Latest news with #FezWorldSacredMusicFestival
Morocco World
23-05-2025
- Entertainment
- Morocco World
Ghana's Seperewa Revives Ancestral Echoes at Fez World Sacred Music Festival
Fez – The city of Fez, cloaked in centuries of history and the whispers of spiritual traditions, recently opened its arms to a sacred sound nearly lost to time. At the 28th edition of the Fez World Sacred Music Festival, the seperewa, an ancient Ghanaian harp-lute, sang once more through the hands of master musician Osei Kwame Korankye and his daughter, rising artist and ethnomusicologist Rama Blak. This year, the festival served as more than just a cultural exchange. It became a ceremonial revival, an ode to ancestral memory and an assertion of African identity. In an exclusive interview with Morocco World News (MWN), the father-daughter duo shared their mission to reclaim and reintroduce the spiritual power of Ghanaian traditional music to a global audience. The Seperewa: voice of a vanishing heritage 'Seperewa is a traditional instrument of the Akan people in Ghana,' explained Osei Kwame Korankye, founder and leader of the Seperewa Agofoma ensemble. 'It's a very old instrument. History tells us that it was discovered around 1600, and this is the soul of Ghanaian highlife that we are enjoying today.' Historically a royal instrument, the seperewa once played a prominent role in Akan court ceremonies before it fell into obscurity during the colonial era, as Western instruments like the guitar gained popularity. 'It disappeared when the guitar was introduced,' Korankye recalled. 'And then finally, my grandfather, Kolo Opeini Kwabene Jakun, had a dream and rediscovered it. He taught me how to play.' This rediscovery became a generational mission. Today, Osei Kwame Korankye is widely regarded as the custodian of the seperewa tradition, having taught at the University of Ghana and performed across Africa, Europe, the US, and the UK His ensemble brings together seperewa, adenkum (calabash gourd), prempensiwa (lamellophone-cajón), and traditional percussion in performances that are celebratory and reverent. A musical legacy carried forward Also performing at the festival was Korankye's daughter, Awura Ama Agyapong, known by her stage name Rama Blak. A student of ethnomusicology at the University of Ghana, Rama represents a new generation of Ghanaian musicians who are reconnecting with traditional roots after growing up in a world dominated by foreign musical influences. 'It was a little bit of a cultural shock,' she shared. 'I was always hearing foreign music growing up. But then I came to university and began to explore traditional music. That's when my father started training me.' For Rama, sacred music holds a powerful, often unspoken message. 'The music actually communicates things that are too sensitive to talk about openly,' she said. 'Sometimes the music helps us express ourselves in a more coded language. That's why it's sacred.' A sacred encounter in Fez The Fez World Sacred Music Festival was the perfect stage for this message. 'This is not just to come and have fun and go,' Korankye noted. 'We are trying to prove to the world to understand our spiritual music.' The family was deeply moved by the festival's mission and spirit. 'Even my daughter was so happy when we arrived,' he smiled. 'We are trying to tell our listeners, I believe maybe our viewers too, that something interesting is happening, and it has started already.' Rama echoed the sentiment. 'This is my first time in Morocco. It's been an amazing time. The weather is amazing. The sound is amazing. Everything is working perfectly… Maybe I might not go back.' Korankye saw the similarities between Ghanaian and Moroccan musical traditions not just in sound but in spirit. 'This is Africa, so I don't think it's different from what you have,' he said. 'We are also here to learn more from Moroccan music.' Preserving the past, educating the future A central theme of Korankye's mission is education. 'It's an old instrument that the generation sees as a new thing to them,' he said. 'That is why we have started educating them. We do performances and demonstrations. We tell them the value, the importance of it.' According to Korankye, the results are promising. 'Looking 10 to 15 years back, I can see that there's a lot of improvement. The young ones are participating. So I believe it's in good hands. But it will take a little time.' The seperewa is now included in university music programs in Ghana, thanks in part to Korankye's advocacy and teaching. 'It has been inculcated into our educational system, which is very good,' said Rama. 'It's educating young ones about traditional music. And my father has also been training me how to play the traditional instruments. So I think it's working. It's just going to take a little time.' The growing visibility of seperewa music beyond Africa is a source of pride and motivation for the Agofoma ensemble. 'People love it,' Korankye affirmed. 'We had a performance before coming here, and looking at the demand, I think it's awesome. People want to listen to more because it has become a new thing to them.' He emphasized that careful presentation and modernization are key to its appeal. 'The way we have packaged it, people love it. There is hope… we call it 'more fire', we need to put more fire in it to encourage them.' A message from Fez to the world For Korankye and Rama, the experience at Fez is more than a performance opportunity, it is a call to action. Korankye expressed a desire to replicate the festival model in Ghana. 'I think we should also do the same thing in Ghana, so that the scholars will have the opportunity to write more things. The young ones will also have the opportunity to see and appreciate our culture too.' The seperewa's reawakening is a story of cultural revival and a testament to resilience, memory, and the power of music to transcend time. Through the strings of his harp-lute, Korankye is echoing the voices of generations past, with his daughter ensuring those echoes carry into the future.
Morocco World
22-05-2025
- Entertainment
- Morocco World
From Basel to Fez: Swiss Ambassador's Ode to Cultural Kinship Through Sacred Music
Fez – In the historic city of Fez, where ancient medina walls whisper centuries of cultural exchange, Swiss Ambassador to Morocco Valentin Zellweger found himself particularly moved during the 28th edition of the Fez World Sacred Music Festival. As the crystalline harmonies of Renaissance polyphony filled the air, the ambassador saw more than just a musical performance – he witnessed the living embodiment of cultural diplomacy. In an exclusive interview at the 28th edition of the Fez World Sacred Music Festival, Ambassador Zellweger reflected on the deep historical ties between the two countries. 'Well, first of all, it's an old relationship, if I may say,' he began. 'It's more than 100 years old and it's getting better and better. I would say today it's a very close friendship. We have a lot of exchanges and a lot of common interests. So it's a very positive view of our bilateral relations.' The ambassador noted the unique role of cultural exchange in strengthening international connections. 'Well, you know, culture is a very important ingredient. Of course, our relations are commercial, economic, they are political, they are social. There are many Moroccans living in Switzerland and culture is the one thing that glues everything together,' Zellweger explained. He elaborated on the power of cultural expression: 'And in culture, you can bring things to. You can express things that I think are difficult to be said or expressed in other ways. So culture is a very important ingredient for our relationship.' Of Switzerland's participation in the festival, Zellweger shared: 'I give you the example of this evening's concert. The topic or the theme of this festival is the Renaissance. And there will be a Swiss group from a very prestigious musical school singing songs from the Renaissance. So it will be the Swiss perspective on the topic chosen by the organizers of this festival.' Drawing parallels between the two countries, the ambassador noted: 'I see a fundamental similarity between Morocco and Switzerland. Morocco is at the crossroads of cultures, of religions, also geographically speaking. And the same goes for Switzerland. Although we're at the heart of Europe, we are composed of a German part of our culture, a French part, an Italian part. And I think what unites Morocco and Switzerland is this sense of finding an equilibrium.' With visible enthusiasm, Zellweger shared his personal connection to the event. 'Am I excited?' he asked. 'Of course I'm excited. No, this is a fantastic opportunity and for me it's a particular pleasure. The musicians, the school that will be present this evening since it is my hometown represented tonight.' The ambassador's personal connection to the performance added a special dimension to the evening. The performing ensemble, Zenaida, hails from Basel's prestigious Schola Cantorum Basiliensis – Zellweger's hometown. The young but accomplished group, formed just last year by international students in the Advanced Vocal Ensemble Studies (AVES) program, brought a carefully curated selection of Franco-Flemish sacred music to Moroccan audiences. Zenaida's program featured masterworks by Renaissance composers Josquin Desprez and Pierre de la Rue, including Desprez's contemplative 'Gaude virgo' and La Rue's majestic 'Credo (Missa cum jocunditate).' The ensemble's innovative approach to these centuries-old compositions – blending traditional Gregorian influences with fresh polyphonic interpretations – created a musical dialogue that transcended time and geography. From Swiss concert halls to Moroccan nights Though newly formed, Zenaida has already established itself as a rising star in early music circles. Their emotional debut performance of 'Lamentation' at the Erasmus Klingt Festival under Björn Schmelzer's direction showcased their ability to breathe new life into ancient musical forms. The ambassador's remarks at the Fez World Sacred Music Festival point to the bond between Morocco and Switzerland. As the two countries celebrate over a century of diplomatic relations, cultural exchanges like this festival performance prove that their partnership is evolving beyond traditional political and economic ties into something deeper and more resonant. The presence of Swiss musicians in Fez, interpreting Renaissance melodies for Moroccan audiences, demonstrates how culture serves as a dynamic bridge between the two countries. Just as Morocco thrives at the crossroads of civilizations and Switzerland harmonizes its multilingual heritage, their collaboration at this festival reflects a shared commitment to dialogue, understanding, and mutual appreciation. Initiatives like the Fez Sacred Music Festival reinforce this connection with each passing year, ensuring that the relationship between Morocco and Switzerland does not merely endure, but flourishes.
Morocco World
22-05-2025
- Entertainment
- Morocco World
Echoes of the Sacred: Diverse Musical Worlds Converge at Jnan Sbil
Fez – At the heart of the Fez World Sacred Music Festival's 28th edition, the tranquil gardens of Jnan Sbil became the stage for a powerful evening of musical devotion. From the mystical traditions of Azerbaijan and Kazakhstan to the refined harmonies of Renaissance Europe and the ecstatic rhythms of Morocco's own Aissawa, each performance depicted a distinct path to the divine. Mugham of Azerbaijan: a prayer in melody As the sun dipped behind the city walls, Sahib Pashazade took his place with the tar resting gently against his chest, joined by Kamran Kerimov and the deep pulse of the nagara. What followed was not merely a concert, it was a ceremony. Mugham, often called 'music sent by God,' carries centuries of spiritual weight. Its roots lie in ancient oral traditions, shaped by Quranic recitations and even older hymns. The duo performed with a quiet intensity, each note of the tar threading through the night like sacred poetry, while the nagara offered grounding, heartbeat-like rhythms. As the music rose and fell, the audience fell silent, almost in collective meditation. Kazakh Bards: voices of the Steppe and the spirit When Ulzhan Baibussynova stood before the crowd with her dombra in hand, a different kind of sacred space emerged. It was shaped by wind, vastness, and ancestral memory. A respected zhyrau and one of the few women to practice this tradition, Baibussynova brought a rare voice to Fez, earthy, commanding, deeply human. With Aigerim Shuster weaving deep tones from the kobyz and delicate lines from the zhetygen, the trio summoned the spirit of the Kazakh steppe. The music carried stories of warriors, of poets, of the sacred bond between nomads and nature. The guttural timbre of the vocals seemed to speak across time, calling the spirits of the aruakh into the present. 'This festival holds special significance as a global platform for sacred music traditions,' Baibussynova told Morocco World News (MWN). 'For Kazakh people, our musical heritage is sacred – it's how we preserve our history and connect generations.' The award-winning performer, who began her musical training at just three years old, specializes in khoomei (throat singing) and the two-stringed dombra lute – both recognized by UNESCO as Intangible Cultural Heritage of Humanity. 'These arts were passed to me through the ustaz-shakirt tradition, the sacred bond between master and apprentice,' she explained. 'Tonight I performed an ancient epic song exactly as my teachers taught me – with the dombra's strings and the voice's resonance creating one spirit.' Zenaida: renaissance reverence with a modern soul Later in the evening, the ethereal voices of Zenaida, a young ensemble born at the Schola Cantorum Basiliensis, rose into the Moroccan sky. Their journey through Renaissance polyphony brought a quiet, transcendent beauty to the stage. Pieces by Josquin Desprez, Pierre de la Rue, and anonymous composers unfolded with care and emotional depth. In Plaine de deul , mourning found a fragile dignity. In Gaude virgo , light seemed to pour through invisible stained glass. What made their presence remarkable was not just technical mastery but a genuine reverence. These young musicians, drawn from across the globe, offered more than historical re-creation, they brought the sacred to life. Aissawa: a joyful ascent The final performance ignited the crowd as night deepened. A local Aissawa troupe, clad in white and green, filled Jnan Sbil with a wave of Sufi energy. The drums struck with thunderous clarity. The flutes and chants rose together in hypnotic layers. This was sacred music not meant for contemplation but for communal elevation. Dancers moved with ecstatic devotion, and some in the audience joined, swept by rhythm and fervor. Where the earlier performances invited inward reflection, the Aissawa called for union, body, soul, and spirit, in collective celebration. The night ended not in silence, but in joyful noise. A night of many paths, one sacred thread In bringing together ancient traditions from across continents, the Fez World Sacred Music Festival reminded its audience of something deeply human: that music can be a temple, a prayer, a bridge. Whether whispered in mugham, carried on the winds of the Kazakh steppe, sung in Renaissance Latin, or shouted in Sufi exaltation, each voice gave a truth – sacred, timeless, and shared. Tags: Fez World Sacred Music Festivalsacred musicSufi musicSufi tradition
Morocco World
21-05-2025
- Entertainment
- Morocco World
Jazz, Memory, and Migrant Mourning at the World Sacred Music Festival
Fez – Yesterday at Jnan Sbil, the Fez World Sacred Music Festival offered a transcendent experience that blurred the lines between the sacred and the political, the ancestral and the contemporary. The 28th edition featured remarkable performances that each, in their own way, served as invocations of healing, memory, and spiritual resilience. Jowee Omicil: Jazz as ceremony and ancestral breath Opening the evening was Haitian-Canadian multi-instrumentalist Jowee Omicil, Jr., known artistically as Jowee BasH! A musical shaman of sorts, Omicil drew on his Haitian heritage, free jazz traditions, and gospel roots for SpiriTuaL HeaLinG, an improvisational, genre-defying performance. With collaborators including jazz legends like Pharoah Sanders and Roy Hargrove in his artistic lineage, Omicil led his trio of singers and nine instrumentalists through an ecstatic rite that evoked the revolutionary spirit of the 1804 Haitian uprising and the avant-garde ethos of 1960s New York jazz. More than a concert, it was a sonic liberation. Omicil refused fixed composition in favor of spiritual improvisation, in what he calls 'written in the spirit.' The result was a living ritual, a soundscape charged with ancestral memory and collective resilience. Inspired by the Bois-Caïman ceremony that sparked Haiti's path to independence, this performance summoned unity, freedom, and sacred resistance, breathing what Omicil calls a 'healing Haitian breath' into the Fez night. Les Illuminations: A lament for the lost in 'Le Jardin d'Afrique' The second act brought an entirely different, yet equally moving, dimension to the evening. 'Le Jardin d'Afrique', an oratorio conceived by ensemble 'Les Illuminations' under the direction of composer Benjamin Attahir, performed a poetic and deeply human homage to the migrants who perish crossing the Mediterranean. Inspired by the visionary Tunisian sanctuary created by artist Rachid Koraïchi, a cemetery for drowned migrants near Zarzis, the piece sets to music a libretto by Isabelle Junca and Aurélie Allexandre d'Albronn, giving voice to silenced stories. Vocalists Joël Terrin (L'Architecte), Julie Mathevet (La Poésie), and Aimery Lefèvre (Le Destin) embodied grief, memory, and transcendence, supported by a chamber ensemble blending harp, archlute, flugabone, flutes, and bassoon. A requiem both intimate and universal, Le Jardin d'Afrique echoes the sacred interweaving of cultures and faiths. Twelve vines for the apostles, five olive trees for the pillars of Islam, three ceramic spheres for the monotheistic religions, the cemetery's design found its musical mirror in Attahir's polyphonic, contemplative composition. Fez and the Tijâniyya: A spiritual center of gravity No place could be more fitting for such performances than Fez, a city that remains a vital node in the spiritual geography of the Muslim world. Central to this is the Tijâniyya Sufi order, founded by Ahmad al-Tijânî in the 18th century. The movement, which quickly spread across North and West Africa, continues to shape the spiritual lives of millions, especially in Senegal, Mali, and Nigeria. The mausoleum of Sheikh Ahmad al-Tijânî stands in the heart of Fez's Medina, not far from Jnan Sbil itself. Pilgrims visit daily, seeking baraka (blessings), spiritual insight, and renewal. The Tijâniyya emphasizes direct divine presence, disciplined spiritual practice, and communal unity, values deeply mirrored in the music of both Omicil and Les Illuminations. In bringing such performances to Fez, the Sacred Music Festival doesn't merely entertain, it honors the city's unique place in the global constellation of faith, resistance, and transcendence. A night of sacred resonance This night at Jnan Sbil was a passage through collective memory, ancestral energy, and spiritual invocation. Whether through the mystical breath of Haitian jazz or the poetic lament of Mediterranean mourning, the artists reminded us that sacred music does not only belong to temples or texts. It lives where people gather in remembrance, in grief, and in hope. Fez continues to be that place. Tags: Fez festivalFez World Sacred Music FestivalSufi musicsufism
Morocco World
20-05-2025
- Entertainment
- Morocco World
‘4Femmes' Ensemble Uses Sacred Music as a Universal Cry for Women's Rights at the Fez Festival
Fez – Fez's ancient Jnan Sbil garden became a stage for a powerful women's rights musical manifesto at the 28th edition of the Fez World Sacred Music Festival. Yesterday, leading the ensemble '4Femmes', mezzo-soprano and composer Ariana Vafadari and her troop delivered an unforgettable performance. She ignited a conversation on the global struggle for women's rights through the transcendent power of sacred music. In an exclusive interview with Morocco World News (MWN), Vafadari shared the emotional weight behind her return to Fez, a city she calls her 'spiritual home.' The festival, known for bridging cultures through sacred sounds, provided the perfect setting for her latest work, a fusion of ancient myth and modern resistance. A project born from pain and hope For Vafadari, 4Femmes is not just a musical piece. It's a cry against the erosion of women's rights worldwide. Inspired by real testimonies from Afghanistan, Iran, and beyond, the project reimagines the myth of Medea, transforming her from a tragic figure into a symbol of defiance. 'These are stories of women facing poverty, violence, and oppression,' Vafadari told MWN, her voice trembling with conviction. 'But it's also about their resilience, how they reclaim their voices despite everything. Sacred music isn't just about tradition; it breathes, it lives. When we perform, something magical happens. Women from different worlds, different languages, different wounds, suddenly recognize each other. That's transcendence.' The lyrical monologues, penned by Atiq Rahimi (award-winning author and filmmaker), knot together personal narratives into a collective plea for justice. 'Medea refuses to be a bargaining chip,' Vafadari explained. 'She escapes her fate. That's what we're singing about, women who refuse to be silenced.' Sacred sisterhood For Marianne Svasek, a Dutch singer specializing in the rigorous tradition of Dhrupad (an ancient form of Indian classical music), joining 4Femmes was a revelation. Known for her solo performances, she found unexpected freedom in this cross-cultural collaboration. 'Normally, I sing classical music, and it's very strict,' Svasek admitted in an interview with MWN. 'But here, collaborating with different styles and these incredible female voices, I discovered another side of myself. It's not just about technique; it's about emotion, about truth.' When asked how she channeled the project's heavy themes, stories of war, displacement, and survival, Svasek paused, then replied: 'It feels different, deeper, singing with women about women's lives. You can't just perform these stories; you have to live them in the music. There's a responsibility in that. And in Fez, with its sacred energy, it becomes even more powerful.' Svasek described performing at the festival's opening night as electrifying, but she was especially moved by their garden performance. 'The city feels alive, like India's sacred spaces. Singing surrounded by nature, it's a different kind of magic.' Vafadari's vision for a global sisterhood The seeds of 4Femmes were planted years ago when Vafadari met members of the Asian University for Women in Bangladesh, an institution offering free education to women from across Asia. 'Their stories stayed with me,' she said. 'Music creates bridges, between eras, spiritualities, and people. That's what we're doing here.' Trained at the Paris Conservatory yet deeply rooted in her Persian Zoroastrian heritage, Vafadari's artistry defies categorization. Her compositions blend Persian classical music, jazz, and electronic soundscapes, creating what she calls 'sonic epics', where ancient wisdom speaks to modern struggles. 'Fez is the perfect place for this,' she reflected. 'The festival isn't just about preserving traditions; it's about letting them evolve, letting them speak to today's world.' As 4Femmes left the stage, the echoes of their performance lingered. In a time when women's rights are under siege globally, Vafadari's message was clear: 'Sacred music is not just prayer, it is protest. And when women sing together, the world listens.' Women's rights remain a pressing global struggle, as gender inequality, violence, and systemic oppression continue to silence voices across cultures. Yet, in the face of adversity, women have turned to art, storytelling, and music as tools of resistance, transforming pain into power and isolation into solidarity. This spirit of resilience found a profound stage at the Fez Festival of World Sacred Music, where artists like Ariana Vafadari and her ensemble 4Femmes wove these urgent narratives into the fabric of sacred sound. The festival, long celebrated for bridging spiritual traditions, emerged as a space where music confronted injustice, where ancient hymns carried modern cries for freedom, and where women's stories, often suppressed, were amplified in a chorus of defiance and hope. Tags: Fez World Sacred Music Festivalsacred musicwomen's rights
