{"id":23269,"date":"2022-11-09T09:17:48","date_gmt":"2022-11-09T08:17:48","guid":{"rendered":"https:\/\/cedej-old.hybrid-cs.com\/?p=23269"},"modified":"2022-11-09T09:20:52","modified_gmt":"2022-11-09T08:20:52","slug":"aswat-creative-process-and-musical-genealogy-electronic-musics-in-egypt-7-november-2022-a-lifao","status":"publish","type":"post","link":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/2022\/11\/09\/aswat-creative-process-and-musical-genealogy-electronic-musics-in-egypt-7-november-2022-a-lifao\/","title":{"rendered":"Aswat: Creative process and musical genealogy Electronic music(s) in Egypt |7 november 2022 \u00e0 l\u2019IFAO"},"content":{"rendered":"
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La sc\u00e8ne \u00e9lectro \u00e9gyptienne est travers\u00e9e par des dynamiques plurielles, qui s\u2019expriment tant \u00e0 travers des usages diff\u00e9renci\u00e9s des outils num\u00e9riques, que par la disparit\u00e9 socioculturelle de ses acteurs. En interrogeant le mat\u00e9riau musical, cette intervention reviendra sur ces diff\u00e9rents usages. L\u2019\u00e9tude s\u2019appuie sur l\u2019exemple d\u2019Abu Sahar<\/strong>, musicien de Haute-\u00c9gypte proclam\u00e9 The King of Trobby Music par les m\u00e9dias \u00e9gyptiens.
\nSon parcours, ses techniques de production, sa d\u00e9marche esth\u00e9tique et le contexte socioculturel dans lequel Abu Sahar \u00e9volue, seront pr\u00e9sent\u00e9s et resitu\u00e9s dans l\u2019histoire culturelle de l\u2019\u00c9gypte. \u00c0 partir de ce cas singulier, S. Gabry-Thienpont questionnera les strat\u00e9gies des producteurs et musiciens dans l\u2019entrelacs des bouleversements politiques, sociaux et culturels li\u00e9s aux reconfigurations politiques actuelles.<\/div>\n
Yunis<\/strong> is an experimental musician interested in traditional\/trance music and rituals. He is based in the Egyptian western Delta province of Kafr El-Dauwar where he co-founded Kafr El-Dauwar Records (KDR), an independent digital record label working to nurture, support and release his hometown\u2019s contemporary and experimental music.
\nIn his working method, Yunis values an approach of cross-pollination, syncretism, and experimentation.
\nWhile genre-bending is at the root of his artistic method, he believes in the acredness of the traditional musical forms he draws from.<\/div>\n
Moreover, a prominent issue throughout his work is the characterization of \u201ccultural revival.\u201d In speaking about his work -or various musical genres such as Shaa\u2019bi, Z\u0101r, Mouled, and Takhmir – musicians, artists, critics, and writers often characterize the practice as \u201ccultural revival.\u201d
\nHowever, Yunis sees that his work subverts this characterization, as he treats these traditional genres as living, evolving, artistic forms, as opposed to stagnant, historical, artifacts that need to be \u201crevived.\u201d<\/div>\n
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ASWAT is a series of music meetings and performances focusing on culture(s) of music that seeks to explore a range of musical practices across Egypt, and Arab World, through academic speakers and music makers, followed by concerts. The meetings deepen historical, religious, social and musicological aspects that interwoven in, and from, the music heritage, addressing creation, performance and reception practice. The project is curated by Kawkab Tawfik<\/strong> (IFAO-CEDEJ).<\/p>\n

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La sc\u00e8ne \u00e9lectro \u00e9gyptienne est travers\u00e9e par des dynamiques plurielles, qui s\u2019expriment tant \u00e0 travers des usages diff\u00e9renci\u00e9s des outils num\u00e9riques, que par la disparit\u00e9 socioculturelle de ses acteurs. En interrogeant le mat\u00e9riau musical, cette intervention reviendra sur ces diff\u00e9rents usages. L\u2019\u00e9tude s\u2019appuie sur l\u2019exemple d\u2019Abu Sahar, musicien de Haute-\u00c9gypte proclam\u00e9 The King of Trobby…<\/p>\n","protected":false},"author":3,"featured_media":23276,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42,100],"tags":[],"_links":{"self":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/23269"}],"collection":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/comments?post=23269"}],"version-history":[{"count":3,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/23269\/revisions"}],"predecessor-version":[{"id":23278,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/posts\/23269\/revisions\/23278"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/media\/23276"}],"wp:attachment":[{"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/media?parent=23269"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/categories?post=23269"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cedej-old.hybrid-cs.com\/index.php\/wp-json\/wp\/v2\/tags?post=23269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}