تخطت مرحلة الwow وال amazing 

Malouma - Fa fa fa

Malouma Dunya of Mauritania

هل يكون استحداث التخصّص الأكاديمي "دراسات التجهيل" وسيلةً للتصدي لذلك التجهيل الذي تمارسه المؤسسات البحثية والأكاديمية أم وسيلةً للتعمية عليه؟ ما مشكلات البحث "العلمي"؟ إلى أي درجة يمكن عدُّ الشروط العلمية التي تضعها المؤسسات البحثية على الأبحاث علميةً بالفعل؟ هل من علاقة بين استثمار الجامعات في المشاريع الخارجية السياسية والاقتصادية وطبيعة المناهج التي تضعها الجامعات في السياسة والاقتصاد؟  كيف نفهم فكرة التخصُّص الأكاديمي؟ ومتى يمكن أن يتحوّل التخصُّص إلى عائق يحول دون التفكير والربط والنقد الجذري في البحث؟ إلى مَن يتوجّه الباحث الأكاديمي في بحثه وكتابته؟ هل من رابط بين الأخلاق والتعليم الأكاديمي؟ هل يساهم التعليم الأكاديمي في أن يجعل الشخص أخلاقيًا، غير عنصري، غير طائفي؟ 
كتبت هذه الحلقة: نور حريري

جدل | الأكاديميا.. تعليم أم تجهيل؟

1er cd de Bombino avant qu'il ne soit connu comme aujourd'hui

Le ténéré

Out NOW on LP, Digital, CD and Tape! Purchase from our Bandcamp http://wonderwheelrecordings.bandcamp.com/album/silt

Wonderwheel Recordings is proud to present the debut album, Silt, from Sudanese singer Alsarah and her band the Nubatones. Called “The New Star Of Nubian Pop” by The Guardian, the album was produced solely by Alsarah who describes the sound of Silt as “East African Retro Pop” - it’s music that harkens back to the hazy sounds of 1960s and 70s Nubian music with it’s Eastern instrumentation, soaring vocal melodies, and pentatonic arrangements. 

The album has it’s musical roots in the Nubian “Songs of Return” that began to spring up after mass displacement and resettlement of hundreds of thousands in a region of lower Nubia that went under water after Egypt built Aswan High Dam to control the flooding of the Nile in 1970. The focus of these songs, both thematically and lyrically is about a return to home and the beauty of home and embodies a certain kind of saudade – a nostalgic longing for a place that no longer exists. The album encompasses Alsarah and her band’s musical curiosities in the concept of migration and Silt is their take on this mixed with the musical fusion happening in 1970s Khartoum, along with Arabic and North African influences appearing in the mix. 

Alsarah, is a Sudanese born singer, songwriter and ethnomusicologist. Born in the capital city of Khartoum, where she spent the first 8 years of her life, she relocated to Taez, Yemen with her family to escape the ever stifling regime in her native country. She abruptly moved to the US in 1994, when a brief civil war broke out in Yemen. Now residing in Brooklyn, NY, she is a self-proclaimed practitioner of East-African retro-pop. Working on various projects, she most recently has been working with The Nile Project and was featured on their debut release, Aswan (named 1 of the Top 5 “Must Hear” international albums by NPR). She has also collaborated with French producer Débruit on the album Aljwal, released this past November via Soundway Records UK. 

The Nubatones started out as dinner conversation between Alsarah and percussionist Rami El Aasser in his living room, digging thru archives of old music from North Africa, and reading about migration patterns in modern day Nubia, Soon the conversation opened into a musical one and spread to include master Oud player and Luthier Haig Manoukian and bass player Mawuena Kodjovi. With a collective love for pentatonic music and a common understanding of what it means to be an immigrant, the group went on to perform both nationally and internationally at prestigious venues such as The Kennedy Center, The Apollo Music Cafe, Celebrate Brooklyn at Prospect Park, The World Music festival in Chicago, and the Festival du Mond Arab in Montreal just to name a few. 



Fugu (Shams Alhurria)

from Amira Kheir latest album '' Alsahraa '' 


03 Habibi Ta'al[1]

InchAllah - Aziz Sahmaoui

Maalouma Mint El Meddah . Dunya . المعلومة منت الميداح . دنيا

malouma - Nour

Hamza El Din, the celebrated Nubian musician whose rich fusion of Arabic and Nubian sounds entranced audiences worldwide and inspired colleagues like the Grateful Dead and Kronos Quartet, died Monday, May 22nd, at a Berkeley hospital from a gallbladder infection.

"Sometimes the music they played together was so soft "we could hardly hear ourselves. He'd just suck you into this vortex, and all of a sudden what was quiet seemed loud in its intensity. He suspended time.'' said Grateful Dead drummer Mickey Hart, who practiced daily for six years to master the tar Mr. El Din gave him. "Hamza taught me about the romancing of the drum. His music was very subtle and multilayered."

"He was sweet, gentle soul,'' said Hart, who recalled that night at Winterland when Mr. El Din had the whole crowd clapping the 12-beat rhythm of the Nubian number "Olin Arageed.'' "If you took the time to visit his sonic universe, he'd welcome you with open arms."

Malouma Dunya of Mauritania

Zelalem

Recent comments

Ely Savi

Nashwa Talaat

Related tracks