Canciones desde Palestina
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FICHA………………………….........2 NOTAS DEL DIRECTOR………….3 NOTAS DEL PRODUCTOR………7 SINOPSIS……………………………9 CURRÍCULUMS DIRECTORES…10 EQUIPO TÉCNICO………………..16
CONTENIDO
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Ficha Género: Documental
Director: Fermín Muguruza
Realizador: Javier Corcuera
Productoras: Filmanova S.L. / K-2000
Guión: Fermín Muguruza
Prod. Ejecutiva: Antón Reixa Ricardo González
Dir. fotografía: Jordi Abusada
Localizaciones: Palestina, Israel
Formato: HD CAM
Duración: 70 min./52 min. (aprox.)
Idioma de rodaje: Árabe
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Notas del director Me llamo Fermín Muguruza. Soy un músico del País Vasco
que en semana santa del año 2002 viajó a Palestina con una
delegación europea para reivindicar los derechos del Pueblo
Palestino y festejar el día de la tierra con ellos.
En colaboración con el Sound System italiano de 99 Posse,
tenía la intención de participar en dos encuentros con músicos
palestinos e israelíes en Jerusalén.
Nuestra llegada coincidió con una bomba en Tel Aviv que
causó numerosos muertos y la consecuente reacción del
ejército israelí que sitió al entonces presidente Arafat en la
Mukata (Palacio Presidencial) de Ramallah.
Tras una reunión de urgencia, todas las facciones políticas
palestinas nos pidieron que acudiéramos a Ramallah e
hiciéramos de escudos humanos para salvar la vida de su
presidente.
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De los 500 miembros de la delegación, logramos entrar en la
Ramallah sitiada y bajo el toque de queda 40 personas. Lo que
viví y sentí en aquellos días, todavía me produce escalofríos.
Lo que sí conseguimos fue que un pequeño grupo de gente
entrara en la Mukata y permaneciera allí durante lo que más
tarde se llamó “la batalla de Ramallah”. Llamamos la atención
de la prensa internacional y paramos algo que parecía
inminente.
Desde entonces, siempre he pensado que si la guerra no
permitió en aquel entonces que nos pudiéramos expresar a
través de la música, algún día tendría que intervenir, como
músico, en el drama diario de aquella tierra.
El año pasado, el técnico de sonido Angel Katarain, me
recomendó que viera un documental titulado “Cruzando el
Puente” del director Fatih Akin, y al día siguiente la cantante
Anari me llamó para decirme que no me perdiera ese
documental.
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Tenían razón. Aquel documental me impactó. El músico
Alexander Hacke se sumergía en la fantástica ciudad de
Estambul en busca de fuentes musicales, influencias y
diferentes perspectivas. A los pocos días comenzó el último
ataque a Líbano. Entonces llamé a mi amigo, músico y
productor cinematográfico, Antón Reixa. Le comenté con
mucha excitación que teníamos que hacer algo, y que
cruzando el puente, en este caso los
checkpoints, debíamos capturar los sonidos de Palestina y
mostrarlos al mundo. Le comenté como mi técnico Angel
Katarain disponía de un ordenador para registrar a los músicos
en vivo y como podríamos entonces construir nuevos puentes
de comunicación que rompieran ese mar de silencio.
Enseguida nos entusiasmamos con la idea, pero
necesitábamos a otra persona que aportara su temple en la
edificación de este proyecto. El director de los documentales
“La Espalda del Mundo” o “Maquis, la Guerrilla de la Memoria”,
Javier Corcuera, era nuestro hombre. Lo conocí en la
Comisión Civil Internacional por los Derechos Humanos que en
1998 visitó Chiapas, y a partir de entonces, hemos coincidido
en multitud de ocasiones y eventos, siempre relacionados con
la idea de que otro mundo es posible.
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La película “Paradise Now” nos enseña al final de su trayecto,
el brutal contraste entre la pobreza y desesperanza de los
territorios ocupados y la opulencia y magnanimidad de Tel
Aviv. Nosotros haremos el viaje inverso. Viajaremos desde los
anuncios publicitarios y el neón de la capital hasta los barrios
árabes marginados en el propio Israel. Atravesaremos los
checkpoints para conocer los territorios ocupados de
Cisjordania y acabaremos en el gran campo de concentración
en el que se ha convertido la franja de Gaza.
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Notas de la producción ejecutiva
La inspiración la encontramos hace unos años. “Cruzando el
puente: Los sonidos de Estambul”, la película documental en la
que el cineasta turco alemán Fatih Akin nos acercaba los
sonidos de aquella ciudad mítica y la forma de vivir de sus
gentes. Y también en los necesarios recorridos por la música
cubana del también alemán Wim Wenders en “Buenavista
Social Club” o de Fernando Trueba en “Calle 54”.
¿Por qué no trasladar este viaje musical a los territorios de
Palestina? Nuestro objetivo sería el más sencillo y también el
más complejo: lograr reunir a los principales intérpretes
palestinos que viven en Israel, Cisjordania y Gaza, escuchar
sus sorprendentes músicas, recorrer de una forma nueva sus
pueblos y ciudades siempre de actualidad por un conflicto que
no parece tener esperanza y compartir la forma de vida y las
dificultades que enfrentan cotidianamente todos los palestinos,
también los músicos. Y, a nuestro regreso, descubrir al mundo
esas músicas, y esa otra cara del pueblo palestino, inédita para
nosotros.
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Para lograrlo, contamos con la complicidad del músico vasco
Fermín Muguruza, amigo personal de algunos de los
protagonistas de esta película documental, y que será nuestro
mejor visado de entrada para acceder a sus ambientes
familiares, sus locales de ensayo, sus actuaciones... y también
nuestra mirada sobre todos ellos y sobre sus diferentes formas
de entender la música y la vida. Fermín será nuestro guía en
este viaje, como lo era el músico alemán Alexander Hacke en
“Cruzando el puente: Los sonidos de Estambul” y de su mano
recorreremos este viaje por una Palestina nunca vista. Con él,
y con técnicos de prestigio como Jordi Abusada como director
de fotografía o Ángel Katarain como responsable de
grabación de músicas, grabaremos actuaciones públicas e
improvisaciones privadas, entrevistas en profundidad y también
bromas y discusiones y, cómo no, los inevitables checkpoints
que forman parte de su día a día.
Y también contamos con el oficio y el talento del director Javier
Corcuera, responsable de algunos de los documentales más
destacados de los últimos años como “La espalda del mundo”,
“Invierno en Bagdad” o “Invisibles” para lograr acercar, con
respeto y en profundidad, la singular realidad palestina al
espectador de todo el mundo.
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Sinopsis Un viaje por uno de los lugares sobre el que el mundo tiene
puesta siempre su mirada, pero del que lo desconocemos casi
todo. ¿Cuál es la música que pone voz y melodía a este lugar
mítico? ¿Quiénes son sus músicos más representativos y
cómo viven? ¿Qué piensan del destino único que les ha tocado
vivir y cómo lo enfrentan a través de sus letras y sus melodías?
De los anuncios publicitarios y el neón de Tel Aviv a la pobreza
y desesperanza de los territorios ocupados de Cisjordania y el
gran campo de concentración en el que han convertido la franja
de Gaza, con este “Checkpoint Rock” compartiremos con
músicos muy distintos, de pueblo en pueblo y de checkpoint en
checkpoint, un recorrido que cambiará la visión que tenemos
de este pueblo en conflicto y también a nosotros mismos.
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CURRÍCULUM DIRECTORES
Javier Corcuera
Lima, 1967. Estudió cine en Perú y se
licenció en la facultad de Ciencias de la
Imagen en la Universidad Complutense
de Madrid.
Realiza varios trabajos documentales
entre los que destacan “Minuesa una
ocupación con historia” (1994),
“Izbjeglice” (Refugiados, 1995), “Perú:
presos inocentes” (1996), “Chiapas, hablan los rebeldes” (1998),
“Doñana, memoria de un desastre” (1998) “Condenados al corredor”
(2002).
Javier Corcuera se dio a conocer con su primer largometraje “La
espalda del mundo”, una denuncia sobre las violaciones de los
derechos Humanos en EEUU, Turquía y Perú. La película obtuvo el
Premio de la Crítica Internacional en el Festival de
Cine de San Sebastián (2000) y el premio OCIC
del festival del Nuevo Cine Latinoamericano de la
Habana. Con su segunda largometraje, “La
guerrilla de la memoria” (2002), salta al pasado y
retrata una parte olvidada de la historia de
España. La historia de un grupo de hombres y
mujeres que se negaron a aceptar la derrota
terminada la guerra civil y siguieron luchando en
los montes de España contra Franco. Una
resistencia olvidada por los libros de historia. En
2004 realiza junto con otros cuatro directores la
película “En el mundo, a cada rato”, cinco
historias que hablan de la infancia en cinco
lugares del mundo. Su última película, “Invierno
en Bagdad” (2005), rodada antes y durante la ocupación
norteamericana de Irak ha obtenido los siguientes premios: Mejor
película documental en el festival de cine Español de Málaga (2005),
Mejor película documental del festival Internacional de Cine Latino de
Los Ángeles(2005), Mejor película documental en el festival
internacional de cine de Montevideo(2006).
Javier Corcuera es director del Festival Internacional de Cine del
Sáhara.
Fermín Muguruza
Fermin Muguruza es sin duda
una de las figuras
indiscutibles del panorama
musical. Originario de Irun,
funda en los primeros 80
junto a su hermano Iñigo y a
Treku Armendariz uno de los
grupos más influyentes de la
escena vasca: Kortatu. La
banda, muy comprometida política y socialmente, canta en castellano
y en euskera incorporando elementos de ska, punk y reggae.
A finales de la década de los 80, Fermin cierra el capítulo Kortatu y
comienza una nueva etapa con su nueva banda Negu Gorriak, con
claras influencias raperas. En paralelo Fermin se embarca en otra
aventura, dando vida durante 10 años al sello "Esan Ozenki" (luego
"Metak") que publicará sus discos y ayudará a un buen número de
bandas a emerger. Tras 5 discos y un disco en directo, Fermin
anuncia la disolución del grupo y comienza su etapa en solitario.
Su carrera solista empieza con una larga serie de colaboraciones:
con Garaje H en La Habana, en Caracas con Desorden Público, en
Montreuil con Tom Darnal de P18 y ex Mano Negra, en Buenos Aires
con Todos Tus Muertos o en Los Ángeles con los mexicanos Tijuana
No. En 1999 publica su disco "Brigadistak Sound System", grabado
en 10 lugares distintos de 3 continentes, y con el que Fermin se
acerca a su manera al reggae.
Un año más tarde sale "FM 99.00 Dub Manifest" : "un viaje festivo,
brillante, un joven que grita para no sentir frío" lo definió el director de
cine y amigo Fernando León de Aranoa; un disco que sigue la línea
dub-reggae-ska con toques de rap y electrónica y que cuenta con
colaboraciones de lujo, como la de los franceses Zebda.
Tras este, aparece “In-komunikazioa" en el que suma a su trabajo
acentos funk y jazz y emprende una gira clandestina denominada
"Jai-Alai Katumbi Express" con otro compañero de toda la vida, Manu
Chao: con él y Radio Bemba inician en 2003 una gira primero a nivel
nacional y luego por todo el mundo que les lleva a Francia, Holanda
o Italia.
En los últimos años ha actuado bajo distintos nombres como
Kontrakantxa Sound Anti-System, Fermin Muguruza Trio Akustikoa o
Basque Fire Department hasta que en 2006 aparece su trabajo
“Euskal Herria Jamaika Clash”, grabado en Jamaica y que cuenta
con la colaboración de muchos nombres de primer orden de la
música de aquel país.
En paralelo con su carrera discográfica, Fermin ha compuesto la
banda sonora del cortometraje “El salto de Beamon” y la obra teatral
“Xomorroak (Bizitza Lorontzian)/Bichitos (La Vida en el Tiesto)”, y ha
editado el documental “Bass-que Culture”.
WHO IS WHO MUSICOS EN EL DOCUMENTAL CHECK POINT ROCK 1. DAM‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
Although rap music has been a fixture in the United States since the 1970s, DAM became the first Palestinian rap group when Tamer Nafar, his younger brother Suhell, and Mahmoud Jreri teamed up in 1999. All three members of the group come from the slums of Lod, a mixed town of Christian and Muslim Palestinians and Jews, 20 km from Jerusalem. Their latest album, IHDA (Dedication), is DAM’s long-awaited, first international release. Rap music got its start when Jamaican DJs motivated dancers by accentuating the beat of the music with ‘toasts’. It evolved to symbolize contemporary social and political issues for African-Americans, as well as prison and gang life. The minority struggle for equality and freedom drives DAM’s music, which is a unique fusion of East and West that combines Arabic percussion rhythms, Middle Eastern melodies, such as Marcel Khalife and Kazem el Saher, and Western urban Hip Hop/Rap. Their intelligent lyrics express Palestinian aspirations as well as international hypocrisy in judging the Palestinian struggle against Israeli oppression-for Palestinians in Israel as well as for those under Israeli occupation. DAM’s debut album, Stop Selling Drugs, was released locally in 1998 and was followed in 2001 by the second album called Min Irhabi (Who’s the Terrorist?). The popular title track of this album was released on the internet where more than one million people downloaded it within one month. Min Irhabi was also distributed with Rolling Stone magazine in France and became a ‘street’ anthem. The growing international profile and interest of Dam’s message have led the group to participate in films, events, and collaborative efforts worldwide. The group has inspired other Palestinian rap groups such as PR, Wlad al Hara, and Abir al Zinati, all continuing in Dam’s footsteps through using rap as an expression of social commentary.
2. KHALAS------------------------------------------------------------
Khalas is a very popular and common expression amongst all the Arabs in the world. It means, enough… no more… it is time for a change…
Khalas is also the name of this very unique 7 year old band, based in Akka. It is formed of 3 Arab Palestinians (ages 24-27) who grew up in the city of Akka. The ancient city that Napoleon could not conquer.
The group of three are part of the Arab minority who’s experiencing social, political, educational, and economic discrimination. They grew up denied their basic rights and services and for them it is time to send a message to the world that enough is enough…
A progressive, liberal, free expression using Arab rock music to send a message through to the rest of the world.
3. AMAL MURKUS--------------------------------------------------
Amal Murkus is a Palestinian singer and actress. A citizen of Israel, she was born and raised in the village of Kufer Yasef in the Galilee, and has devoted her career to promoting Palestinian music and culture in Israel and abroad.
Amal’s music is pioneering, creating a post-modern music style in which different Mediterranean influences meet. Her first album "Amal" was released in 1998, and her second, "Shauq" in 2004. Her songs, which take inspiration from Palestinian folklore and traditional Arabic heritage, mingled with pop music elements, express her struggle against the marginalization and exclusion that Arab Palestinian culture faces.
Her first album, self-entitled “Amal” was written and composed by a diverse group of artists and musicians. It was released internationally in 2000 by EMI Hemisphere. Her second album "Shauq" (“Longing”) was recorded live in April 2004, at the Crown Hall in Jerusalem, with the Jerusalem symphonic orchestra.
Amal's latest album, "Na' na' ya Na' na'" is a bouquet of traditional Palestinian folksongs gathered from the galilee, the mid-land triangle and the negev, from the distant past and the present, that have survived wars, catastrophes, and major social upheavals. These are songs of struggle and harvest, marriage and birth, songs of joyful women, wanderers and parting couples, that remain forever young.
Amal is a member of the counselling board of Free Muse, an organization against censorship of art and music. She took an active part in its congress in Denmark in 2003. Amal is currently studying art as a tool for social change in Musrara College in Jerusalem.
Amal has been performing since the age of 5. In 1979 she won first prize in the national Arab children's song festival, and went on to graduate from the Institute for Stage Art in Tel-Aviv in 1990. An accomplished actress, Amal appears regularly on TV in various educational and cultural programs. Amal has also appeared in feature films and was nominated for the Israeli Oscar for her performance in Ali Nasar's movie “The Milky Way". In 2003 Amal won Best Actress in the Haifa Theatre Festival.
Amal also regularly appears on radio, and her cultural programme can currently be heard every Friday on Radio ASHAMS 98.1-101FM, from 11.00 - 1.00 (Jerusalem time). For more information see www.ashams.com.
Amal’s extensive vocal range and abilities enable her to sing in a wide variety of genres, ranging from traditional Arab roots to modern popular western styles. As a result, she has created some remarkable collaborations with other artists and international musicians, including Joan Baez in an anti-war concert that took place in Tel-aviv 1988; Marcedes Sosa; Oliver Shante, Germany; Stadio, Italy; the Greek singer Glykeria; Noa; Anwar Ebrahem from Tunisia, Enzo Avetable of Italy; Nani Cayemi in Brazil; Robert
White in the UK and The Royal Philharmonic Orchestra of Liverpool (UK) in 2005, and many others. Amal has also completed projects with the Palestinian poets Mahmod Darwesh Nazarth in 2000, Kufer Yasef in 1999, and Sameh Alkasem in 2006.
Amal has received many commendations for her unique art and music and for her work with local communities. In 2001 Amal was chosen by Austrian TV as one of the most beautiful voices of the 20th century, after taking part in a music film produced by the ARTE TV "Premadonas Fest", by the director-musician Andrew Heller, with Jesse Norman and Harris Alexiou, D.D. Bridgewater and others.
4. Safaa ARAPIYAT--------------------------------------------------
ARAPIYAT (2 female rappers) Arapeyat, a female rapper from the Israeli city of Acre, has to deal with disapproval from family and community members because she is a secular Muslim woman onstage performing, while a young rap group in Gaza scrambles to make backup plans in case the power is cut during their show.
5. WALLA´AT-----------------------------------------------------------
The Akka band - Walla’at - performs an attractive musical style, consisting of clarity and simplicity of popular meaningful lyrics alongside energetic and beautiful music that reflects the authenticity of Akka. The band was established by Kher Fody in 2002, who writes lyrics and some of the music. The style of the band’s songs is social, sarcastic and authentic.
6. HABIB ADDEEK--------------------------------- Profesor de oud en la Universidad de Nablus.
7. MUTHANA SHABAN----------------------------------- Improvisador de rimas de Jenin. Improvisar rimando es una de las tradiciones más antiguas en la Música Popular Palestina. Cantan en bodas y en celebraciones, y cuentan la realidad que viven mediante sus versos.
8. SHADI AL-ASSI ------------------------------------------ Campo de refugiados Dheisheh, Belen.
in Deheisha refugee camp outside Bethlehem and I hear a large, loud bang. Camp residents – most of whom are either refugees from the 1948 war or their descendents – say the Israeli army enters Deheisha between three and seven days a week, and that raids have increased over the past few months. My friend Shadi Al-Assi – the Music, Dance and Media instructor at the Ibdaa community center in Deheisha – and I rush to Ibdaa’s top floor window, where we look around for Israeli military activity.
The window gives us a clear view of the central camp entrance, which the army reportedly enters through, as well as an ability to overlook the rest of the camp. However, we can’t see any military jeeps or soldiers. Al-Assi starts calling people on his cell phone to find out what’s going on. After a short conversation in Arabic he turns to me and, in an instance of tragic irony, expresses relief. “It wasn’t the soldiers entering the camp this time,” he says. “The Israeli military was blowing up rock in the mountains
behind the camp to build the wall.” Bethlehem is almost entirely encircled by the
Israel’s towering concrete Wall and once it is completed then the city, and Deheisha camp, will be completely encompassed within it.
Although the camp is officially under Palestinian Authority (PA) administration, Deheisha residents say the Israeli military regularly enters between midnight and 1:00 am to arrest Palestinians involved in resisting the occupation, demolish the homes of resistance fighters and suspected resistance fighters families, or simply make loud noise to wake up and harass the community. According to residents these raids began in 2002 during the second Intifada when Israeli forces besieged Deheisha and took military control of areas under PA jurisdiction.
9. SABREEN----------------------------------------------------------
Sabreen was set up in 1980 inJerusalem, and was one of the pioneering Palestinian music bands whoserepertoire consisted mainly of committed Palestinian political songs, aspolitics was the main concern for Palestinian artists at the time. Featuringa number of musicians who went on to become prominent musicians in theirown right in the future, members of the Sabreen group were musicians, musicteachers, and held other regular jobs. It is only in the past few yearsthat the group has turned professional with full time musicians. Even thoughthe musicians have changed over the years, the two constant members ofthe band who have come to give the band its charac ter are Said Murad,composer, Oud player, and artistic director, and Kameila Jubran, main soloistand Qanoun player.
The reputation of Sabreen is one of excellencein production and performance, even though that has meant fewer productionsover the years. In the eighties, Sabreen managed to create a special rapportwith its Palestinian audience through their second production featuredin 1984 with lyrics by renowned Palestinian resistance poets such as MahmoudDarwish and Sameeh al Qassem and music which the average listener couldfollow and even sing. Later productions such as "Death of the Prophet"began to feature more contemporary Palestinian poets such as Hussein Barghouti.As the band began to open up to different musical worlds and influences,it began to be more and more known in international circles, and have performed in Jazz and contemporary music venues in Europe, the Far East andthe Arab World, as well as notable ones such as the Royal Albert Hall inLondon. Based in Jerusalem, Sabreen could not limit its activity to itsmusical creativity and production due to the isolation that the city ofJerusalem suffers from the rest of the Palestinian cities.
Therefore, the band started to cooperate withother local cultural and art organizations to implement several programsand projects that target the local community in Jerusalem in an attemptto raise cultural aware- ness and provide the opportunity for the developmentof young musicians from amongst this community. The Sabreen Associationfor Artistic Development was set up to implement programs developing cultureand music in Jerusalem in particular.
10. Palestinian Rapperz (Gaza)-----------------------------------
The boys from P.R. rap to homemade "phat" beats and samples of classical Arabic music. The result is a mixture of Western and oriental sounds. Nadir makes his views plain: "Arab pop music is boring, it's always the same thing." Though originally inspired by certain bands from the US, the two rappers are now no longer fans: "All they ever rap about is money, women and big cars", says Nadir. "At one time, it used to be about racism and oppression in the US – and here, we're still living under those very conditions." Nadir lives in Marasi, a refugee camp in the centre of the Gaza Strip where he owns a hairdressing salon. "I listen to rap when I'm working", he laughs. "A sheikh lives next door, and he always comes in and complains angrily." But the people in the camp know their barber, and he never has any trouble. It's strangers who cause the problems. "I'm well aware that we look different", admits Nadir. "With our clothes and our music, we do stick out a bit. People at first think we're godless, outside of society. But our parents are on our side." With all this in mind, P.R. do try not to hurt people's feelings – and they censor themselves in quite a witty way. In one song, for example, they hide the word "ba-bus" (which might be translated as "up yours") by superimposing a scream. "Most people know what we mean, anyway", says Muhammad, "and because of the way we do the song, the others have no reason to get excited." Hard times for independent rap or youth culture Besides the Palestinian Rappers, there are at least two other rap bands in the Gaza Strip: RFM und Gazista. As for a real, independent rap or youth culture, as we know it from Europe or the States, it exists here only in rudimentary form, if at all. The rappers don't cultivate their own dialect, and there's none of the graffiti that typifies the scene elsewhere. Indeed, there's hardly room for it, as almost every wall is covered with political slogans. But these two young musicians have certainly mastered the art of the cool pose. Nonetheless, at their photo session on the roof of the house belonging to Muhammad's parents, they keep cracking up with laughter. For many in Gaza, the Internet offers the only opportunity to escape their captivity. "I'm in contact with a lot of people", says Muhammad. "But it hurts me to see how many don't even know where Palestine is on the map or the kind of ideas that are generally held about us." This is why the Palestinian Rappers are aiming to perform abroad again. Muhammad: "We want to make it clear to people in other countries that not everyone in the Gaza Strip is running around with a gun in his hands." The Rappers are striving to present a more differentiated picture of Palestinian society – and, of course, to communicate a Palestinian view of the conflict in the Middle East. Though the Palestinian Rappers write about better relations between Palestinians and Israelis, they also say they can barely imagine life after the occupation. And although the Israelis have announced their plans to withdraw from the Gaza Strip, Muhammad and Nadir hardly dare to believe it, yet. Only today really matters.
11. Le Trio Jourban------------------------------------------------ The story of the Joubran Trio's creation can be traced back some ten years. Samir, the eldest, started his solo career with his first two albums, Taqaseem (1996) and Sou'fahm (2001). For his third album, Tamaas, Samir invited his younger brother Wissam to join him on his musical adventure. Randana, which came out in 2005, is the trio's very first album. Adnan, the youngest, had joined in with his older brothers to form the first and only oud' trio known of to this date. With their skillful, heart-wrenching improvisations that tell of Palestine, the trio brings to bear harmony and sweetness, depth and joy. On the stage, as their eyes meet, their instruments join together to express that which the spoken word cannot. The trio's repertory, made up of original creations and magnificent improvisations, takes root in their knowledge of the imposing culture of traditional maqâms and their subtle interpretations. The group was the big revelation at Langon's Atypical Nights (Nuits Atypiques) festival, nomitated for the 2004 Django dOr awards, selected at the Womex 2004 and the Strictly Mundial 2005, the trio has been living a musical adventure that is taking it all over the world : the trio played before thousands at the Festival of Nyon, was welcomed at Carnegie Hall in February 2006, and recently played at the Jerusalem festival (August 2007).
Equipo Técnico
Directores: Fermín Muguruza
Javier Corcuera
Director de fotografía: Jordi Abusada
Prod. Ejecutiva: Antón Reixa
Ricardo González
Director de producción: Gonzalo de Castro
2º operador: José Manuel López
Sonido: Mariano Agudo
Tecnico sonido música: Ángel Katarain
Montaje: Martin Eller
Canciones desde Palestina
