Category Archives: Arts

An Artist’s International Student Journey

Remembering Monir Farmanmaian (1924 –2019)

May 3rd, 2019

monirPhoto via: Keyhan Life

Monir Farmanmaian, the Iranian female artist known for her mirror mosaics and geometric patterns passed away on April 20, 2019 at the age of 97 in Tehran.  Until recently, I’m ashamed to say, I didn’t know much about Monir, only a cursory knowledge of her and her work through articles and photographs. I only began to learn about Monir, her art and accomplishments, five years ago when I read an extensive article in The New York Times on the exhibit of her work at The Guggenheim Museum.

My appreciation of Iran’s classical and contemporary art has been that of a late bloomer and one that I’ve very recently began to explore, albeit very slowly. My earliest recollection goes back to the first and only decade of my childhood growing up in Iran, where accompanied by my art loving parents I found my young self standing in the spacious but dank and dimly lit basement studio of a struggling artist somewhere in Tehran. There were a few more of these types of visits to artists’ studios around the city, but my first visit to the young artist’s basement showroom is the one I still see in my mind’s eye. My parents supported this artist, whose name I don’t recall, by purchasing a number of his paintings which were displayed on the walls throughout our house. One, which hung in the sitting room where my parents entertained guests, was my most favorite. You could only make out the painting from afar; close-up it was a mashup of colors, soft hues of orange, yellow, blue and sand. Once you pulled back a few steps and sat in the furthest seat in the room, you were able to take in its full beauty, faint silhouettes of a caravan of camels, a ghostly apparition of the bygone days of the Silk Road, floating through the desert as the sun ever slowly dipped and disappeared into the horizon.

As a ten-year old, I had little knowledge and exposure to Iranian culture. My parents seldom, in fact never, listened to Iranian classical, contemporary or pop music. I was exposed to The Beatles, Nat King Cole, Bossa Nova, Jazz, Chopin, Mozart and Beethoven. The films I saw in the cinemas in Iran were mostly foreign, dubbed into Farsi. My mother took me to my first opera when I was eight. It was Puccini’s Turandot at Rudaki Hall in Tehran.  My piano teacher took me to my first recital when I was around the same age to hear a talented young pianist from America perform pieces by the masters of western classical music.

I first left Iran at age ten to start school in England. After that my returns to Iran were more of a tourist’s; short stays for a couple of weeks or months during the Christmas and summer holidays. And, at sixteen, I left Iran to study in the U.S. At the time, I didn’t know that it would be the last time I’d see Iran, my home, and many of my relatives. I didn’t know that my departure was permanent.

There’s something that happened to me as a young woman leaving Iran, first for England and then for America. I started to detach and let go of that which identified me with my place of origin so that I could acclimate, blend and fit in at my new home.  What little I knew of Iran’s rich cultural history, I let go of.

Monir Farmanmaian, née Monir Shahroudy, didn’t let go and didn’t detach. Instead, she embraced her Iranian heritage and culture and infused her art with it.

Monir was born in 1924 in Qazvin, Iran to progressive parents who supported and encouraged her education. After her father was elected to parliament in 1932, the family moved to Tehran. Her love for art began at an art class she took in school once a week. She’s noted to have said that she found it “more fun than math.” After graduating from high school, Monir enrolled at the University of Tehran, Faculty of Fine Arts.

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University of Tehran, Faculty of Fine Arts

In 1944, at the height of WWII, Monir together with her brother, her fiancée and his  friend, left Allied-occupied Iran on a British liner bound for Bombay (today, Mumbai), India. They then boarded an American naval ship that took them as far as San Pedro, California, and after four days and three nights of traveling across the U.S., they arrived in New York.

She continued her education at Cornell University and Parson’s School of Design. We may say that Monir was the first Iranian student to come to the U.S. to study during WWII.

After college, she worked as a fashion illustrator and graphic designer. She even created the Persian-violet trademark for Bonwit Teller, the luxury department store in NYC.  At Bonwit Teller, Monir crossed paths with none other than Andy Warhol who at the time was working as a shoe illustrator.

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In New York, Monir’s social circle included artists like Jackson Pollock, Mark Rothko, Willem de Kooning, Andy Warhol,  Joan MitchellAlexander Calder, Frank Stella, to name a few.  In the early 1950s, she used to visit the Guggenheim museum when it was still in a townhouse and known as the Museum of Non-Objective Painting. She was also there in 1956, the day when ground was broken for Frank Lloyd Wright’s concrete spiral.

Her first marriage to an Iranian artist with whom she had migrated to the U.S. seemed to have stifled her creativity. It was only after they had divorced that Monir truly came to her own. After her divorce she returned to Iran. It had been 12 years since she had left and she was wary of returning, not sure of what to expect. She remarried Abol Farmanfarmaian, a man from an aristocratic family, whom she knew of her time living in New York. Back at her homeland, and in a happy marriage, Monir began to flourish as an artist. Inspired by the Persian art of mirror mosaics, known as ayeneh-kari, Monir began to explore the use of this medium and fusing together Islamic patterns and modern abstract geometric shapes and design that soon became her signature creations.

In 1958, she won a gold medal for her display at the Iran Pavilion at the Venice Biennale. In 1963, she had her first solo exhibition at a gallery in Tehran.

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Monir’s rising star as an artist was halted by the Iranian Revolution of 1978-1979. She and her husband left for NY soon after. Her art collection in Iran was confiscated by the government. America in 1979 was not as welcoming as when she had first arrived in 1944. The Iranian Revolution, the US Embassy hostage crisis, and then September 11, had placed anyone of Iranian and Middle Eastern origin in the Axis of Evil camp. Monir was turned away by galleries. No one was interested in her work. In NY, she continued creating her mirror mosaics and reverse glass paintings, mostly for herself and friends. After 25 years of living in self-imposed exile in NY, Monir and her husband returned to Iran. She was allowed to open a studio. Soon, she began receiving commissions one of which included a piece for the opening of the Jameel Gallery of Islamic Art at London’s Victoria and Albert Museum in 2006. Another was a permanent six-panel installation in 2009 at the Queensland Art Museum in Brisbane, Australia. The Iranian director, Bahman Kiarostami, premiered his documentary Monir in 2014.  (For a clip of Bahman Kiarostami’s documentary Monir, click here.)

In 2015, at age 93, almost 60 years after Monir had first visited the Guggenheim in its original townhouse, she had her first comprehensive retrospective of her work in the United States. The exhibition “Monir Shahroudy Farmanfarmaian: Infinite Possibility: Mirror Works and Drawings 1974–2014” was held at the Solomon R. Guggenheim Museum in New York City.

If we ever find ourselves questioning the viability of international education and the intangible benefits of student exchange programs and access to higher education, we need to remind ourselves of the real life stories of people like Monir Farmanfarmaian and those who came before and after.  The trajectory of Monir’s life, from the town of Qazvin, Iran, to the capital city of Tehran, and then New York, and back to Tehran is as depicted in her beautiful mirror mosaics. Fused together, it is a reflection of the richness and vibrancy of her own dual education, global experiences and those of her cultural heritage.

Additional Reading & References:

https://www.nytimes.com/2015/03/21/arts/design/monir-farmanfarmaian-iranian-and-nonagenarian-celebrates-a-new-york-museum-first.html

http://www.reorientmag.com/2015/01/monir-farmanfarmaian/

https://hyperallergic.com/276470/a-portrait-of-an-iranian-artist-who-went-home-after-35-years-in-exile/

http://islamicartsmagazine.com/magazine/view/the_third_line_at_abu_dhabi_art/

http://p-l-us.com/en/monir-farmanfarmaian/

https://kayhanlife.com/news/kayhan/obituary-artist-monir-farmanfarmaian-celebrated-for-her-mirror-work-dies-at-97/


jasmin_2015
Jasmin Saidi-Kuehnert is the President and CEO of the Academic Credentials Evaluation Institute (ACEI).

ACEI Logo with Slogan - FINAL

The Academic Credentials Evaluation Institute, Inc. (ACEI), was founded in 1994 and is based in Los Angeles, CA, USA. ACEI provides a number of services that include evaluations of international academic credentials for U.S. educational equivalence, translation, verification, and professional training programs. ACEI is a Charter and Endorsed Member of the Association of International Credential Evaluators. For more information, visit www.acei-global.org.

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One Rhythm, One Planet: Music from the Banned Countries

February 9th, 2017

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I have always believed that music brings people together and bridges cultural divides. Music can connect us like no other arts, with its universal language of rhythm and melody. Maybe even more importantly, music—especially world music, helps us understand and appreciate other cultures and people. I have bonded instantly with immigrant taxi drivers from Nigeria, Cameroon, Armenia, Argentina, and other places simply by asking them about the music of their homelands.

This core belief in the binding power of music has underpinned my work over the past 30 years to popularize world music in Los Angeles and beyond. It’s been a joy to watch ecstatic crowds dancing to Pakistani qawwali (sufi gospel) music or Nigerian afrobeat and juju, to see people entranced by whirling dervishes from Turkey and Syria, and to swoon with others to achingly beautiful classical music from Iran. My life and personal horizons have been immeasurably enriched by these experiences. Sadly, some of these experiences may now be in peril due to the recently enacted immigration ban on seven predominately Muslim countries—Syria, Iraq, Iran, Yemen, Sudan, Somalia, and Libya.

In this time of division and discord, it’s imperative to keep building bridges through music. With that in mind, I want to celebrate music that I’ve loved by artists from the seven countries targeted by the recent immigration ban. This sweeping ban will most certainly prevent artists from these countries from performing in the U.S., but we can still support their music and arts from afar—by continuing to share and learn about them through recordings and the vast resources of the internet.

We begin in SYRIA with the poet-musician Abed Azrie and his albums Lapis Lazuli and Aromates. Azrie was born in Aleppo but has been based in Paris for many years. Aromates was his first album released in the U.S., on Nonesuch. I put a beautiful cut, “Pareil à l’eau” (Like Water) from the album Lapis Lazuli on a compilation that I produced called Trance Planet Vol. 3. His poetry is as beautiful as his music.

IRAQ: Munir Bashir has been called the King of Oud and is credited by many as the greatest modern oud player. Algerian-born, French singer-songwriter Pierre Bensusan gave me my first Munir Bashir LP years ago. I immediately fell in love with his finely-filigreed music. Sadly, Bashir died at the age of 47 in an auto accident in Budapest. Here is a track from his album Mesopotamia:

I also want to mention an upcoming concert at the Getty Center by Iraqi-American oud musician Rahim AlHaj. His concerts take place on Saturday, February 18 at 7 p.m. and Sunday, February 19 at 4 p.m. Admission is free, but you must make a reservation. Click here for more information and reservations.

IRAN: Masters of Persian Music is a classical music ensemble formed in 2000 by true masters of Persian music. Iran has an amazing classical tradition, as complex and arabesque as any Mozart or Bach. Lyrics come from the classic poets and mystics: Hafez and Rumi, as well as more modern writers. The group once performed at the Hollywood Bowl with a live calligrapher rendering classical Persian poetry; it was one of the most stunning concerts ever to grace the Bowl’s celebrated stage. Here is a song from their album Hanan (Without You), featuring Hossein Alizadeh, Kayhan Kalhor, and Homayoun Shajarian. It is a gentle, passionate, and powerful love song.

YEMEN: When I think about Yemen, I immediately think of the late Yemenite Israeli singer Ofra Haza. Her parents moved from Yemen to Israel in 1950 in the airlift known as Operation Magic Carpet. She burst upon the scene in 1986 with her transcendent album Yemenite Songs. Many of the songs on the album were written by a 17th century rabbi. Her song “Im Nin’alu” topped the European charts, even rising to #1 in Germany. To me, her success was more convincing proof that music transcends language and builds bridges between cultures. Ofra once visited my UCLA World Music class—International Bandstand—and performed a Yemenite song, drumming a large oil can on her shoulder. It was a beautiful moment. Here is “Im Nin’alu“:

SUDAN: Sudanese music has incredible rhythms and deep groove. Crowds love it, though it’s featured more in big European summer festivals than in the U.S., especially after 9/11. Sudanese singer and oud player Abdel Aziz El Mubarak leads a large group, playing music that blends Arabic styles and Western forms. The great UK label Globe Style released his music back in the 1980’s, and I was listening.

SOMALIA: Somali poet, musician, and hip hop artist K’naan (born Keinan Abdi Warsame) was born in Mogadishu in 1978 and now resides in Canada. His hybrid sound draws from world music, hip hop, reggae, and of course, Somali music. He has collaborated with artists from the great Youssou N’Dour to Bono. Here is his song “Take a Minute.” Watch him as he walks by portraits of Gandhi, Mandela, Bob Marley, and Nina Simone:

LIBYA: We don’t hear too much from Libyan artists, especially here in the U.S., due in part to the country’s isolation under the four-decade long rule of Qaddafi. Ahmed Fakroun is a pioneer of modern Arabic pop music and one of the most popular Libyan artists, both in Tripoli as well as among Libyan expats. His crossover style blends Arabic instruments and lyrics with Western pop elements like synthesizers and electric bass. Here’s a track called “Ya Farhi’ Bik” from his 1983 album Mots D’Amour – it definitely has that 80’s pop sound but with an Arabic twist:

Finally, I want to mention the compilation album Lullabies from the Axis of Evil, released back in the days of the Bush 43 administration. It features music from all the countries above, as well as music from Afghanistan, North Korea, and other “evil” places.

I hope you enjoyed these tracks and will keep exploring musical riches from around the world.

toms

Tom Schnabel, M.A.

Chevalier de l’Ordre des Arts et des Lettres
Blogs for Rhythm Planet
Author & Music educator, UCLA, SCIARC, currently doing music salons
www.tomschnabel.com

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Ranch of the Gathering Waters: The Other History of Beverly Hills

10/27/16

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I was amazed to discover that the first owner of what is now known as Beverly Hills was a Black Woman. I had grown up in Beverly Hills during a time when a lone black man walking down the street was enough to summon the magical appearance of the B.H.P.D. Her name was María Rita Quintero Valdés de Villa, the descendent of one of the original 44 Pobladores or settlers of the City of the Queen of Angels, El Pueblo de la Reina de Los Angeles Sobre El Rio de la Porciúncula), what we now know as Los Angeles. As a matter of fact, 26 of the original founding settlers were full-blooded Africans.

When colonial Spain got nervous about the encroaching presence of the Russians coming down the coast of Alta California from the Pacific Northwest, they decided to buttress their territory, Nuevo España, New Spain, securing the border by colonizing the lands in the north. In 1769, an expeditionary force led by Gaspar de Portola was sent out, and from the vantage point of what is now Elysian Park, spied an “advantageous” site, which was the Native American Tongvan village of Yangna.  El Pueblo de la Reina de Los Angeles was founded on September 4, 1781, and according to Mexican laws and those of the Spanish Crown, each of Los Pobladores were awarded approximately 1 Sitio each, approximately 4,400 acres. Señor Juan Quintero Valdés, was one of the original expeditionary soldiers in the Portola Party, claimed his rightful plot, Rancho Rodeo de las Aguas, Ranch of the Gathering Waters. It was named for the streams that emptied into the area from out of the canyons above; Cañada de las Aguas Frias (Glen of the Cold Waters, now Coldwater Canyon) and Cañada de los Encinos (Glen of the Green Oaks, now Benedict Canyon).

María Rita Quintero Valdés married Spanish soldier, Vicente Ferrer Villa and eventually built an adobe in present day Beverly Hills, approximately on the corner of Sunset Boulevard and Alpine Drive. She received the Rancho title from the Mexican government in 1831.

Rancho Rodeo de los Aquas was a fruitful plain, fed by the waterfalls coming down the canyons and because of this, had an extremely unique micro climate where plants and livestock thrived. However, times were difficult and volatile. By 1844 the initial contact with the Spanish had virtually wiped out the Native populations of Tongvas and Gabrielinos due to repeated abuse and slavery both in and out of the Mission System, followed by a virulent smallpox epidemic. As their numbers alarmingly dwindled, the Native peoples routinely launched incursions into the fertile ranch lands for food and livestock. Then in 1846 President James K. Polk, launched el Guerra del 47 (The War of 1847), and a US Marine force led by military commander Archibald H. Gillespe invaded the Pueblo de Los Angeles. This sparked a popular uprising of the Californios, who launched a vaquero lancer force led by José Antonio Carrillo and Andrés Pico. Ultimately, the invaders were chased out of their occupied headquarters in The Plaza and fled to the hill overlooking the square (Fort Moore Hill) where they eventually surrendered, but not before the women of El Pueblo took their revenge. Native, Mexican and Californios, after having witnessed the degradation of their men and the rape of their daughters, decided on a final act of defiance and offered the departing Gillespie and his troops baskets of peaches which had been rolled in cactus needles.

Following the Euro-American victory, Mexico ceded a large portion of its northern lands, upon the conditions drawn up in the 1857 Treaty of Guadalupe Hidalgo, which provided that all the original land grants be honored. As required by the Land Act of 1851, a claim for Rancho Rodeo de las Aguas was filed with the Public Land Commission in 1852, but it was not until 1871, that María Rita Quintero Valdés de Villa was finally awarded the grant. Prior to the invasion, María Rita had also built a home within the boundaries of El Pueblo on land she had to foresight to acquire, located on current day Main Street.  This would later become the well-known center of social and political life in El Pueblo, the Bella Union Hotel, the very one Commodore Robert Stockton “commandeered” as the American headquarters during the war.  In her haste to flee the pueblo, Maria Rita neglected to take the original papers of ownership issued by the Mexican government, and they were subsequently “lost.”  Sadly, this was a common story for many original rancho claimants from the Mexican era trying to retain their land, and many had to mortgage their properties trying to prove ownership title under the new American laws and “tax codes.” The land grab was on.

As part of the Public Land Commission rulings in 1852, Henry Hancock did a second survey of el Pueblo based on partitioning the vacant ejidos, or municipal lands into larger lots. These became known as “Donation Land.” One could acquire the land for a nominal fee of $10, along with property “improvements” of $200. One could either build a small adobe, or plant fruit trees or gardens or all of these. The land had to yield a value. Word had traveled across the country and wealthy eastern Euro-Americans began to flock to the land of sunshine and promise, grabbing as much land as they could. One of the ways this was accomplished was by marrying widowed California women, and thus cementing status and place in the growing town.

Henry Hancock, grew to know good land value when he drew up the second survey and thus,   along with his business partner Benjamin Wilson, eventually purchased Rancho Rodeo de las Aguas from María Rita. She knew a thing about land values herself, as the great drought of 1862-1865 hit and wiped out previously thriving cattle and agricultural businesses.

María Rita retired to her property in the center of el Pueblo, on La Plaza, and lived out her days amongst other California women and descendants. Sadly, the Native American women of the region had all but been wiped out, and those remaining, fled into the interior. The sacred and fertile Tongva site of the gathering waters had slowly all but dried up, and would take years to recover. To this day the only remaining nod to its former glory, is the fountain at the corner intersection of Wilshire (a former Indian Trail) and Santa Monica Boulevards, which features a loin-clothed Tongvan man kneeling as he offers his hands in a prayer of thanks for the abundant flowing waters. 

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Jeannie Winston is a frequent guest blogger for ACEI’s Academic Exchange.  Jeannie is an artist and writer living and working in Los Angeles, California. Jeannie completed undergraduate studies in Illustration at The Arts Center of Pasadena, California.   Her vast and intricate knowledge of Los Angeles and its cultural history bring a new perspective to our understanding of the City of Angels. She draws her inspiration from the natural and inhabited world around her. She is especially inspired by her observations of cultural fusions and how people strive to invoke spirit in daily life.

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Qawwali Music: The Mystical, Peaceful Side of Islam

September 30th, 2016

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I first heard the Sufi devotional music called qawwali around 1982 on a WOMAD (World of Music and Dance) album. WOMAD was Peter Gabriel’s world music label and brainchild. This was right about the time when a bunch of Brit record executives coined the term “world music” as a category for retail sales purposes. The five-minute excerpt I heard was powerful, enthralling. I was transfixed. I contacted WOMAD and asked them how long the original was. The answer? Two hours.

The music was that of Nusrat Fateh Ali Khan, a Pakistani devotional singer who died in 1997. His musical journey started with a dream he had of singing in Pakistan’s most famous mosque, and it was something he was able to realize before his untimely death at 49.

The word qawwali means “utterance” in Urdu, and Nusrat was and is the most famousqawwal. I first saw him perform at a fundraiser at the LAX Hilton on behalf of a cancer hospital in Lahore. The speaker was Pakistan’s #1 cricketeer, Imran Khan. My table was besieged by men asking us to raise $5,000, the amount assigned per table. Me and a bunch of music fans and public radio types? No way could we come up with that. Nusrat had food poisoning and looked green onstage. It was not easy for him.

The second time I saw him involved driving to Buena Park for an all-Pakistani show. I recall hundreds of Mercedes in the parking lot but no BMWs. Fans were crumpling up $10-20 bills and throwing them on stage in tribute to the great singer. His next show took him to the former Universal Amphitheater (now Gibson). I didn’t make it to that one.

One time I was playing Nusrat’s music on air when KCRW’s then General Manager Ruth Seymour got a call from her mother, who was put on phone hold while the music was playing. When Ruth picked up the phone, her mom said the music sounded like somebody getting their toenails pulled out. It’s a good thing that not all people hear Nusrat that way. Though often intense, his is a music of peace and love.

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Nusrat would try anything musically, which is one reason he became the most famousqawwal. There was the Massive Attack remix of “Mustt Mustt,” and also the fun, crazyBally Sagoo remixes. Don’t be fooled, however. Nusrat also performed powerful, rich devotional music and love songs with his group, as you’ll hear on the first cut by him of this show.

Abida Parveen is the most famous female qawwali vocalist, adored by fans all over the world. I heard her once in Orange County years ago. She has a big voice, perfect pitch, and a powerful, ecstatic delivery.  She will occasionally visit the U.S., but you will likely not know about it unless you read the local Pakistani newspapers.

In a 2013 article in the UK paper The Guardian, Parveen said, “My culture–our culture–is rich in spirituality and love. Sufism is not a switch, the music isn’t a show–it’s of life, it is religion. If I want to recognized for anything, if we should be recognized for anything, it’s the journey of the voice. And that voice is God’s.” Qawwali, like gospel music in the U.S., is a communal experience, a joy meant to be shared.

I did not include another famous qawwali group, the Sabri Brothers, because their tracks are super long. Sadly, I recently wrote a post about one of their founding memberswho was murdered by an Islamic extremist. Sufi gospel is a way of getting closer to the divine, both for listeners and performers.  Dictatorships and Islamist hardliners don’t like music, don’t trust it either. We’ve seen that in the Soviet Union, Chile, Argentina, Iran, and other places.

For those who don’t know about this powerful and ecstatic music, let it be a reminder that its message of peace and harmony is an antidote to the turmoil in Pakistan that we hear in the news.

Here is a video shot in Pakistan in 1993 of Nusrat Fateh Ali Khan:

Rhythm Planet Playlist for 9/2/16:

  1. Abida Parveen / “Choonghat Ohle Na Luk Sajna” / Baba Bulleh Shah / Oreade Music
  2. Nusrat Fateh Ali Khan / “Allah Hoo Allah Hoo” / Devotional Songs / Real World
  3. Nusrat Fateh Ali Khan / “Mustt Mustt” / Mustt Mustt / Real World
  4. Nusrat Fateh Ali Khan / “Kinna Sohna (Bally Sagoo Remix)” / Big Noise: A Mambo Inn Compilation / Hannibal

 

toms

Tom Schnabel, M.A.

Chevalier de l’Ordre des Arts et des Lettres
Blogs for Rhythm Planet
Author & Music educator, UCLA, SCIARC, currently doing music salons
www.tomschnabel.com

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Sister Deborah and Ghana Jollof: Tasty Rice

This is a culinary tale–or rather competition–West African style.

Last Sunday morning, I heard a story and song on NPR’s Weekend Edition about a rice rivalry in West Africa, particularly Ghana vs. Nigeria, surrounding a ubiquitous rice dish in the region (Ghana, Nigeria, and Senegal) called Jollof. The tune’s nice grooves and rhymes caught my ear, as did the conversation between host Linda Wertheimer and Ofeibia Quist Arcton, the Ghanaian journalist and NPR reporter. (When in Senegal, Quist Arcton finishes her stories with a wonderful flourish: “Ofeibia Quist Arcton, Dahkaaaaaaaaaah.” I’ve always loved her style.)

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Ghanain restaurant menu. Photo by Rachel Strohm (CC BY-ND 2.0) via Flickr

The song “Ghana Jollof” is sung by Sister Deborah (b. Deborah Owusu-Bonsu), a popular Ghanain TV host, model, and academic, who holds a Master’s Degree from the University of Arts, London. The lyrics were written by her brother, Wanlov (“one love?”) the Kubolor. The song basically postulates that the Ghanaian version of the rice dish is better than the Nigerian version. The basic ingredients include rice, tomatoes, onion, chili pepper, salt, pepper; Ghanaian and Nigerian versions add goat, lamb, or beef. The Senegalese version (not part of the culinary showdown) uses fish. Between Ghana and Nigeria it’s a competitive recipe, so think West African Top Chef.

Intrigued by the story, I searched for the video and found it online. It’s quirky and fun, and a little mysterious. Why are those guys dressed up as women? Folks are shown on the up-and-up, driving a 6-series BMW convertible.

I had fun with this, and I hope you do too. For those of you interested in trying the dish, here is the Ghanian vegetarian recipe. And the competing Nigerian version:

toms

Tom Schnabel, M.A.

Chevalier de l’Ordre des Arts et des Lettres
Blogs for Rhythm Planet
Author & Music educator, UCLA, SCIARC, currently doing music salons
www.tomschnabel.com

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Tijuana’s Youth Orchestra: Bach, Not Banda, Mahler, Not Mariachi

April, 7th 2016

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I know about El Sistema and the Simón Bolivar Youth Orchestra, where Gustavo Dudamel got his training. I also know about his work with YOLA, the Youth Orchestra of LA, something Dudamel was behind creating. Both El Sistema and YOLA give inner city kids a way off the streets into the world of classical music.

With Venezuela in turmoil,  the future of El Sistema, funded by oil revenue, may be jeopardized. It seems, however, that like a lesser-known youth orchestra in Tijuana may have a bright future. You don’t typically associate classical music with Tijuana, but the Tijuana Youth Orchestra gives the lie to that assumption.

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The story begins in January 1991, when the Soviet Union was breaking up. Eduardo Garcia Barrios was studying conducting in Moscow at the time. Barrios and his musician colleagues wanted to start a youth orchestra somewhere; that somewhere turned out to be a world away, in sunny Baja, Mexico. Barrios, along with a Russian harpist, Elena Mashkovtseva, moved across the globe from icy Russia to Baja, and founded the Baja California Orchestra for adults. The enterprising Barrios also founded REDES 2025, a program to train at-risk young people to become classical performers. In a Independent Producer’s Project feature, he told journalist Sam Quinones, “Music has this power. To play music you need discipline, to understand your body. It’s 120 kids doing one thing at the same time…it would be cheaper to make football teams, but music provides something different, spiritual order.”

Those words could have come from the much more famous Gustavo Dudamel. Both men, however, are doing the same thing: transforming young lives with the power of music.

Listen here to the NPR / KCRW feature. And watch a clip of the Tijuana Youth Orchestra — it’s a big orchestra, not as big as the Simón Bolivar, but big nevertheless. Have a look:

Tom Schnabel, M.A.

toms

Chevalier de l’Ordre des Arts et des Lettres
Blogs for Rhythm Planet
Author & Music educator, UCLA, SCIARC, currently doing music salons
www.tomschnabel.com

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Musical DNA Goes Everywhere Today

February 25th, 2016

James Brown’s 1968 hit “Say it Out Loud, I’m Black and I’m Proud” not only became a #1 R&B hit, the anthem for the Black Power movement, but also inspired new pride among countless Africans in newly-independent nations that had just become free of colonial power.  Hits like this were heard via the Voice of America radio, which broadcast from Gibraltar throughout Africa with the great Cameroonian host Georges Collinet, now @ Afropop Worldwide.

With social media and the internet, music travels around the world even faster.  Here are two examples of hit songs reaching artists and audiences far away:   a reggae cover of Adele’s “Hello” from the Solomon Islands:  never mind the bad lip synching:

An even better version is by this Korean student, for whom English is a second language,  but it’s weird that the guitarist isn’t showing.  Nevertheless, she really must have studied hard because she nails it:

Finally, a Peruvian teenager sings Michael Jackson’s “The Way You Make Me Feel” in the Quechua language of indigenous Peruvians:

Finally, an Arabic version of the Frank & Nancy Sinatra’s “Somethin’ Stupid, by two Lebanese artists, Jean Marie Riachi and Abir Nehme, who sings the lyrics).

Although some might consider such covers to be English-language musical hegemony, I feel that such covers help spread musical DNA all over, revealing some amazing young talent as well.

toms

Tom Schnabel, M.A.

Chevalier de l’Ordre des Arts et des Lettres
Blogs for Rhythm Planet
Author & Music educator, UCLA, SCIARC, currently doing music salons
www.tomschnabel.com

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