used for shorter darbs and solos.
Khaled started off the lecture by introducing the main percussive instruments of Arabic music. There are three main instruments, the tabla, the duff, and the riqq. The tabla is a goblet shaped hand drum that can come in up to four different sizes. The largest size is called a dahola, and the smallest is played by acclaimed percussionist Raquy Danziger. The standard Egyptian tabla weighs about six to seven kilos. The drum head, or the ra’ima as it is referred to, used to be made of fish skin, but now is made from synthetic materials. The reason for this change was the constant hassle of retuning the fish skin head as the material would stretch. Drummers would have to heat up their drums on heating pads to make sure the drum head would not stretch to be out of tune. Now, with the synthetic head, drummers do not have to have that hassle or worry about temperature change as much as in the past.
Players lay the tabla on their lap with the head of the drum facing in towards the opposite knee. The doum, or the strong beat, is normally played with the right hand giving an even base tone. The tak, or the weak beat, can be played by both the left or the right hand and in many different styles that include the normal tak sound on the very edge of the drum, or within rolls, pops, and snaps. The third type of sound is ‘es’. Es is the filling of silence between the doums and teks, or the heartbeat of a darb (darb is Arabic for rhythm).
The next instrument Khaled introduced was the riqq. The riqq, or the Arabic tambourine as it is sometimes called, is a small frame drum played upright with two hands. The doum and tek are opposite of the tabla as the doum is played on the edge of the drum frame, and the tek is caught in the middle of the drum. The es is mostly emphasized by the galagel, the five groups of four sets of cymbals set around the frame of the riqq. Like the tabla, the riqq used to have a ra\ima made of fish skin, but now it is synthetic. Another interesting feature of the riqq is that its frame is tunable. Players may tune a riqq higher or lower for different sounds throughout a piece.
The third instrument introduced was the duff. The duff is a large frame drum that keeps the heart beat of a darb. Duff players do not play ‘es’, rather they play the doums and teks of a darb whilst the tabla and riqq players elaborate. The duff is mostly recognized with the zeffa, a wedding procession in which a distinct darb is played for the bride and groom as they walk together through family and friends being presented as newly weds. A cousin to the duff, the maz’har is a duff with cymbals. The maz’har is slightly smaller than the duff, but both are considerably bigger than the riqq.
Arabic percussive sections change according to the type of ensemble. The two most popular ensembles are the takht and the firqa. A takht is a small chamber ensemble that consists of a qanoon (similar to a zither), kamanga (violin), ney (wind instrument), oud (the grandfather to the lute), and percussion instrument, most often the riqq. In these ensembles and smaller firqas the riqq is the lead percussion. When in larger ensembles, such as a firqa, the tabla becomes the lead instrument for the percussion section. In addition to this, the riqq is usually featured in pieces with longer darbs, while tablas are mainly used for shorter darbs and solos.
Monday, November 24, 2008
Pics of Mohamed Ali Mosque in the Citadel
Just an afternoon at the citadel, after we went to al-Azhar park and saw an amazing Sufi show...which I may post on youtube at some point.
Photos from Ibn Tulun Mosque
Photos from Ibn Tulun Mosque in Said el Zayeb, a section of Cairo. It was a beautiful mosque and we had an amazing view from the minaret.
Sunday, November 23, 2008
Trip to Dubai!
This past weekend I had an amazing eye popping trip to Dubai, aka the adult Disney land of the Middle East.
Yes, I have a ton of stories not shared yet on this blog, but I highly doubt I will get to them all. I will try to post my pics of my trip to the mosque Ibn Tulun and Islamic Cairo as soon as they can load.
For now, here's Dubai!
Yes, I have a ton of stories not shared yet on this blog, but I highly doubt I will get to them all. I will try to post my pics of my trip to the mosque Ibn Tulun and Islamic Cairo as soon as they can load.
For now, here's Dubai!
Friday, November 7, 2008
Only in Cairo...
I love Cairo, but Cairo and I have a love hate relationship. Some days it is so hard as an American to function in this city….every little errand takes days to take care of. No one here makes to do lists – its too daunting to see on paper and that list will never be completed. My current battle is the kitchen in my new apartment. There is a pipe that’s broken inside the walls and I know this because we’ve had floods not only from under the sink but also under the stove. Explaining this concept to my bowab (the door man and maintenance man in Egyptian apartment buildings) and to the plumber was absolutely impossible. They’ve ‘fixed’ the problem about 4 times now, each taking days because timing and their willingness to see their job didn’t fix the problem.
But with headaches such as this, and others such as being stuck in an elevator or having your taxi’s car break down, there are some moments in Cairo that are truly magical. Tonight for instance, my friends and I went to the café at the Om Kuthoum hotel to some shisha and hang out. We got to the café at around 2:30 in the morning after a party we attended. We’re sitting down and chatting when we notice a group of people sit down to the left of us. There is an older man with the group who is blind, and some other very distinguished looking people with him, notably a woman who sits to his left. This man began to sing in an improvisational style that hushed the entire outdoor café. It was as if everyone’s hearts drifted to this man’s singing. The waiters were complete engaged in this man’s voice, and no one could do anything for a couple of minutes. The most beautiful thing about it was as he began to fade off from his song, the woman to his left picked up the improvisation. Her voice was just as beautiful. I’ve heard about this kind of passing of poetry, but to see it at an outdoor café with such talented voices was just amazing. It was a moment that made me remember the charm of Cairo and the beauty of the Arabic language.
But with headaches such as this, and others such as being stuck in an elevator or having your taxi’s car break down, there are some moments in Cairo that are truly magical. Tonight for instance, my friends and I went to the café at the Om Kuthoum hotel to some shisha and hang out. We got to the café at around 2:30 in the morning after a party we attended. We’re sitting down and chatting when we notice a group of people sit down to the left of us. There is an older man with the group who is blind, and some other very distinguished looking people with him, notably a woman who sits to his left. This man began to sing in an improvisational style that hushed the entire outdoor café. It was as if everyone’s hearts drifted to this man’s singing. The waiters were complete engaged in this man’s voice, and no one could do anything for a couple of minutes. The most beautiful thing about it was as he began to fade off from his song, the woman to his left picked up the improvisation. Her voice was just as beautiful. I’ve heard about this kind of passing of poetry, but to see it at an outdoor café with such talented voices was just amazing. It was a moment that made me remember the charm of Cairo and the beauty of the Arabic language.
Sunday, November 2, 2008
A journey into the Samaii Rhythm
On Friday, October 31st, I attended a concert at the Culture Wheel in Zamalek. The featured band was a group of musicians originally from Alexandria called the Samaii band. This concert was a showcase of songs all played in the darb Samaii, which is a 10/8 rhythm used in Middle Eastern music. The Samaii rhythm is most recognizable in the West by the Lebanese song Lamma Bada Yatathana. The concert lasted for only one and a half hours, and there were a total of 17 songs performed, with only one or two featuring a different rhythm. Below I will try to recount the songs I heard with the help of the program notes. The entire concert was in Arabic, as well as the program, so translations may not be correct. The band was quick to start its set right at 8 PM…a rarity that you see in Egypt!
The band itself consisted of five musicians. They sat in a semi circle with the main singer sitting in the middle of the musicians. To the far left of the stage was the violinist, whose name was not included in the program list. Next to him was one of two oud players, Abdu el-Qadr el-Amir. After Mr. el-Amir, the main vocalist, Fajr el-Jazawy was seated in the middle. The next musician and the second oud player named Hassan Aly was seated next to Ms. El-Jazawy, and finally on the far right of the stage was the riq player and only percussion for the ensemble, Daha el-Jazawy, Fajr’s sister.
The program notes for the concert was a huge help to my Western ear to decupher each song. It contained the name of each song, the maqams for each, the darb (if it was different form the Samaii), and the composers and lyrists for each. The songs were labeled into four different categories. The first was “musiqi” which referred to a piece that had no vocals. The second was a “mushaa” which, from what I could find, is a more poetic song. The literal translation from my Arabic dictionary was “a post-Classical Arab poem made of stanzas”. For these songs, the chorus, verse, and instrument solos were much more apparent than the non-vocal pieces. The next category was simply songs, no exact label, just the title of the song. I was not familiar with any of these songs, but they seemed to be more modern. The last category was the arrangement, which is called “tanweyat”. There were two of these pieces throughout the night. Again, I could not decipher the different pieces from each because I was not familiar with the songs, but it was noticeable through the number of choruses and verses.
The first piece played for the evening was simply entitled “Samaii Musiqi” and featured no vocals. I think this was the equivalent to a longa in that it set the tone for the rest of the evening’s songs. The piece was played in Hijaz maqam and lasted only a couple of minutes and featured stops between darbs to accent the Samaii rhythm. The second piece was Lamma Bada Yatathana. I was personally very excited because I recognized this piece, the one of only two that I recognized throughout the night. The maqam for Lamma Bada was Nahawand and the Samaii Thaqil rhythm was featured in this piece. I’ve heard many versions of Lama Bada, and this one was very classical. The singer had a very sweet voice, but I couldn’t help but compare her voice to Fairuz. The song was said to originate in southern Spain under Moorish rule, so I’ve heard Spanish versions as well as Arabic versions.
The next piece in the program was called Beyyah el-Huy which was one of the only songs of the night that featured a different darb, malfouf. The darb changed into Samaii for the chorus and changed back to malfouf for the “kubles” of the song. The fifth song also featured a maqsoum rhythm, to be honest the rhythm changes shone through each of the songs because the music changed so much. The next couple of songs were very similar to each other to my untrained ear. It was hard to decipher especially because the darb was the same. The last song of the first portion of the night was another instrumental song. This piece featured improvisations from each of the musicians minus the vocalist. I don’t think these were true taqsims in that there seemed to be more of a play between the musicians and each had solos for very short periods of time. Each musician was able to show off their instrument, and the audience was appreciative of each solo with clapping and even some whistling.
While the number of songs in the second set was 8 instead of 9, the length of the second set was much shorter. The first piece was a song about Alexandria, the vocalist explained a little about the song before they played it, the only interaction the band had with the audience besides playing. The second song, Saalama ya Salaama was the second song of the night that I recognized. This must have been the classical version of the song because it took me until the chorus to realize that I knew the song. The tempo was much slower than the pop rendition that I am familiar with. The sixth song of the set, Ya Salaah el Zain got a great response from the crowd. I even heard a zaghareet! The closing number of the evening was a piece by Farid el Atrache. This again got the crowd excited, partially I think because it was a song the crowd recognized. After the last song was through, the ensemble stood, bowed, and left the stage. It was a quiet ending to a quiet evening that explored the Samaii rhythm through classical pieces, poetic songs, folkloric melodies, and more modern pieces.
The band itself consisted of five musicians. They sat in a semi circle with the main singer sitting in the middle of the musicians. To the far left of the stage was the violinist, whose name was not included in the program list. Next to him was one of two oud players, Abdu el-Qadr el-Amir. After Mr. el-Amir, the main vocalist, Fajr el-Jazawy was seated in the middle. The next musician and the second oud player named Hassan Aly was seated next to Ms. El-Jazawy, and finally on the far right of the stage was the riq player and only percussion for the ensemble, Daha el-Jazawy, Fajr’s sister.
The program notes for the concert was a huge help to my Western ear to decupher each song. It contained the name of each song, the maqams for each, the darb (if it was different form the Samaii), and the composers and lyrists for each. The songs were labeled into four different categories. The first was “musiqi” which referred to a piece that had no vocals. The second was a “mushaa” which, from what I could find, is a more poetic song. The literal translation from my Arabic dictionary was “a post-Classical Arab poem made of stanzas”. For these songs, the chorus, verse, and instrument solos were much more apparent than the non-vocal pieces. The next category was simply songs, no exact label, just the title of the song. I was not familiar with any of these songs, but they seemed to be more modern. The last category was the arrangement, which is called “tanweyat”. There were two of these pieces throughout the night. Again, I could not decipher the different pieces from each because I was not familiar with the songs, but it was noticeable through the number of choruses and verses.
The first piece played for the evening was simply entitled “Samaii Musiqi” and featured no vocals. I think this was the equivalent to a longa in that it set the tone for the rest of the evening’s songs. The piece was played in Hijaz maqam and lasted only a couple of minutes and featured stops between darbs to accent the Samaii rhythm. The second piece was Lamma Bada Yatathana. I was personally very excited because I recognized this piece, the one of only two that I recognized throughout the night. The maqam for Lamma Bada was Nahawand and the Samaii Thaqil rhythm was featured in this piece. I’ve heard many versions of Lama Bada, and this one was very classical. The singer had a very sweet voice, but I couldn’t help but compare her voice to Fairuz. The song was said to originate in southern Spain under Moorish rule, so I’ve heard Spanish versions as well as Arabic versions.
The next piece in the program was called Beyyah el-Huy which was one of the only songs of the night that featured a different darb, malfouf. The darb changed into Samaii for the chorus and changed back to malfouf for the “kubles” of the song. The fifth song also featured a maqsoum rhythm, to be honest the rhythm changes shone through each of the songs because the music changed so much. The next couple of songs were very similar to each other to my untrained ear. It was hard to decipher especially because the darb was the same. The last song of the first portion of the night was another instrumental song. This piece featured improvisations from each of the musicians minus the vocalist. I don’t think these were true taqsims in that there seemed to be more of a play between the musicians and each had solos for very short periods of time. Each musician was able to show off their instrument, and the audience was appreciative of each solo with clapping and even some whistling.
While the number of songs in the second set was 8 instead of 9, the length of the second set was much shorter. The first piece was a song about Alexandria, the vocalist explained a little about the song before they played it, the only interaction the band had with the audience besides playing. The second song, Saalama ya Salaama was the second song of the night that I recognized. This must have been the classical version of the song because it took me until the chorus to realize that I knew the song. The tempo was much slower than the pop rendition that I am familiar with. The sixth song of the set, Ya Salaah el Zain got a great response from the crowd. I even heard a zaghareet! The closing number of the evening was a piece by Farid el Atrache. This again got the crowd excited, partially I think because it was a song the crowd recognized. After the last song was through, the ensemble stood, bowed, and left the stage. It was a quiet ending to a quiet evening that explored the Samaii rhythm through classical pieces, poetic songs, folkloric melodies, and more modern pieces.
Thursday, October 30, 2008
Tuesday, October 21, 2008
My new apartment!
After months of broken promises from the American University regarding its very unsuccessful move to the new campus, the majority of international students have decided to move out of the temporary housing – before they move us to yet another location. My friends and I have found an amazing apartment in Zamalek, 5 minutes from the corniche, and right above a grocery store. What more could you ask for?
In other news, this week the AUC folkloric dance troupe started rehearsal. We are currently learning a beledi routine that is 10 minutes long. This is a sort of audition process. The choreographer is a very well established dancer and choreographer here in Cairo, and he is kicking out butts! The technique for Egyptian style taught by Americans is different enough, let alone learning from an Egyptian! It’s a completely different aesthetic, body posture, and movement from the tribal style I have become comfortable with over the last three years. It’s becoming painfully obvious how much raqs sharqi I’ve forgotten…nothing like six hours a week of practice to help me remember!
Before these rehearsals started, I had a private session with Astryd Farah before she left for the States. Her choreography was beautiful, and I appreciated the attention to detail of the lyrics of the song. Hopefully she will be coming to Atlanta in the future for a workshop. Besides her session and the session with Raqia, trying to contact instructors here is hard because everyone is teaching workshops in Europe or North America at the moment.
My music lessons are going very well. We learned Sidi Mansour this week in class. Dr. Wael also gave us a paper on the Early – Islamic era of oriental music. He will be giving us papers on all five of the eras of oriental music. We have to write summaries on each section, I will post them here for all of my scadian friends ☺ I’m going to start taking qanoon lessons twice a week instead of one to learn as much as I can before I go back.
As far as traveling goes – my friends and I are planning to go to Sharm el Sheikh in the next weekend or so and I’m going to Dubai!!
In other news, this week the AUC folkloric dance troupe started rehearsal. We are currently learning a beledi routine that is 10 minutes long. This is a sort of audition process. The choreographer is a very well established dancer and choreographer here in Cairo, and he is kicking out butts! The technique for Egyptian style taught by Americans is different enough, let alone learning from an Egyptian! It’s a completely different aesthetic, body posture, and movement from the tribal style I have become comfortable with over the last three years. It’s becoming painfully obvious how much raqs sharqi I’ve forgotten…nothing like six hours a week of practice to help me remember!
Before these rehearsals started, I had a private session with Astryd Farah before she left for the States. Her choreography was beautiful, and I appreciated the attention to detail of the lyrics of the song. Hopefully she will be coming to Atlanta in the future for a workshop. Besides her session and the session with Raqia, trying to contact instructors here is hard because everyone is teaching workshops in Europe or North America at the moment.
My music lessons are going very well. We learned Sidi Mansour this week in class. Dr. Wael also gave us a paper on the Early – Islamic era of oriental music. He will be giving us papers on all five of the eras of oriental music. We have to write summaries on each section, I will post them here for all of my scadian friends ☺ I’m going to start taking qanoon lessons twice a week instead of one to learn as much as I can before I go back.
As far as traveling goes – my friends and I are planning to go to Sharm el Sheikh in the next weekend or so and I’m going to Dubai!!
Thursday, October 9, 2008
Random photos with AUC friends
Here are a bunch of photos from some field trips we took before school started and during Ramadan
Jordan Part I
Choosing to study abroad this semester in Cairo this semester was luck – both good and bad. Bad because AUC decided to move its entire campus to a new location when no one was ready including the new campus itself, and good because Ramadan was in the month of September, meaning that we got a lot of days off for the two Eids. For the first Eid, I decided to take a nine-day trip to Jordan to meet my cousins for the first time. Jordan was beautiful, and my family was amazing. I met all of my aunts’ children, their children, and I believe I saw every ancient rock in Jordan and then some.
My last name is Qaqish. Qaqish is a Christian family that has a long history that has thankfully been well documented. The Qaqish family has been in Jordan for the past 400 years. Before, we were a tribe based in Syria, and before that, we inhabited the gulf region. Our family is a Christian family, one of the few in Jordan. We come from the village of Salt, a small city in picturesque mountains close to Palestine west of Amman.
In a nutshell, we went to Petra, As Salt, Madaba, Mount Nebo, the Dead Sea, and Jerash. I also experienced Jordanian home cooked meals at their finest including Maqlooba, Malfouf, Kufta, and of course Mensaf!
The country of Jordan is cleaner than Egypt. In Cairo alone, there are 28 million people living in the city. Jordan’s population for the whole country is under 10 million. While Jordan is much smaller, it is also much less crowded than Egypt. The people of Jordan are very prideful and calm, and all are very patriotic and very proud of their King Abdullah and the late King Hussein. Amman is very different from the sentiments of the crowded and rushed cities of Cairo. Even the call to prayer seemed more musical and beautiful compared to what I hear in Egypt.
As Salt
My cousin Amer and his wife Joanna (and their 1.5 year old Faris!) took me to Salt to see the church where my dad and his 7 brothers and sisters were baptized. The church itself was about 450 years old, and we were there for a while so I could take photos of everything there. Before we left, I lit a candle to make a prayer. After wards in the twilight before the sunset, we drove around the countryside, up and down the mountains and hills that made As Salt. When it became dark, we stopped off the side of the road and I saw the outline of Palestine in lights.
More to come about the trip!
My last name is Qaqish. Qaqish is a Christian family that has a long history that has thankfully been well documented. The Qaqish family has been in Jordan for the past 400 years. Before, we were a tribe based in Syria, and before that, we inhabited the gulf region. Our family is a Christian family, one of the few in Jordan. We come from the village of Salt, a small city in picturesque mountains close to Palestine west of Amman.
In a nutshell, we went to Petra, As Salt, Madaba, Mount Nebo, the Dead Sea, and Jerash. I also experienced Jordanian home cooked meals at their finest including Maqlooba, Malfouf, Kufta, and of course Mensaf!
The country of Jordan is cleaner than Egypt. In Cairo alone, there are 28 million people living in the city. Jordan’s population for the whole country is under 10 million. While Jordan is much smaller, it is also much less crowded than Egypt. The people of Jordan are very prideful and calm, and all are very patriotic and very proud of their King Abdullah and the late King Hussein. Amman is very different from the sentiments of the crowded and rushed cities of Cairo. Even the call to prayer seemed more musical and beautiful compared to what I hear in Egypt.
As Salt
My cousin Amer and his wife Joanna (and their 1.5 year old Faris!) took me to Salt to see the church where my dad and his 7 brothers and sisters were baptized. The church itself was about 450 years old, and we were there for a while so I could take photos of everything there. Before we left, I lit a candle to make a prayer. After wards in the twilight before the sunset, we drove around the countryside, up and down the mountains and hills that made As Salt. When it became dark, we stopped off the side of the road and I saw the outline of Palestine in lights.
More to come about the trip!
Sunday, September 21, 2008
Music Reborn
It’s been at least 5 years since I’ve picked up my violin. Five years ago I was first chair in my high school orchestra and I dreaded going to rehearsal. I felt like such a fake. I didn’t practice multiple hours a day so who was I to think I could actually play the violin? My technique was not where it should have been for someone who had been playing for seven years. I knew that. I also knew that I would never amount to any sort of musician. My fears and worries came to a boiling point when I visited a potential college in the spring semester of my senior year. I had a nervous breakdown before my audition for the music program, and I was so upset I didn’t even play my piece. After that I basically lost all passion for the violin, until last year.
Being in a community of artists at home has really sparked my need to play the violin again. Going to Pennsic and seeing other musicians who weren’t practice-crazed and worrying about their next concerto really gave me hope that I could play my violin and actually enjoy it! Pennsic gave me the inspiration to explore Arabic music, and it just so happened that I am able to take six hours of music courses here at AUC.
The first class I signed up for was the Arabic music ensemble, which of course had to be taken in conjunction with Arabic music theory. I feel like I am at a music workshop similar to what you would find at TribalCon or Triboriginal for four hours a week! My instructor, Dr. Wael has a PhD in sound engineering, plays the Qanoon professionally, and also is a professor at the Cairo Music Conservatory. He is very patient with us three Americans in his class and I feel that I am going to learn a lot. In addition to these classes, Dr. Wael invited us to rehearse with the AUC Arab Music Ensemble twice a week, which is comprised of other AUC students who play a variety of instruments Arab style. This ensemble also plays for the folkloric troupe, which I plan to join. ☺
So if these courses weren’t enough, I found that I could take private lessons through the University as a part of my course load…aka I don’t pay anything extra! I signed up for Qanoon lessons with Dr. Wael and lessons with the violin instructor, Dr. Munir. I met with Dr. Munir last week at the last minute, registering for the class the same day. I didn’t have my violin but we talked about what I would like to accomplish in my time here, and my past experiences with the violin. Dr. Munir is very serious about music; it’s his life. He received his PhD in music in Russia circa 1976 and also teaches at the Cairo Music Conservatory. For as intense as he seems to be, he also seems to be infinitely patient and willing to work with me. I have my first lesson with him this Tuesday, and while I am slightly terrified, part of me thinks this is for the better.
This past weekend my friend and I took a visit to Mohammed Ali Street to pick up a tabla for her, and castobans and rayesh for me (the finger tools needed to play the Qanoon). We bumped into Khamis Henkesh and his shop. I was a bit star stuck, so we jammed with him a bit on his multiple tablas he hand makes. I also met up with Dr. Munir to pick up the SCALE BOOK OF DEATH. I looked at the first page and I can barely do the first two measures – but this is a good thing, really. After gawking at the music in front of me, Dr. Munir then proceeded to give me his life story and how he used yoga to improve his violin technique and avoid carpel tunnel. He wants to challenge me in both the Eastern and Western style; we’ll see how far I can go…
Being in a community of artists at home has really sparked my need to play the violin again. Going to Pennsic and seeing other musicians who weren’t practice-crazed and worrying about their next concerto really gave me hope that I could play my violin and actually enjoy it! Pennsic gave me the inspiration to explore Arabic music, and it just so happened that I am able to take six hours of music courses here at AUC.
The first class I signed up for was the Arabic music ensemble, which of course had to be taken in conjunction with Arabic music theory. I feel like I am at a music workshop similar to what you would find at TribalCon or Triboriginal for four hours a week! My instructor, Dr. Wael has a PhD in sound engineering, plays the Qanoon professionally, and also is a professor at the Cairo Music Conservatory. He is very patient with us three Americans in his class and I feel that I am going to learn a lot. In addition to these classes, Dr. Wael invited us to rehearse with the AUC Arab Music Ensemble twice a week, which is comprised of other AUC students who play a variety of instruments Arab style. This ensemble also plays for the folkloric troupe, which I plan to join. ☺
So if these courses weren’t enough, I found that I could take private lessons through the University as a part of my course load…aka I don’t pay anything extra! I signed up for Qanoon lessons with Dr. Wael and lessons with the violin instructor, Dr. Munir. I met with Dr. Munir last week at the last minute, registering for the class the same day. I didn’t have my violin but we talked about what I would like to accomplish in my time here, and my past experiences with the violin. Dr. Munir is very serious about music; it’s his life. He received his PhD in music in Russia circa 1976 and also teaches at the Cairo Music Conservatory. For as intense as he seems to be, he also seems to be infinitely patient and willing to work with me. I have my first lesson with him this Tuesday, and while I am slightly terrified, part of me thinks this is for the better.
This past weekend my friend and I took a visit to Mohammed Ali Street to pick up a tabla for her, and castobans and rayesh for me (the finger tools needed to play the Qanoon). We bumped into Khamis Henkesh and his shop. I was a bit star stuck, so we jammed with him a bit on his multiple tablas he hand makes. I also met up with Dr. Munir to pick up the SCALE BOOK OF DEATH. I looked at the first page and I can barely do the first two measures – but this is a good thing, really. After gawking at the music in front of me, Dr. Munir then proceeded to give me his life story and how he used yoga to improve his violin technique and avoid carpel tunnel. He wants to challenge me in both the Eastern and Western style; we’ll see how far I can go…
Friday, September 19, 2008
Sexual Harassment in Egypt
My experience in Cairo so far has been a reaction to the culture. In preparing myself to be in Cairo, I’ve heard sooo many things a woman should to avoid being harassed. For those of you who I told about the wet hair thing, totally not true – my Egyptian friends laughed at me when I asked! But it pretty much boils down to this – whether or not you are wearing hijab, abaya, niqab, or nothing at all you will be harassed at some point.
Walking just outside of our hotel, men will generally make kissing noises, or try to gain your attention with the 2 phrases they may know in English. These men vary from little boys who may run up to you and pinch your bottom, to the Egyptian soldier trying to look cool in front of his peers. Even drivers will honk in a specific rhythm (supposedly mimicking “Ana Bahebek” or I love you” to get your attention.
Whatever they do to try to get your attention, men here see harassment as cool. It’s a boost to reassure their masculinity. As a foreigner, my fellow international students and I are treats for their eyes, something new and exotic. This is how it was explained to us by AUC administration during our sexual harassment meeting. We will attract attention no matter if we cover our hair, legs, and arms or not. But, the extent of harassment varies greatly because of what you wear and how you act.
So what to do and what not do? One of the best things you can do is to dress modestly. Loose, layered clothing that is neat and clean. The more distinguished you look, the better off you may be. Do you need to cover your hair? I’ve found it’s really up to you. Some places, like the pyramids for example, it’s actually very convenient because of the sun and you fend off vendors trying to sell you cheap turbans.
When I go to Khan el Khalili, I don’t cover my hair, but I do make a point to dress much more moderately. The vendors in Khan are rather funny. Don’t be surprised if you go and you hear phrases like “Spend you money here, make you very happy” or “Come to my shop, and marry me, I promise I shower everyday”
Some things that I have learned besides how to dress are what to say. The Arabic survival course really helped because the Egyptian dialect of Arabic is very different from the Modern Standard Arabic I’ve learned in the States. Greeting someone with Salam Aleikum without a smiling face will release the tension of ‘them vs. you’ and asserts you as a dignified person. The immediate reaction to Salam Alikum is Aleikem aSalam, which really lets this person know that you are not flirting or wanting other behavior besides respect. If someone will not stop trying to get your attention there are two phrases that greatly help.
1. Walk over to them sternly, make the sternest face you can, and say “3yb!”. Aiyb basically means shame and will remind these men of the days their mother would chastise them for being bad. You can also make the tisk tisk tisk hand gesture with this for added emphasis. My residence director has had great success with this phrase, and practicing saying Aiyb with a stern face is very amusing – although don’t crack when you do it for real!
2. The second phrase, which really should be used if a male is staring at you is “Ghud el Basr” (I may have not transliterated that correctly). This comes straight out of the Quran and means “Avert your gaze”. Saying this sternly will also be chastising as you are reminding the male not only that he shouldn’t be staring at you, but also that you
These phrases are more for men and boys that you won’t be in contact with everyday or that say something really inappropriate. For males that you come in contact with in a daily basis, i.e. shopkeepers, or kids on the street, if you set a tone initially that you mean business and you are not to be mocked or harassed they will respect you for it. They will even become protective of you if they see someone trying to harass you in or give you a hard time!
Besides these things, the number one most important thing to do IS TO IGNORE THEM. Men want to see a rise from you, no matter positive, negative, angry, or whatever. By ignoring them, or pretending that they don’t exist, they will stop immediately. If they continue to persist in getting your attention, the phrases above should be used. Also, don’t walk the streets of Cairo by yourself; go with a group, especially one that is mixed with males and females. It really helps. This has been my experience in Egypt thus far, and it has been useful. I haven’t had more than the usual phrases, kissing noises, and marriage proposals. ☺
Walking just outside of our hotel, men will generally make kissing noises, or try to gain your attention with the 2 phrases they may know in English. These men vary from little boys who may run up to you and pinch your bottom, to the Egyptian soldier trying to look cool in front of his peers. Even drivers will honk in a specific rhythm (supposedly mimicking “Ana Bahebek” or I love you” to get your attention.
Whatever they do to try to get your attention, men here see harassment as cool. It’s a boost to reassure their masculinity. As a foreigner, my fellow international students and I are treats for their eyes, something new and exotic. This is how it was explained to us by AUC administration during our sexual harassment meeting. We will attract attention no matter if we cover our hair, legs, and arms or not. But, the extent of harassment varies greatly because of what you wear and how you act.
So what to do and what not do? One of the best things you can do is to dress modestly. Loose, layered clothing that is neat and clean. The more distinguished you look, the better off you may be. Do you need to cover your hair? I’ve found it’s really up to you. Some places, like the pyramids for example, it’s actually very convenient because of the sun and you fend off vendors trying to sell you cheap turbans.
When I go to Khan el Khalili, I don’t cover my hair, but I do make a point to dress much more moderately. The vendors in Khan are rather funny. Don’t be surprised if you go and you hear phrases like “Spend you money here, make you very happy” or “Come to my shop, and marry me, I promise I shower everyday”
Some things that I have learned besides how to dress are what to say. The Arabic survival course really helped because the Egyptian dialect of Arabic is very different from the Modern Standard Arabic I’ve learned in the States. Greeting someone with Salam Aleikum without a smiling face will release the tension of ‘them vs. you’ and asserts you as a dignified person. The immediate reaction to Salam Alikum is Aleikem aSalam, which really lets this person know that you are not flirting or wanting other behavior besides respect. If someone will not stop trying to get your attention there are two phrases that greatly help.
1. Walk over to them sternly, make the sternest face you can, and say “3yb!”. Aiyb basically means shame and will remind these men of the days their mother would chastise them for being bad. You can also make the tisk tisk tisk hand gesture with this for added emphasis. My residence director has had great success with this phrase, and practicing saying Aiyb with a stern face is very amusing – although don’t crack when you do it for real!
2. The second phrase, which really should be used if a male is staring at you is “Ghud el Basr” (I may have not transliterated that correctly). This comes straight out of the Quran and means “Avert your gaze”. Saying this sternly will also be chastising as you are reminding the male not only that he shouldn’t be staring at you, but also that you
These phrases are more for men and boys that you won’t be in contact with everyday or that say something really inappropriate. For males that you come in contact with in a daily basis, i.e. shopkeepers, or kids on the street, if you set a tone initially that you mean business and you are not to be mocked or harassed they will respect you for it. They will even become protective of you if they see someone trying to harass you in or give you a hard time!
Besides these things, the number one most important thing to do IS TO IGNORE THEM. Men want to see a rise from you, no matter positive, negative, angry, or whatever. By ignoring them, or pretending that they don’t exist, they will stop immediately. If they continue to persist in getting your attention, the phrases above should be used. Also, don’t walk the streets of Cairo by yourself; go with a group, especially one that is mixed with males and females. It really helps. This has been my experience in Egypt thus far, and it has been useful. I haven’t had more than the usual phrases, kissing noises, and marriage proposals. ☺
Thursday, September 18, 2008
Taxis in Cairo
Taxis in Cairo are an adventure to say the least. My friends and I use them all the time to get form place to place when we don't feel like using the metro, or when we have missed the shuttles the school provides to Zamalek and City Stars, the local mall that is closest to us.
There are two types of taxis you can get in Cairo, a black and white cab and a yellow cab. Yellow cabs are usually a little nicer, and the drivers may speak some English. They work on a meter system, so you know how much you owe when you get to your destination, but be careful! These drivers rarely 'have change' - meaning they try to stiff you if you don't have exact cash. I've taken a yellow cab when I'm going to a new area, and it made me feel safer and my friends have used them for moving or going to the airport.
Yellow taxis however, are not for day to day. You have to order them at least an hour in advance, and they are a little on the expensive side. Now, if you want the real Cairo experience, get the black and white cab. A black and white cab is usually independently operated with 2 to 3 drivers sharing shifts on one cab. There is no air-conditioning, the doors on one side won't work, and you're in a better cab if it has side view mirrors and if the doors stay closed. There is an unwritten protocol to black and white cabs that you must follow:
1. Ask someone before hand how much your ride should be. Black and white taxis are not metered, but on a negotiable rate. I try to not tell them how much I will pay before I get in, but instead wait until we reach the destination, hand them the money, and walk away. I've had the occasional irate driver who wanted more because traffic was bad, or thought he could get more by taking the longer way.
2. Drivers will try to scam foreigners. If you ask how much before you get into the cab, they will try to over charge. Negotiate, settle on a price, and stick to that price. Drivers might complain about the traffic, the heat, or anything else to guilt you into paying more.
3. Practice your Arabic! I've found that trying to communicate in Arabic with the drivers means a better fare. I've also had my better conversations with the nicer drivers, and they appreciate your effort to speak Arabic. One of my favorite memories of Alexandria was when my friends and I piled into a cab and the driver blasted Amr Diab the whole way back to the hotel. He even let our male friend honk the horn to the beat of the music!
4. Girls should not sit in the front seat if it can be avoided, especially if you are wearing a skirt.
5. Do not pay the driver until everyone has gotten out of the cab. Hand money outside of the cab from the passenger's side, don't say anything, and leave. I've heard of drivers being so angry as to get out of the cab, grab someone on the shoulder and demand more money. Thankfully this has not happened to me yet, and I don't plan on it happening. Knowing how much you should pay really helps to avoid this, and if you are firm about your price, the driver won't make a scene.
6. NEVER get a cab straight out of a hotel. Most of the drivers here are 'contracted' by the hotel...meaning they will charge 5 times more what should be paid. My friends took a cab from one hotel to the other, less than 5 minutes, and paid 25 pounds. I pay 20 for a 30 minute cab ride from Heliopolis to Zamalek. Take a little walk down from your hotel and grab a taxi, it'll be cheaper and you'll have a nice stroll along the Nile!
Follow these simple rules, and getting around Cairo is very easy. The metro is super cheap - 1 pound aka 20 cents one way, but I haven't explored this option as much as the taxis. The metro does have women only carts. You can ride in the other carts, but I feel at ease in the women's carts (less stares and kissy noises) and they are usually much less crowded less stuffy.
There are two types of taxis you can get in Cairo, a black and white cab and a yellow cab. Yellow cabs are usually a little nicer, and the drivers may speak some English. They work on a meter system, so you know how much you owe when you get to your destination, but be careful! These drivers rarely 'have change' - meaning they try to stiff you if you don't have exact cash. I've taken a yellow cab when I'm going to a new area, and it made me feel safer and my friends have used them for moving or going to the airport.
Yellow taxis however, are not for day to day. You have to order them at least an hour in advance, and they are a little on the expensive side. Now, if you want the real Cairo experience, get the black and white cab. A black and white cab is usually independently operated with 2 to 3 drivers sharing shifts on one cab. There is no air-conditioning, the doors on one side won't work, and you're in a better cab if it has side view mirrors and if the doors stay closed. There is an unwritten protocol to black and white cabs that you must follow:
1. Ask someone before hand how much your ride should be. Black and white taxis are not metered, but on a negotiable rate. I try to not tell them how much I will pay before I get in, but instead wait until we reach the destination, hand them the money, and walk away. I've had the occasional irate driver who wanted more because traffic was bad, or thought he could get more by taking the longer way.
2. Drivers will try to scam foreigners. If you ask how much before you get into the cab, they will try to over charge. Negotiate, settle on a price, and stick to that price. Drivers might complain about the traffic, the heat, or anything else to guilt you into paying more.
3. Practice your Arabic! I've found that trying to communicate in Arabic with the drivers means a better fare. I've also had my better conversations with the nicer drivers, and they appreciate your effort to speak Arabic. One of my favorite memories of Alexandria was when my friends and I piled into a cab and the driver blasted Amr Diab the whole way back to the hotel. He even let our male friend honk the horn to the beat of the music!
4. Girls should not sit in the front seat if it can be avoided, especially if you are wearing a skirt.
5. Do not pay the driver until everyone has gotten out of the cab. Hand money outside of the cab from the passenger's side, don't say anything, and leave. I've heard of drivers being so angry as to get out of the cab, grab someone on the shoulder and demand more money. Thankfully this has not happened to me yet, and I don't plan on it happening. Knowing how much you should pay really helps to avoid this, and if you are firm about your price, the driver won't make a scene.
6. NEVER get a cab straight out of a hotel. Most of the drivers here are 'contracted' by the hotel...meaning they will charge 5 times more what should be paid. My friends took a cab from one hotel to the other, less than 5 minutes, and paid 25 pounds. I pay 20 for a 30 minute cab ride from Heliopolis to Zamalek. Take a little walk down from your hotel and grab a taxi, it'll be cheaper and you'll have a nice stroll along the Nile!
Follow these simple rules, and getting around Cairo is very easy. The metro is super cheap - 1 pound aka 20 cents one way, but I haven't explored this option as much as the taxis. The metro does have women only carts. You can ride in the other carts, but I feel at ease in the women's carts (less stares and kissy noises) and they are usually much less crowded less stuffy.
Sunday, September 14, 2008
Wust e-Balad
Last Saturday night my friends and I went to a concert near Khan el-Khalili. We were told that we were going to see an Arabic-Jazz fusion band. What we really saw was even better. The name of the band was Wust el-Beled, literally meaning downtown country or downtown and they were fanstastic! Their music is a blend of Western and other world influences with Arabic routes. They ar definitely a big deal in Egypt, as I bought their CD at the Virgin Mega Store the next day! One of their songs, Sidi Omar is a must to listen to.
When we got to the mosque, we weaved through alley ways and a souq to get to the venue, Dar el-Harawy - and we saw a HUGE crowd wedged into what was kind of make shirt outdoor concert venue. At some poine there were chairs and seating, but by the time we got there, everyone was standing on the chairs, children were dancing on top of cars, and people were watching from rooftops of buildings that surrounded the venue. My friends and I were able to wedge ourselves into a primo spot where we stood on chairs and watched the rest of the concert, which was free because of Ramadan.
This is one of the more magical moments I've experienced in Cairo. Finding the venue through a maze of a bazaar, dancing with an entire crowd of Egyptians, and listening to live music under a clear night sky and bright moon will be a memory of Cairo I won't forget.
When we got to the mosque, we weaved through alley ways and a souq to get to the venue, Dar el-Harawy - and we saw a HUGE crowd wedged into what was kind of make shirt outdoor concert venue. At some poine there were chairs and seating, but by the time we got there, everyone was standing on the chairs, children were dancing on top of cars, and people were watching from rooftops of buildings that surrounded the venue. My friends and I were able to wedge ourselves into a primo spot where we stood on chairs and watched the rest of the concert, which was free because of Ramadan.
This is one of the more magical moments I've experienced in Cairo. Finding the venue through a maze of a bazaar, dancing with an entire crowd of Egyptians, and listening to live music under a clear night sky and bright moon will be a memory of Cairo I won't forget.
Monday, September 8, 2008
Update!
Lots of wonderful things have happened - I visited Alexandria, went to the pyrmaids again, survived my Arabic survival course, classes started on the new campus and oh! I had a private with Raqia Hassan...
But...
My computer is dead, the internet is down in the hotel, and internet is barely running on campus, so a more detailed account of Alexandria and taking from Raqia will come soon.
Tonight I go to my first Arab music ensemble class, very excited about that.
But...
My computer is dead, the internet is down in the hotel, and internet is barely running on campus, so a more detailed account of Alexandria and taking from Raqia will come soon.
Tonight I go to my first Arab music ensemble class, very excited about that.
Monday, August 25, 2008
Video Clip from Bedouin Night Dinner
This is a short video clip of the Saiidi dance we saw at dinner. This show was really nice, there were 3 female, and 3 male dancers. They did 4 sets, with 6 costume changes, it was soo awesome! There was also a Sufi dancer who spun for at least 10 minutes, it was beautiful. I will write more when I have time...I just posted the video, so it may be a little while before it is processed - so be patient!
Photos from Zamalek!
Here is a slide show of the activities I've been doing with the residence halls of the American University of Cairo, I may be able to fill in the details later but some of the activities include:
- My dad dropping me off at the dorm
- My dorm room in Zamalek
- Another trip to Khan el Khalili
- A falluca ride on the Nile
- Dinner and dance show with Nubian, Sudanese, Saiidi, Alexandrian, and Sufi dancing
- My dad dropping me off at the dorm
- My dorm room in Zamalek
- Another trip to Khan el Khalili
- A falluca ride on the Nile
- Dinner and dance show with Nubian, Sudanese, Saiidi, Alexandrian, and Sufi dancing
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