LES BLUES DE L'ORIENT {ORIENT BLUES} {A.K.A. BETWEEN TWO NOTES} (TV)
Summary
This documentary film examines the differences, similarities and shared history of Arabic and Israeli music in the Middle East. Musician Abed Azrié comments on how the music of the east and the west, or the Occident and the Orient, stems from a shared "ancient, eternal body," and filmmaker Florence Strauss explains that her grandfather, born in Cairo, used to vacation at a certain villa in Damascus where Arabic musicians still gather to play improvised music together. In Tel Aviv, a group of Jewish-Iraqi musicians gather to sing songs of exile, explaining that they became Israelis in the 1950s and continue to play their traditional songs despite the ongoing conflict. Yaïr Dalal states that his musical inspiration came from viewing televised orchestral performances as a child and from attending various holiday celebrations with his parents. Salim Al Nour discusses his own memories of Iraq and how they inspired his writing of a musical composition, and then comments on famed musicians Mohammed Abdel Wahab, known as simply "Abdelwahab," and Oum Koulsoum, explaining that they sang from the heart and that they music transcended political barriers.
Singer Iman states that she feels ostracized for singing in Arabic as an Israeli performer, and Strauss notes that their performance style is in decline because of the conflict. In Cairo, Ayman Khoury recalls hearing Koulsoum's music and learning to understand her unusual style, and Strauss explains that Koulsoum and Abdelwahab were also stars of Egyptian musical comedy films, like those produced by her grandfather. Khoury explains that the flooding of the Nile has a "rhythm" that is reflected in the musical style of the area, calling it "Arab music with an Egyptian soul," and Strauss briefly touches upon the differences between half-tone and quarter-tone music. Elsewhere, at a Coptic church, Georges Kyrollos explains how Pharonic music was "married" to Hebrew music to create chants with themes of peace, and in Jerusalem, Moshe Khavusha describes how he transforms traditional Arabic music into scripture songs. Azrié discusses how the oral traditions of the music of all cultures stem from a "liturgical milieu," and Khavusha agrees that music unites people of all faiths. Strauss notes that Aleppo was once home to many "singing cafes" but is now largely inaccessible to foreigners, and Azrié muses that memories can be harmful as well as helpful to an artist.
Azrié explains that the lyrics of Arabic songs are often unrealistic and are instead "a tribute to absence," and singer Hassan Haffar states that he wants to bring happiness to others with his songs of paradise and eternal joy. Azrié expounds upon the subtle differences between Syriac, Byzantine and Muslim music, influence by their geography and historical context. Elsewhere, Sufi musicians perform a hadra, or a ritual pertaining to the presence of God, and many followers perform a traditional Zirkh dance. Singer Nassim Maalouf discusses the subtle but powerful harmonies found within quarter-tones, suggesting that one's nervous system responds to certain combinations of sounds. Dalal explains that he has a lot in common with his fellow musicians Zohar Fresco and Taiseer Elias despite their differing faiths, and Elias adds that their music comes from an "inner truth" rather than from political influences. Azrié talks about the elements of Andalusian music, explaining that it was at one time "the most beautiful land in human history" because its inhabitants embraced "a religion of love" and created an open dialogue between individuals.
Musician Guy Kark observes that Arab music offers both a sense of freedom to musicians and also a long history of knowledge, and Maalouf shares his struggles to play both eastern and western styles on the trumpet, noting that he felt like an "artistic immigrant" after studying in Paris. At the Academy of Dance and Music in Jerusalem, teachers and pupils work together to learn different styles, and another musician discusses his fears of returning to Iraq with an Israeli passport. He talks about his reasons for singing in Aramaic, explaining that it was once a common language between Arab and Jews but is now largely forgotten by younger generations, who are prevented from interacting with one another because of the political strife. Strauss closes the film by reflecting on the united voices of the "newly-assembled land," concluding that music has the power to unite all people.
Details
- NETWORK: N/A
- DATE: November 30, 2005
- RUNNING TIME: 1:24:41
- COLOR/B&W: Color
- CATALOG ID: B:91544
- GENRE: Documentary
- SUBJECT HEADING: Documentary; Music; Arab - Israeli Conflict
- SERIES RUN: N/A
- COMMERCIALS: N/A
CREDITS
- Serge Lalou … Producer
- Amit Breuer … Producer
- Colette Loumède … Producer
- François Duplat … Producer
- Christiane Germain … Associate Producer
- Florence Strauss … Director, Writer
- Mano Siri … Based on an idea by, Writer
- Lally Cadeau … Narrator
- Abed Azrié … Interviewee
- Yaïr Dalal … Interviewee
- Salim Al Nour … Interviewee
- Iman … Interviewee
- Ayman Khoury … Interviewee
- Georges Kyrollos … Interviewee
- Moshe Khavusha … Interviewee
- Hassan Haffar … Interviewee
- Nassim Maalouf … Interviewee
- Zohar Fresco … Interviewee
- Taiseer Elias … Interviewee
- Guy Kark … Interviewee
- Mohammed Abdel Wahab
- Oum Koulsoum