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Middle Eastern Rhythms and the
democratization of Gender roles
Identity and mission
● Bridging the connection between my background as a jazz drummer
and Lebanese heritage through well-known and beloved Lebanese folk
tunes, an original composition and “jazz” heavily improvised melodic
vehicle.
● Encourage artists and audiences to delve and mine the resources which
they possess, to bring forth a new way of perceiving themselves and
thereby changing their story as a citizen of the world
● Every child’s potential is equal, regardless of gender
Towards a paradigm shift, informed through gender
inclusion...
● Artistic expression provides a vehicle for opinion. Whoever’s voice will and can be heard has the potential towards validation and
influence over it’s environment.
● I used folk tunes performed and made famous by a respected and most well-known Lebanese vocalist Fairuz. These serves as a
vehicle to open the dialogue of females expanding their roles to that of an instrumentalist. Hers was an example of empowerment
to both sexes!
● Democracy and equality of gender roles in the arts reflected in creative equality between instrumentation and each musical voice
in the ensemble.
● Could the inclusion of female musicians and artists in modern culture in Arab countries contribute to the awareness and social
movement towards equality amongst the sexes? A good start perhaps?...
Plan of Action
OBJECTIVE: to create and develop an inter-generational conversation
regarding the inclusion of the female presence in the arts, predominantly in
the Middle-East. To challenge gender/identity stereotypes relating to
ability, roles and cultural significance in the Lebanese, Middle East and
global Arab diaspora.
Women, Percussion, History
●
Lupishiau - considered the first
percussionist in ancient Middle Eastern
cultures. There was a time in our history
when the primary percussionists and
drummers were women. The first named
drummer in history was a Mesopotamian
priestess named Lipushiau. She lived in
the city-state of Ur in 2380 BC
●
“In every ancient Mediterranean
civilization… studied, it was a goddess
who transmitted to humans the gift of
making music.”
Nassam Alayna Al’Hawa (“The Air Breezed Upon Us”)
●
●
●
●
Ziad Rahbani, Fairuz - gave voice to
the cultural fracture of civilians
created by the Lebanese Civil War in
the 1970s
Iqa-combination of Maqsoum and
Wehde,
C# Kurd (Phrygian) scale (C# D# E
F# G# A B)
Irtijal (plural: Irtijalat) or Mawwal
(plural: Mawaweel)
Notated Rhythmic skeleton (Iqa)
Michel Merhej Baklouk rhythm chart
Beit Kassab (original composition)
● The layering of harmonies and rhythmic interplay
● G Melodic minor starting on fifth degree as improvisatory foundation
● “Agitation”esque Tony Williams intro solo – 1960s Miles Davis Quintet
● Collaboration amongst all instruments involved (an approach usually
shunned in traditional Middle Eastern music)
Sa’alouni El Nass (”The People Asked Me”)
•
•
•
•
•
Ziad Rahbani; Fairuz
A hybrid between Masmoudi and
Maqsoum rhythmic themes
Call and response alternating with
main melody, composed from:
(implies the “dialogue between the
traditional and progressive” in a
narrativistic context…)
Locrian scale - improvisation; Lami
scale (Iraqi) (eg. D Eb F G Ab Bb C)
https://youtu.be/XSH0liXO7BI
Notated Rhythmic skeleton (Iqa)
Drum Music
The exchange of melodic ideas/input intersecting with that of Paul Motian’s
● Call and response alternating between Paul’s and my melodies (based on the
Turkish Kavijar scale: C D Eb F Gb A Bb C)
● Homage to the guitar saxophone drum format - substituting laouto for guitar
Into The Future
●
●
●
Further study towards history, importance and repertoire of
female inclusion in the arts of the Middle East
YouTube channel
Awareness and travel to Lebanon, Palestine, Jordan...taking
the concept further, tours
Credits
Thank-you:
Layth Sidiq (violin/voice), Vasilis Kostas (laouto), Alber Baseel (auxiliary
percussion), Benjamin Jephta (double bass), Noé Zagroun (piano), Alex
Johnston (tenor saxophone *Drum Music), Liz Teutsch (engineer)
Berklee College of Music, Berklee Global Jazz Institute, Danilo Perez, Marco
Pignataro, Terri-Lyne Carrington, Bruno Råberg, Kenwood Dennard, Tareq
Rantisi, Michael Carvin, Michel Merhej
Bibliography/Resources
Layne Redmond “When The Drummers Were Women”
maqamworld.com (website)
“Umm Kulthum: A Voice Like Egypt” (documentary) – ‘the Word is most important, an
abstraction’.
“Classical Riqq Technique”, Michel Merhej Baklouk, 2018; private materials and exercises.
Mahmoud Fadl: The Drummers of the Nile in Town, Cairosonic - performed by Mahmoud
Fadl, 1955-, Salamat (Piranha, 2003), 57 min
“Of Drums And Damsels: Women’s Performance In Ancient Israel” Carol L. Meyers, The Biblical Archaeologist, University of
Chicago, JSTOR, Vol. 54 No.1, (Mar 1991) p16-27
democratization of Gender roles
Identity and mission
● Bridging the connection between my background as a jazz drummer
and Lebanese heritage through well-known and beloved Lebanese folk
tunes, an original composition and “jazz” heavily improvised melodic
vehicle.
● Encourage artists and audiences to delve and mine the resources which
they possess, to bring forth a new way of perceiving themselves and
thereby changing their story as a citizen of the world
● Every child’s potential is equal, regardless of gender
Towards a paradigm shift, informed through gender
inclusion...
● Artistic expression provides a vehicle for opinion. Whoever’s voice will and can be heard has the potential towards validation and
influence over it’s environment.
● I used folk tunes performed and made famous by a respected and most well-known Lebanese vocalist Fairuz. These serves as a
vehicle to open the dialogue of females expanding their roles to that of an instrumentalist. Hers was an example of empowerment
to both sexes!
● Democracy and equality of gender roles in the arts reflected in creative equality between instrumentation and each musical voice
in the ensemble.
● Could the inclusion of female musicians and artists in modern culture in Arab countries contribute to the awareness and social
movement towards equality amongst the sexes? A good start perhaps?...
Plan of Action
OBJECTIVE: to create and develop an inter-generational conversation
regarding the inclusion of the female presence in the arts, predominantly in
the Middle-East. To challenge gender/identity stereotypes relating to
ability, roles and cultural significance in the Lebanese, Middle East and
global Arab diaspora.
Women, Percussion, History
●
Lupishiau - considered the first
percussionist in ancient Middle Eastern
cultures. There was a time in our history
when the primary percussionists and
drummers were women. The first named
drummer in history was a Mesopotamian
priestess named Lipushiau. She lived in
the city-state of Ur in 2380 BC
●
“In every ancient Mediterranean
civilization… studied, it was a goddess
who transmitted to humans the gift of
making music.”
Nassam Alayna Al’Hawa (“The Air Breezed Upon Us”)
●
●
●
●
Ziad Rahbani, Fairuz - gave voice to
the cultural fracture of civilians
created by the Lebanese Civil War in
the 1970s
Iqa-combination of Maqsoum and
Wehde,
C# Kurd (Phrygian) scale (C# D# E
F# G# A B)
Irtijal (plural: Irtijalat) or Mawwal
(plural: Mawaweel)
Notated Rhythmic skeleton (Iqa)
Michel Merhej Baklouk rhythm chart
Beit Kassab (original composition)
● The layering of harmonies and rhythmic interplay
● G Melodic minor starting on fifth degree as improvisatory foundation
● “Agitation”esque Tony Williams intro solo – 1960s Miles Davis Quintet
● Collaboration amongst all instruments involved (an approach usually
shunned in traditional Middle Eastern music)
Sa’alouni El Nass (”The People Asked Me”)
•
•
•
•
•
Ziad Rahbani; Fairuz
A hybrid between Masmoudi and
Maqsoum rhythmic themes
Call and response alternating with
main melody, composed from:
(implies the “dialogue between the
traditional and progressive” in a
narrativistic context…)
Locrian scale - improvisation; Lami
scale (Iraqi) (eg. D Eb F G Ab Bb C)
https://youtu.be/XSH0liXO7BI
Notated Rhythmic skeleton (Iqa)
Drum Music
The exchange of melodic ideas/input intersecting with that of Paul Motian’s
● Call and response alternating between Paul’s and my melodies (based on the
Turkish Kavijar scale: C D Eb F Gb A Bb C)
● Homage to the guitar saxophone drum format - substituting laouto for guitar
Into The Future
●
●
●
Further study towards history, importance and repertoire of
female inclusion in the arts of the Middle East
YouTube channel
Awareness and travel to Lebanon, Palestine, Jordan...taking
the concept further, tours
Credits
Thank-you:
Layth Sidiq (violin/voice), Vasilis Kostas (laouto), Alber Baseel (auxiliary
percussion), Benjamin Jephta (double bass), Noé Zagroun (piano), Alex
Johnston (tenor saxophone *Drum Music), Liz Teutsch (engineer)
Berklee College of Music, Berklee Global Jazz Institute, Danilo Perez, Marco
Pignataro, Terri-Lyne Carrington, Bruno Råberg, Kenwood Dennard, Tareq
Rantisi, Michael Carvin, Michel Merhej
Bibliography/Resources
Layne Redmond “When The Drummers Were Women”
maqamworld.com (website)
“Umm Kulthum: A Voice Like Egypt” (documentary) – ‘the Word is most important, an
abstraction’.
“Classical Riqq Technique”, Michel Merhej Baklouk, 2018; private materials and exercises.
Mahmoud Fadl: The Drummers of the Nile in Town, Cairosonic - performed by Mahmoud
Fadl, 1955-, Salamat (Piranha, 2003), 57 min
“Of Drums And Damsels: Women’s Performance In Ancient Israel” Carol L. Meyers, The Biblical Archaeologist, University of
Chicago, JSTOR, Vol. 54 No.1, (Mar 1991) p16-27
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