Sonia M'Barek: A Musical Innovator Rooted in Tradition

[Sonia M`Barek performing in New York. Photo by Fouad Salloum.] [Sonia M`Barek performing in New York. Photo by Fouad Salloum.]

Sonia M'Barek: A Musical Innovator Rooted in Tradition

By : Johnny Farraj

Sonia M’Barek, Proshansky Auditorium, City University of New York Graduate Center, New York, NY, 23 March 2012.

In traditional Arabic music, a vocalist is not just referred to as a singer, but is instead spoken of as a mutrib/mutribah. Literally translated, they are the people who bring tarab, or musical ecstasy. As such, the craft of a traditional Arabic vocalist is a demanding one. The singer must possess a pleasing voice, have clear diction, and sing impeccably in tune, all while comfortably navigating the Arabic maqam (mode) scales, whose intervals are smaller than the ones in Western music and therefore require particular precision. Additionally, a good singer is expected to be able to perform a mawwal (a spontaneous vocal improvisation) when needed, and to be skilled at ornamenting the melodies as they sing. The role requires clout and self-confidence, since he/she is the focal point of the audience: a funnel for the melody, the artistry of the lyrics, and the virtuosity of the musicians backing them.

I had had the pleasure of seeing Sonia M’Barek perform twice in the past, and so I knew going in to see her performance on 23 March in New York that she was a consummate artist in all of these ways and more. M’Barek, in a concert sponsored by Alwan for the Arts, Al-Bustan Seeds of Culture, and the Middle East and Middle Eastern American Center of the CUNY Graduate Center, presented an evening of contemporary Arabic music with a large majority of Tunisian composers and some songs inspired by the Andalusian muwashah tradition.

Aside from being a shining example of a mutribah, as well as being a composer and arranger, Sonia M’Barek’s career in music is impressive in its length and breadth. She started singing at the age of nine, earning a diploma in Arabic music from Tunisia’s National Conservatory of Music. She has released seven albums, has taken part in dozens of festivals in twenty countries, won numerous awards, regularly holds advanced workshops and master classes in Arabic music, and is currently a music educator at the High Institute of Musicology in Tunisia. She is a former board member of the illustrious Rashidiyya Music Institute, and served as the director of the official Tunisian Music Festival for three years.

Although M’Barek’s name is often associated with the Tunisian malouf genre, singing that traditional genre was not where she began her career; instead she began by singing her own repertoire of music, composed for her mostly by Tunisian musicians. Tunisian malouf is the descendant of music that originated and prevailed for centuries in al-Andalus (the present day Iberian Peninsula) while it was part of the Islamic Empire, and which then migrated to North Africa after the Catholic conquests. It is a demanding classical genre, with sets organized in suites of several pieces sharing the same maqam, performed back to back, starting with a slow rhythm and progressively shifting to faster and busier rhythms. Until the late twentieth century, the malouf was sung exclusively by choirs of men, with suites lasting an hour or longer.

Sonia M’Barek worked on half a dozen suites and chose just enough pieces to keep them around the twenty-minute mark. She then rearranged them for a takht (the traditional Arabic chamber ensemble) and moved them to a range more suited to the female voice. She recorded these suites in her Takht and Tawchih CDs, released in the late 1990’s. The CDs included a combination of malouf and contemporary pieces, and earned her a reputation for being the first female malouf singer. Sonia’s interpretation of the malouf repertoire is precise and true to its roots, and yet manages at once to be intimate, direct, and informal.

Aside from malouf, M’Barek is well versed in the Egyptian classical Tarab tradition, dating from the Golden Age of Arabic music (early to middle twentieth century). In her 2005 New York appearance during Mahrajan El-Fann (Festival of Art), she performed a mixed repertoire of malouf and Egyptian Tarab at Symphony Space, accompanied by the Palestinian violinist, oud player, and composer Simon Shaheen and his Near East Music Ensemble. In 2009, she partnered again with Simon Shaheen during his Aswat (Voices) tour and sang three Egyptian Tarab pieces by Zakariyyah Ahmad, Fareed el-Atrash, and Muhammad Abd el-Wahhab. She ended her set with a spectacular interpretation of Asmahan’s classic “Layali al-Unsi Fi Vienna” (Nights of Passion in Vienna), to a standing ovation. That performance offered the New York audience a rare glimpse into what live performances of music from that golden period would have been like in their heyday.

After performing the malouf repertoire around the world for over ten years to great acclaim and with wide popularity, M’Barek felt the need to make her mark with a contemporary repertoire composed for her. “I cannot keep repeating other singers’ songs. Although there will never be composers like the great Riyad el-Sunbati, Zakariyyah Ahmad, and Khemais Ternane, theirs cannot be the only repertoire that the public knows me by,” she explained. M’Barek’s approach to diversification and innovation was to experiment without self-imposed boundaries: “Sayyed Darwish and Zakariyyah Ahmad were revolutionaries in their innovation, and we need to do the same thing, to create something new. Music for me is an adventure; it is real freedom!”

And so it was that she embarked on a new direction. For her concert tour “Mediterranean Voyage,” she created a dialogue between Tunisian-Andalusian and Arabic maqam scales, rhythms, and instruments, and their Mediterranean counterparts from Spain, Italy, and France. Her choice of lyrics was equally diverse, including Jacques Prévert`s poem "Les Feuilles Mortes" (Autumn Leaves) translated into Arabic; a poem by the Tunisian poet Abou al-Qassem al-Shabi translated into French and Italian; and poems by Federico García Lorca from Spain, Nizar Qabbani from Syria, and Nâzım Hikmet from Turkey. “Music is a means to create conversations between nations, away from economic and political conflicts. Because of my conviction that music is an international language, I used it to create bridges in the Mediterranean region,” she explained.

M’Barek continued to diversify her musical output with the release of the album Wajd II in 2011, based on a repertoire of Sufi music, some of which she composed herself, inspired by Sufi poems from Andalusia, Tunisia, and Pakistan. As she explained, “I don’t like to be confined to one form. What’s important for me is to always contribute something new, even if only in my interpretation [of a song]. I like to keep finding new material, as long as every show or recording has a unifying concept behind it.”

Despite her exploration of different styles and her continuous innovation, a lot of commonality can be found in her works, and the elements that clearly matter to her are salient behind the diversity. For starters, there is an emphasis on poetry, whether in colloquial Tunisian or classical Arabic, and the lyrics in her songs are carefully chosen. Then there is a commitment to using acoustic instruments in her arrangements, and a deliberate avoidance of electric or electronic instruments like the synthesizer, which she calls a “dissonant instrument.” Finally, her songs don’t include much harmony and are rooted in Arabic maqam scales. Overall, the contemporary repertoire that was composed for her and by her can be considered a more modern version of the classical and traditional Arabic repertoire.

It was this contemporary Arabic repertoire that was presented by M`Barek on 23 March in New York. She was accompanied by an experienced takht ensemble of US-based Arabic musicians, including Hanna Khoury (violin and music director), Kinan Idnawi (oud), Hicham Chami (qanun), Kinan Abou-Afash (cello and arrangements), Jarrell Jackson (double bass), and Hafez Ali Kotain (riqq, tabla, frame drum, and Cajon). The takht performed three instrumental pieces, including one composed by cellist Kinan Abou-Afach entitled “Karnabal.” That piece showcased a short solo by every musician, including a very well received tabla solo by Hafez Ali Kotain that stood out for its impeccable technique and creative rhythmic variations and combinations. The ensemble was also accompanied by about twenty singers from the Keystone State Boychoir, who sang the refrain on many of her songs.

M’Barek’s repertoire for the evening included three songs written and composed for her, including the two oldies from her Takht CD, “Mihtara Bein Ithnein” (Torn Between Two Loves) and “Douroub el-Hayet” (The Paths of Life), as well as a recent remake of the classical Andalusian muwashahJadaka Al-Ghaithu” (The Rain Has Rescued You), which remained within the muwashah form. From her own compositions, she included “Hurriya” (Freedom), and “Al-Anadol” (Anatolia), a traditional Turkish tune that she adapted. More works by Tunisian poets and composers were represented with “Layali Ishbilia” (Nights of Seville), “Hubbi Yitbaddel Yitjadded” (My Love is Ever-Renewing), and “Illi T’adda W Fat” (What’s Gone is Gone). Finally the repertoire included one cover from the Egyptian Golden Age, Laure Daccache’s “Aminti Billah” (I Believed In God [when I saw your Beauty], 1939).

A consummate craftswoman, her delivery of the repertoire was majestic and flawless. Her deep and clear alto voice, with its slight smoky quality, filled the hall without being overpowering. Although many of the listeners, including myself, were expecting (or wishing for) more songs from her classical repertoire, the public was very engaged, and when she ended with her final piece, “Al-Anadol” with the KSB choir, she received a standing ovation and several minutes of applause. Unfortunately the concert ended without enough time for an encore, which would have been the perfect opportunity to include an old malouf favorite, or a second Egyptian Tarab piece.

The most pleasant surprise of the evening was offered by the choir, when they sang the refrain in “Aminti Billah.” Although their Arabic diction was not perfect, it was more than acceptable, and their singing of the Arabic scale that the song is based in (the Rast maqam) was surprisingly good, given that it is made of smaller intervals than Western music scales. The fact that the boys learned the melodies and lyrics for the entire concert by heart in only six rehearsals, then delivered them without the aid of sheet music, is an impressive feat in and of itself. Through her collaboration with them, Sonia M`Barek indeed proved her vision that music can be a bridge connecting cultures, that it is a universal language. It left both the boy choir who had the opportunity of sharing her stage, and the American audience who had the pleasure of hearing her perform live, with an experience to remember.

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Alwan for the Arts, founded in NYC in 1998, is known for its robust musical programming centered around Middle Eastern music in its diverse forms: folk, traditional, contemporary, experimental, as well as music featuring other cultural and regional influences. Other branches of its programming include literary readings and book signings, film screenings, dance performances, visual arts presentations, and various other events that fall under Alwan’s multi-hued umbrella. For more information about Alwan, please click here. To join Alwan’s mailing list directly, and to hear about upcoming events, including Alwan’s upcoming concert featuring Marcel Khalife, click here.

Based in Philadelphia, Al-Bustan Seeds of Culture is dedicated to presenting and teaching the Arabic language, arts, and culture. In the fall of 2011, with support from the John S. and James L. Knight Foundation and other funders, Al-Bustan launched an Arab Music Concert Series, presenting a resident music ensemble performing classical Arab music repertoire that features a different guest soloist for each program. Led by Music Director Hanna Khoury, the ensemble brings together musicians of exceptional experience, providing them opportunities to hear exemplary live Arab music on a regular basis in Philadelphia. For more information, please click here.

New Texts Out Now: Betty S. Anderson, The American University of Beirut: Arab Nationalism and Liberal Education

Betty S. Anderson, The American University of Beirut: Arab Nationalism and Liberal Education. Austin: University of Texas Press, 2011.

Jadaliyya (J): What made you write this book?

Betty S. Anderson (BSA): I always joke that I conceived the project in the pool of the Carlton Hotel in Beirut. In June 2000, I visited Beirut for the first time so I could attend an Arab American University Graduate (AAUG) conference. One day, I walked with some friends all along the Corniche and up through the American University of Beirut (AUB) campus and then back to the hotel. Since it was late June and ridiculously hot, the only option at that point was to jump in the pool as quickly as possible. Two minutes in the pool and the thought occurred to me that my next research project was going to have to be about Beirut in some way. I had fallen in love with the city in just that one day. A half second later, I thought, I should write a history of AUB.

Besides the fact that I wanted to get back to Beirut as soon as possible, I wanted to know why AUB had been so influential in politicizing its students. At the time, I was doing additional research for my book on Jordan (Nationalist Voices in Jordan: The Street and the State) and a number of the political activists I studied had attended AUB. Their memoirs were filled with explanations and stories about how important those four years were for the development of their political identities. However, I had no idea as I floated in the pool that day that I’d have to do extensive research on Protestant missionaries and education long before I could even get to those Arab nationalists. At the time, I really knew relatively little about the school’s history.

J: What particular topics, issues, and literatures does it address?

BSA: When I finally got back to Beirut in 2004, it was research on the educational systems offered at the Syrian Protestant College and AUB that eventually ended up directing my thesis. I was struck initially by the goals the American founders and their successors set for the school. They talked more about the transformative process they wanted the students to undertake than the course options they were offering. For example, Daniel Bliss (1866-1902) preached about producing Protestants who understood not only the liturgy but the lifestyle required of one converting to this faith; Bayard Dodge (1923-1948) exhorted students to follow the model of the modern American man as they sought to develop new characters for themselves. The former presided over a missionary educational system, the latter the new liberal education system then being formulated back in America. The first half of the book discusses this shift as the American University of Beirut was renamed in 1920.

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[Main gate of AUB campus. Photo by Betty S. Anderson.]

Liberal education, as American educators developed it in the second half of the nineteenth century, asks its students to be active participants in their educational experience. Before this point, professors taught their students a fixed body of knowledge; students were required to memorize and recite the data to prove that they had learned it. In liberal education, the system asks that professors teach students how to think and analyze so they can produce data on their own.

The second half of the book examines how the students reacted to this shifting pedagogical focus. The American leaders of the school repeatedly stated their goals for the students, and most books and articles on AUB focus on only those voices. However, that stance leaves out an important element of the AUB story, because only the students can truly determine whether the programs are effective. AUB is famous for the many student protests that have taken place on campus, starting with the Darwin Affair of 1882, leading to the Muslim Controversy of 1909, and then on to the large protests of the 1950s, 1960s, and 1970s. As I discovered when I delved into the archives, students used dozens of newspapers to explain why they were protesting. The catalyst was always a particular event, on campus or off, but the students always framed their arguments around the freedom they felt the liberal education system promised. They fought against any administrative attempts to curtail their actions and frequently accused the administration of not following the guidelines set by American liberal education. This issue became increasingly contentious as students worked to define an Arab nationalism that called on them to be politically active while on campus. The administration continually opposed this position, and many of the student-administrative conflicts centered on the differing definitions of freedom put forward on campus. I put “Arab Nationalism and Liberal Education” in the subtitle of the book because by the twentieth century, these were the two dominant elements defining the relationship between the students and the administration.

J: How does this work connect to and/or depart from your previous research and writing?

BSA: Most of my work has centered on education in one form or another. In my book on Jordan, I wrote of the politicizing role high schools in Jordan and Palestine, as well as schools like AUB, played in mobilizing a national opposition movement in the 1950s. I have published a number of articles analyzing the narratives the Jordanian and Lebanese states present to their students in history and Islamic textbooks. Moving on to a comprehensive study of one particularly influential school was a natural progression. The difference was that I now had to study American education in the same way I had previously examined the influence of education in the Middle East.

J: Who do you hope will read this book, and what sort of impact would you like it to have?

BSA: I hope AUB alumni want to read the book and, equally, that they find something of their story in it. I did not want to cite just the Americans who founded and ran the school; I purposely wanted to write about the students themselves. Typical university histories leave out the words and actions of the students in favor of hagiographies about the founders and their famous successors. I also hope that scholars and students interested in studies of education and nationalism will be interested. This is a book that addresses both Middle Eastern and American studies.

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[Assembly Hall and College Hall, AUB Campus. Photos by Betty S. Anderson.]

J: What other projects are you working on now?

BSA:
I have a contract with Stanford University Press to publish a book called State and Society in the Modern Middle East. Like with anyone who undertakes to write a textbook, I am frustrated with those that are currently available. Textbooks of the modern Middle East typically focus just on state formation, the actions of the chief politicians, and the political interplay between states. My text focuses instead on the relationship between state and society as it developed over the last two hundred years. The states in the region centralized in the nineteenth century, faced colonialism in the early twentieth century, and then independence after World War II; these stages created new roles for state leaders. Civil society, in the broadest definition of the term, emerged from the eighteenth century forward as people sought new ways to organize within and against the states now intruding on their lives. They took advantage of the new institutions the states built to establish for themselves new class, national, and gender definitions, while frequently opposing the states that had introduced these very institutions. My text examines how schools, government offices, newspapers, political parties, and women’s groups constantly negotiated new relationships with their respective states.

Excerpt from The American University of Beirut: Arab Nationalism and Liberal Education

From Chapter One:

"The great value of education does not consist in the accepting this and that to be true but it consists in proving this and that to be true," declared Daniel Bliss, founder of Syrian Protestant College (SPC; 1866–1920) and its president from 1866 to 1902, in his farewell address. President Howard Bliss (president, 1902–1920) said in his baccalaureate sermon in 1911, "In a word, the purpose of the College is not to produce singly or chiefly men who are doctors, men who are pharmacists, men who are merchants, men who are preachers, teachers, lawyers, editors, statesmen; but it is the purpose of the College to produce doctors who are men, pharmacists who are men, merchants who are men, preachers, teachers, lawyers, editors, statesmen who are men." Bayard Dodge (1923–1948) stated at his inauguration as president of the newly renamed American University of Beirut (AUB; 1920– ), "We do not attempt to force a student to absorb a definite quantity of knowledge, but we strive to teach him how to study. We do not pretend to give a complete course of instruction in four or five years, but rather to encourage the habit of study, as a foundation for an education as long as life itself." The successors to these men picked up the same themes when they elaborated on the school`s goals over the years; most recently, in May 2009, President Peter Dorman discussed his vision of AUB’s role. "AUB thrives today in much different form than our missionary founders would have envisioned, but nonetheless—after all this time—it remains dedicated to the same ideal of producing enlightened and visionary leaders."

In dozens of publications, SPC and AUB students have also asserted a vision of the transformative role the school should have on their lives. The longest surviving Arab society on campus, al-`Urwa al-Wuthqa, published a magazine of the same name during most academic years between 1923 and 1954 and as of 1936 stated as its editorial policy the belief that "the magazine`s writing is synonymous with the Arab student struggle in the university." From that point forward, the editors frequently listed the society`s Arab nationalist goals. In the fall 1950 edition, for example, al-`Urwa al-Wuthqa`s Committee on Broadcasting and Publications issued a statement identifying the achievement of Arab unity as the most important goal because "it is impossible to separate the history, literature and scientific inheritance of the Arabs" since "the Arab essence is unity." Toward this end, al-`Urwa al-Wuthqa pledged to accelerate the "growth of the true nationalist spirit" among the students affiliated with the organization. In describing education as an activist pursuit, the statement declares, "To achieve political ideas which are aimed at our nationalism it is necessary for we as students to seek information by many different means." In this call, the AUB Arab students must take on the task of studying the Arab heritage as thoroughly and frankly as possible so that when they graduate they can move into society with solutions to the many problems plaguing the Arab world.

Since the school`s founding in 1866, its campus has stood at a vital intersection between a rapidly changing American missionary and educational project to the Middle East and a dynamic quest for Arab national identity and empowerment. As the presidential quotes indicate, the Syrian Protestant College and the American University of Beirut imported American educational systems championing character building as their foremost goal. Proponents of these programs hewed to the belief that American educational systems were the perfect tools for encouraging students to reform themselves and improve their societies; the programs do not merely supply professional skills but educate the whole person. As the quotes from al-`Urwa al-Wuthqa attest, Arab society pressured the students to change as well. The Arab nahda, or awakening, of the late nineteenth and early twentieth centuries called on students to take pride in their Arab past and to work to recreate themselves as modern leaders of their society; the Arab nationalist movement of the twentieth century asked that students take a lead in fighting for Arab independence from foreign control. The students streaming through the Main Gate year after year used both of these American and Arab elements to help make the school not only an American institution but also one of the Arab world and of Beirut, as the very name, the American University of Beirut, indicates. This process saw long periods of accommodation between the American-led administration and the Arab students, but just as many eras when conflict raged over the nature of authority each should wield on campus; the changing relationship between the administration and the students serves as the cornerstone of this book, for it is here where much of the educational history of SPC and AUB has been written.

From Chapter Five:

The 1952 April Fool’s Day issue of Outlook (called Lookout on that day) satirized the proliferation of student protests that had dominated campus life for the previous few years. In the paper’s lead article, the author declared, “A School of Revolutionary Government, designed to equip AUB students with a wide knowledge of modern techniques of conspiracy and revolution, is to be opened during the fall semester, a communique from the President’s Office announced late Friday.” Continuing the same theme, the article reports, “All courses will include a minimum of three lab hours to be spent in street battles with gendarmes and similar applications of theories learned in classrooms.” President Stephen Penrose (1948-1954), the article stated, gave a Friday morning chapel talk on the new school motto: “That they may have strife and have it more abundantly.” In a further announcement, the paper described the day’s protest.

There will be a demonstration this afternoon at three in front of the Medical Gate to object against everything[.] All those interested please report there promptly five [minutes] before time. The demonstration promises to be very exciting—tear gas will be used, and the slogans are simply delightful. If all goes well, police interference is expected. If not to join, come and watch.

This, of course, had not been the first era of student protest; the difference by the 1950s was the widespread and sustained nature of the conflict between the administration and the students. When Lookout published its satirical articles in 1952, students had been organizing demonstrations in support of Palestinians and Moroccans, and against any and all things imperialist, since 1947; these events only petered out in 1955 as the administration banned the two main groups organizing them, the Student Council and the Arab society, al-cUrwa al-Wuthqa. Students engaged in these exercises explicitly as Arabs, proud of their past, and striving toward cultural, political and economic unity in the future. In their actions, students sought to integrate their educational experiences at AUB with the real-life events taking place outside the Main Gate, for only then did they feel they could be trained to function as the vanguard initiating the necessary changes in their society.

[Excerpted from Betty S. Anderson, The American University of Beirut: Arab Nationalism and Liberal Education. © 2011 by The University of Texas Press. Excerpted by permission of the author. For more information, or to order the book, click here.]