Youtube gnawa music

Asya Abdrahman was inspired by her travels to West Africa, particularly the music and color traditions of the Gnawa people, to create these colorful spiritual paintings.

During my travels to west Africa I discovered that Islam is extremely diverse in expression, practice and even music. The first time I heard Gnawa music, I felt my heartbeat matching the rhythm and felt compelled to translate my experience into painting.

Yuksek & Dombrance remix Polocorp single ‘Gnawa’

I use various materials; paper and wood because of its abundance, versatility, and its precious tree source. I use brushes and my hands to smear oil and oil based paints on my work because of how significant oil is as a resource in this time.

I apply heat to create the textured energy within my images and finally dust with iridescent pigments. The dust reflects allowing my work to be perceived differently in changing light conditions. Gnawa music uses all five of the human senses including two more, which are intellect and intuition. There are seven colors of Gnawa of which each have a veil, a sound, a dance, a trance and a scent. A meal preceeds the night of Gnawa music which is known as a Lila.

Gnawa music is a rich repertoire of ancient African Islamic spiritual religious songs and rhythms. Its well preserved heritage combines ritual poetry with traditional music and dancing. The music is performed at "Lila's", entire communal nights of celebration, dedicated to prayer and healing, guided by the Gnawa Maalem and his group of musicians and dancers. The following is a poem I wrote about The Seven Colors of Gnawa; each color corresponds to a painting. A relaxing balance of hope, renewal, and freedom Welcome to the wise feminine SAFFRON of joyful sunshine, sparkling laughter, and an emissary of intellect through the ages.

Asya Abdrahman is a Muslima Ambassador. Click here to see her Muslima Storyand see more of her work at her website, www. Share on:. Prev Next. Add your voice Submit. Muna Hyunmin Bae. Muna Hyunmin Bae's illustrations explore the link between Korean and Islamic traditions. New Generation: Women's Football in Zanzibar. Megan Shutzer and Katie Tygielski. In Zanzibar, a new generation of young Muslim women athletes are redefining their roles in the community and dispelling long-held stereotypes with their strength and courage.

Scarlet Letter.I am interested to visit Khamlia and listen to Gnawa music. I shall spend 2 nights in the Merzouga area, with the first night in a desert camp and the second night in Hassilabied. I figure it may be easier to drive to Khamlia on my own after returning from the desert camp and maybe spend the morning exploring the village.

youtube gnawa music

How can I listen to Gnawa music there? What is the etiquette? Am I supposed to go to a certain place to find the musicians? Is there a timetable for the performance? Do they mainly play in front of a group of people instead of a solo traveler? It may be a bit awkward too if there is just myself.

I cannot speak Arabic or French. Will this be a problem with communication? Or is traveling with a day-tour group the preferred way though my budget and time schedule may not allow it? What time of day are the musicians around? I would love to see them play.

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How long do they play for? I heard they sometimes play for hours. If you ask about Gnawa in Khamlia, then they play for you when you visit them regardless which time of the day you arrive. Of course not too late in the night or early morning. I was in Khamlia this morning. I arrived at the Bambara group, on the right side of the road at about 10 a.

It seems I was the first visitor of the day but they quickly gathered everyone to play for me. More visitors came shortly after. I also went to Sable de Sable afterwards, which is on the left side further down N They were already playing.

For first time visitor, the road sign for Pigeon de Sable is smaller. Don't worry. Make the turn and keep going on the gravel driveway.

They play in a building on the right, where there is mural on the exterior wall. You can probably follow the music anyway. I hope you enjoyed the music and even their self, they play for you but even for them self. I like very much the music, it is ritual music and communicate with mystery and it is a magical music. They sing about the old time but even about the new time. The music is everywhere, in your soul, body, you will be like a stone, you cannot move and anyway you want to dance.

Beth, I find the music fascinating. I have never heard Gnawa music except from YouTube. It was an eye opener for me.A dancer whips her hair and lifts and drops her chest as the thwacking bass sound of the sintir fills the air. The dancer lights two sticks on fire and begins passing the flames over her bare torso. The percussion stops—she drops to her knees, throws her head back, and pushes a flaming stick deep into her throat, extinguishing the fire with her lips.

The restaurant crowd cheers loudly. These kinds of Gnawa music shows can now be seen regularly in New York City, if not always with the fire-eating—in Times Square, at music spots in Harlem, Latin clubs in Queens, impromptu jam sessions in Central Park. The Gnawa are a Sufi order in Morocco who identify with the descendants of formerly enslaved West Africans. Their music is believed to heal people possessed by jinn, or spirits.

The rise of this music, which began, in the nineteen-fifties, as a marginalized Sufi practice but has become arguably the most popular music emerging from the region today, is a question that nettles scholars and ordinary North Africans alike: How did Gnawa music become our national music?

Of the myriad Sufi orders that use faith healing, and of the countless North African genres known for polyrhythmic syncopation, why has this one grabbed Western listeners? McKay first witnessed a Gnawa ceremony inat the home of a Martinican friend in Casablanca. After McKay came the jazz musicians. First was Randy Weston, the renowned Brooklyn-born pianist, who, fresh off a State Department musical tour, settled in Tangier, opened a bar called African Rhythms, and, struck by the timbre of the sintir, began recording with local Gnawa musicians.

Droves of tourists were flocking to the country in search of spirit-possession and trance ceremonies, and in the Moroccan government began investing in the music, launching a festival in the city of Essaouira. Gnawa also became popular among North and West African youth in France, who mixed the music with reggae, drawing on Islamic and Rastafarian cosmogonies to protest Arabization policies and the suppression of Berber culture in North African states.

And now Gnawa culture has arrived in America, propelled by the sharp increase in migration from North Africa over the past twenty years. This pattern is altering the Arab-American cultural scene. Large U.

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In places like New York, Miami, and San Francisco, Gnawa troupes perform at local clubs and stage healing ceremonies for the ill. The influx of immigrants to Harlem from francophone West Africa and France proper has spawned a demographic mix not unlike the one McKay encountered ninety years ago in Marseilles. Gnawa resonates uptown as a familiar musical idiom that can connect different worlds—the francophone with the anglophone, the trans-Saharan with the trans-Atlantic, Africa with the Orient, and so on.

Out-of-town artists will then head to Brooklyn to pay their respects to Randy Weston, now eighty-eight years old, whose home is a stop on the international Gnawa circuit. In the nineteen-thirties, as anticolonial movements emerged in Morocco and Algeria, nationalists came to resent how French officials used local Sufi practice to counter reformist Islamic movements, and to distance North Africa from the Middle East.

This debate continues. The chatter took a new turn, in May, when the M.

Claude McKay and Gnawa Music

And why now? Yet even on the backstreets of Steinway Street, healing ceremonies are held and the spirits of the oceans and the forest are invoked—especially before religious holidays, when believers want to reconnect with their saints and spirits. Will be used in accordance with our Privacy Policy. More: Africa Music.

The New Yorker Recommends What our staff is reading, watching, and listening to each week.Simply put, Gnawa is the music of formerly enslaved black Africans who integrated into the Moroccan cultural and social landscape, and founded a model to preserve the traditions and folkloric music of their ancestors. It has not only attracted fans worldwide, but also interested famous European and American musicians such as Randy Weston, Bill Laswell and Robert Plant.

Gnawa reflects the effect of black African culture on Moroccans. The African touch is clearly reflected in the dances and the garments the singers wear. The roots of the music are recognisably African in the drumming, the unique metallic castanets, the three-stringed bass lute guembrias well as the mosaic gowns and caps worn by musicians mostly decorated with cowry shells. It is a fascinating combination of poetry, music and dancing.

It is said that the name Gnawa originated from the word Guinea, a place known for its slave trade during the 11th century. The music is found mainly in communities with large populations of ethnic Africans and is not connected with the elite.

Gnawa bands come mainly from the cities of Marrakech and Essaouira, which are historically known for slave trade with trans-Saharan countries. Not just a set of a series of rhythms, Gnawa is a music which, according to academic and researcher Fouzia Baddouri, takes one back to the remote past where poor black slaves sang their misery and daily worries.

They also establish links between members of the community, both who are alive and those who have died. And the similarities between Gnawa, jazz and blues in the US have seen the folkish genre travel internationally.

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African Americans share an element of a painful African history: slavery. Through each of those types of music, singers try to return to their African roots and identity. By committing themselves to Gnawa music, African Americans, for example, are establishing a historical and cultural link with their forefathers. The three-day musical event is held every May or June and features a host of Gnawa masters along with jazz, fusion, blues and contemporary world artists.

Gnawa Muallems Masters pride themselves on being able to keep the audience hooked, fascinated and moved through a distinctive spiritual practice that turns noise into melody. For many, Gnawa is enchanting in a way that only spiritual music can be. It uses drums as the main background and relies on refrains that take one into a swirling movement. The regular loud rhythm of drums leaves a hypnotising effect on some people. For others, the music is a mark of distinctiveness that tends to be monotonous and repetitive, but has its own charm that sends everyone into rapturous spasms.

Years after Turkish municipal authorities demolished their historic neighbourhood, Roma musicians look to move forward.Malika Zarra is a Moroccan multi-instrumentalist of Berber origin. Zarra is a trained jazz musician having studied in France before settling in New York. Her music fuses different Moroccan musical traditions including Berber and Gnawa with jazz.

She sings in multiple languages and uses different vocal styles as well as traditional chanting and harmony to create a rich texture in her music.

Gnawa music: From slavery to prominence

They are known for having recorded with many European and North American artists such as Brian Jones. Their music is intended to cause a form of trance through repetitions of melodies that weave in and out of one another.

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The central focus of these songs is attention to variations of rhythms in percussion and the interlacing flutes.

Born inToulali was a Malhun musician who once worked in a market where Malhun was popularly played. His music is the traditional Malhun style with spoken and sung poetry interspersed with musical verses that build with amassing instruments over the course of the song. Later in his life, after studying the Andalusian influences of Malhun closely, he opened his own school. New York-based musician Hassan Hakmoun plays different styles of Gnawa music. Some songs feature a whole band with electric guitars and a drum kit while others stick to the traditional krakeb percussion and repetitive chants.

Hakmoun is respected as a legend of Gnawa music with its mystical and trance traditions, but is also versatile in his musical exploration. He also lends his music to rock and jazz influences, even featuring remixes of his tracks. Hailing from Taroudant in Morocco, Nassouli is an upcoming Gnawa star who has played a host of renowned jazz and Gnawa festivals. Zohra Al Fassiya was born in near the ancient city of Fez and was one of the first female recording artists in Morocco.

youtube gnawa music

She came to be known as a star of Malhun — sung poetry accompanied by various Andalusian and Moroccan musical styles. Malhun originally started as a purely literary form in the 16th century and was later turned into a musical form. At the height of her career, Fassiya played with her own orchestra and was invited to personally sing for the King of Morocco. Maghnaoui is a singer and connoisseur of Rai, a form of North African folk music traditionally sung by poor men, commenting on social issues such as European colonization.

Maghnaoui wields a livelier style than other Moroccan folk music, featuring more up-beat percussion and more dynamic melodies. Although his career began in the s, he is still producing music. Her songs deal with the themes of being a woman in Morocco and the issue of infidelity.

youtube gnawa music

Similar to Hakmoun, Mahmoud Guinia is considered a master of Gnawa music. Guinia plays the Hejouj and fronts a band where he leads the rhythm and chanting. Guinia has recorded internationally and participated in Boiler Room sessions, often reserved for electronic and hip-hop artists. Born in in rural Morocco near Taroudant, Mbarek is revered for reinvigorating Berber music. The music involves traditional melodies played with rock instruments, as well as some Moroccan instruments.

Elements of reggae and LAtin sounds are infused in the music as well.CT: Can you briefly explain Gnawa music for our readers? Innov Gnawa : Gnawa, beyond a music, is a brotherhood that has been present in Moroccan communities for several centuries now.

Making its way to Morocco through the trans-Saharan slave trade, the music brought with it the rich and complex West African universe. The M aalem master plays a three-stringed instrument called sintir and his K oyos accompanying musicians play the qraqeb metal castanets and sing in a call-and-response fashion.

IG : One thing for sure is that we would have never met if we all stayed back home; each member being from a different city in Morocco. There was a place in Williamsburg called Zebulon that hosted a variety of great music acts and we would gather there in the very beginning and play Gnawa music. CT: What are five of your favorite things about Brooklyn, music or non-music related? IG : Diverse, good food, constantly changing, lots of great music venues, and cheap.

IG : The magic of New York is its richness and diversity.

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Instead, it makes them more thirsty and more curious. IG : We have been blessed with amazing audiences all over the east coast. Bringing this music to cultural centers or to your local dive bar has never presented a challenge. We are very grateful for that. IG : Being musicians in New York reminds you that music has no borders or limits. However, we intend to preserve the traditional aspects of Gnawa in order to share it with more generations to come all over the globe. That being said, we are not opposed to exploring new ideas and collaborating more with great artists.

CT: Who are some other Gnawa or Moroccan artists that people outside of the culture should be listening to if they enjoy your music?

Music of Morocco : Chillout \u0026 Traditional Music [1]

IG : There are so many Gnawa artists recording nowadays and there are a lot of available recordings and videos available online. In addition, Morocco has a very rich musical palette and has a lot to offer to the listener. IG : We are so grateful that the Recording Academy is finally considering music from different parts of the world and sung in a different language. Just being nominated is a huge recognition on its own.

CT: What can fans and new listeners expect from Innov Gnawa in ? IG : We will be releasing a new LP entitled Aicha in the early part of and we hope our fans enjoy it as we have explored some new territory in this record. Besides that, we will be keeping Gnawa music alive in New York. Saha Koyo.

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Innov Gnawa is comprised of members Maalem Hassan Ben Jaafer maestro; sintir, drums, and lead vocalsSamir LanGus founder; qraqeb, sintir, and backup vocalsAhmed Jeriouda qraqeb, cajon, and backup vocalsNawfal Atiq qraqeb and backup vocalsAmino Belyamani qraqeb and backup vocalsand Said Boughana qraqeb and backup vocals. Select currency. My Plans. Open menu Menu. In this series, Culture Trip explores the various pockets of culture that help make the New York City music scene so vibrantly singular.

Read Next.You should review the Cloud ML Engine versioning policy and make sure that you understand the Cloud ML Engine runtime version that you use to train your model versions.

You can specify a supported Cloud ML Engine runtime version when you create a model version. Doing so establishes the model version's default setting. If you don't specify one explicitly, Cloud ML Engine creates your version using the current default runtime version (typically the most recent stable version).

You can specify a runtime version to use when you start a batch prediction job. This is to accommodate getting predictions using a model that is not deployed on Cloud ML Engine.

youtube gnawa music

You should never use a different runtime version than the default for a deployed model. Doing so is likely to cause unexpected errors. You cannot request online predictions from models outside of Cloud ML Engine, so there is no option to override the default runtime version in your request. The default runtime version set for a model version cannot be changed. To specify a different runtime version for a model version, deploy a new version using the same training artifacts that you used initially.

The Seven Colors of Gnawa

Google Cloud Platform uses zones and regions to define the geographic locations of physical computing resources. Cloud ML Engine uses regions to designate its processing. When you deploy a model for prediction, you specify the default region that you want prediction to run in. When you start a batch prediction job, you can specify a region to run the job in, overriding the default region. Online predictions are always served from the region set when the model was created.

Batch prediction generates job logs that you can view on Stackdriver Logging. You can also get logs for online prediction requests if you configure your model to generate them when you create it. You can set online prediction logging for a model by setting onlinePredictionLogging to true (True in Python) in the Model resource you use when creating your model with projects. If you use the gcloud command-line tool to create your model, include the --enable-logging flag when you run gcloud ml-engine models create.

You can request batch prediction using a model that you haven't deployed to the Cloud ML Engine service. Instead of specifying a model or version name, you can use the URI of a Google Cloud Storage location where the model you want to run is stored. Because an undeployed model doesn't have an established default runtime version, you should explicitly set it in your job request. If you don't, Cloud ML Engine will use the latest stable runtime version.

In all other ways, a batch prediction job using an undeployed model behaves as any other batch job. You can use the Cloud ML Engine prediction service to host your models that are in production, but you can also use it to test your models.

Traditionally, model testing is the step before preparing to deploy a machine learning solution. The purpose of a test pass is to test your model in an environment that's as close to the way that it will be used in real-world situations. Remember that you can have multiple versions of a model concurrently deployed on the service.

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