Since the uprisings that emerged in the Arab world in 2011, alternative music genres, such as electro-tarab, rock, rap, hip-hop and indie music had a surge in its prevalence, as it provided the youth a space for self-expression and communication, through following genres of music, which reflects their ideals, political convictions as well as their renewed taste in music.
As in Syria’s context, AlDarwish is one of the prominent rappers that voiced out the anger, collective aspirations and disappointments of his generation. For this evening, AlDarwish invites El Far3i, Palestinian Jordanian rapper and singer, to present the audience the chance to voice their outcries together and in unity.
More on the artists
Hani Alsawah aka Aldarwish is a prominent Syrian Arab rapper and producer with two albums, more than 50 singles, 90 concerts and three battles to his credit. He is known for his lyricism, wordplay and ability to freestyle. Collaborating with various rappers, producers and musicians from a variety of genres has contributed to the diverse range and skills Aldarwish displays in his work. He has also worked in theater as an actor, co-writer and music producer, Acted in a TV show, written a book and composed the music for several movies. Aldarwish currently lives and works in Berlin.
With multi-fold projects in his music archive, El Far3i is a Palestinian and Jordanian songwriter, rapper, drummer, and producer from Amman, Jordan. Known for his dichotomous solo act El Far3i/ Far3 El Madakhil, he enmeshes Arab acoustic folk and hip-hop and continues to experiment sonically, evolving into the more recent forked axis, El Far3i Flux. Deep lyrical capabilities and versatile flow styles, have allowed El Far3i to homogenize Arabic vocals with rap, to create a native Arab sound in the vast world of acoustic and electronic pop. His vocal inspiration sediments deep into the high mountains of Palestine, down to the Jordan Valley. It derives from global hip-hop techniques, while preserving the power of simple grooves, and floating, yet daring, ghost notes in the background.
Dancers, blacksmiths, musicians, puppeteers, videographers, acrobats, handymen, painters, therapists, architects, programmers, ironworkers, cabinetmakers, agronomists, gleaners, sculptors, readers, nomads, exiles, boxers, poets, antique dealers, singers, cyclists, shepherdesses, wolves, sheep, migratory birds, rocks, lands, plants, dreamers, workers, angry, enraged, committed, tired, lively and valiant. Relying largely on the involvement of its members and on the acquisition and circulation of knowledge between them, the sharing of responsibilities as well as a minimum of active participation by all in the different aspects of the life of the places, Zonnklopper allows different degrees of involvement to always be possible within it. Betting on diversity and sharing and bringing together resources of all kinds, Zonnklopper seeks to forge links between the most different audiences. Improbable encounters and mutual aid are the key words of this new way of looking at the complexity of what makes up society.
A place of culture, if indeed culture is not the entertaining accessory of our societies tired of themselves but rather what constitutes it, from stories, practices, representations and models common. So Zonnklopper thus experiments with other ways of doing culture and therefore society, today and now, where it is located, with those who surround it, travel through it and inhabit it.