"We are Muslims. God created us to have good lives, not to stop it." Wafa Younis, music teacher and conductor

http://historyviolins.blogspot.com/2009/07/we-are-muslims-god-created-us-to-have.html

I was in the Jenin Refugee Camp sitting with a group of children, waiting for the arrival of their music teacher, Wafa Younis. As the taxi pulled up the children sprang up and ran towards it, yelling and laughing, waiting for their turn to hug and greet her. "This is my family, here in the Jenin Camp," Wafa explained to me. "I love them so much and they love me back."



Wafa was recently a reluctant star in the international news after her group from Jenin gave a short performance to a group of elderly Holocaust survivors in Holon, Israel. The performance caused turmoil in the Jenin Camp that resulted in the local leadership temporarily shutting down her student group. "When a newswriter from Jenin called me to tell me that there was a problem I laughed," she said. "I made no mistake. They are old people we played for. I am not playing music for (Israeli defense minister) Ehud Barak or (Israeli President) Shimon Peres. But I am ready to play music for people in pain."

Wafa grew up in Israel in the Arab village of 'Ara, and went to high school in Haifa, where she was the only Arab studying amongst Jews. After graduating she became a music teacher, the first in the Wadi 'Ara (the area surrounding the village). During the early years she worked with 40 children in a class for eight hours a day. "My head hurt a lot," she says.

In March 2003, a suicide bombing in the Haifa restaurant "Mattsa" took the life of the husband of a Jewish friend, Paula Yeroshalmy. "I can't tell you how strong the relationship between me and her is. It was such a tragedy."

Wafa learned that the suicide bomber came from the Jenin Camp, and decided that she would begin building a school here. "We are Muslims. God created us to have good lives, not to stop it. It wasn't like this in all the history of Islam."

"We Palestinians want our country. We have to fight for it, but not by taking lives. We can do it through music, talks, meetings, but not bombing."

She spent 40,000 dollars of her own money on the project after receiving no help from either the Israelis or Palestinians. After building the orchestra and putting on concerts inside Israel she received more attention and was able to receive donations of violins from private donors and universities. She now teaches 40 children in the Jenin Refugee Camp as part of her orchestra, "Strings of Freedom." Continuing to run the group is a difficult task, as she explains, given the difficulties of funding for renting space for rehearsals and acquiring new violins in addition. There is little money left, she says.

Wafa has also been working on three books for children. One of them, "Children for Peace," interviews 60 children, including Palestinian children in Israeli jails, about their thoughts on peace in the region. Another is a book of songs in Hebrew and Arabic, and she was able to get permission from Yoko Ono to use a Beatles song in it. The last contains musical settings of poetry written by Palestinian poets, "None of the poetry talks badly about Israel," she says. "They just reflect on their sadness on losing their homes and land."

Her immediate plans for the future involve building up the orchestra, which she needs new violins for. In the long-term she hopes to build a music academy in Jenin. "I want these children to be the first Palestinian music teachers in the West Bank," she says. Convincing the PA Minister of Education to mandate music teaching in Palestinian schools is a part of her mission.

"It bothers me so much that Israel says that the Palestinians are terrorists. I have been here in Jenin for seven years. I want to tell the world that the truth is not being told. Jenin isn't just Kalishnakovs. It is music as well."

Al-Kamandjati Summer Camp 2009, al-Fara'a, the West Bank (part 1)

http://historyviolins.blogspot.com/2009/06/al-kamandjati-summer-camp-2009-al-faraa.html

One of the seminal teaching events for al-Kamandjati of the year is their summer camp, which is a seven-day music festival for their students around the West Bank. Due to the difficulties of moving students from one town to another, this is a chance for all the students to meet and perform with each other. The camp is taking place in the village of al-Fara'a, close to the city of Nablus.



The mornings involve private lessons for all the students. Many volunteer teachers from all over the world came to teach in the summer camp on various instruments.



There are two orchestras in the camp; a junior orchestra made up of string students, and a full orchestra made up of the more advanced players.


Here's me teaching clarinet to one of my students. I'm also teaching composition to a few students; for the younger ones I am teaching them basic writing skills and for the older ones I'm trying to introduce them to counterpoint and tonal harmony.


During the afternoons we have a choir session where the students can all sing together. This is us right before we all sang a song by the famous Arab singer Fayrouz. We also have afternoon outdoor concerts made of up performances by children and faculty.



During the afternoon they have several workshops they can get involved in, including composition, notation, improvisation, and so on.


It's really interesting to see how contemporary classical music is fitting into this; we're doing this piece called "Self-Portrait" which involves a set of boxes on stage with notes on them; it's a bit hard to explain. We're also doing Riley's "In C" and Reich's "Clapping Music."


Here's the improvisation workshop. The children took to it really quickly!


There are also small chamber groups involved in performances.


One of the centerpieces of the al-Kamandjati program is the Oriental Ensemble, a group of performers playing on native Palestinian instruments. The group has been essential in bridging the gap between Western classical music and Palestinians; it was interesting to see that they teach the children Palestinian songs in solfege. Here's them performing at one of the nightly concerts.



The faculty is involved with performances- here's a few playing the Mozart Flute Quartet.




More next time.

"Music is something human...it's essential." Heather Bursheh, musical director of the ESNCM

http://historyviolins.blogspot.com/2009/06/music-is-something-humanits-essential.html

The Edward Said National Conservatory of Music is the oldest music education program in the Palestinian territories and perhaps the most established. It has centers in Ramallah, Bethlehem, and Jerusalem, in addition to auxillary partner centers in Jericho, Nablus, and refugee camps.

I was able to sit down with Heather Bursheh, the musical director of the ESNCM, and talk with her about her experience in the West Bank. Bursheh is a native of Scotland and was educated in the Royal Northern College in Manchester. After graduating she was confronted with the idea of entering the freelance performance scene, but she found herself wanting to see the world. She heard about a job teaching flute in Palestine, an area which she knew little about. "I just thought, well, it can't be as bad as everyone says it is if it has a music school."

Her duties involve auditioning students, choosing repertoire and conductors and the overall coordination of the program, which includes several large ensembles for Palestinian children to perform in: a children's orchestra in Jerusalem for those with two to three years of performing experience, the ESNCM Orchestra with advanced students, a wind band, and the Palestine Youth Orchestra.

The Palestine Youth Orchestra is comprised of Palestinian children not only from the West Bank, but from Israel and the broader diaspora in Syria, Jordan, the United States and even Honduras. The conservatory takes pride in the way that it brings Palestinians together. "The events leading up to and after the creation of the state of Israel led to a situation in which there are Palestinians who have never even seen their homeland or met Palestinians living in Palestine.

Everyone talks about how we need to bring Israelis and Palestinians together. Well, we need Palestinians to see other Palestinians. It's their country. It's their cause. For us it's absolutely vital."

Bursheh described the ways in which the conservatory tries to capture the attention of the Palestinian community. "If you sit back and do nothing, the people that come to you are middle class, more liberal, and fairly well off. We try as well to get into other segments." It hasn't been easy, for both socioeconomic and cultural reasons. "Some people are in a situation which is more deprived and don't have music in their first kind of vision. Others have a view that music is something that is not quite okay." But she notes that these problems are faced in many places in the world.

When introducing the conservatory to new people, they focus as much on indigenous music as much as possible. "It is one less barrier to have a Palestinian teaching in familiar sounds and scales than to jump into learning the clarinet." They also take their professional and advanced students to play educational concerts around the West Bank to give a better idea of what they do.

The environment of military occupation has placed additional difficulties at the school. "99.9 percent of our problems come from the occupation." She gave me a common example for many organizations in the West Bank: work permits. International staff have to come on 3 month tourist visas; at the end of the term they must exit the country and return with the hope that they will get a visa reissued. "In 2006, during the Lebanon War, Israel imposed a blanket ban on people entering the West Bank. So if any of our teachers told the truth of where they were going they were instantly denied entry." Bursheh herself was denied entry for a period of nine months, despite being married to a Palestinian.

Another problem has been the restriction of movement of students between branches due to military checkpoints. "Trying to get them together is like climbing Everest." As a result they have intensive three-day camps during holidays instead of regularly scheduled rehearsals, one of which concluded in Bier Zeit today. "If they're two hours late to a camp it's not a disaster," she reasons.

Bursheh believes that the ESNCM has broad social importance. "It is very much a national Palestinian institution, and it's important for us to be perceived as this. It becomes important for students, to strengthen their sense of identity.

I think it is important for music to grow. It is a human activity in all societies over the world. It's something human, it's something we all do. It's essential."

Edward Said Conservatory Summer Camp- Birzeit

http://historyviolins.blogspot.com/2009/06/edward-said-conservatory-summer-camp.html

I'm a little drained to do a fuller writeup on what I've seen and heard from the Edward Said National Conservatory of Music so I will try and do so tomorrow. But I visited their three-day summer camp, which is taking place in Birzeit, a village a few kilometers from Ramallah. I wanted to post a few pictures, because it's quite amazing and the people there are great.





The mural outside the school is incredible. I really need to get a bigger camera lens.





The summer camp is an orchestra program; they're doing arrangements of the William Tell Overture and Finlandia.



They have a larger summer camp in July so hopefully I will be able to see more of them.

"We were a foreign body entering the Old City." An interview with the executive director of Al-Kamandjati

Celine Dagher, Executive Director of the al-Kamandjati, has been associated with the music school since 2005 when she moved to Ramallah. The wife of al-Kamandjati founder Ramzi Abuderwan, she is also a brand new mother; she gave birth to a boy, Hussein Abuderwan, last night.

Her duties at al-Kamandjati include the overall administration of the school, not limited to coordinating teachers, fundraising, public relations, contacts with other music assocations, and links abroad. Efficient coordination is essential given the breadth of the school's work, as it operates in three refugee camps- Al-Amari, Jalazoon, and Qalandia- as well as various villages and cities, such as Jenin, Tulkarem, and Deir Ghassaneh.



She first met Ramzi at a 2005 concert in France featuring his band. She read some information on the organization, which he founded in France in 2002, and joined with him as they made the move to Ramallah. "Seeing the truck arrive with two tons of instruments was the most exciting part," she says. "As well as seeing the center being built from empty walls to a music school."

The initial reception from the Palestinian community was very positive, she says. "Before we founded the school we spent a lot of time making workshops and concerts across the West Bank. It helped us build links with communities and existing institutions and let them get to know us better."

Dagher says the initial reaction to the opening of the school was curiosity and enthusiasm. "We were a foreign body entering the Old City of Ramallah, which is a very close place where everyone knows each other." But people quickly became used to it. "Children began to come to the school just because they were interested and wanted to see."

Attracting students was a very natural process and required very little additional advertising or campaigning. "At the beginning the children would enroll themselves because they were so interested." So many students were interested that there is now a waiting list of 600 children waiting to receive instruction at the school.

I asked her about the arson in the al-Kamandjati center in Jenin, which gutted the building and made international news. The center was quickly repainted and reopened. "It was disappointing. All of our students there are very motivated and dedicated, and it was hard to understand why it happened." But she says that they never believed that it was an expression of community disapproval. "We only think it was the work of individuals."

I asked her to briefly touch on the relationship with the school to Israel. "There seems to be a communication wall between what happens here and in Israel. I don't think so many people in Israel are aware of us, compared to those abroad."

I finally asked her about what she thinks about al-Kamandjati in the broader social context of Palestine. "I like to present al-Kamandjati as a music school, and it will bring what music will bring to any child. We are in the special context of occupation, and it might bring more to a child here than elsewhere. I think if you talk to the children here they might say that music gives them a lot of power, and it helps them to be proud of their identity and culture.

"We live next to our students and see them daily. It is very rewarding to see how they change and evolve."

Yara Qwareeq

http://historyviolins.blogspot.com/2009/06/yara-qwareeq-al-kamandjati-music-school.html

Like other students at the al-Kamandjati music school in Ramallah, Yara Qwareeq arrives for her weekly lesson and recieves a regimen of instruction in scales, finger technique, and other piano essentials. However, Yara is unique in a very particular way: she is completely blind.

Yara (center), teacher Grassi (left), mother Samahir (right)

Yara is one of 300 music students across the West Bank receiving instruction from the al-Kamandjati music school, one of the few serving Palestinian students. Giacomo Grassi, her teacher of eight months, said that the initial challenge was to orient Yara to the sound of the keyboard. "At the beginning it was especially important to get her to hear the sound of octaves, fourths and fifths." Then came work with rhythmic imitation, and differentiating between black and white keys.

A typical lesson for Yara involves a great deal of imitation, as Grassi plays out rhythmic patterns or scales and she follows. To learn technique she places her hand on top of Grassi's in order to conceptualize its shape. She is also allowed to improvise melodies over harmonies played by Grassi; an exercise that she particularly enjoys.

From a young age she developed a proclivity towards music, says her mother, Samahir. "From the time she was a baby she used to sing along with famous songs in Arabic and English. I hope that I can develop her power to sing through the piano."