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zalzal
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Woman oud section
Why are so rare women and oud ??.
Let's dedicate this section to women. And their participation would be highly appreciated.
All i know is that there are female ouds, Yousra Dhabi the tunisian oud player, and Bnet Marrakesh with one of them playing oud.
But what else ??
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tchandler
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Gulcin Yahya is a very fine turkish player, a student of Cinucen
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zalzal
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Thank you tchandler. I did not know on Gulcin Yahya.
I found a page in David's parfitt web page.
Here after i copied for you all the literature appearing in Yousra Dhabi's cd jacket.
"For a long time, Arab instrumental music, victim
of the prevailing, more "fashionable" light music, was put aside or considered a fringe activity. It was only during the 30's, on the instigation of
Sharif Muyiddin Haydar, the founder of the Baghdad Music Conservatory (the first official music school in the Arab world) that the art of the 'ud as a
solo instrument in its own right, was able to develop. A generation later, the solo 'ud player had won his rightful place on the musical scene, thanks
to Jamil and Munir Bashir, Ghanim Haddad, Sa Iman shukr and the like.
This is the lineage to which Yousra Dhahbi from Tunis belongs. Over the past few years her presence has been noticed at numerous festivals, where
she's received standing ovations and many distinguished awards (including first prize at the Jordan International Lute Competition), signs of an art
and a temperament that are now
helping to enhance her reputation abroad. A , temperament that a single anecdote sums up rather weil: "When 1 was a pupil, my teacher didn't believe
there was any future for women in the instrumental field, and all he did was discourage me. Out of defiance and in spite of my youth, 1 worked twice
as hard just to prove to him that the opposite was true." Her success does indeed owe a great deal to her steadfast but cairn tenacity, once she'd
realized this pear-shaped instrument was the one she wanted in her own
destiny, a conviction she's held since childhood iwhen she used to watch her brother playing the lute to a certain acclaim at family parties; but
even then, she'd been irritated by his lack of precision. Thus, as soon as she started at the girls' high school in the Rue du Pacha in Tunis, she
tried to take some lute lessons via the school music club - but in vain, she had to wait until her second year at real music school before she could
actually touch the instrument of her dreams. Yet she still had to curb this passion somewhat, for her father was afraid that if she got tao involved
with music, it might distract her from her so-called "classical" or more conventional studies. A supreme irony indeed, for he himself
was a Sufi singer, the son of a mother who'd been praised for the beauty of her voice, and he'd brought his children up to follow the regular to
singing sessions and rehearsals of his troupe of musicians. Be that as it may, this prior importance attached to music was still there after Yousra
Dhahbi's baccaulauréat, when she seriously considered devoting ail her time to it." My family opposed my choise and advised me to opt for a different
branch of studies, because there wasn't any future in music, or so they said." This led her to choose a paramedical branch, cytomorphology, and after
four years of study endlng ln a dlploma, she went to work ln a clinic. However, the young woman never stopped
playing and working at developing her skill on the lute during this period. As weil as music school and the hours of training she undertook there, she
also took private lessons with the great Tunisian master, Ali Sriti. These lessons were relatively dear for a family with several children, but but
her father willingly paid - an investment that was duly rewarded, because after six years off study at the conservatory, she gained two, diplomas, one
in Arab music and another for lute.
This achievement naturally made her inclined to continue at the Higher Music Institute (Institut supérieur de musique/ISM), but her inclinations
thwarted by the urgency of reality, symbolized by the Faculty of Medicine. Once again, the link with music remained unbroken, for she managed to carry
on her studies at the ISM even while tackling her stressful job involving direct contact with sick patients. Finally, torn her vocation and a career
that did not really correspond to her personality, she decided hand in her notice at the clinic in order to finish her higher music studies properly.
An impetuous gesture perhaps, but this time she had the support of her family. "What was really amazing was my father's attitude, he encauraged me in
my choice. At last I felt I was being true to myseLf ! " To be oneself - this
need for identity had already received the approval of another voice, for during and after her musical studies at the ISM, she was accompaniedby one
of the star lutenists, Naseer Shamma from Irak, who advised her to take up a career as a soloist. The idea really appealed to her, because she wanted
to put an oriental instrument (the lute) with an occidental one (the piano), and had already gone as far as setting up the repertoire with a piano
teacher friend, Samira Esseghir, They gave their first public performance before a large audience at the Russian Cultural Centre in Tunis, She'd also
become involved in a music ensemble consisting of jute, qanun, violin, nay, double bass, tar, and vocals; her involvement was to last four years
Iluntil the group had to split up, for its members, all prev!ous students from the master's degree course, eventually went off to different posts in
various directions a long way from the capital, similarly she joined the troupe known as La Rachidiya whose aim since 1934 been the to preserve and
revive the musical heritage of Tunisia.
In spite of these commitments, Yousra Dhabi still maintained her lively interest in different lute styles and schools, firstly by listening to
recordings by some of the great lutenist such as Sharif Muhyiddin Haydar, Jamil and Munir Bashir, Ghanim Haddad (Iraq), Riadh Sumbati and Mohammad
al-Qasabdji.(Egypt), Khmais Tarnane (Tunisia) and AI Bidhaoui (Morocco); she was also invited to international meetings where she met some real stars
of the instrument, e,g, Munir
Bashir, Saïd Chraïbi (Morocco), Ali Sriti and Taher Gharsa and his son Zied (Tunisia), Ylden (Turkey) and many more. Foreign travel enabled her to
approach other styles: as in 1999 when she played before the muslc-lovers of Calro wlth the well-known Moroccan singer Karima Skalli. After this
performance the pair decided to continue their collaboration, and so the unusual partnership of a singer with a solo instrumentalist was born. All
these "feathers in her cap" enriched Yousra's inherent talent that, together with her intimate knowledge of different lute styles, allied with her
great sensitivity; had shaped her singular originality. As she says, "i allways try to be sincere in my work. And when you're sincere, I believe
there's something emanates directly
from tour personality that is communicated to the audience". Her sober, graceful style, influenced by the Baghdad school and the Egyptian tarab, and
her compositions in tune with her personal make-up support this belief. This first album is the vivid representation of all this, conceived as it is
in somewhat pictorial form, and offering a suite of various contradictory feelings ranging from the torment (Hayra) to that of joy (Farha), via a
festive atmosphere (Raksa), tenderness or the evocation of a more mystical state (Rouhaniyet). Her taqasim reveal this blend of gentleness and serene
willpower that are her absolute hallmarks.
Yousra Dhahbi is not satisfied with merely representing the first generation of solo women lutenists in the modern Arab world by her elegant style,
she's got ambition and curiosity too. These have prompted her to undertake serious research into the Tunisian musical heritage, with the idea of a
doctorate about Tunisian music from the 20's ntil the birth of Tunisian national radio in 1957. She's thinking about recording (voice with lute)some
pieces inspired by Sufi thought and practice. And finally, she's got a new craze - her passion for the al arbi, a local four stringed oud, smaller
than the oriental version, and requiring a completely different technique from those of other schools of playing."
Frank Tenaille
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zalzal
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Waeed Bouhassoun, syrian oud player and singer, first with an exclusive female group fm Damas and now with Muhammad Qadri Dallal
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Brian Prunka
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Zalzal, I think I recognize the woman in the first picture. Is her name Reem?
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zalzal
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It is a photo fm the web. I do not know who she is. It is a palestinian girl. By the way, for me, she has a good righthand plugging position. She is
probably playing the E quarter ton with left hand
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Jonathan
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Oud lesson in Havana, Cuba. 1924.
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Jameel
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Jonathan, tell us more about this photo. What are ouds doing in Havana in 1924?
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David Parfitt
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| Quote: | Originally posted by zalzal
Waeed Bouhassoun, syrian oud player and singer, first with an exclusive female group fm Damas and now with Muhammad Qadri Dallal
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Zalzal, do you know if she has released any recordings with Muhammad Qadri Dalal?
Thanks
David
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Jonathan
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Jameel, there was a significant Armenian population in Cuba at that time. They were primarily from Turkey, but denied entry to the United States due
to immigration restrictions. There are fewer living there now, as many of them eventually made their way to the United States and, to a lesser
extent, Canada. This photo is from ProjectSAVE, an Armenian photographic archive in Watertown, MA.
The teacher, in the middle, is named Gaspar Geokjian. The woman on the left was named Mariam, and the woman on the right was named Mariza Mooradian
(Attarian). I know nothing more about any of them, but I always love seeing pictures of old ouds.
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zalzal
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Beihdja Rahal, algerian singer and player of kwitra, dressed in 100% for a typical ceremony of a sana'a nuba performance.
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zalzal
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David,
Muhammad Qadri Dalal has gathered around Waed as first singer his group Ornina, composed by a nay, a qanun, two rababs and a riq. Classical arab XXth
songs and muwashahatt. They perform the 8th of march at Institut du Monde Arabe, Paris, and thereafter touring arab world. To my knowledge, no
recordings, i am anxiously awaiting the release.
I will not be surprised if IMA releases something later.
The MQD music provokes total psychophysiological tarab reactions on me, dont you ??
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David Parfitt
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Hi Zalzal
Thanks for that info - I really hope they decide to release something soon. I love the "Unwonted Maqamat" CD of Qadri Dalal. By the way, do you have
any of his earlier recordings on vinyl?
Best wishes
David
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Dr. Oud
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lady oudists
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zalzal
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Reinette l'Oranaise, algerian blind singer and oud player
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zalzal
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Dr Oud, in yr photos both ouds seems quite similar,
The name written in the first one is Taghreed Muhammad. Does anybody knows more on her ??
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zalzal
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Hasna el Becharia, she plays oud, guembri and above all guitar.
She has a nice swing. Two videos here
http://www.radioceros.com/ondemandvideo/hasna/hasna.htm#
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zalzal
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A japanese oud player fm Club Bashraf
http://www.arab-music.com/yoshiko_matsuda_e.html
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zalzal
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Le diwan de Mona
Kind of modern araboandalous flamenco.
http://www.diwan-de-mona.com/le%20diwan%20de%20mona/mona%20minisite...
Notice the oud she plays
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zalzal
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ethnomusicologist Judith Cohen specialised in sephardic songs. Her ouds seems a nahat
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zalzal
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here it is
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zalzal
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The oud which Mona is playing (Le diwan de Mona, see before) is an oud kumethra, peared shaped to marry women physiologie.
http://www.funjdiaz.net/museo/ficha.cfm?id=59.
May be there are already threads in this forum dealing with this kind of oud here but i did not find it.
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zalzal
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Mary Goshtigian 1939
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zalzal
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try to guess who is she
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SamirCanada
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Thats Oum Koulthoum
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