9 December 2016, 4 PM - 5:30 PM
Dar El-Nimer is hosting two panels organized by the Beirut & Beyond International Music Festival.
Discussions are open to the public. Places are limited, registration necessary: https://goo.gl/QlLZz6
Friday 9 December 2016, 04.00-05:30 PM
An orphaned music: Arab Music and the lack of infrastructure
Proposed by Wael Koudaih, moderated by musician Serge Yared Speakers: Ane Jorem (Embassy of Norway in Lebanon), Ghazi Abdel Baqi (Forward Music, Lebanon), Naji Baz (Byblos International Festival, Lebanon), Raed Asfour (Al Balad Music Festival, Jordan), Wassim Bou Malham (Who Killed Bruce Lee, Lebanon)
While varied and nuanced music scenes thrive in the Arab world, there still isn’t any viable music industry outside of the gigantic pan-Arab pop conglomerate. Musicians have thus far survived by adopting a DIY mentality, relying on the scattered efforts of small-scale independent producers and promoters, and continue to be hampered by limited financial rewards. For that reason, they end up having to explore opportunities abroad. In this session, we discuss whether it is possible to establish a music industry in today’s Arab world, and reflect on the state of existing organizations. How active and responsive are they? And how far are we from providing musicians with an infrastructure that can support them? Saturday 10
December 2016, 04.00-05:30PM
You are what you sing: Music and identity
Proposed by Wael Koudaih, moderated by journalist Mayssa Issa
Speakers: Alain Weber (Fes Sacred Music Festival, Morocco), Eileen Khatchadourian (Artist, Lebanon/Armenia), Hani al Sawah (Artist, Syria), Kamilya Jubran (Artist, Palestine), Marie Descourtieux & Dorothee Engel (Institut du Monde Arabe, France)
If we agree that music is a means of expression, does this expression necessarily reflect an identity? And if so, is it a priority for Arab musicians to affirm one? To what extent is the identity crisis that is weighing on the Arab world today present in its music? Is it possible to “own” a culture through music? What effect would this have on audiences who recognize themselves in a music deeply rooted in memory and heritage?