International Centre for Performance Studies

Letter of thanks

2009-06-01T03:07:00.000-07:00

May 30, 2009
From Khalid Amine (Ph. D)
Senior Lecturer of Performance Studies
President of the International Centre for Performance Studies (NGO)
Tangier, Morocco

Dear Distinguished Guests of PT 09,
I am writing to you on behalf of the organizing committee of the fifth international conference “Performing Tangier: Critiquing postcoloniality, Performing Cultural Diversity” that took place in the city of Tangier May 20-21-22-23-24, 2009, so as to thank you warmly for your valuable contribution in the success of this year’s event. The two concurrent conferences were hosted by the city of Tangier as an emerging economic powerhouse of the new Morocco and involved many institutions and scholars from all over the world including Keynote speakers from Germany, Morocco, England, USA, and Spain...
This international forum represents a site-specific investigation in its persistence upon intervention in space-making in Tangier. The ever-intensifying political rhetoric of our era often makes it seem as if there are unbridgeable chasms between cultures and civilizations that no amount of good intention can surmount. However, our international annual encounter, which brings together hundreds of celebrated artists, writers, and academics from across the globe in a spirit of mutual respect, understanding, and collaboration, offers a glimmer of hope during a dark time marked by the dissemination of horrorism rather than mutual understanding and respect. Over five years, this ambitious project has attracted some of the world’s most celebrated writers, scholars, and cultural ambassadors…
It is a forum that aims at bridging the gap of difference and connecting cultures, as well as reaching across the divide to the other (the not I). The setting of Tangier as a cross-roads city makes a perfect home for new cross-cultural encounters that celebrate and honor our essential humanity.
Once again, thanks ever so much for your valuable contribution in the success of this year’s event, and we look forward to collaborating with you in upcoming projects.

Khalid Amine (Ph. D)
Senior Lecturer of Performance Studies at the Faculty of Letters, Tetouan, Morocco
Coordinator of Performance Research Group at Abdelmalek Essaadi University
President of ICPS, Rue Mahathma Ghandi, Residence Aya, n° 50, Tanger.
Tel: 0664596791/Fax: 0539330466/ email: khamine55@gmail.com

AIMS Fellows - 2009-2010

2009-04-28T20:09:00.000-07:00

AIMS grants for US scholars conducting long- or short-term research in North Africa continues to be at the heart of our programming. This year we had a total of 47 applications, a 9% increase over last year. The quality of the scholarship was extremely high. Sincere thanks to the selection committee of AIMS board members for volunteering their efforts to this worthy and important endeavor.

We have a total of 26 grantees for the 09/10 cycle. We had 2 scholars who declined the AIMS grant for other opportunities, and were eligible for the 2K merit award. Represented are 15 PhDs, 10 PhD Candidates and 1
independent scholar.

We hold our grant competition annually and the postmark deadline is Dec 31.

Information about our grant programs (some are also for North Africans) is available on the AIMS website, click here

2009/2010 AIMS US Grantees

Lourdes Alvarez, Sufi Songs Across an Andalusian Sky, PhD, Catholic University of America, Medieval Spain, Literature and Culture, $3,225.00, 2 months, Morocco

Safoi Babana-Hampton, Narrative Women: Writing the Civic Self in the Public Sphere by Maghrebi and Franco-Maghrebi Women, PhD, Michigan State University, French, Francophone Studies, DECLINED, 2 weeks, Morocco

Sahar Bazzaz, Nineteenth-Century North African Muslim Challenge European Imperialism, PhD, College of the Holy Cross, History, $3,000.00, 1 month, Morocco

Elizabeth, Bishop, Workers and Industrial Accidents in Algeria, PhD, Texas State University, History, $5,250.00, 10 weeks, Algeria

Lisa Blaydes, The Making of Mass Opinion in Contemporary Morocco, PhD, Harvard (2008-2010), Stanford, Political Science, $3,000.00, 1 month, Morocco

Mounira Charrad, Women Leaders in Tunisian Society, PhD, University of Texas, Austin, Sociology, $6,000.00, 3 months, Tunisia

Julia, Clancy-Smith, Book: "From Household to School Room: Educating Muslim Girls in North Africa, c. 1840-1930.", PhD, University of Arizona, History, $3,000.00, 1 month, Tunisia

Melanie Clouser, Malhoun Poetry, PhD Student, University of Texas at Austin, Arabic Studies, $5,250.00, 2.5 months, Morocco

Shana Cohen, Social Mobility and Social Change in Contemporary Morocco, PhD, University of Sheffield, Sociological Studies, $4,500.00, 2 months, Morocco

David Crawford, A Place in Time: A Photo-Ethnography of Rural Berber Life, PhD, Fairfield University, Anthropology, $6,000.00, 3 months, Morocco

Chouki El Hamel, Morocco's Role in the Making of the Atlantic World, PhD, Arizona State University, History, $3,750.00, 1.5 months, Morocco

Hoda El Shakry, The Psychoanalysis of Ethnography: Anthropology, Islam and the Ethnographic Other in Morocco, PhD Candidate, University of California, Los Angeles, Comparative Literature, $3,750.00, 1.5 months, Morocco

Audra El Vilaly, Local Perspectives on the Political, Ethnic, and Tribal Impediments to Pastoral Water Access in Assaba, Mauritania, Masters Student, University of Arizona, Geography, $6,000.00, 3 months, Mauritania

Alexander Elinson, Itinerancy, Exile and Self-Definition in the Travel Writings of Ibn al-Khatib, PhD, Hunter College, CUNY, Arabic, $2,000 Travel Award, 5 months, Morocco

Angel Foster, Medicine, Politics & Sexuality: Exploring the Introduction of Emergency Contraception in Tunisia, Independent Scholar, DPhil, MD, AM, Ibis Reproductive Health, Medicine, $7,500.00, 4 months, Tunisia

Allen Fromherz, Ibn Khaldun as Tunisian National Symbol, PhD, Georgia State University, History, $6,000.00, 3 months, Tunisia

Romeo Guzman, Mountaineer Music from Northwest Morocco, PhD Student, University of California, Los Angeles, Ethnomusicology, $2,000 Travel Award, 9 months, Morocco

Kathryn Lafrenz Samuels, Mobilizing and Managing Heritage in the Maghrib for Global Authority and Value, PhD Candidate, Stanford University, Archaeology, Socio-Cultural Anthropology, $3,000.00, 1 month, Morocco, Tunisia

Shara Lange, The Dressmakers: Clothesmakers in Morocco, PhD, Universidad de Monterrey (UDEM, Mexico), Documentary Filmmaking, $3,000.00, 1 month, Morocco

Kyle Liston, Colonialism Asunder: Being, Belonging and Hybridity in the Italo-Tunisian Communities of Tunis, 1881-1956, PhD Student, Indiana University - Bloomington, History, $14,150.00, 9 months, Tunisia

Susan Miller, History of Modern Morocco, PhD, University of California at Davis, History, $3,000.00, 1 month, Morocco

Kristy Riggs, Composing Colonialism: A Musical Tour of France's Nineteenth-Century Algerian Occupation, PhD Candidate, Columbia University, Historical Musicology, $3,000.00, 1 month, Algeria

Janell Rothenberg, Globalization, Port Development and Social Change in Northern Morocco, PhD Student, University of California, Los Angeles, Anthropology, $3,750.00, 6 weeks, Morocco

Maisa Taha, From Morocco to Spain: A Discursive Ecology of Migration, Graduate Student, University of Arizona, Anthropology, $3,000.00, 1 month, Morocco

Kristin Tassin, State and Society in Siwa, Kufra and Jaghbub Oases, Graduate Student, Teaching Asst., University of Texas at Austin, History, $3,000.00, 1 month, Libya

Mary Vogl, Dialogues and Discourse on Contemporary Moroccan Art, PhD, Assoc. Professor, Colorado State University, Francophone Culture, $3,500.00, 7 weeks, Morocco

Sabra Webber, A Storied Life or The Education of an Amreekeeya, PhD, Ohio State University, Cultural Anthropology, $5,961.00, 3 months, Tunisia

Jonathan Wyrtzen, Constructing Morocco: The Colonial Struggle to Define the Nation, PhD candidate, Lecturer, Georgetown University, History, declined, 9 months, Morocco

Contacts:

Kerry Adams, AIMS Executive Director
Terry Ryan, AIMS Administrative Associate
aimscmes@u.arizona.edu

AMERICAN INSTITUTE FOR MAGHRIB STUDIES
Center for Middle Eastern Studies
University of Arizona
845 North Park Avenue
Marshall Building, Room 477
PO Box 210158B
Tucson, AZ 85721-0185
520-626-6498
520-621-9257 (fax)
www.AIMSNorthAfrica.org

Performing Tangier 2009 Poster

2009-04-24T15:41:00.000-07:00

ICPS mourns for Lesley Gilb Taplin

2009-04-20T10:06:00.000-07:00

Performing Tangier 2009
Critiquing Postcoloniality/Performing Cultural Diversity
Tangier, Morocco, May 20, 21, 22, 23, 24, 2009

"When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight. " -Kahlil Gibran

20 April 2009
Prof. Khalid Amine
President of ICPS,
50, Aya, Rue Gandhi,
Tangier 90000, Morocco

Message of Condolence

Since we learned of Lesley Gilb Taplin’s untimely death it has been hard for us to console ourselves for the loss of a dear friend and a great human being before anything else. This made it difficult for us all until now to share our condolences and feelings.For the many years we have known her she has always been the greatest friend of Performing Tangier, the generous, full of life, engaging and deeply humane being you can only love and appreciate having as a friend and a colleague. Her bright mind and great heart are a shining example of what humanity is about. And she was a great human being. We would like to share the grief and sorrow of her family and express to them that many of us, including her many friends in ICPS and Tangier, miss her also a great deal. May this sharing of their sorrow help them overcome their/our loss.
We are deeply saddened by our beloved friend Lesley Gilb Taplin’s loss. We will cherish the memories of the times we spent together in previous Tangier conferences, and will have the upcoming one May 20-24, 2009 in memoriam of her. May she rest in peace.

Khalid Amine
On behalf ICPS

Adresse: Résidence AYA N° 50, Rue Mahatma Ghandi, Tanger 90 000, Maroc
E-mail: khamine55@gmail.com, Tél/Fax: (212) 393330466, Portable: 064596791Web: http://icpsresearch.blogspot.com/

Lifetime Achievement Award

2009-04-15T20:02:00.000-07:00

International Centre for Performance Studies

Recipient

Professor Mohammed LAAMIRI

The Prize will be given at the Opening Ceremony
of Performing Tangier, 20 May 2009

As the fifth conference on Tangier expands beyond the specific themes related to the city, we would like to seize the opportunity to acknowledge and celebrate the work and lifetime achievement of Professor Laamiri, who has significantly impacted the city as well as Moroccan literature and university education in many ways.

For over three decades Professor Laamiri’s academic, administrative, critical, and intellectual contributions have shaped generations of Moroccan academics and markedly advanced British-Moroccan cultural and intellectual exchange. Ever since his early career as a professor and chair of English at the University of Abdelmalik Essaadi in Tetouan, he has committed his time and effort not only to educating generations of Moroccan students, but also to creating a unique learning environment for them by building cultural bridges between Morocco and England. Amongst his many achievements, he founded and chaired in 1990 The Research Group for Moroccan Studies in English (REGMOSE), an organization concerned with research on British writings about Morocco. When he was serving as Dean of the Faculty of Oujda, he organized in collaboration with the British Council, Rabat, the First Forum for Creative Writers in English in March 2001.

Professor Laamiri’s work transcends the bounds of administrative service and commitment to teaching excellence; his careful and thorough research on the socio-cultural history of Tangier has made him one of the leading scholars in the field. His varied and numerous writings on Tangier, its history, culture, and people have profoundly enriched scholarship on the city, and his critical acumen has put him in a unique position to investigate and interrogate the cultural and intellectual wealth of Tangier. He once described Tangier as “a reservoir of other cultures,” and one soon realizes that Professor Laamiri’s wide and diverse knowledge and critical insight tap into this reservoir to highlight its multifaceted dimensions, explore its historical and social convergences, and celebrate its cultural achievements. Professor Laamiri understands the cultural dynamics of Tangier as a locus of diverse cultural and civilizational encounters from antiquity to the present. His knowledge of this long and rich history gives him a unique perspective from which to excavate Tangier’s hidden cultural treasures and long history of cross-cultural fertilizations. His writings on Tangier help us not only aesthetically to appreciate the literature of the city but also to navigate visually its topography through vivid descriptions of its major landmarks. He beautifully weaves the city’s labyrinthine alleyways, market places, diverse styles of architecture, and outstanding historical landmarks to the various narratives that make up Tangier’s rich and unique socio-cultural mosaic. His writings continue to inscribe the identity of Tangier.

As we celebrate Professor Laamiri’s achievements, we also acknowledge his leading role as a mentor to young Moroccan scholars who have chosen to write in English. His encouragement of this new literary consciousness in Morocco draws attention to a body of writing that transcends the bounds of language and place to embrace a spirit of global culture that stresses the humanity of individual subjects regardless of their local culture. Thanks to Professor Laamiri’s scholarship and critical insight over several decades, and especially his support of the Médi-Café project, a host of fresh and emerging voices have found a platform from which to speak. His recent essay on North African literature written in English shows his unwavering commitment to these new voices on the Moroccan literary scene. His awareness of the criticism, theory, and politics of the continued use of imperial languages allows him to present these emerging voices as they struggle with the paradoxes and complexities of using English as a medium of expression and as a vehicle for a uniquely Moroccan reality. Professor Laamiri once again has helped to link these new voices to others in the West, thus creating space for discussion, debate, and cross-cultural dialogue and understanding.

As members of the many generations of students who have benefited greatly from Professor Laamiri’s mentoring and commitment to higher education, cross-cultural understanding, service, leadership, and scholarship, we simply and respectfully say thank you. The Moroccan academic and intellectual landscape would not be the same without his many contributions.

Fulbright Scholar Grants

2009-03-30T18:42:00.000-07:00

From March to August 1, 2009, U.S. faculty and professionals are invited to apply for *Fulbright scholar grants at www.cies.org. For monthly updates, write us at outreach@cies.iie.org for a complimentary subscription to The Fulbright Scholar News, an electronic newsletter.

*The Fulbright Program, sponsored by the U.S. Department of State's Bureau of Educational and Cultural Affairs, is the U.S. government's flagship international exchange program and is supported by the people of the United States and partner countries around the world. Since 1946, the Fulbright Program has provided more than 286,000 participants from over 155 countries with the opportunity to study, teach and conduct research, to exchange ideas and contribute to finding solutions to shared international concerns. For more information, visit http://fulbright.state.gov/.

Andy Riess, Ph.D.
Senior Program Officer for Recruitment
Council for International Exchange of Scholars

Katherine Matheson
Program Associate for Outreach and Communications
Council for International Exchange of Scholars
3007 Tilden Street NW, Suite 5-L
Washington, DC 20008
(202) 686- 7866
kmatheson@cies.iie.org

Le Maroc Culturel est en deuil

2009-03-17T08:56:00.000-07:00

Abdelkébir Khatibi n'est plus

Rabat - L'écrivain, sociologue et chercheur universitaire marocain Abdelkébir Khatibi est décédé, lundi matin, dans un hôpital à Rabat, à l'âge de 71 ans, des suites de complications cardiaques, apprend-on auprès de son épouse.

Abdelkébir Khatibi Né à El Jadida en 1938, le défunt a étudié la sociologie à la Sorbonne (France) et soutenu en 1969 la première thèse sur le roman maghrébin.

Il occupa plusieurs postes académiques, dont celui de professeur universitaire à la Faculté des lettres et des sciences humaines de l'Université Mohammed V de Rabat, et de directeur l'ex-Institut de Sociologie à Rabat, puis de directeur de l'Institut universitaire de la recherche scientifique.

Le regretté homme de lettres était membre de l'Union des Ecrivains du Maroc depuis 1976, rédacteur en chef du "Bulletin économique et social du Maroc" et directeur de la revue "Signes du Présent".

Romancier, poète et sociologue de renommée internationale, feu Abdelkébir Khatibi est un spécialiste de la littérature maghrébine.

Ecrivain maghrébin d'expression française parmi les plus distingués, feu Khatibi a traité des phénomènes sociaux dans un style audacieux et novateur.

Il est l'auteur de plus de 25 ouvrages, dont "La Mémoire tatouée" (1971), "L'Art calligraphique arabe" (1976), "Le Roman maghrébin", "Le Livre du sang" (1979), "Amour bilingue" (1983), "Dédicace à l'année qui vient" (1986),"Figures de l'étranger dans la littérature française" (1987), "Un été à Stockholm" (1990), "Penser le Maghreb" (1993), "La civilisation marocaine (sous co-direction avec feu Mohamed Sijelmassi - 1996) et "La langue de l'autre" (1999).

Feu Abdelkébir Khatibi est lauréat de plusieurs distinctions internationales. Les plus récentes sont, notamment, "Le prix littéraire de la seconde édition du Festival de Lazio d'Europe et de la Méditerranée" et le prix du "Grand printemps" de l'Association française "hommes de lettres" pour l'ensemble de ses oeuvres poétiques, dont une partie vient de paraître en trois tomes chez la maison française "La Différence".

Il est le premier écrivain marocain et arabe à obtenir ce prix, décerné par l'Association française créée en 1838 par une pléiade de noms illustres de la littérature classique de l'Hexagone, tels Honoré de Balzac, Victor Hugo et Alexandre Dumas.

Début février dernier, le Roi Mohammed VI avait décidé la prise en charge personnelle des frais d'hospitalisation de feu Abdelkébir Khatibi, à l'admission de ce dernier à l'hô pital Cheikh Zayed, où il a rendu l'âme.

Autre signe de considération pour le défunt, Khatibi bénéficia, sur Hautes Instructions Royales, du titre ad vitam aeternam de professeur universitaire à la Faculté des lettres et des sciences humaines de l'Université Mohammed V de Rabat, avec tous les avantages y afférents.

Berceuse: Performance by Youssef Raihani

2009-03-08T11:29:00.000-07:00

«Qu'elle m'est proche cette vieille folle qui courait après le temps, qui voulait rattraper un morceau de temps »Emil Cioran – (Syllogisme de l'amertume)

Youssef Raihani fréquente Beckett

Dix ans après ma première pièce. J’ai osé fréquenter les textes de Beckett, pour naître au Théâtre. Une manière émue de donner à entendre ses voix
Puissantes et insurpassables : Dis Joe, La dernière bande, Berceuse, Pas, Acte sans parole,… trois langages se nouent et s’unissent pour nous donner la leçon initiatique de notre voyage, tous les désirs, les espoirs, les libérations finissent-ils donc là, dans un désert de l’inquiétude et du néant ?

La Contagion Beckett

Un projet qui vise à produire et présenter les dramaticules de Samuel Beckett, cette face perdue et inaccessible. Peu importe pour nous le genre à travers lequel nous présenterons ces œuvres, théâtre soit-il, cinéma ou performance… C’est que chez notre dramaturge irlandais le genre se dissipe et s’anéantit ce qui nous importe en fait ce sont les interrogations qui constituent l’héritage de ce pessimiste gai :
- Pourquoi oblige t il ses personnages à l'ouie ?
- Pourquoi les menace-t-il à se taire ?

Résumé de : «Berceuse»

Dans "Berceuse" (Rockaby), qui a été écrite en anglais en 1980, une vieille femme s'est habillée dans les roches noires d'une robe de soirée elle-même dans une chaise basculante tout en écoutant sa propre voix enregistrée. L'histoire raconte le caractère cherchant pour des autres « un goût » elle-même, dans le monde extérieur. La recherche finit car tous stores sont tirés et
L'obscurité complète descend.

LABO BECKETT / LA CONTAGION BECKETT
Où la texture d’un art post-mortem

J’ai interrogé Fernando Arrabal sur son fils Beckett, croyant que je parle de Samuel Beckett il me répond avec beaucoup d’affliction : «mais Beckett est mort, c’était un ami inoubliable : homme, il était excellent, écrivain, encore plus excellent ». Je lui ai signalé que Zahra et moi sommes entrain de monter la pièce de la berceuse dans le cadre du projet LA CONTAGION BECKETT que nous avons lancé à l’occasion du centenaire de ce kamikaze passionné de la vie. « Nous avons pris la charge, lui ai-je dit, de produire les dramaticules de cet écrivain lesquels nous considérons comme sa facette perdue » Ses yeux larmoyèrent et dit après un petit silence : « sois sûr que si Beckett était vivant et entendait cela, il serait très content, lui qui n’était guère content des choses ». Il me confia par la suite en chuchotant : « je te donne le secret de la réalisation des œuvres de Beckett : chez lui la fin c’est le début. Si tu arrives à comprendre cela très bien, tu partiras à une vitesse anticipant le temps ».

J’ai réalisé alors que ce projet ne pourra aboutir que s’il est assuré par une troupe portant le nom de Beckett. Chose que nous n’avons hésité à faire en nommant notre laboratoire : LABO BECKETT pour les arts contemporains de la scène ; la berceuse –septembre 2007- en est le premier produit/ Dans le laboratoire Beckett pour les arts contemporains de la scène, nous ne présenterons au public –d’ici et d’ailleurs- que les œuvres de Samuel Beckett ou celles qui s’inspirent de son immense univers. Peter Brook a passé toute sa vie travaillant sur Beckett ou tournant dans sa sphère ; nous, nous ne regretterons pas de faire de même. C’est que Beckett nous offre des œuvres qui sont en quelque sorte le savoir pur qui prive tout fait de la valeur et du poids jusqu’à l’anéantissement : l’anéantissement de l’objet même . Toutes les choses s’y valent : la compréhension et sa négation ; n’est ce pas que les vérités surgissent, comme le signale Cioran, de ce qui n’a pas de sens ? Nous serons peut-être un peu dur avec le public avec de telles œuvres, mais elles lui présenteront sans hypocrisie ni fausseté aucune l’art de l’après mort, l’art post-mortem où toute chose devient nue et privée de tout fondement ou prétexte, là où il n’y a lieu qu’aux densités. Nous sommes sûrs que quiconque oserait faire autrement ne serait que sot ou imposteur. Le seul objet de notre projet est le sujet : penser le sujet et ses catastrophes.
Attention : ce que nous présenterons dans le cadre de ce projet fondé sur Beckett n’est pas du théâtre ! Nous n’aspirons pas non plus à ce qu’il soit comme tel !

Youssef Raihani

Fiche technique
Berceuse / Rockaby:

Dramaticule de:
Samuel Beckett

Idée, Vidéo et Mise en scène:
Dr. Youssef Raihani

Interprétation:
Zahra (Fatima Zohra Sghir)

Installation et Montage:
Amine el Gotaibi

Maquillage:
Aziza Laghdass

Direction de production:
Youssef Raihani

Projet:
La Contagion Beckett

Réalisation:
LABO BECKETT
Pour les Arts Contemporains de la scène
L'institut Nacional des Meaux Arts
Avenue Mohamed V, quartier scolaireBP: 89- Tétouan, Maroc

www.youssefraihani.com

PARTIE DEHORS 1: Performance by Youssef Raihani

2009-03-03T05:58:00.000-08:00

IL n'y a point d'histoire ni de personnage, ni même d'espace; le temps,
lui, n'est pas du tout détermine. Seul un écran virtuel est la, sur lequel se disséminent
des couleurs formant des interrogations de cette créature qui porte la peau d'un être humain.
Il y aurait des souvenirs de fantômes qui continueraient de hanter les lieux autour
de nous. On n'arrive pas à distinguer si l'acteur présent devant nous,
enrobe dans son cuir les yeux bandés, était un être réel sur la scène
ou plutôt virtuel sur l'écran

Partie dehors 1
Texte de: Youssef Raihani

L’homme :
Regardez et écoutez.. /
Vous qui êtes là/
Vous qui êtes venus chercher le divertissement et le rire /
Tout à l’heure passait devant vous celui qui était un homme
Avec ses origines obscures/
Et ses fins encore plus obscures/
Comme s’il était un échos..
Venant de très loin.. /
Illusoire et chimérique.. /

Allume une allumette
Regardez son éclat et sa flamme.. /
C’est bien ce que, moi, je nomme :
Vie d’un homme.. /
Il naît..
porte un nom,
Grandit,
et tue pour vivre ;
Il est tué pour que son meurtrier vive.. /
Il s’entretue pour transcender ;
A la fin ….
L’allumette s’éteint

Il finit dans les ténèbres.. /
Ainsi …
Arrive-t-il d’une nuit et finit-il par une nuit /
Sans laisser de trace.. /
Je ne recommande point d’avancer,
je n’appelle point non plus à ce qu’on réfléchisse à quoi que ce soit
Le besoin du courage /
De l’honnêteté /
De la force/
De l’intelligence/
Du sens de la responsabilité…
Tout cela croît quand les choses sont perturbées,
Tout cela accroît la perturbation des choses.. /

Fiche technique
PARTIE DEHORS 1

Idée, Texte, interprétation et Mise en scène:
Dr. Youssef Raihani

Installation et Conception plastique:
Amine el Gotaibi

Direction de production:
Fatima Zohra Sghir

Graphisme:
Zvezdelina Stoyanova

Montage:
Said Affifi et Amine el Gotaibi

Dessins d'animation:
Ismail Oulhaj Allah et Amine el Gotaibi

Réalisation:
LABO BECKETT
Pour les Arts Contemporains de la scène
L'institut Nacional des Beaux ArtsAvenue Mohamed V, quartier scolaire
BP: 89- Tétouan, Maroc

www.youssefraihani.com

A Moroccan Midsummer Night’s Dream

2009-03-01T11:25:00.000-08:00

A Student Production of ISADAC, May 22

Le Songe d'une nuit d'été (A Midsummer Night's Dream) est une comédie de William Shakespeare dont on ignore absolument la date de rédaction et de création. Les historiens pensent qu'elle a pu être écrite entre 1594 ou 1595 et la première inscription de la pièce au registre des Libraires date du 8 octobre 1600.C'est une histoire complexe dont l'action se déroule en Grèce et réunit pour mieux les désunir deux couples de jeunes amants, Lysandre, Démétrius, Hélène et Hermia. Hermia veut épouser Lysandre, mais son père, Égée, la destine à Démétrius, dont est amoureuse Hélèna. Lysandre et Hermia s'enfuient dans la forêt, poursuivis par Démétrius, lui-même poursuivi par Hélèna. Pendant ce temps, Obéron, roi des fées, a ordonné à Puck de verser une potion sur les paupières de sa femme, Titania. Il entre dans la forêt avec Puck. Pendant la nuit, la confusion règne.La scène la plus connue est l'apparition de Bottom, qui porte une tête d'âne, avec Titania, qui par la magie de Puck en est tombée. traduction en darijja et mise en scène : messaoud bouhcinescénographie : othman el khalouficostume : lina ben elmouaz slimani hassanimaquillage : hanan bariinterpretation : kamélya maalam - naser idrisi - abdel hamid abou inan - imad fijjaj- fairouz amiri - hajar ezzamrani- nadia zaawit- chaymaa jbiri- ahmed rayan- hajar chargui- zouheir ait benjaddi- younes chara- abdelaziz belle - maha zrawati- aziz abalagh et autres/

المسرح والحداثة

2009-03-01T09:37:00.000-08:00

تقديم
يحاول هذا الكتاب أن يرصد بعض معالم الحداثة في المسرح، كما عبرت عن نفسها في الغرب من خلال الانخراط في عوالم الصورة وتكنولوجيا الإعلام الحديثة، وكما رسمت بعض مساراتها أنماط من الكتابة والممارسة معا في المسرح العربي والمغربي.
ففي الوقت الذي نجد فيه أن المسرح الغربي قد دخل دائرة التفاعل مع إيقاع العصر الجديد من خلال استثمار ما تتيحه التكنولوجيا الحديثة من إمكانات تعبيرية ومن طرق جديدة في التواصل بين الناس داخل عالم تحول إلى قرية تجانست فيها الأذواق والنزوعات وتوحدت الاهتمامات وتنمطت الأفكار والخيالات، هذا التفاعل الذي خلق للمسرح وضعا جديدا طال أشكال إنتاجه وتلقيه على حد سواء؛ نجد أن مسرحنا العربي والمغربي – بالنظر إلى الفجوة الحضارية بين العرب والغرب – ما يزال يحاول تلمس بعض علامات الطريق نحو الحداثة من خلال الاشتغال في دائرة الكتابة المسرحية وما تتيحه من إمكانات الاشتغال على مستويات التشخيص الأدبي والتخييل والجماليات، وذلك بغاية تمثل بعض خصائص الدراما الحديثة على الطريقة الغربية ومحاولة استلهامها من جهة، وبهدف ابتكار أشكال وأنماط تستحضر روح الثقافة العربية وتراثها الأدبي الفكري من جهة أخرى.
لا يهمنا هنا أن نصدر أحكام قيمة إزاء هذه التجارب في ضوء هذا التفاوت الحضاري، لكن لا بأس أن نسجل، مع ذلك، أن المسرح الغربي الذي فتح آفاقا مغايرة بانفتاحه على العوالم الافتراضية، لم يتخل، بالضرورة، عن ذاكرته الحية. فما تزال أشكال الكتابة وأنماط الفرجة المسرحية حاضرة بقوة في البلدان الغربية، والمسرح يقرأ ويشاهد بنفس النهم الذي كان، لأن الغرب استطاع أن يبلور تقاليد راسخة تضمن للمسرح وضعه الطبيعي حتى في ظل الخطر الذي يتهدده كثقافة من جراء سطوة تكنولوجيا الإعلام الحديث.
وبالمقابل، فالمسرح العربي والمغربي، ما يزال يعيش نوعا من المد والجزر في علاقته بذاته وبالآخر أيضا الذي هو الغرب. وهي وضعية تجعل من الصعب الوقوف على توجه راسخ فيه، إما نحو التقليد أو نحو الحداثة. ونعتقد أن ما تعيشه الإبداعات النصية والتجارب المسرحية التي نقف عندها، في هذا الكتاب، يزكي هذا التأرجح، الذي يعد في نهاية المطاف، جزءا من الطابع العام الذي يميز الثقافة العربية المعاصرة.

No Man's Land

2009-02-27T07:50:00.000-08:00

A PROPOS DE NO MAN’S LAND

Sans vouloir faire oeuvre d’historien, je retiendrai l’année 1972 comme le point de départ d’une répression tous azimuts contre les jeunes forces vives de la nation, d’obédience Marxiste, structurées au sein de trois principales organisations clandestines (Ila al amam, 23 Mars, Linakhdoum Achaab), prônant la révolution et la transformation du système marocain en République Démocratique Populaire.

La répression qui s’était abattue sur les militants de ces organisations fut si sévère que les condamnations se comptaient par dizaines d’années d’emprisonnement (de 4 à 30 ans, voire même la perpétuité par contumace) sans, pour autant, leur reconnaître le statut de détenus politiques.

Les dix premières années de la détention furent empreintes d’atrocité de sorte que certains prisonniers les qualifiaient de « décennie de l’horreur », horreur qui a eu raison de la raison de certains d’entre eux.

C’est dans ce contexte que la pièce « No man’s land » a connu sa genèse. Elle se voulait, par le fait théâtral, témoin de cette décennie de l’horreur, témoin de la chape de plomb que l’Etat avait installé sur des personnes remarquables, tant que pour ces âmes d’élite, il inventa des souffrances de choix.

J’ai été confronté, lors de la conception de cette pièce, à un dilemme qui se déclinait en deux questions : Faut-il écrire cette pièce de la manière la plus prosaïque, avec des attaques frontales, manquant d’élégance, d’élévation, de distinction, de poésie et aboutissant immanquablement à des mesures de répression, allant de l’interruption des représentations à l’ingéniosité des tourments pour la troupe de théâtre et pour moi-même ?

Ne faut-il pas écrire cette pièce en « une prose poétique, musicale, sans rythme et sans rime, assez souple et assez heurtée pour s'adapter aux mouvements lyriques de l'âme », suivant, ainsi, notre vocation. En communiant, dans et par le théâtre, avec notre public , enfin, la question des écueils de la répression, rendant diaphane tout « dialogue » avec « le censeur », grâce notamment à cette transcendance du texte qui élit la performance au stade d’un véritable Cheval de Troie pour les pérégrinations du sens ?

« No man’s land » a été écrite, sur une durée de trois ans (de 1982 à 1984) . Elle a été présentée au public marocain pendant quatre années (de 1984 à 1987). Elle a été partout ovationnée et couronnée, en 1986 par deux prix (la réalisation et l’interprétation) au le festival national du théâtre.

Mohammed Kaouti
Auteur dramatique
Maroc

Biographie:

Mohammed Kaouti ;
Né, à Casablanca en 1952 ;
Travaille et vit à Casablanca ;
Auteur dramatique ;
Ex Secrétaire Général du Syndicat National des Professionnels du Théâtre (Maroc) ;
Président de la Mutuelle Nationales des Artistes (Maroc) ;
Concepteur et producteur d’émissions TV ;
Manager de société de production audiovisuelle ;

Théâtre :

- Le comment et le pourquoi (œuvre collective) ;
- Le panier ;
- La coutume (adaptation de « celui qui dit oui et celui qui dit non » de Bertolt Brecht) ;
- Les Quaramates répètent ;
- Les pérégrinations de Moha ;
- Hallaj re-crucifié ;
- L’effondrement des idoles ;
- No man’s land ;
- Sidna Qdar (transplantation de « En attendant Godot » de Samuel Beckett) ;
- Boughaba (transplantation de « Maître Puntila et son valet Matti » de Bertolt Brecht).
- Lumière sur lumière (oeuvre collective);
- Le ring ;
- Le beurre et l’argent du beurre ;

Autres :

- Traduction vis-à-vis de « je suis parti » de Alan Mets, édition l’école des loisirs, Paris 1996 ;
- Traduction vis-à-vis de « la chaise bleue » de Claude Boujon, édition l’école des loisirs, Paris 1996 ;
- Traduction vis-à-vis de « Zou » de Michel Gay, édition l’école des loisirs, Paris 1998 ;
- Les contes de l’émission éducative « Alif Lam » produite pour le compte de la Société Nationale de la Radio et la Télévision (SNRT) ;
- Les fables de l’émission éducative « Tibaa », produite pour le compte de 2M.

إصدار جديد للدكتور حسن المنيعي: المسرح الحديث - إشراقات واختيارات

2009-02-22T12:10:00.000-08:00

فهرس المحتويات

عتبة.................................................................................5
المسرح والمقدس.......................................................................7
المسرحي الفرجوي ...................................................................19
المسرح التعبيري الألماني...............................................................35
المسرح الغروتيسكي...................................................................52
تحولات الخطاب المسرحي وفرجاته......................................................69
التفاعل الثقافي في المسرح المعاصر.....................................................81

صدر ضمن منشورات المركز الدولي لدراسات الفرجة، سلسلة دراسات الفرجة العدد السادس، كتابا نقديا جديدا لعميد النقد المسرحي بالمغرب الدكتور حسن المنيعي بعنوان: المسرح الحديث (إشراقات واختيارات)..الكتاب عبارة عن دراسات نقدية تسعى إلى: (تسليط الضوء على قضايا المسرح الفكرية التي ساهمت في بلورة تاريخه العريض، و... البحث عن أفق تواصلي ينعكس في محاولته تحقيق حلم قديم/جديد: أي التفاعل الحضاري) ص5. وسنسعى في هذا العرض إلى تقريب القارئ المغربي/العربي من أهم القضايا الفكرية التي تناولها الباحث في دراساته التي تشكل إضافات جديدة ونوعية في الساحة النقدية العربية

المسرح والمقدس
يذهب الباحث في دراسته لعلاقة المسرح بالمقدس إلى كونها علاقة وطيدة ظهرت مع بدايات المسرح كفن جماعي عبر الاحتفالات والطقوس الدينية، واستمرت إلى حدود القرن السادس عشر، حيث ستظهر نقاشات جادة حول حضور المقدس في المسرح خاصة في فرنسا التي عرفت تدخل البرلمان لمنع أي عرض مسرحي يقوم مباشرة على الدين. لكن رغم هذا لم تحل المشكلة بل ظلت سائدة إلى العصور اللاحقة، قبل أن يعرف المسرح الأوربي في نهاية القرن التاسع عشر حركة أدبية هامة. انعكست في العودة إلى المسرح الإغريقي، عودة كان من تجلياتها استرجاع أصول المقدس الذي سيظهر في إنتاجات العديد من مسرحيي القرن العشرين إن في شكل تأييد وانبهار كما هو الحال عند هنري غيون، مشيل دوغلدرود، جان كوكتو...إلخ. أو في شكل معارضة تعكس إلحاد أصحابها كما هو الشأن في مسرح العبث والمسرح الفقير...

المسرحي الفرجوي
أما في دراسته عن الفرجوي المسرحي فإن الباحث يذهب في تحديده للفرجوي في المسرح إلى كونه (كل لحظة تنتج "فعل صدمة" بصرية أو سمعية أو عاطفية، ثم تبتلع المتفرج وتدهشه لا من خلال ما يقوله النص وإنما من خلال أسلوب تلفظه وعرضه وإخراجه) ص32..فالفرجوي ينتمي إذن إلى الإخراج المسرحي، هذا الانتماء أثار نقاشات طويلة وجادة بين الدارسين الكلاسيكيين..تجسدت على الخصوص في قضية موت البطل التي طرحها"سفوكل" في مسرحيته "الكترا"..والتي اقترحت اختيارين على الكاتب: إما أن يعرض موت البطل أمام البرلمان والعالم كله أو خارج حدود المسرح، هذان الاختياران دفعا بالكتابة الدرامية آنذاك على اقتراح (جدلية حاذقة للمرئي واللامرئي أو للمعروض والمحكي)، الشيء الذي أفرز نقاشا طويلا تعددت بشأنه الآراء وتباينت سواء في فرنسا أو انجلترا.عموما فما دام (الفرجوي المسرحي ينحصر أساسا في الإخراج المسرحي، فإن لكل مخرج أسلوبه الخاص يسعى خلاله إلى تجسيد المعاني الظاهرة والخفية للنص) ص30.

المسرح التعبيري الألماني
عمد الباحث في دراسته عن المسرح التعبيري إلى بيان الظروف التي أحاطت بظهوره باعتباره جاء كرد فعل ضد كل من المسرح الطبيعي الذي (كان قد اكتسح الركح وألغى المثل الأعلى....) ص37 والمسرح الرومانسي الذي(كان مسرح حذلقة لغوية) ص37.. الشيء الذي دفع عددا من الكتاب المسرحيين إلى تبني التعبيرية كشكل فني صاخب وقياماتي يهتم باللامنطقي والأسطوري والصوفي واليومي. وضدا على الدراما الكلاسيكية التي كانت أحداثها تتطور من البداية إلى النهاية..أبدع المسرحيون التعبيريون شكلا مسرحيا جديدا سمي بدراما المحطة باعتبارها سلسلة من اللحظات الإشراقية (يعوض فيها تتابع المحطات أو حالات الروح البشرية، التسلسل المنطقي للحدث) ص37.

المسرح الغروتيسكي
أما في دراسته حول المسرح الغروتيسكي فقد استعرض الباحث تطور مفهوم الغروتيسك منذ ظهوره في نهاية القرن الخامس عشر حيث أطلق أول مرة على (رسومات تجسد كائنات غريبة نصف إنسانية أو نصف حيوانية ونباتية) ص52..قبل أن يقتحم مجال الكتابة الأدبية والفنية في القرن التاسع عشر إذ انحصرت وظيفته الأساسية في (رصد الأحداث والسلوكات والأبعاد النفسية) ص53.. ليتحول مع الرومانسيين إلى مصطلح ( يوازي ما هو سخيف وغير طبيعي، وكذا كل ما هو منحرف عن القواعد في الفن) ص54. عموما فقد تعددت الآراء حول مفهوم الغروتيسك وتباينت إلا أنها تتفق على عدد من سماته الخاصة جعلت منه وسيلة تقنية تهدف إلى (تجديد اللعب الدرامي، وتحقيق ثورة فنية تعكس صورة جديدة عن الإنسان المأسوي) ص65..مما حدا بالدارسين إلى البحث عن الغروتيسك في الأعمال الدرامية التي تقوم على اللامنطقي والعجائبي خاصة في المسرح السريالي والعبثي.

تحولات الخطاب المسرحي وفرجاته
أشار الباحث في معرض دراسته حول تحولات الخطاب المسرحي إلى أهم ما ميز تاريخ المسرح الذي ضل يتأرجح بين مسرح أدبي مكتوب ومسنن ومسرح شعبي شفوي..الشيء الذي جعل منه (خطابا معقدا نظرا للتطورات التي عرفها منذ الإغريق إلى الآن) ص71..تطورات تحكمت فيها ظروف عدة أجملها الباحث في :(خرق المعايير الأرسطية خاصة فيما يتعلق بالتراجيديا والكوميديا..هيمنة المخرج المسرحي على العمل المسرحي من خلال نظريات أبدعها مخرجون منظرون..تأثيرات التعبيرية الألمانية ..تأثير أنطونان أرطو الذي أعاد اكتشاف البعد المقدس للمسرح.......إلخ)

التفاعل الثقافي في المسرح المعاصر) قراءة أولية)
أما في دراسته للتفاعل الثقافي في المسرح المعاصر، فقد انطلق في استقرائه للموضوع من حقيقة أساسية مفادها (إن الحوار الثقافي يستلزم معرفة الآخر من خلال دراسة ثقافته، والغوص في عوالمها اعتمادا على نظريات مستحدثة تكشف أدواتها الإجرائية عن الأسباب التي تجعل ثقافة متفوقة على ثقافة أخرى أو تجانسها معا) ص81..ورغم تشكيك البعض في إمكانية تحقق هذا الحوار وانتصاره لمقولة الصراع بين الثقافات أو الحضارات..فإن (الحوار بين الثقافات.....تم بأشكال مختلفة عبر التاريخ الإنساني) ص82 خاصة في المسرح الذي عرف مساره التاريخي تحولات كبرى جعلته يتحول إلى فرجة مصنعة أدت إلى ظهور ردود أفعال قوية أفضت بدورها إلى انفتاح المسرحيين في الغرب على( ثقافات أخرى تحترم التقليد المسرحي القائم على الاحتفال) ص84 خاصة ثقافات الشرق الأقصى كما هو الشأن مع أنطونان أرطو، غوردن غريك..ماكس رينهاردت..ألكسندر طايروف..برتولد برشت...لكن تبقى تجارب أوجينيو باربا وبيتر بروك وأريان منوشكين وروبير ويلسون أهم تجارب فنية تجسد فيها مفهوم التفاعل الثقافي المسرحي الذي لم يكن أحادي الجانب..ذلك أن اليابانيين أنفسهم قد (قد أبدوا اهتماما كبيرا بنموذج المسرح الغربي....من خلال تعاملهم مع نصوص شكسبير وتشيكوف وإبسن بإخراج غربي صرف يعتمد أحيانا تقاليد مسرح النو والكابوكي) ص94.
في الختام ونحن نغلق دفتي هذه الدراسات المميزة في تاريخ النقد المسرحي المغربي لا نملك إلى أن نتمنى مع البا حسن..كما يحلو لكل محبيه مناداته..أن تتاح له قادما فرصة التعريف بقضايا فكرية أخرى لها علاقة براهنية المسرح الحديث

محسن زروال
مخرج مسرحي طنجة/المغرب

To order books:

Contact - Mustapha Hilal Sousi, ICPS Archivist

mhsousi (at) yahoo (dot) com

To return to the ICPS welcome page, click here

آخر إصدارات الكاتب الطنجاوي الزبير بنبوشتى

2009-02-09T09:35:00.000-08:00

عن منشورات باب البْحار سينمسرح صدر للكاتب المسرحي الزبير بن بوشتى آخر نصوصه المسرحية "أقدام بيضاء" الحائز على جائزة التأليف في المهرجان الوطني للمسرح المغربي في دورته العاشرة المنظم من طرف وزارة الثقافة بمدينة مكناس في يوليوز 2008ويحكي نص المسرحية قصة شخصيتين تشاء الصدفة أن تلتقيا بين جدران مستودع شاحنات يطل على رصيف مهمل من ميناء طنجة. صدفة هي ربما من أغرب الصدف وأندرها.الأول لقبه "عرب لافرانس"، فرنسي من أصل مغربي يصل إلى طنجة دون علمه عبر شاحنة انطلقت من ضاحية باريس، كان قد احتمى بأسفلها منذ أيام لتقله إلى مارسيليا متحايلا على الأحزمة الأمنية التي طوقت أحياء الضواحي الباريسية إثر أحداث الشغب لشهر أكتوبر 2005.أما الثاني ويدعى "عساس"، مغربي من نواحي ورزازات حل بطنجة منذ مدة لتحقيق حلم الهجرة السرية إلى أوروبا، وبعد تكرار محاولات الحريك الفاشلة سيعمل في الميناء حارسا دائما لمستودع شاحنات ومتعاونا مع الشرطة لتمكينها من مستجدات شبكات التهجير السري الناشطة بالميناء وما جاوره من مقاه وأحياء مهمشةويعد "أقدام بيضاء" تاسع نص مسرحي في ربيپرتوار الزبير بن بوشتى الذي يضم عناوين: الحقيبة، الصقيع، الأخطبوط (جائزة اتحاد كتاب المغرب 1992)، القفص، ياموجة عني، للاجْميلة (جائزة التأليف في المهرجان الوطني للمسرح المغربي في دورته السادسة 2004)، النار الحمرا. زنقة شكسپير. كما صدرت له عن المركز الدولي لدراسات الفرجة، الذي يديره د. خالد أمين، حتى الآن ثلاث ترجمات إلى الإنجليزية لمسرحياته: "للاجْميلة" من إنجاز مصطفى هلال السوسي. "زنقة شكسپير" أنجزتها رجاء الخلوفي، "النار الحمرا" من إنجاز مصطفى هلال السوسيوعن منشورات السليكي إخوان وبدعم من وزارة الثقافة أصدر الزبير بن بوشتى كتابا تحت عنوان "مقهى الحافة عزلة في الزِّحام" أهداه إلى روح الكاتب محمد شكري، ويضم بين دفتيه مجموعة نصوص تناول فيها فضاءات طنجة،غرناطة وباريس ورموز ثقافية مغربية وأجنبية مثل پول بوولز، محمد شكري، جان جنيه و محمد الحمري و آخرون

Two Theatre Events by Graziella Boggiano and Nordin Traghane

2009-02-07T07:02:00.000-08:00

1- Workshop for professional, Emerging and Semi-professional Actors

A workshop from 18 to 24 May 2009 in Tangier

DIALOGUE ENTRE CORPS ET ARCHITECTURE

, Graziella Boggiano and Nordin Traghane,

« Corps dansant, espaces dansés » click here

DIALOGUE BETWEEN BODY AND ARCHITECTURE
“Dancing body, danced spaces”, click here

Nordin Traghane - CV, click here

Graziella Boggiano - CV, click here

2- A Theatrical Performance "SENS"

A propos de "SENS", Graziella Boggiano, click here

About "SENS", click here

"SENS" - Poster, click here

Emerging Scholars

2009-02-03T06:23:00.000-08:00

Emerging Scholars are defined as either graduate students or post-doctoral researchers whose PhDs have been completed less than three years prior to abstract submission.

Researchers without PhDs who have been in an academic post for less than three years also qualify as Emerging Scholars.

AIMS grants

2009-01-27T21:11:00.000-08:00

AIMS at MESA: The I. William Zartman North African Travel Award

AIMS invites North African scholars who have been selected to present a
paper at the annual MESA meeting to apply for a travel award and stipend
to the conference. In honor of the many years of his service to the
Institute and his affection for the scholars of the Maghrib, the award is
named the I. William Zartman Award. Applicants should submit the title and
abstract of their selected MESA paper along with a current CV to the AIMS
Executive Office by May 1, 2009.

The award is intended for North African scholars living in North Africa.
Scholars must be citizens of Morocco, Tunisia, Algeria, Mauritania, or
Libya. If selected, scholars will receive an award to cover up to 1500
dollars in airfare, per diem for the duration of the conference, and MESA
conference fees.

Applications should be sent to: aimscmes@email.arizona.edu.
Deadline May 1
Please note that the MESA deadline for submissions is Feb 16th.

AIMS at MESA: The Jeanne Mrad Graduate Student Travel Award

AIMS invites US graduate students to apply for a travel grant to attend
the annual MESA meeting. Students must have been successfully accepted to
give a paper at the MESA. Paper themes must concern North African studies
and all disciplines are welcome. Applicants must be members of the AIMS
Graduate Student Association, the GSA.

In honor of her many years of service to AIMS and her sustained
encouragement of American graduate students through her work at CEMAT, the
AIMS Graduate Student Travel Awards are known as the Jeanne Mrad Graduate
Student Travel Awards.

Send title/abstract of paper and a current CV to the AIMS executive office
(aimscmes@email.arizona.edu) by May 1, 2009. Applicants must be members of
AIMS at the time of submission. Applicants must be US citizens.

AIMS offers awards between $300 to $500 to support the cost of domestic
travel, per diem and MESA fees.

Please note the MESA deadline for submissions is Feb 16th.

AIMS Annual Conference: The Donna Lee Bowen Graduate Student Travel Award

AIMS invites US graduate students to apply for a travel grant to attend
the annual AIMS conference in North Africa. Students must have been
accepted to give a paper at the Annual Conference.

The 2008 conference is entitled Sahara Crossroads: Views from the North
and will be held in Tangier, Morocco, June 6-7-8. Abstracts are due to
wara@bu.edu by Feb 1st. Applicants must be members of the AIMS at the time
of submission.

In honor of her many years of service and her sustained encouragement of
American graduate students through her work with AIMS, the Graduate
Student Travel Award is known as the Donna Lee Bowen Graduate Student
Travel Award.

Send title/abstract of paper and a current CV to the AIMS executive office
(aimscmes@email.arizona.edu) by May 1, 2009. Applicants must be US
citizens. No more than one applicant will be selected as the holder of
the Bowen Graduate Student Travel Award.

The travel award provides roundtrip airfare up to $1500 in reimbursed air
travel to the AIMS conference. Flights must be on a US carrier.

The Mark Tessler AIMS Graduate Student Prize Award

AIMS invites submissions by Graduate Student members of AIMS (The AIMS
Graduate Student Association, GSA) of papers for the Mark Tessler AIMS
Graduate Student Prize Award.

Papers must be complete in written form and must have been delivered
before a professional audience at the departmental, university, regional,
or national level. The date and name of the professional meeting must be
submitted along with the paper itself. The subject of the paper must
concern the Maghrib in any of its dimensions and must be in English. The
paper will be submitted to the Journal of North African Studies for
consideration for publication in JNAS, the AIMS professional journal,
where, if selected, it will be identified as the Mark Tessler Prize Paper.
The paper needs to follow the JNAS publication format, which can be found
through the AIMS website, AIMSNorthAfrica.org (link to publication/jnas).

The paper will be juried by two members of the AIMS Board and the award,
named for Professor Mark Tessler and in honor of his enduring interest in
the Maghrib and his sustained efforts to develop graduate students
prepared to work in the field, will be announced at the annual Awards
Ceremony at the MESA meeting.

Papers must be submitted by December 31, 2009 for the 2009 award. The
winner will be notified by January 31, 2010. The Mark Tessler AIMS
Graduate Student Prize Award is a cash prize of $750.00.

AIMS Maghrebi Grants for scholars

Please forward to your North African colleagues the call for submissions
for our annual AIMS Maghrebi Grants for scholars conducting research in a
North African country other than their own. The deadline has been extended
until Feb 15th as we have a new online application, which is available on
our website under Grants/Summer grants for North Africans:

http://aimsnorthafrica.org/fellowships/summer_grants.cfm?menu=2

Please note that we strongly encourage Libyan and Mauretanian colleagues
to apply as there have been few applicants from these countries in the
past.

*********Call for Applications******************

The competition is open to Maghribi citizens who are conducting research
for a doctoral dissertation or are post doctoral or senior scholars. The
CEMA/CEMAT/TALIM Research Fellowships for Maghribi Scholars are open to
citizens of Algeria Libya, Mauritania, Morocco and Tunisia. Grants are to
be used for research in Algeria, Morocco or Tunisia and are open to
scholars of business, humanities and the social sciences. Grantees must
conduct their research in a country other than their own and explain why
travel to another Maghribi country is necessary for their research.

The grant will typically be for 20-45 days, but support for longer stays
will be considered. Priority will be given to Maghribi scholars living in
North Africa and to those not having received such grant in the last three
years.

Applications will be reviewed by a committee of the American Institute of
Maghribi Studies (AIMS).

The grant awards will range between $1000 and $2500.

The grantees will be affiliated with an AIMS Overseas Research Center:
CEMA in Oran, Algeria; CEMAT in Tunis, Tunisia; or TALIM in Tangier,
Morocco. Research will be conducted in one of these countries.

The grantees will make a presentation on their research at the center with
which they are affiliated during the period of their grant. This lecture
may be at the host center, or at the home center.

Grantees should, whenever possible, interact with other affiliated
scholars doing research in the host country.

At the end of their grant period, and within 30 days, all research fellows
must submit to CEMA, CEMAT or TALM both a 2-5 page summary of their
research work in the country and an accounting of the use of all
fellowship funds. CEMA, CEMAT or TALM will retain a portion of the funds
until the report has been submitted and a lecture given at one of these
centers. AIMS may choose to publish fellowship reports in the AIMS
newsletter.

Applicants should consult their institution about any release time that
may be needed to carry out the proposed project. AIMS assumes that
applicants have obtained any necessary approval from their home
institution.

Applications must include the following:
1) completed applicant information sheet English (PDF) or French (PDF);
2) one-page description of the proposed research in English. It should
include a clearly stated reason as to why research in Maghrebi country
other than the applicant's home country is essential to the research;
3)detailed 3-5 page description of the research project in French, English
or Arabic;
4)curriculum vitae;
5)detailed recommendation letters will be helpful, but are not mandatory.

--
Kerry Adams, AIMS Executive Director
Terry Ryan, AIMS Administrative Associate

AMERICAN INSTITUTE FOR MAGHRIB STUDIES
Center for Middle Eastern Studies
University of Arizona
845 North Park Avenue
Marshall Building, Room 477
PO Box 210158B
Tucson, AZ 85721-0185
520-626-6498
520-621-9257 (fax)
www.AIMSNorthAfrica.org

Documentary film : Transgressions

2009-01-27T06:38:00.000-08:00

The curtain rises, the borders fall: a city between the Third and theFirst World. A piece for two photographers, three visual artists andfour writers, interpreted by two Europeans. A gardener builds aJapanese Zen garden from Hitachi television sets. A young woman takespictures of outer space in a storage building. A group of writers sellpoems at a takeaways and a professor of literature converses withravens. The borderlands are open, the curtain falls.

A documentary film by Diana Grothues and Florian Geierstanger. Running time: 35 min, Language: Spanish, Subtitles: EnglishShot in March 2006 in Tijuana (Mexico) and San Diego (U.S.A.)http://florian.geierstanger.org/en/tijuana

Florian Geierstanger, born 1981 in Oberstdorf / Germany. Since 2003 hestudies art and cinema in Munich. His documentary films include: Spur(Germany 2005), Koenig der Spiele (Germany 2006), Transgresiones(Mexico / USA 2007), My Way (Germany 2008).

Diana Grothues, born 1981 in Tuebingen / Germany. Since 2002 shestudies Latin American Studies and North American Studies at the FreeUniversity of Berlin. She is Co-author of the following documentaries:Parkbesucher (Germany 2005), Transgresiones (Mexico / USA 2007), Lutapor espaços (Germany 2007). In her final paper she will do acomparison between the representation of the U.S/Mexican and theMoroccan/Spanish border in films.

ICPS style sheet for paper submissions

2009-01-19T06:58:00.000-08:00

Submission deadline:

immediately following your paper panel
submit paper in both printed and digital form (via email or CD)

Languages:

Arabic, Tamazight, French, Spanish, and English

Style guidelines:

use MS Word 2003 format
use justified margins throughout, except: use left justified for indented quotes, footnotes
use Times New Roman 11-point throughout
use NO page numbers
use one space between sentences
use double spacing, except: use single spacing for title, author, affiliation, indented quotes, footnotes (with NO space between)
do NOT leave extra line spaces between paragraphs
use the TAB function for paragraph indents of .3" - do NOT use manual spaces for paragraph indents
use italics for book titles - do NOT use underline
indented quotes should be .5" indented both left and right
use en dash “–”, not “-”

Additional formatting:

TITLE (centered, bold)
NAME OF AUTHOR(S) (centered, bold, italic)

Abstract (single spaced, 250 words maximum, optional: up to five key words)

BODY (justified)

AUTHOR(S) INSTITUTIONAL AFFILIATION (bold, right justified)

NOTES (“Notes” headline: bold and left justify; insert notes manually - do NOT use automatically generated notes)

With the Brechts

2009-01-12T20:16:00.001-08:00

The ghost is not simply a dead or missing person, but a social figure, and investigating it can lead to that dense site where history and subjectivity make social life.

New book from ICPS

2009-01-12T18:53:00.000-08:00

A new play translation from the International Centre for Performance Studies (ICPS)

By Zoubeir Ben Bouchta

Translated from Arabic by Mustapha Hilal Soussi

Co-edited by Pamela Balfanz and George F. Roberson

From the introduction

The Red Fire was originally an oral story told by the Moroccan painter and storyteller Ahmed El Yacoubi to Paul Bowles who translated it into English and transformed it from orality to literacy under the title The Night Before Thinking. Zoubeir Ben Bouchta’s textual practice is far from being a straightforward adaptation of the original story, despite the use of Yacoubi as narrator and manifestly as a Joker who controls the flow of narrativity as well as the flow of dramatic representation. The Red Fire is a postcolonial retrieval of The Night Before Thinking; a retrieval that restores the story’s performative agencies that are eclipsed in Bowles’ undertaking.

Thus Ben Bouchta turns The Night Before Thinking into metaphors and ellipses of his proper quest and pursuit; such mutation renders the text habitable. In this context, Michel de Certeau observes:

This mutation makes the text “habitable”, like a rented apartment. It transforms another person’s property into a space borrowed for a moment by a transient. Renters make comparable changes in an apartment they furnish with their acts and memories; as do speakers, in the languages of their native tongue and, through their accent, through their own “turns of phrase”, etc., their own history; as do pedestrians, in the streets they fill with the forests of their desires and goals. (de Certeau, The Practice of Everyday Life, xxi)

From the outset, the storyteller is foregrounded and adapts the form of a legendary bird that is painted right in front of the audience in the prologue: “I am now Ahmed El Yacoubi who met an American writer named Paul Bowles in 1947 in Fez, and travelled with him to Tangier. In this city, I discovered trance in the realm of colors when the American brought me painting materials and said to me: Paint, you are an artist! I told him: How come? I have never been at school; and my education didn’t step beyond the M’ssid period. He told me: Art is inside you… When I was young, I used to go to the open square of Rass lklia that is located right outside the walls of the ancient Medina. I used to stay all day long attending to stories told by experienced storytellers who spent their lives travelling around and telling stories to people… One day, I found myself filled by stories that I passionately desire to tell to people”. In memoriam of Bowles and Yacoubi, Ben Bouchta’s prologue acknowledges both the oral and written sources of the story The Night before Thinking. However, he uses this story as a pretext in order to voice out another story which is no more than the proper story.

In The Red Fire, the legendary bird determines the flow of events and creates a performance space whereby the theatrical event is only achieved through a dialectical oscillation between what is narrated and what is dramatized. The Woman and the Wiseman are the red fire that radiates with theatricality. The woman’s obsession for revenge blinds her to the extent of being ready to supp with the devil. And though she was able to marry her enemy (the Wiseman) and give birth to two deformed creatures, the ability to forgive and to love remains unattainable for both husband and wife. Their self-destructive struggle over a blessedness that emanates from the other world of colors in order to control the general public’s lives dehumanizes them both.

The blending of epic and dramatic lines is one of the characteristic features of Ben Bouchta’s dramaturgy. In The Red Fire, the bird is not only a messenger from the world of colors, he is also a functional agent of dramaturgical intricacies. His appearance punctuates specific instances of shifting from the techniques of telling that inform the story’s narrativity into the technique of showing which throws narrative substance into the abyss of performativity. These instances of shifting create a critical distance in the receiver whose emotional involvement becomes more and more backgrounded despite the fact that her/his eye is still on the finish (unlike Brecht’s V-effect): The Bird: No, I came to tell you: Watch out this enemy’s marriage; its love is a red cinder and its life is a burning fire. The Wiseman: Why is that? The Bird: Why? You won’t know the answer until you live the story as it is told.”

The play was translated into English by Mustapha Hillal Soussi, a passionate admirer of Ben Bouchta’s drama. It is his second translation by the same author after the play Lalla J’mila. I have been present in different phases of this undertaking, and I found Mr. Soussi to be a serious, diligent and an emergent researcher and translator whose persistence will certainly be fruitful.

Khalid Amine
ICPS President

To order books, contact:

Mustapha Hilal Sousi
ICPS Archivist
email: mhsousi (at) yahoo (dot) com

concert

2008-12-25T07:55:00.000-08:00

To listen to a sample music clip, click here

Mohammed Mezouri Alias Muslim

“Mohammed Mezouri Alias Muslim est né à Tanger en 1981. Il commença sa carrière de rap en 1995, un an plus tard il rencontra un groupe Nigériens qui partageaient le même style que lui et bâtirent un groupe ensemble, mais depuis leur séparation, la carrière de Muslim devint une carrière Solo.Quelque temps après, il rencontra des Mc's tangérois citons à titre d'exemple: L3arbé et Made killah et donnèrent naissance à un groupe qu'ils nommèrent <>. Leur union fait naître un premier album. Mais malheureusement ce groupe ne dura pas longtemps et tous ses membres se séparèrent. De nouveau, L3arbé et Muslim se réunissent et tous les deux créèrent le groupe ZANKA FLOW.

La carrière de Muslim ne se réduit pas seulement à cette première période de sa vie, ni aux groupes de rap qu'il a crée ; son mode de vie de soldat et sa persévérance, sa passion et son amour idyllique pour le rap, l'on poussé à continuer dans le domaine de la composition musicale et la création des instrumentaux de musique dans une ambiance à la fois limitée au moyens du bord mais surtout d'une magie féerique.

Mc, interprète et compositeur, Muslim ne cessera jamais de nous surprendre et nous ravir. Sa discographie ne cesse, quand à elle de s'agrandir et de s'élargir. Un quart de siècle d'existence, Muslim, de son vrai nom, Mohammed (..), n'a pas perdu de temps. Du rap qui frappe, qui tonne et qui résonne, une rage conciliée à un talent avéré, Muslim en est le reflet, d'une société jeune et déjà très lassée. Des mots durs, du débit violent et acharné ; de ce tangérois transparaît son vécu et son expérience dans la rue. C'est sa propre existence qu'il chante, avec un réalisme et une fidélité qui ne peuvent que dérouter.

La carrière de Muslim parle d'elle même, ses débuts datent des années 96. Actuellement Muslim possède déjà à son actif deux albums en solo : Le premier, -Strictly For My SouLjaz- qui date de l'année 2005 et le second, -Bghini WeLa Krahni- sorti en 2006 et deux maxi -Katra - en 2005 et -Mour Ssour- en 2008. Sans parler de ses nombreux albums avec son groupe Zanka Flow ou son Crew Kachela, et un nombre interminable de featurings avec des rappeurs marocains ou de différentes nationalités.”

Moroccan Arabic resource book

2008-12-20T15:35:00.000-08:00

NEW resource book now available!

Moroccan Arabic
Shnoo the Hell is Going on H'naa? A Practical Guide to Learning Moroccan Darija - the Arabic Dialect of Morocco

Aaron Sakulich
Rajae Khaloufi, editor

ISBN: 978-0-9824409-0-2

Available now for quick and convenient mail-order delivery worldwide, full details, click here

Al' America

2008-12-13T19:18:00.000-08:00

Al' America: Travels Through America's Arab and Islamic Roots
Jonathan Curiel. New Press, $25.95 (272p) ISBN 978-1-59558-352-9

Amid a heightened wave of xenophobia directed at Arabs and Muslims, San Francisco Chronicle writer Curiel reminds readers of a rich store of cultural borrowings and relationships that have gone deep into the very fabric of American society, including its most precious symbols and artifacts. While many will readily recall the “Arabic” strains in 1960s rock groups like the Doors, less obvious is the formative personal background at work in a classic like “Miserlou” (Turkish for “The Egyptian”) by Dick Dale. Still fewer Americans are likely aware of the blues' significant debt to Arab and Muslim musical traditions (imported by Muslim West Africans kidnapped into slavery). While the relative interest and import of these and other examples varies, Curiel's cultural odyssey moves swiftly and engagingly across time and geography, as he excavates everything from the “Moorish” architecture of New Orleans and the Alamo to the stories of the Arab and Muslim victims among the 9/11 World Trade Center dead. His research and focused interviews with leading scholars and musicians yield many surprises and leave little doubt about a crucial historical connection too easily forgotten in facile appeals to American identity. (Nov.)

Review source: click here

Additional review, Washington Post, click here

Al Andalus Ensemble: Tarik Banzi, Charlie Bisharat, Julia Banzi

2008-11-25T07:49:00.000-08:00

In a marriage of East & West, the Al Andalus Ensemble embodies the new vision of America as a modern society that embraces its cosmopolitan, cultural heritage soulfully merging classical, jazz and contemporary music with musical traditions from the Middle East, North Africa and Spain. This creation brings the music of the Al-Andalus Ensemble to a new level by integrating instruments and musicians from Africa (Tarik is Moroccan American), Europe (Julia is European American, Laura is European) and Asia (Charlie is Palestinian-American) and treating the listener to a confluence of the best of the East and West.
Delicately attuned to one another these twenty one strings remind us that the intricate interplay of diverse voices is the geography of cultural harmony. Harmony by its very nature juxtaposes contrasting notes to create a sound which is more than the sum of its parts. "21 Strings" calls on the timeless power of harmony to weave a divine fabric that wraps the listener in a space of calmness and tranquility.

TARIK BANZI (composer, multi-instrumentalist & visual artist) Tarik is an accomplished visual artist who completed his Doctoral studies Fine Arts (Ph.D.) at the Complutense University of Madrid, Spain and further studies at the University of California Santa Barbara. His artwork is included in collections throughout the world. Tarik has performed for such notables as Queen Sofia of Spain and Princess Haifa Al-Saud while his musicianship has graced the albums of flamenco and Jazz masters such as Paco de Lucia, Manolo Sanlucar, Enrique Morente & Jorge Pardo where Tarik introduced such mainstays the darbuka (clay or metal drum) and Udu (clay pot drum). Tarik's students Fain Duenas and Vicente Molina went on to form the Grammy nominated World music group Radio Tarifa. In the United States, Tarik's work in the Pacific Northwest in creating peaceful understanding between the US & Arab world and amongst Muslims, Jews & Christians has significantly contributed to the politics of the region and set the trend for what is now a blossoming Andalusian music Renaissance throughout the United States. Tarik's diversity can be seen in the works of Classical, Jazz, Folk, New Age, Rock & World Music artists from Billy Oskay (Nightnoise), Guadalquivir, La Trinca, Tijeritas, Michael Shreive and Graham Leer (Carlos Santana), Dan Crary, Carolyn Cruso, Lief Sorby, Magical Strings, Paul Winter, John Doan, Oregon Repertory Singers and Enrique Valdivieso. Tarik has composed scores of soundtracks for cinema & film including Delirios de Amor (Felix Rotaeta, Antonio Banderas), Shakespeare's Romeo & Juliet, Henry IV, Othello, Bodas de Sangre (Garcia Lorca) and Salome' (Nuria Espert). Tarik is a featured Arts Bridge Scholar and has guest lectured at many universities including the Reed College, Syracuse University, Denver University, Arizona State University, Virginia Military Institute, Delta State University, Washington State University, Portland University, Western Carolina University, Lewis & Clark College. Tarik & Julia composed music for American National Public Radio "Legacies: Faith, Hope and Peace" which was subsequently awarded the "Heart of America Award" for best in radio and was recently filmed for an upcoming American Public Broadcasting Station documentary on the three faiths "A Journey of Faith" (Auteur Productions).

Dr. JULIA BANZI (Ph.D.) (flamenco guitar, viola, percussion) The world of guitar boasts few women who ignite the sound of the guitar, and in the macho flamenco culture, even fewer still. Rotary Ambassadorial Scholar, Julia lived in Spain for over a decade immersed flamenco and established herself as one of a very few female flamenco guitarists worldwide. In Andalucia's Granada, Sanlucar de Barrameda and later at Madrid's Amor de Dios studios, Julia worked accompanying notable dance instructors such as Ciro, La Tate & Manolete and studied with Spain's finest guitarists including Manolo Sanlucar, Isidro Muñoz, David Serva and Felipe Maya. Her passion for flamenco led her to explore its roots, where she focused on Arabo-Andalusian, Flamenco, Ladino & Indian musics. She went on to complete doctoral studies in Ethnomusicology at the University of California Santa Barbara (Ph.D.) where she simultaneously taught 'American Music and Popular Culture' and wrote her thesis 'Women's Andalusian Ensembles of Tetuan, Morocco.' Julia authored chapters for the Arab World Studies Notebook, Arab World and Islamic Resources and The Middle East Policy Council and served as a consultant for "The Rise of Islam" (Stanford University). She has organized panels and given papers at academic conferences including the Society forEthnomusicology and the College Music Association on topics ranging from 'Academic Ethno Ensembles' and 'Women, Music & Identity' to 'Andalusian Music' and 'The Marketing of Roma in Popular Music.' Julia is currently preparing a book on her interviews and photographs with the late master of Andalusian music Mohammed Temsamani. She currently teaches at Reed College and Lewis & Clark College in Portland, Oregon.

Andalusian Women's Orchestras: Seven Centuries of Silence

While the historical record is rich with mention of women Andalusian musicians of the 9th-13th centuries CE, there is a notable scholarly void documenting the existence and significance of Andalusian women's ensembles during the seven centuries that followed. What became of these female musicians and their traditions?

The classical Andalusian musical repertoire is thought to have descended directly from the courtly music of Islamic Spain (711-1492 AD). It is considered by many scholars to be one of the longest continuous traditions of art music in the world. With few exceptions scholarly literature on Andalusian music focuses exclusively on the male version of the tradition. And yet, women musicians are connected to the very "origins" of Andalusian music, the search for which has been the central concern of much of the scholarship related to Andalusian music. Did they cease to exist? Were they collectively forgotten or simply deemed unworthy of remembrance?

This presentation explores how both recent and older Iberian memories continue to influence the dynamics of collective assembly; in this case gender-separated women's Andalusian events involving music. It documents the phenomenon of female ensembles and explores factors that have contributed to their persistence over the centuries. Based on historical and ethnographic fieldwork in Morocco that included interviews with dozens of ensemble musicians, I explore the special status that independent women's ensembles hold in Moroccan society, the intersections of gender and music tradition, and what the presence of these ensembles suggests about broader socio-political and religious arrangements in Islamic Morocco. I contend that the existence of women's musical traditions, previously undocumented by Arab and Western scholars, should lead us to reconceptualize intersections of history, memory, music, religion, gender and identity.

------------------------------

Short BioDr. Julia Banzi Ph.D. Ethnomusicology (University of California, Santa Barbara)

Department of Music, Reed College

Email: music (at) andalus (dot) com

www.SonicBids.com/Andalus

Dr. Banzi is an Ethnomusicologist especially interested in constructing historical ethnographies—that is seeking ways in understanding how the long past influences and shapes present musical changes.

The two main geographic areas she explores are North Africa and Spain. Her special interest is the melding of varied cultures and religions (Judaism, Christianity and Islam) converging in Al-Andalus (711-1492). In Morocco, her focus is on women's Andalusian ensembles. In Spain, she focuses on the flamenco guitar tradition and the processes of when, why, and how performance traditions become obsolete.

Co-artistic director of the international performance ensemble Al-Andalus (http://www.andalus.com/), artist, composer and one of a very few female flamenco guitarists worldwide, her work reflects her over twenty years of living, studying and performing in North Africa and Spain. Julia is a Rotary Ambassadorial Scholar who teaches at Reed College. She is passionate about her work and honored and excited to share her experiences with you!

For pictures, etc. see the following websites:

Dr. Julia Banzi (Ph.D.)
Ethnomusicologist, Flamenco Guitarist

Al Andalus Ensemble:
www.SonicBids.com/andalus

The world renowned, Palestenian-American, master violinist Charlie Bisharat will be joining the Banzis at Performing Tangier 2009

CHARLIE BISHARAT (violin): While you might not recognize the name, you would instantly identify the violin artistry of Charlie Bisharat. His work has graced the albums of such pop phenoms as Alanis Morissette, The Rolling Stones, Jane’s Addiction, and Aerosmith. His diversity can be heard on the works of Jazz and World Music artists Strunz & Farah, Don Grusin, and Oscar Castro-Neves. And his accomplishments have been featured in scores of soundtracks from Swordfish, Texas Rangers, Steal Big Steal Little to on-screen performances of Austin Powers Gold Member, The Drew Carey Show and Friends. A Grammy Award-winning performer, Mr. Bisharat has toured the world time and again with Jazz and New Age groups as varied as Shadowfax, Kitaro, Yanni and John Tesh. He has composed and produced tracks for record-setting album projects as well. His range of styles has led him from pop to jazz to classical, where he is often heard subbing with the Los Angeles Philharmonic Orchestra and the Los Angeles Chamber Orchestra. His wide array of skills is best exemplified on his own recording on Universal Music Group’s Along The Amazon, an all-star album featuring some of jazz and pop’s greatest artists. A published author as well, Charlie has written and recorded the jazz improvisational book and CD Beyond Classical Violin for Cherry Lane Music. Mr. Bisharat’s compositions have been featured in movies and television as well as a myriad of recording projects. His works for small ensembles range from the original opus Lying In Wait by the all-female quartet Cello, to string arrangements for rock guitarist Andy Summers of The Police. Charlie continues to travel the globe performing in concert and recording with some of the most accomplished musicians of our day.

See also this link: http://en.wikipedia.org/wiki/Charlie_Bisharat

Artists with whom Charlie Bisharat has toured and/or recorded violin/strings include:
Philip Aaberg
Will Ackerman
Aerosmith
Al-Andalus Ensemble
Fiona Apple
Burt Bacharach
Barenaked Ladies
Beck
Black-Eyed Peas
Mary J. Blige
Jim Brickman
Mariah Carey
Tracy Chapman
Kelly Clarkson
Keyshia Cole
Sheryl Crow
Neil Diamond
Don Grusin
Faith Hill
Fergie
Al Jarreau
Jane's Addiction
Elton John
Bradley Joseph
Patti LaBelle
David Lanz
Lindsay Lohan
Barry Manilow
Ricky Martin
Richard Marx
Bette Midler
Ronnie Milsap
Alanis Morissette
New Found Glory
Roy Orbison
Jeff Oster
Pussycat Dolls
Rascal Flatts
LeAnn Rimes
Linda Ronstadt
Jessica Simpson
Rod Stewart
Joss Stone

Keynote speakers

2008-11-23T13:45:00.000-08:00

Prof. Dr. Erika Fischer-Lichte - Conference Guest of Honor

Prof. Fischer-Lichte is Director of the Interweaving Performance Cultures Institute at the Free University of Berlin, Germany. Since 1990, Prof. Fischer-Lichte has been Professor of Theatre Studies at the Free University of Berlin, where she directs the Institute for Theatre Studies. Professor Fischer-Lichte is also the Chair of the German Society for Semiotics, President of the (German) Society for Theatre Studies, and German Member of the Standing Committee for the Humanities and European Science Foundation for Theatre Research, previous President of the International Federation for Theatrte Research (FIRT).

She has published numerous monographs and articles, principally on the semiotics of theatre, and also studies of Kleist's Michael Kohlhaas and Prinz Friedrich von Homburg. In 1990, she edited, with Josephine Riley and Michael Gissenwehrer, The Dramatic Touch of Difference: Theatre, Own and Foreign (Gunter Narr Verlag, Tübingen), which includes significant essays for the study of ancient theatre in contemporary performance. More recently, in 1997, Prof. Fischer-Lichte published The Show and the Gaze of Theatre: A European Perspective, University of Iowa Press. Fischer-Lischte's most recent book entitled The Transformative Power of Performance is published by Routledge in 2008.

Abstract

Interweaving Cultures in Performance –
The Emergence of New Theatrical Communities

The paper will bring together two strands of research: on the one hand, my theory of performance, and on the other the research on processes of interweaving performance cultures (what otherwise is called research on intercultural theatre). My theory of performance focuses the bodily co-presence of actors and spectators, i.e. the interactions between the two groups out of which the performance comes into being. This is to say that in the course of a performance communities between actors and spectators or between different groups of spectators may emerge and later dissolve.
Research on processes of interweaving performance cultures – or on intercultural theatre –, so far, has emphasized the new performance aesthetics that this way came into being and has discussed the question of the legitimacy of ‘borrowing’ or ‘stealing’ elements from another performance culture in order to incorporate them in performances of one’s own. I am going to raise another issue. As far as we can see, exchange between different performance cultures always has taken place. In a globalizing world such an exchange increases, so that processes of interweaving happen across the world – be it in multicultural performance groups, be it through travelling artists, be it on guest tours and international festivals, to name just a few.
If in performances not only existing communities display and confirm their cultural identity, but in any performance a ‘new’ kind of community may emerge, comprising actors and spectators or only different groups of spectators, what does such a community, brought forth in and by performances, accomplish that comes into being out of such interweaving processes? Since it dissolves at latest when the performance is over, can its experience have any longer lasting effects? Can it be regarded as an aesthetic anticipation of some kind of utopia?
These and related questions will be discussed.

Dr. Salah Moukhlis

Salah Moukhlis is an associate professor of cultural studies and world literatures at California State University San Marcos. He holds a Ph.D. in Comparative Studies from SUNY Stony Brook. His areas of interest include postcolonial theory and literatures, critical theory, and cultural studies with a focus on Maghrebian literature. His publications include articles in specialized journals on Tahar Ben Jelloun, Driss Chraibi, Leila Abouzeid, Mohamed Choukti, Abdelkader Chaoui, Assia Djebar, and Kateb Yacine among others. He is completing a collection of critical essays on the Maghrebian novel.

Abstract:

In the Margins of History: Moroccan Resistance Narratives and the Canons of Postcoloniality

As a revisionary project, postcolonial discourse, in confluence with other subversive discourses that challenge the centrality and epistemic dominance of Europe, created a space where many established scoio-historical, cultural, and identitarian assumptions have been destabilized and corrected to usher in newly-formed hybrid and pluralized identities. This paper argues that the promise that accompanied the rise of postcolonial discourse is a highly elusive enterprise that has in fact created its own orthodoxies and canons and remains very selective in its subject matter. The paper will engage the paradoxes and limitations of postcolonial theory and discourse through readings of Moroccan prison narratives. The paper further argues that because of cultural, linguistic, and colonial legacies, Moroccan literature is only very minimally impacted by the common tenets of postcoloniality prevalent in the Anglophone world. Instead, the bulk of Moroccan creative and critical endeavors remains trapped within poststructuralist and textual pedagogies that, the paper further contends, create a dangerous wedge between the text, its readers, and its outside relationships. On the other hand the lack of a meaningful relationship between writer, reader, and critic has also created a vacuum that has been filled by equally elusive, febrile, and intransigent indigenous narratives of identity.

Dr. Oumelbanine Zhiri

Born in Tangier, Oumelbanine Zhiri studied French and Comparative Literature in Paris. She taught for a few years in Morocco, and is currently Professor at the University of California, San Diego. She has published two books on Leo Africanus (L’Afrique au Miroir de l’Europe, Fortunes de Jean Léon l’Africain à la Renaissance, Geneva, Droz, 1991, and Les Sillages de Jean Léon l’Africain du XVI° au XX° siècle, Casablanca, Wallada, 1995), as well as a book on François Rabelais (L’Extase et ses paradoxes, Paris, Champion, 1999). Among her main research interests are the cultural exchanges between Europe and North Africa and the Middle East, especially during the early modern period (15th to 18th century). Her passion for Leo Africanus and Rabelais is undiminished, but she has also written on Ibn Khaldûn, Edward Saïd, and other less well-known authors, such as Jean de Léry or La Mothe le Vayer. She is particularly interested in studying the construction of a first modernity in the Renaissance, and the phenomenon of Eurocentrism in the human sciences. She thus combines commitment to historical and archival research, with engagement with theoretical concerns.

ABSTRACT:
The first building by Europeans of their enormous archive on the Orient, at the time of the Renaissance, is a remarkable phenomenon; in order to understand it one has to look at how ambiguous objects travel between cultures. Commodities are traded and seized, bodies and souls excite the covetousness of the pirate, the redeemer, or the evangelist, coins and manuscripts are eagerly searched, bought and stolen.
The creation of institutions for constructing a knowledge about the East (and first mainly the Islamic East), is part of the great change in the procedures devised to produce scholarship and science that is called the Renaissance. In this dynamic field, the lines between the scholarly, the political and the religious are very fine. The Reconquista, piracy, the competition between empires, the efforts at evangelization, are not just the political background to the emergence of the field of Oriental studies in Europe, they are also the conditions of its possibility.
Almost forgotten in this history is the role of people coming from Oriental countries. They could be the Christians who came from Syria and Egypt to teach and publish in Paris or Rome since the 17th century; they could belong to the network of contacts in North Africa and the Levant who helped European scholars gather information, manuscripts, and objects ; finally they could be converts from Islam and Judaism who left Spain and Muslim countries, Leo Africanus being just one of the most famous among them. All participated more or less directly to the foundation and development of Oriental Studies in Europe.

Dr. Julia Banzi

Dr. Julia Banzi is an ethnomusicologist at the University of California, Santa Barbara. Dr. Banzi is an Ethnomusicologist especially interested in constructing historical ethnographies—that is seeking ways in understanding how the long past influences and shapes present musical changes. The two main geographic areas she explores are North Africa and Spain. Her special interest is the melding of varied cultures and religions (Judaism, Christianity and Islam) converging in Al-Andalus (711-1492). In Morocco, her focus is on women’s Andalusian ensembles. In Spain, she focuses on the flamenco guitar tradition and the processes of when, why, and how performance traditions become obsolete. Co-artistic director of the international performance ensemble Al-Andalus (www.Andalus.com, www.OudGuitar.com), artist, composer and one of a very few female flamenco guitarists worldwide, her work reflects her over twenty years of living, studying and performing in North Africa and Spain. Julia is a Rotary Ambassadorial Scholar who teaches at Reed College and Lewis & Clark College and is honored to share her work with you!

ABSTRACT:

While the historical record is rich with mention of women Andalusian musicians of the 9th-13th centuries CE, there is a notable scholarly void documenting the existence and significance of Andalusian women’s ensembles during the seven centuries that followed. What became of these female musicians and their traditions?
The classical Andalusian musical repertoire is thought to have descended directly from the courtly music of Islamic Spain (711-1492 AD). It is considered by many scholars to be one of the longest continuous traditions of art music in the world. With few exceptions scholarly literature on Andalusian music focuses exclusively on the male version of the tradition. And yet, women musicians are connected to the very “origins” of Andalusian music, the search for which has been the central concern of much of the scholarship related to Andalusian music. Did they cease to exist? Were they collectively forgotten or simply deemed unworthy of remembrance?
This presentation explores how both recent and older Iberian memories continue to influence the dynamics of collective assembly; in this case gender-separated women’s Andalusian events involving music. It documents the phenomenon of female ensembles and explores factors that have contributed to their persistence over the centuries. Based on historical and ethnographic fieldwork in Morocco that included interviews with dozens of ensemble musicians, I explore the special status that independent women's ensembles hold in Moroccan society, the intersections of gender and music tradition, and what the presence of these ensembles suggests about broader socio-political and religious arrangements in Islamic Morocco. I contend that the existence of women’s musical traditions, previously undocumented by Arab and Western scholars, should lead us to reconceptualize intersections of history, memory, music, religion, gender and identity.

Fifth Annual Forum

2008-11-21T20:55:00.000-08:00

Tangier International Conferences
Performing Tangier 2009

--two concurrent conferences--

1. Critiquing postcolonialism, performing cultural diversity

Tangier: May 20-22, 2009

Dedicated to the spirit and memory of our friend, Lesley Gilb Taplin

(died April 13, 2009)

http://blogs.laweekly.com/ladaily/community/lesley-taplin-remembered/

Call for papers, acceptance guidelines, organizing committee, click here

French Page d'Acceuil, click here

2. The Interweaving of Performance Cultures
Between the Two Banks of the Mediterranean Sea and Beyond
Tangier: May 23-24, 2009

Call for Papers, click here

French Appel à contributions, click here

Preliminary Program Highlights

Performing 2009 Poster, click here

Performing 2009 Final program, click here

Public events

Book launch, guest Zoubeir Benbouchta

Signing ceremony of Hassan Mniai's المسرح الحديث: إشراقات واختيارات

Signing ceremony of No Man's Land

"Mulsim" - Moroccan Rapper to perform, click here

"Transgressions": A documentary film by Diana Grothues
and Florian Geierstanger, click here

A Moroccan Midsummer Night’s Dream:
A Student Production of ISADAC, May 22, click here

Two Theatre Events by Graziella Boggiano and Nordin Traghane,
click here

"Hallo Marokko!",
click here

Two performances by Youssef Raihani

1- PARTIE DEHORS 1, click here

2- Berceuse, click here

Al Andalus Ensemble: Tarik Banzi, Charlie Bisharat, Julia Banzi, click here

Conference partners

This event would not be possible without the support of our many partners, to view the list, click here

Regrettably, due to many circumstances, some major past conference partners are not supporting this year so additional partnerships available: $10,000 (title partner), $5000 (sub-title), $1000 (contributor), and in-kind partners

Keynote speakers

Featuring Prof. Dr. Erika Fischer-Lichte, preeminent authority on Performance Studies and Semiotics, Director of the Institute for Interweaving Performance Cultures at the Free University, Berlin, Germany, brief bio, click here

Dr. Salah M oukhlis, as sociate pr ofessor o f cultural st udies and worl d literatures

at California State University San Marcos. His areas of interest include p ostcolonial t heory and literatures, critical theory, and cultural studies with a focus on Maghrebian literature, click he re

Dr. Oumelbanine Zhiri, Professor at the University of California, San Diego. Her main research interests are the cultural exchanges between Europe and North Africa and the Middle East, especially during the early modern period (15th to 18th century), click here

Dr. Julia Banzi, Ethnomusicologist, University of California, Santa Barbara. Dr. Banzi is an Ethnomusicologist especially interested in constructing historical ethnographies—that is seeking ways in understanding how the long past influences and shapes present musical changes, click here

Additional keynote speakers
details to follow

Performing Tangier Prize -- special recognitions

The inaugural panel will include the conferring of a special new recognition
The ICPS Lifetime Achievement Award – Arts and Letters
click here

The closing panel will feature: a tribute to
Conference Guest of Honor - Dr Benzidane;
and the announcement of the central themes and call for papers for
Performing Tanger 2010
– to include a special panel on women artists and honoring one of their leaders
details to follow

Acceptance

Unfortunately paper and proposal acceptance does not include financial support - participants are responsible for their own funding (i.e. securing grants, etc.) to pay for travel and lodging expenses. Furthermore, those presenting must be personally in attendance to present their work and in engage in debate and dialogue.

Note: the deadline for proposals for Performing Tangier 2009 has past; the quality and the volume of those submitted was exceptionally high - the deadline is strictly held.

Emerging Scholars' Panel

The conference is also a home for graduate students and emerging scholars from different parts of the world. The establishment of a new emerging Scholars' panel this year invites all voices to join the debate.
Definition of 'emerging scholar', click here

Note: this panel will observe a strict 10 - 15 time limit.

Registered Attendees

The conference is now attracting an international audience reaching far beyond the presenters; registered attendees are welcome and cordially invited to join in all the activities.

Registration

Register by email to Dr Khalid Amine (khamine55(at)gmail(dot)com). Please include any affiliations and a brief bio (one paragraph) and indicate that you plan to participate as an "attendee".

Confirmation

Presenters who have already received a letter of acceptance need not register again but are kindly requested to email a note of confirmation as soon as possible to Dr Amine (khamine55(at)gmail(dot)com) - please put "confirm PT09" in the subject line.

Fee

$100 (or euro / DH equivalent) payable upon arrival. It includes 2 gala receptions, conference pack, tickets for public concerts and site-specific performances, free guided tour of the medina, and the book of published proceedings from the previous conference.

Note - to support our special Emerging Scholar's Panel, they are fee exempt.

Membership, partners, and support

All are cordially invited to join ICPS and our ongoing collaborations

Please, everyone contributes - even if by just forwarding our web link to one person,
or all you contacts, to help spread our dialogue further afield

About ICPS, click here
Membership, statues, and bank information, click here
Partners, click here

Participation

Since most of our costs are incurred in advance it is essential that anyone who needs to withdraw from participation do it in a respectful timeframe.

The schedule will not use any parallel sessions - participants are encouraged to attend all the sessions and engage in the dialogue.

Paper presentations are strictly limited to 20 minutes maximum (Emerging Scholars Panel 10 -1 5 minutes).

Volunteers needed

Support our collective efforts - to voluneer to help (small or large)
please contact Dr Khalid Amine (khamine55(at)gmail(dot)com).

Conference Location

CHELLAH HOTEL, 47-49 Rue ALLAL BEN ABDELLAH –BP 399, Tangier, Morocco. Tel: (212-3) 932 10 02/3 Fax: (212-3) 932 09 98 email: ksarchellah@menara.ma

Guests who will arrive in Tangier before the conference can stay at Hotel Chellah*** A, at the same conference rates (30 Euros each, single room with TV and private bath, breakfast and lunch included). The price of a double room per night is 45 Euros, and triple 58 Euros (of course including breakfast and lunch). Those who wish to extend their stay in Tangier right after the conference will also benefit from the same discount: 70 % off. The same discount will apply to participants' companions and attendees.

Please book your lodging now – last year was 100% booked weeks in advance – don't delay.

Conference published proceedings

Paper submissions are encouraged from all conference participants. Some conference papers will be selected through a rigorous jurying process for inclusion in a special published volume of conference proceedings. Decisions of the jury are final and the papers are subject to editing for length and style.

Note: acceptance to present and participate at the conference does NOT constitute acceptance into this volume.

To submit your paper, please follow the required guidelines on the style page
click here

Share and show

The conference series began in November 2004 with "Writing Tangier" and was followed by "Voices of Tangier" in 2006, "Picturing and Performing Tangier" in 2007, and "Performing Tangier 2008"; for statements about the conferences from participants (please add yours, email the webmaster), click here

Conference administration

Conference convener: Dr Khalid Amine, ICPS President

All aspects of the conference administration, programming, participation, and publishing are determined solely at the discretion of the organizing committee whose decisions are final.

Video Trailers from Performing Tangier 2008

Audio-visual conference montage, click here

Video trailer: "Tanger des Peintres Grey Room to Casabarata" click here

New Book from Performing Tangier 2008

Conference proceedings: Bowles, Beats, Tangier, click here

To return to the ICPS welcome page, click here

Partners - Performing Tangier 2009

2008-11-21T17:25:00.000-08:00

Moroccan Ministry of Culture

Presidency of Abdelmalek Essaâdi University

University of London Institute in Paris, UK

Middle East Center at Middle Tennessee State University, USA

University of Aberysthwith, Wales, UK

The Research Centre for Interweaving Performance Cultures, The Free University, Berlin, Germany

Wilaya de la Région, Tanger-Tétouan

Rawafid Communication & Production

Goethe Institute, Rabat-Casablanca

Hôtel Chellah

Collaborative Media International (CMI), USA

With more to come - to lend your support, please contact:
Khalid Amine
ICPS President
khamine55 (at) gmail (dot) com

Amine's current research and contacts

2008-11-21T16:43:00.001-08:00

Khalid Amine, ICPS President, is currently Visiting Research Fellow at the Institute of Interweaving Performance Cultures at the Free University in Berlin: khamine (at) zedat.fu-berlin (dot) de

Amine will present the paper "The Performative Turn in the Arab Stage: an Interplay of Sameness and Difference" in Berlin (see below) and at the University of London Institute in Paris ( Tuesday, 10 February 2009 at 4.30pm) click here

His old hotmail account is no longer in use - hackers took control of it in Sept 2008.

He can also be reached at: khamine55 (at) gmail (dot) com

// EINLADUNG
// MITTWOCH, 10. DEZEMBER 2008, 18 Uhr (c.t.)

Prof. Dr. Khalid Amine (Tetouan, Marokko):

"The interplay of Sameness and Difference in Arabic Performance Cultures"

Institut für Theaterwissenschaft (Hörsaal) / Freie Universität Berlin Grunewaldstr. 35 12165 Berlin

Zum Vortrag:
Khalid Amine's presentation seeks to explore processes of performance cultures' interweaving in Arab Theatre today. Such Theatre is construed within a liminal space, on the borderlines between sameness and difference.The transposition of traditional performance behavior to a theatre building spells out this hybrid state of indecision. (Der Vortrag findet auf Englisch statt.)

Zur Person:
Senior Professor, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tetouan, Morocco; winner of the 2007 Helsinki Prize of the International Federation for Theatre Research (FIRT). Since 2006, President of the International Centre for Performance Studies (NGO), Tangier.

Publikationen (Auswahl):
Moroccan Theatre Between East and West, Faculty of Letters Publications,Abdelmalek Essaadi University, Tetouan, Morocco 2000. Drama and the Myth of Origin: A critique of Eurocentric Tradition, Faculty of Letters Publications, University Abdelmalek Essaadi, Tetouan, Morocco 2002. Fields of Silence in Moroccan Theatre (Book in Arabic), Rabat: Union of Moroccan Writers 2004.

Internationales Forschungskolleg / International Research Center
Verflechtungen von Theaterkulturen / Interweaving Performance Cultures
Freie Universität Berlin, Grunewaldstraße 34, 12165 Berlin

Tel.: +49 (0)30 838 50 448, Fax: +49 (0)30 838 50 449

info@theaterkulturen.de, www.interweaving-performance-cultures.com

"Hallo Marokko!"

2008-11-20T06:59:00.000-08:00

Année Culturelle Allemagne-Maroc 2009

With the gracious support of - Goethe Institut Rabat/Casablanca info: click here

Ale Dumbsky

Ale Dumbsky, born April 22nd 1965. He went through the early School of punk rock as a drummer in various bands and started deejaying Rap music in 1990. He founded a record label and a booking agency in 1987, which was one of the firsts to put out German rap music in 1993 and has organized various and huge Hip-Hop-Festivals. He sold the record company after 20 Years and works now as a music publisher. He has coached Hip-Hop Workshops in schools, writes for several Magazines and Newspapers and is one of the founders of the Radar Hamburg International Independent Film festival. Ale Dumbsky will present a paper at Conference I entitled "Hip-Hop International Youth Culture in a globalized World", besides a public concert along with Mad Maxamon and Jakob Grunert.

Mad Maxamom

Mad Maxamom grew up on the countrywide in the south of Germany. Inspired by graffiti and driven by the desire to express himself he got in contact with the German hip-hop scene. Soon he started rapping and free styling and began travelling. At age 20 he moved to Hamburg, where he joined the local hip-hop crew "Trainingslager"(Boot camp), and over the years formed various other music and art related projects. He works on a band with of political hip-hop workshops with kids and young adults in Germany and all over the world. With Filmmaker Jens Huckeriede he participated in the project "Return of the Tüdelband" on the subjects of national socialism and historical memorization, and travelled to San Francisco (2004), and Tiflis (2006), to perform and work with local artists and school kids. In 2007 he coached a hip-hop workshop at the memorial site of the Woman-concentration camp in Ravensbrück, which lead to a performance of local kids, and teenagers in the adjacent town of Fürstenberg. Right now he works on his Album, and plans to realize a project with Schools in Berlin about the issue of Separation, in the historical context of the Berlin Wall. He also acts and performs in movies and film projects, and in the meantime hates his job in advertising. To view video clips, click here. To download music and for more info, click here

SDAG

DJ SDAG is active since the 90-ties.
His DJ Crew -The Fingerprints- are giving concerts since seven years. In Hamburg they are an important and well known part of the local the club scene. DJ SDAG is also performing together with street artists.
Since 2008 DJ SDAG collaborates with MC Mad Maxamom under the name: MADMAX & BIGSDAG

To read more, click here

Conference montage

2008-11-09T12:12:00.000-08:00

Shown at the closing ceremonies of Performing Tangier 2008, May 2008 in Tangier.

Features the keynote speakers, Randy Weston (and here) Katharina Franck (and here) conference participants, opening performance (video trailer here), support staff and more.

Bowles / Beats / Tangier

2008-10-14T09:44:00.000-07:00

From the volume introduction --

A site-specific reconsideration of the Bowles, the Beats, and Tangier in 2008 provoked a lot of debate, much of it centered around the complex tensions between aesthetics and ethics. As we look back at that historical moment, we might ask: What were these American writers doing in Tangier? What kinds of interactions did they have with Moroccans? How much were they aware of their own position of privilege and vital local political issues (notably the resistance to colonial rule and the promotion of nationalism)? Specifically, questions were raised about Burroughs and his relationship to Moroccan boys, and about the relationship between Paul Bowles and the Moroccan writers and storytellers whose work he translated and helped to publish in the West. Were these relationships exploitative? Certainly the tensions between ethical considerations and artistic production are heightened within a postcolonial context, marked as it so often is by dramatic differences in power and wealth between local and foreign subjects. These, then, are the kinds of questions and concerns that emerge when thinkers from various places converge in Tangier, ones that will be pursued more pointedly in the next, fifth Tangier conference, “Critiquing Postcolonialism/-Performing Cultural Diversity.”

In thinking the beyond, we can begin to write a new script, a script not bound to tired narratives of the past, a script that goes beyond even traditional formulations of the postcolonial. What possible narratives might be generated at this point? An approach to issues and problems such as migration, globalization, disparities in wealth, climate change, resource depletion, the use of military power, prejudice, overpopulation and so forth must transcend national boundaries. Derrida spoke of Democracy to come, insisting on a continuation of process of working toward a better politics, a global civic order, if you will, attentive to the rights and place of the other. We might speak as well about a Tangier to come. What new shapes will this city take? What fresh talent will arise from the place, or be attracted to the place? What new things will be made here, by insiders and by outsiders? What role will the city play in the life of Morocco, as well as in the developing global order? What visions of the past will emerge from future vistas? What thinking will transpire after our death? What lies on the horizon and beyond?

Dr Allen Hibbard
Middle East Center
Middle Tennessee State University

Back cover
click on the image above to view in a larger format

Table of Contents

Acknowledgments

Khalid Amine

Introduction: "A Moveable Feast"

Allen Hibbard

"Language, Noise, Silence: Communication and Community in Paul Bowles' Let It Come Down"

Barry Tharaud

"Sky, Desert, and Infinity: Time, Space, and Self in The Sheltering Sky"

Gozde Pelivan

"The Gothic Mode in Paul Bowles"

Zoubida Hamdaoui

"Why was Marcel Proust's Le Temps Retrouve such and important book for Paul Bowles"?

Celia Wallhead

"Paul Bowles: Mixing Codes and Cross Borders"

Marjorie Kanter

"Paul Bowles: Auter in absentia?"

Mohammad Jadir

"'So Are You Still Writing About Kif?' Paul Bowles' A Hundred Camels in th Courtyard: Modernist Literary Innovations and 'Post' Realism: The Makings of Orient Counterculture"

Raj Chanderplasty

"Beat(ing) Tangier: Transgression and Displacement in the Writings of Paul Bowles"

Maria Porras Sanchez

"Aestheticizing the Revolution: William S. Burroughs in Tangier"

Kurt Hemmer

"Half a Tsphah: Kerouac's Haiku in Tangier"

Regina Weinreich

"Interzone et labyrinthe: William Burroughs and Mohammad Choukri a Tanger"

Marianna Salvioli

Joanne Kyger's Desecheo Notebook and the Feminization of the Interzone"

Amy L. Friedman

Rereading Jane Bowles: Between Feminist and Postcolonial Discourses"

Mieke Kolk

"'The Third Mind' of William S. Burroughs and Brion Gysin"

Antje von Graevitz

"'Paris is about the last place...': William Burroughs In and Out of Paris and Tangier, 1958-1960"

Andrew Hussey

To order books, visit:

Amazon.com, click here

To return to the ICPS welcome page, click here

Call For Papers - May 20-22, 2009

2008-08-10T02:50:00.000-07:00

“Performing cultural diversity, re-orienting postcolonialism
and negotiating the future...”

Call for Papers

Informed by various theoretical enterprises, postcolonial theory and discourse for the last few decades have created unprecedented critical attention to myriads of constituencies victimized by imperialist representation and colonial rule. Many postcolonial readings have aimed primarily at subverting the hierarchical colonial dichotomy and rewriting subaltern histories. Given the status of our current geopolitical environment, some critics have already started questioning the relevance of postcolonialism as a representative discourse today. As the site of diverse historical, literary, cultural, and artistic convergences, Tangier has been and continues to be the quintessential postcolonial space for created hybridities and cultural pluralism. The fifth international Tangier conference will focus on an evaluation of the diverse discourses that inform "postcolonial" representations (cultural, political, social, artistic, theoretical, and literary) of Tangier and their relation to the city as a historically material presence. What is the relationship between Tangier as an imagined space and Tangier as a performative space? How do postcolonial theories of hybridity, cultural nomadism, and transcendental identities relate to the materially lived experience of Tangerois? While ample attention has been given to Tangier in its historically global relations, it is equally important to further investigate, as Hardt and Negri put it, "the production of locality, that is, the social machines that create and recreate the identities and differences that are understood as the local."

The aim of the conference is therefore to interrogate and try to bridge the chasm between the theoretical and the material, the local and the global, the past and the present to open new venues for the future. Building on the themes of the previous conferences, we specifically invite papers and panels that will continue the evaluations of the voices of Tangier and its historical and cultural status, and also gesture toward the future to propose and discuss the cultural, literary, and artistic opportunities that Tangier will continue to provide and the role it will continue to play in our ever shifting global cultural map.

Topics may include but are not limited to:

A critique of postcolonial Theories
A critique of postcolonial representations of Tangier
Performance and cultural diversity
Tangier as a historical site of cultural diversity
The future of Tangier as world cultural capital
The status of Tangier within globalism
Tangier between the word and the world

Evaluations of individual authors and artists such as: Rachida Madani, Tahar Ben Jelloun, Mohamed Choukri, Mohammed Azeddine Tazi, Ahmed Beroho, Souad Bahechar, Moumen Smihi, Farida Belyazid, Anouar Majid, Jillali Farhati, Mohamed Abdaoui, Zoubeir Ben Bouchta, Moukhtar Chaoui, to Khalil el Ghrib, Badia Hadj Nasser, the author of Nedjma… and many others…

The Organizing Committee invites papers from scholars of all relevant disciplines – such as Performance Studies, English, History, Ethno-Musicology, Language and Literature Programs, Cultural Studies, Communication, Sociology and Anthropology, Political Science, Gender and Women’s Studies, Philosophy, Psychology – as well as from Artists, and especially encourages papers that focus on a critique of postcolonialism.

Proposals:

A 250 word abstract of proposed papers, along with a brief curriculum vitae, must be submitted electronically (preferably in Word or Rich Text format) by 31 December 2008 to the Organizing Committee care of Professor Khalid Amine, ICPS President and Conference Convener.

Acceptance:

Submitters of accepted proposals will be notified within two weeks of the above deadline and all decisions of the organizing committee are final. Acceptance, however, unfortunately does not include any financial support - participants are responsible for their own funding (i.e. securing grants, etc.) to pay for travel and lodging expenses. Selected conference papers will be published in a special volume.

Emerging Scholars’ Panel:

The conference is also a home for graduate students and emerging scholars from different parts of the world. The establishment of an emerging Scholars’ panel invites new voices to join the debate. Up to three participants will be selected for this panel, and each panelist will have fifteen minutes to deliver her/his paper. Graduate students whose papers are accepted will receive free conference registration, free admission to conference luncheon, and a one-year membership in ICPS. To be considered for this panel, please submit your 10-12 page paper by January 15th 2009 to Pr Khalid Amine.

Registered Attendees:

The conference is now attracting an international audience reaching far beyond the presenters; registered attendees are welcome and cordially invited to join in all the activities.

Registration:

Register by email to Dr Khalid Amine at khamine55(at)gmail(dot)com. Please include any affiliations and a brief bio (one paragraph) and indicate if you plan to participate as an "attendee" or "presenter".

Fee:

$ 100 payable upon arrival. It includes 2 gala receptions, conference pack, tickets for public concerts and site-specific performances, free guided tour of the medina, and the book of published proceedings from the previous conference.

Conference Location:

CHELLAH HOTEL, 47-49 Rue ALLAL BEN ABDELLAH –BP 399, Tangier, Morocco. Tel: (212-3) 932 10 02/3 Fax: (212-3) 932 09 98 email: ksarchellah@menara.ma

Guests who will arrive in Tangier before the conference can stay at Hotel Chellah*** A, at the same conference rates (30 Euros each, single room with TV and private bath, breakfast and lunch included). The price of a double room per night is 45 Euros, and triple 58 Euros (of course including breakfast and lunch). Those who wish to extend their stay in Tangier right after the conference will also benefit from the same discount: 70 % off. The same discount will apply to participants’ companions and attendees.

Academic Co-conveners:

Khalid Amine, Coordinator of the Research Group of Performance Studies, Abdelmalek Essaâdi University, Tétouan & President of the International Center for Performance Studies, Morocco, khamine@zedat.fu-berlin.de or khamine55@gmail.com
Andrew Hussey, Dean of the University of London Institute in Paris (ULIP), nuh@aber.ac.uk
Allen Hibard, Director of the Middle East Centre at Middle Tennessee State University, USA, ahibbard@mtsu.edu
Barry Tharaud, editor and publisher of the international scholarly journal, Nineteenth-Century Prose; Professor at Doğuş University, İstanbul, Adjunct Professor, San Diego State University, U.S.A., barrytharaud@yahoo.com
José Manuel Gonï Pérez, Professor at the Department of European Languages, University of Wales, Aberystwyth, jsg@aber.ac.uk
George F. Roberson, Adjunct Assistant Professor, Geography Human Dimensions Research Group, University of Massachusetts – Amherst, USA, pelerinmondial@yahoo.com
Salah M. Moukhlis, Associate Professor of Comparative Studies and World Literatures, California State University San Marcos, USA, smoukhli@csusm.edu

Organizing Committee:

Nadia Khoumbarek, ICPS Member
Rajae Khaloufi, ICPS Member, Web Contributor, Editor
Alfred Hackensberger, Poet & Journalist, Germany
Mustapha Hilal Soussi, ICPS Archivist and Translator
Yassine Harouchi, ICPS Member
Soufiane Chami, ICPS Member and Masters Candidate of English
Badreddine Charab, ICPS member & Volunteers

Languages:

Arabic, Tamazight, French, Spanish, and English.

Adresse: Résidence Aya N° 50, Rue Mahatma Ghandi, Tanger 90 000, Maroc.
Tél/Fax: (212) 393330466, Portable: 064596791
E-mail: khamine@zedat.fu-berlin.de or khamine55@gmail.com.
Web: http://icpsresearch.blogspot.com/

Franck in concert

2008-05-29T09:23:00.001-07:00

Autographs collected by “Yiqing” CHENG Li, conference photographer and videographer.

Performing Tangier Prize

2008-05-29T09:05:00.001-07:00

Conference closing ceremony announcement

Dr José Manuel Goñi Pérez
University of Aberystwyth (UK)
Conference co-convener and session chair

Since its’ inception in autumn 2007, the central achievement of ICPS has been producing the international conference, Performing Tangier 2008. With growth, recognition and appreciation in mind, the organizing committee has decided to establish an annual honorary award, to be called The Performing Tangier Prize. Although the conference could never have happened without the generous contributions of hundreds of people and numerous organizations over the past four years, the point of the award is to begin to recognize the efforts of one or several individual(s) who have made an especially significant contribution to production of the conference.

This year, by unanimous consensus, the recipient is: Dr George F Roberson.

George F Roberson (center) with key collaborators
Rajae Khaloufi (left) and Mustapha Hillal Sousi (right)
May 19, 2008

Conference Program

2008-05-02T06:06:00.000-07:00

New! Conference Program now available

Print the conference program, click here

Tanger des Peintres: Grey Room to Casabarata

2008-04-14T01:32:00.000-07:00

Site-Specific Performance
May 16, 11:00/ 13: 00
Conference Room, Chellah Hotel
Tangier, Morocco

Art cannot reveal the truth about art without snatching it away again by turning the revelation into an artistic event.

-- Bourdieu, the Field of Cultural Production

To view the program, click here

Page under construction, please check back later.

Nuevos Horizontes

2008-04-14T01:12:00.001-07:00

La música (mp3, e-mule, itunes, myspace...) , el cine (youtube...) ylos libros(e-books, lulu, bubok...) han encontrado con los mediosdigitales nuevas formas de distribución. Con la digitalización y elInternet ha cambiado totalmente el modelo tradicional de transmitir yaunque lo que existe no va a desaparecer es interesante comprenderestos nuevos modelos.

En mi vida profesional he estado implicado en tipo de proyecto yúltimamente dos de ellos tienen que ver con performance(unaplauso.com) y la edición de libros tanto en digital como enimpresión bajo demanda uno a uno (bubok.com)

Haré una presentación orientativa sobre estos temas con unaexplicación de lo que hay hasta ahora y lo que veo en un futuropróximo y como esto afecta a la música a performance y a laliteratura.

Jose Luis Delgado Guitart

Ann Charters - Beats & Company

2008-04-11T07:00:00.001-07:00