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Dear guest,
These past two months, JIP has been on a fascinating journey. Never before have we
had such a tremendously diverse program. Never before have we collaborated with so
many different artists.
Inspired by current events, we chose to dive into the theme “Op Doortocht – moving
cultures”. There are many nomadic tribes that choose to travel and are always on the
move. In our modern society, people travel in many different ways and for many
different reasons. Tonight, you can immerse yourself into many different kinds of stories
from all over the world: Inuit pictures, Maasai sounds, Middle Eastern poems, and
Andalucían gypsy tunes.
We are proud to perform three world premières tonight - specially written for JIP - by
young composers. Most of the other pieces we’ll sing tonight have never been
performed in the Netherlands before. Mohammed, Ibrahim, and Ali will bring an Arabic
vibe to the evening. You will see and hear poetry by Baban, Rodaan, Milla, and Nicolás
and visual arts from various artists. Furthermore, we’ll serve you some delicious food
inspired by the nomadic theme.
This evening, we hope to welcome both our Dutch friends and people that recently fled
their own country and ended up in the Netherlands. You might be sitting to someone
who doesn’t speak your language. In that case, we would like to embrace the thought
that we can use the rich cultures that will flow throughout the evening to meet each
other. As you can read in the poem by Milla: “I must forget I do not speak the language.
And speak”.
JIP will do its best to be an open and vivid host for the evening.
We wish you a beautiful and inspiring evening,
Jonathan and Imre
Artistic directors Op Doortocht
Carmen Cavallaro (USA / Spain, *1947)
El Grito
Solo: Lynn Eekhof
Carmen Cavallaro (USA / Spain, *1947)
Después de Pasar
Diederik ten Böhmer (the Netherlands, *1990)
La Risa del Mudo (premiere)
Bjarni Gudmundsson (Iceland, *1986)
How noisy they seem (premiere)
Solo: Maartje Masereeuw
Traditional Syria, arr. E. Torikian (Armenia / Lebanon, *1952)
Yal Asmar Ellon
Traditional Muwashshah, arr. S. Abu-Khader (Palestina / Jordan)
Lammaa Badaa
Ensemble: Elisabeth, Lynn, Barbara, Lara, Annelieke, Eva Koopal,
Jeroen, Florian, Niek-Jan, Eelke
Songs from the Middle East
Musicians: Mohamad Alsamna, Ibrahim Kano, Ali Esmail
Traditional Syria / Iraq, arr. J. Ploeg (the Netherlands, *1988)
Kanu ya Habibi
Solo: Mohamad Alsamna, Eva Trapman
BREAK - With exhibition and snacks from all over the world.
Sem Sprang (the Netherlands, *1991)
The Field (premiere)
Diederik van der Laag, (the Netherlands, *1991)
En ooit zul je vader zijn (premiere)
Se Enkhbayar (Inner Mongolian Autonomous Region, *1956)
Naiman Sharag
Solo: Jonathan Ploeg
Traditional Eastern Mongolia, arr. Yongrub
(Inner Mongolian Autonomous Region, *1934)
Dörven Dalai
Traditional Masai, arr. J. Ploeg (the Netherlands, *1988)
Enyamali Kindanyamalo (Dutch premiere)
Solo: Sem Sprang
A.R. Rahman (India, *1967), arr. E. Sperry (USA, 1971)
Songs from the Middle East
Musicians: Mohamad Alsamna, Ibrahim Kano, Ali Esmail
Traditional Syria / Iraq, arr. Salim Bali (Syria, *1946) / Barkev Taslakian
(Lebanon, *1964)
Fõg elnã khel
Solos: Lisanne Boersma, Maartje Masereeuw
Carmen Cavallaro (USA / Spain, *1947)
El Grito
Text: Federico García Lorca (Spain, 1898 – 1936)
García Lorca, from Andalucia, fought for the survival of the traditional Canto Jondo
(deep song) and flamenco tradition by writing the cycle Poema del Canto Jondo. The
authentic Andalucian style of singing is characterised by the dramatic expressions in
the voice. You might hear the weeping sounds of the guitar and the cry over the hills.
El Grito
The Cry
La elipse de un grito,
va de monte
a monte.
The ellipse of a cry
sighs from hill
to hill.
Desde los olivos,
será un arco iris negro
sobre la noche azul.
Rising from the olive trees,
it appears as a black rainbow
upon the azure night.
Como un arco de viola,
el grito ha hecho vibrar
largas cuerdas del viento.
Like the bow of a viola,
the cry causes the long strings
of the wind to vibrate
(Las gentes de las cuevas
asoman sus velones)
(The people of the caves
hold out their oil lamps)
Eindeloos uitzicht
Ik zag je zomerlach
en nam een poging tot jou.
Ver van hier ben je
alleen het landschap is je thuis.
Mijn stem brengt mij
zover ik vooruit kan,
wat kan de afstand
scheiding creëren.
De laatste keer toen ik je ontmoette
was je mijn droom
en een reizende lijn.
Omdat ik een mens ben
stond je buiten alleen
en de droom werd wakker.
Horizon, anoniem
alleen hij kan je ontmoeten.
De horizon.
Baban Kirkuki
(Kurdistan, Iraq, 1974)
Carmen Cavallaro (USA / Spain, *1947)
Después de Pasar
Text: Federico García Lorca (Spain, 1898 – 1936)
In this poem from the cycle Poema del Canto Jondo, the spirals of tears suggest a
heavy crying or perhaps even mourning.
Después de Pasar
After the Passing
Los niños miran un punto lejano.
Los candiles se apagan.
Unas muchachas ciegas preguntan a la
y por el aire ascienden espirales de llanto.
Las montañas miran un punto lejano
The children gaze at a point far, far away.
The oil lamps are extinguished.
Some blind girls question the
And through the air rise spirals of tears.
The mountains gaze at a point far, far away
Diederik ten Böhmer (the Netherlands, *1990)
La Risa del Mudo (premiere)
Text: Nicolás Barría (Chile, *1988)
Nicolás published his first book, The two halves of the Sun, in 2003, and he was
awarded that year with a Creative Writing Fellowship Fund Book and Reading. He was
organizer of the First Children's Book Fair (children for children) in Chile. His poem La
Risa del Mudo, written for our project, is about a nomadic musician seeking for and
caught in the secret inspiration of his inner silence.
La risa del mudo
The laugh of the mute
En el infierno del sonido, bajo de él y abajo
nuevamente, una quinta capa del silencio,
la habitación del mudo, su sueño salvaje y
su código imposible.
Ese mudo que hay en mi lo amamantan
leches soñadas por otros tan otros como
Soñé que venían de allí, pensé que venían,
sentí su venida, estaban.
Soñé que me hablaban, pensé lo que
decían, sentí su palabra, eran.
Soñé en mi mudez, la pensé, hablé en
silencio y fue real.
Soñé y pensé, al mismo tiempo, en volver,
y no aparecieron para mí ni volver ni
In the hell of the sound, under it and under
again, a fifth layer of silence: the room of
the mute, a wild dream and its impossible
This mute inside me is breastfed by milks
dreamt by others alike me.
I dreamt that they were coming from there;
I thought they were coming, I felt their
coming, they were there.
I dreamt they talked to me, I thought what
they were saying, I felt their word, they
were there.
I dreamt in my muteness, I thought of it, I
spoke in silence and it was real.
I dreamt and thought, at the same time, of
coming back, and there did not appear for
me to come back nor return
Ni tornar, ni reaparecer, no estaban llegar
Nor turning, nor reappearing, there was not
y venir, despojado del irse no me pude
arrival or coming, deprived of going I could
not leave,
Sin el reanudar no pude retornar ni
Without restarting I could not return nor
repetir, ni insistir ni persistir. No pude
repeat nor insisting nor persisting. I could
renovarme ni convertirme ni cambiarme,
not renew nor convert nor change myself,
y sin mudanza ni mudar me quedé
and without migration nor change I stayed
sin quedarme, estuve sin ser y sin fui,
without staying, I was there without being
y hable sin decir y mentí
and without past, and I talked without
con la verdad en la cabeza, descabezado. speaking and I lied with the truth in my
head, headless.
En el infierno del sonido bajo de él y abajo, In the hell of the sound, under it and
abajo en serio, en la quinta capa del
under, seriously under, in the fifth layer of
silencio el secreto de su imposibilidad, la
silence is the secret of its impossibility,
risa del mudo, una carcajada como un
the laugh of the mute, a belly laugh as a
dios, TOTAL, exponiendo su código frente god, TOTAL, exposing its code in front
a mí.
of me.
Y solo allí pude ver mis canciones y
And only there I could see my songs and
encontrar el hogar en la mudanza:
Dejando notas necesariamente anónimas y
haciendo brotar de los recuerdos del mudo
notas agridulces en lenguaje de guitarra.
Sostuve sus notas en metros para
bemoliar mis recuerdos caminando. Mis
instrumentos se broncearon por un mi re
sol de soles re míos.
“En los otros descansa el código del
silencio”, dije en cuanto pude hablar, y
volví, retorne, reaparecí en este
lenguaje, llegue y vine sin querer irme.
Me renové y con el cambio y su
mudanza de ser, fui y hable para
distinguir la verdad de la mentira
en la cabeza.
Cuando el silencio se va descansa de
find my home in the migration:
Leaving notes necessarily anonymous and
making sprout, from the memories of the
mute, bittersweet notes in guitar language.
I held its notes in meters so I could
tow my memories when walking. My
instruments tanned by (*) strong sun of
“In the others the code of silence rests”,
I said as soon as I could speak, and I came
back, I returned, I reappeared in this
language; I arrived and came without
wanting to go. I renewed myself and with
this change and the migration of being, I
went away and spoke to distinguish the
truth from the lie in my head.
When the silence goes away it rests from
Ik wil naast je liggen
Ik wil naast je liggen
zoals de golf naast de golf.
Ik wil één met je worden
zoals de golf met de golf.
Ik wil je volgen zoals de golf de golf.
Ik wil in je reizen
zoals de golf in de golf.
Ik wil je leiden
zoals de golf de golf.
Ik wil in je verdwijnen
zoals de golf in de golf.
Ik wil je omhelzen
zoals de golf de golf.
Ik wil je zoals de golf,
blauw en eeuwig reizen.
Rodaan Al Galidi
(Iraq, about 1971)
Nog steeds
jouw geluid brengt nog steeds
verrassend geluk
onbewogen rijpen
gedachten vliegen rondom
jouw aanwezigheid
urenlang blijft jouw blik
hangen in de momenten
van mijn natte geest
verdampt in de diepe
gebaren van muziek
Baban Kirkuki
(Kurdistan, Iraq, 1974)
Traditional Syria, arr. E. Torikian (Armenia / Lebanon, *1952)
Yal Asmar Ellon
This traditional Syrian song from Aleppo belongs to the repertoire called qudud
halibiyya, an expression of art that is connected to the muwashshahat, a musical form
developed in Andalucía, Spain. Like many Arabic songs, it is all about love. As
expressing love to one another was not discreetly enough in the Muslim world, the
lyrics are slightly changed, and we sing to our brothers: “In order to make you happy, o
brother, I give you the best of my fortune”. Edward Torikian harmonised hundreds of
Armenian, European, and Arabic songs. His arrangements are performed throughout
the Middle East.
‫ﯾﺎ اﻷَﺳﻤﺮ اﻟﻠﻮن‬
‫يا األ َسمر الّلون ياألسمَراني‬
‫تعبان يا قلبي خيّو هواك رماني‬
‫يا بو عيون وساع‬
‫حطيت بقلبي وجاع‬
‫بعطيك سبع رباع خيو‬
‫من العني حاللي‬
‫يا بو قمر فضة وعليش هالبغضة‬
‫بعطيك تا ترضى خيو‬
‫من عني رسمالي‬
Traditional Muwashshah, arr. S. Abu-Khader (Palestina / Jordan)
Lammaa Badaa
Lammaa badaa yatathannaa is a popular Arabic muwashshah. The muwashshah, a
strophic song form, originated in Cabra (near Córdoba) during the Muslim rule in Spain
(until 1492). Since then, this song type has spread throughout the Arab world. The song
is in the samai rhythm, a complex rhythm used for Arab classical music and notated in
10/8. In the poem, a man refers to the way that his beloved is dancing and gracefully
swaying (tathanaa) from side to side. Arranger and choral conductor Abu-Khader
organised many choir projects for peace in the Middle East, including Voices Sing for
Palestine, involving 100 singers from diverse backgrounds and faiths and Aswatuna –
Arab Choral Festival, that brought together choruses from Syria, Palestine, Lebanon,
Iraq, and Jordan.
،‫ملا بدا يتثنى‬
‫يا ليل يا ليل يا ليل يا عني‬
‫حبّي جماله فتن ّا‬
‫يا ليل يا ليل يا ليل يا عني‬
‫أومى بلحظة أسرنا‬
‫يا ليل يا ليل يا ليل يا عني‬
‫غُصنٌ ثنى حني مال‬
‫يا ليل يا ليل يا ليل يا عني‬
‫وعدي ويا حيرتي من لي رحيم شكوتي‬
‫في الحب من لوعتي إال مليك الجمال‬
‫يا ليل يا ليل يا ليل يا عني‬
Songs from the Middle East
Musicians: Mohamad Alsamna, Ibrahim Kano, Ali Esmail
Wil je teruggaan?
‫هل ترغب بالعودة ؟‬
ze vragen mij:
ga je terug naar Koerdistan
als het land veilig is
‫يسألونني هل ترغب بالعودة إلى العراق‬
ً ‫عندما يصبح آمنا‬
ً ‫إذ ما عدت يوما‬
‫إلى رحم أمي‬
‫سوف لن أطلب اللجوء‬
‫ولن أختار مأوى لروحي‬
‫سوف لن أدع جسدي‬
‫يرتجف من البرد‬
ik antwoord:
als ik ooit terug
naar de baarmoeder zou gaan
zal ik geen asiel aanvragen
en geen vlucht voor mijn ziel kiezen
ik zal mijn lichaam
niet laten trillen in de kou
ik schommel in twee werelden
de ene waar ik nu in leef
de andere in mijn dromen
een land voor mijn paspoort
geschreven in de lade
van een gemeentekantoor
‫أنا متأرجح بني عاملني‬
‫عالمٌ أعيش فيه اآلن‬
‫واآلخر في أحالمي‬
‫وطنٌ لجوازِ سفري‬
‫مكتوبٌ في إحدى أدراج‬
‫دوائر السفر‬
mijn andere land
ligt in het noorden
‫وطني األبدي‬
ً‫يقع شماال‬
het noorden van mijn hart
‫شمال قلبي‬
‫القصيدة مترجمة من ديوان‬
٢٠١١ ‫)إقليم( بلجيكا‬
‫ بابان كركوكي‬:‫الشاعر‬
Baban Kirkuki
(Kurdistan, Iraq, 1974)
Sem Sprang (the Netherlands, *1991)
The Field
Text: based on a poem by Rumi and written for this project.
The Field
I’m a worried man with open hands
Read between my lines and you will understand
There is no relieve outside our skin
Tongues draw the same truth in different ink
Out beyond ideas of wrong and right
There is a field where the soul lies
Here before words jolt through our hands
Let fall the worried soul, I'll meet you there
Diederik van der Laag, (the Netherlands, *1991)
En ooit zul je vader zijn (premiere)
Text: Philippe Claudel (France, *1962) / Diederiek van der Laag
Diederik inspired his piece on the novella Monsieur Linh et la petite fille by the French
author and film director Philippe Claudel. After studying in Nancy, he worked as a
teacher in prisons for eleven years. He has said that this experience made him give up
his simple opinions about people, guilt, and judgement.
Monsieur Linh is an East Asian – possibly Vietnamese – refugee in France. His son and
daughter-in-law were killed in an unspecified war, and he has fled to France with his
infant granddaughter. Despite the language barrier, he becomes friends with the
widower Monsieur Bark, whom he meets on a park bench. The old man Linh sings for
Monsieur Bark, in his own language.
Het wordt altijd weer ochtend
Het wordt altijd weer licht
Er komt altijd weer een morgen
En ooit, ooit zul jij vader zijn.
There will always be a morning,
It will always be light again,
There is always a tomorrow,
And once, once, you will be a father.
ً ‫سيأتي الصباح دوما‬
ً ‫سيأتي النور دوما‬
ً ‫وسيكون هنالك غدٌ جديدٌ دوما‬
ً ‫ ستصبح أنت والدا‬،‫ويوما ما يوما ما‬
De ziel
langs de brug
groeiden braamstruiken
en onder de brug
de rivier stroomde langzaam
ik was op de brug
toen ik besefte
dat ik zonder stad,
zonder lawaai, jouw stilte
niet kan leven
mijn perspectieven kunnen niet groeien
zonder de botsing van het leven,
zonder moeilijkheden, zonder verdriet,
zonder ontmoeting, afscheid en dan vertrekken
mijn gedachten zouden een klein jongetje gebleven zijn
een verdoofde mens zou ik gebleven zijn
als ik trouw aan het geloof
gebleven was
mijn ziel zou nooit vergroten, ontwikkelen
als ik hem in het idealisme ingelijst had
mijn ziel moet een zigeuner zijn
die veel vertrekpunten herkent
mijn ziel herkent geen land, geen huis, geen bepaalde zone
hij is overal
mijn ziel herkent geen bestemming
maar hij is iets van mij
een eigendom van mijn lichaam
en niet van U
Baban Kirkuki
(Iraq, about 1971)
Se Enkhbayar (Inner Mongolian Autonomous Region, *1956)
Naiman Sharag
Se Enkhbayar was the second son of a herdsman and grew up in a rural, pastoral
environment, learning folksongs and acquiring the nomads’ worship of nature. He
founded the Mongolian Youth Choir and got the first prize in the Beijing International
Choir Festival, with the piece Naiman Sharag, which can be translated as The Eight
Chestnut Horses. Mongolian songs often praise horses, real and legendary, reflecting
the close relationship between horses and humans. This song refers to the eight
chestnut horses of Chinggis Khan, which have become a symbol of national identity
which embodies the Mongols’ love for their native language and culture.
“These chestnut horses are a treasure to us, a valuable gift of nature. Like a peaceful
song that sounds everywhere, so is the true image of the Mongolian horses worshipped
by my nation.” You might hear the rhythm of the running horse in the patterns of the
Traditional Eastern Mongolia, arr. Yongrub
(Inner Mongolian Autonomous Region, *1934)
Dörven Dalai
Yongrub, part of the Inner Mongolian Radio Performance Group, wrote down this
traditional melody. We sing about getting together with people from the four seas; the
corners of the empire of China, in the time when Mongolia and China were still the
same country. “As clear as the water of the West Sea, as pristine as the water of the
East sea, let’s raise our wine cups, rejoice and sing, and enjoy this happy moment
Traditional Masai, arr. J. Ploeg (the Netherlands, *1988)
Enyamali Kindanyamalo (Dutch premiere)
The Maasai tribe is one of the most known tribes around the world. With their colourful
outfits and strong dances, they stick to anyone’s thoughts and minds. Their culture has
a rich musical influence. There are many songs and dances for many events. Harvest
songs, wedding songs, war songs, haunting songs etc. Songs are usually sung by the
whole village. The song we sing is a typical work song; “We work for the cows, we are
busy with the goat, what causes a man to forget his creator? Dear little lad, revive from
being muddy, be aware of traditional and formal system of school, do not waste your
time on reading stupid magazines during time of the day.”
het zand
stukken van sterren stukken van woestijn
stukken van zand stukken van hitte
stukken van vuur stukken van lichamen
stukken van putten stukken van doden
stukken van leven stukken van dromen
stukken van woestijn stukken van nomaden
stukken van angst stukken van dapperheid
stukken van olie stukken van benzine
stukken van geschiedenis stukken van verdelen
stukken van tranen stukken van personen
het zand waait
en kust de aarde
het proeft de droogheid van zijn broeders
stukken van fabels stukken van beeldhouwen
stukken van ritme stukken van boodschap
stukken van dans stukken van maskers
stukken van woestijn stukken van manen
stukken van tenten stukken van zonsondergang
stukken van voortduring stukken van aankomen
stukken van voorbij stukken van beginnen
stukken van woestijn stukken van ogen
stukken van verdwijnen stukken van bewegen
stukken van plaats stukken van vreemdeling
een eindeloze golf
een defilé met duizend vragen
Baban Kirkuki
(Kurdistan, Iraq, 1974)
A.R. Rahman (India, *1967), arr. E. Sperry (USA, 1971)
This piece, originally written for a movie, is based on the music performed by the
whirling dervishes: Sufi Muslim musicians that perform this music across the entire line
of the silk route (Iran, Iraq, Afghanistan, Pakistan, India, Thailand, and Malaysia. The
dancers whirl around while the music gets quicker. After whirling for a long time, they
get into a trance during which they can communicate with God above. The text of this
Sufi song is in Urdu (Pakistan) and praises Allah; “Light of Muhammad, may peace be
upon him. There is no other truth except Allah.”
Songs from the Middle East
Musicians: Mohamad Alsamna, Ibrahim Kano, Ali Esmail
Traditional Syria / Iraq, arr. Salim Bali (Syria, *1946)
/ Barkev Taslakian (Lebanon, *1964)
Fõg elnã khel
Salim Bali was born in Aleppo, Syria. A self-taught professional musician, he is a
pioneer in composing Arab jazz pieces for different ensembles. He heard the song for
the first time in a Syrian Arab Television broadcast in 1966, with the great Iraqi singer
Nazem al-Ghazali. Although the song belongs to the Iraqi folklore, it is probably more
commonly performed in Syria than in Iraq. Barkev Taslakian, conductor of the Fayha
Choir in Lebanon was very kind in sending us the score. The song is written in the hijaz
mode, and it is one of the most popular Arab songs.
A poor young man falls in love with a girl from a rich family, after seeing her standing on
the balcony of her house in Baghdad. Love at first sight. “Your cheek shone, my love,
and lit over Baghdad. God took his time creating you, and was generous.”
‫خدك ملع يا هواي‬
‫عيني واضوى على بغداد‬
‫عني مِتم ربكّ بيك‬
‫عيني وبخلقتك جاد‬
‫ وبحالي شسوى‬،‫سابيني واهلل‬
‫باهلل يا مجرى املي‬
‫ عليهم‬،‫يابا سلّم عليهم‬
‫صعبانة الفرقة علي‬
‫ إليهم‬،‫يابا اشتقنا إليهم‬
‫ باليني بلوة‬،‫واهلل ما ريده‬
‫ ﯾﺎﺑﺎ‬، ‫ﻓﻮق اﻟﻨﺨﻞ ﻓﻮق‬
‫فوق النخل فوق‬
‫ يابا‬، ‫مادري المع خدّه‬
‫مادري القمر فوق‬
‫واهلل ماريده‬
‫باليني بلوة‬
We want to thank the following people for making this project happen:
Sopranos Lisanne Boersma, Lara Webster, Lynn Eekhof, Tine van der Weij, Barbara
Kos, Elisabeth Nieuwburg, Maartje Masereeuw, Marieke Derks, Annika
Verhage, Anne Luik, Marthe Haringsma
Annelieke Damen, Eva Trapman, Hadewich Huybrechts, Eva Koopal, Sofie
Kerstens, Raquel Paleo Garcia, Yente Ploeg, Brita Trapman, Machteld
Jonathan Ploeg, Jeroen Kerstholt, Stijn Timmer, Florian Bonte, Sem
Sprang, Olivier van Donk, Peter Wansink, Erik Voncken, Imre Ploeg
Joost Gadellaa, Wiebe Rinsma, Laurens Meindertsma, Immanuel Baan,
Tijmen van Barneveld, Floor Geurts, Bas Peters, Eelke Bakker, Andreas
Jost, Niek-Jan Lathouwers
Mohamed Alsamna
Ud & vocals
Ibrahim Khano
Ali Esmail
back vocals
Mohamad grew up in a Palestine family in Syria. He studied Arab classical singing and
toured through the whole Arab world, being famous for his specialisation in classical
Arab music and Turkish traditional repertoire.
Ibrahim, who also specialises in classical Arab music, accompanies Mohamad. Ibrahim
has accompanied many professional artists since he was 14. He is also knowledgeable
about the Aramees culture.
Achref Adhadhi
Achref Adhadhi (1987) followed his love and moved from Tunisia to the Netherlands last
summer. He now lives with in Utrecht with his Dutch wife. In Tunisia, Achref attented
various courses in the fields of directing, writing and acting. He gave theater lessons,
made several performances and wrote series for national television. Achref writes slam,
modern poetry. He will soon present his first theater performance in the Netherlands.
Jonathan Ploeg
Imre Ploeg
Diederik ten Böhmer
Nicolás Barría
Ruth Tapia Montanares
Bjarni Gudmundsson
Raquel Paleo
Willem van Merwijk
Sem Sprang
Diederik van der Laag
Barkev Taslakian
the Netherlands
the Netherlands
the Netherlands
the Netherlands
the Netherlands
the Netherlands
artistic director, arranger
artistic director
composition ‘La Risa del Mudo’
poem ‘La Risa del Mudo’
pronunciation Chilean
composition ‘How Noisy They Seem’
violin, pronunciation Spanish
NBE arrangement Kanu ya Habibi
song ‘The Field’
composition ‘En ooit zul je vader zijn’
artistic director
and conductor Fayha Choir
Hezron Abel
Buck Tilley
Teaba Alsalman
artistic director Masai choir Loruvani
producer Masai music CD,
contact person
Iraq/Netherlands pronunciation Arabic songs, interpreter
Baban Kirkuki
Kurdistan, Iraq
Baban (Kurdistan, Iraq, 1974) studied the Arabic language and literature and published his
first book of poetry “Ruine of Babylon” (1998) in Iraq. In 1999, he escaped to Holland. He
became rapidly familiar with the language and gained success with his work in Dutch. In
2006, Baban published his first book of poetry “Op weg naar Ararat” on his own. In 2011,
Baban gained the C.C.S. Crone Grant. He has been a member of the Utrecht Poets Guild
since 2012.
Rodaan Al Galidi
Rodaan Al Galidi (born 1971) is a Dutch writer of Iraqi descent. A trained engineer, he fled
his native Iraq and came to the AZC of Harlingen, the Netherlands, in 1998. Al Galidi
writes both prose and poetry in Dutch, a language he taught himself. In 2000 he won a
prize at the literature competition of El Hizrja, centre for Arabic Art and Culture. His novel
“De autist en de postduif” (The autist and the carrier-pigeon) won the EU Prize for
Literature in 2011. Shortly after, he failed the Dutch naturalization test.
Milla Braat
the Netherlands poet
Milla Braat (The Hague) studied Creative Writing at ArtEZ institute of the Arts in Arnhem
and Dutch language and culture at Leiden University. From an early age she performed
with her poems at different events. She was the youngest finalist at the national poetry
slam championship. As a member of The Hague Poet Guild, she organizes poetry projects
and writes poems for and about her hometown.
At the JIP exhibition, she presents a postmodern love poem she wrote in Dutch and
English and later had translated into 9 other languages. “I was confronted with a lot of
languages and at the same time fell in love in a lot of different ways. I realised how
different languages bear different perceptions of the world in them and how closed and
inaccessible they appear when you don’t understand the language. And I learned how
rich you can feel if you take the time learning to understand a foreign language.”
Nicolás Barría
Nicolas published his first book in 2003, “The two halves of the Sun”, being awarded that
year with a Creative Writing Fellowship Fund Book and Reading. He recieved honorable
mention in the national contest SECH - Conception on the Centenary of the Birth of Pablo
Neruda. He has participated in various literary events, among which, the Book Fair of La
Serena, Poquita Fe 2006, Chillán Poetry. He was organizer of the First Children's Book
Fair (children for children) made in Chile.
Nicolas finished a MA in Literature in 2011 and is currently professor of Theory of
Interpretation at the University of Concepcion, Chile. He is pursuing a PHD in
Psycholinguistics, conducting advanced research in the area of mental models and
metaphors. Some of his books are “Las dos mitades del sol” (2003) and “Debido
proceso” (2006).
Helena Klakočar Vukšić
graphic artist
Born in Bosnia, Tuzla, lived in Slovenia, studied graphic art at the Art Academy of Zagreb,
Croatia and Film animation in Tilburg, The Netherlands. In the summer of 1991, she went
on a sailing holiday with her husband and two-year-old daughter. Their return from Greece
was prolonged because of the outburst of the war in former Yugoslavia. In 1992, she
moved with her husband and child to the Netherlands, where she continued her diary with
observations of immigrant life in the Netherlands.
Oussama Diab
Syria / Lebanon visual artist
Palestinian artist Oussama Diab addresses the contradictions and obstacles of political
conflict, globalization, and exile through playful symbolism, references to popular culture,
iconic imagery, and narrative structures. Born in 1977 in Damascus, Syria, Oussama Diab
lived and worked in Beirut, Lebanon. A graduate of the Faculty of Fine Arts, University of
Damascus, in 2002, he has featured in solo and group shows in the Middle East, Europe,
and Asia, and is the recipient of numerous awards including the Shabab Young Artists
exhibition in Syria. Oussama Diab arrived in the Netherlands in October 2015 and is
currently living in Amsterdam.
Besher Alsmadi
graphic designer
Besher is 29 years old and born in Daraa, Syria. He was one of many Syrians that went out
in the streets during the Arab spring for a peaceful revolution, demanding freedom and
dignity. “I was studying information technology in Syria but could not complete my
university education because of the situation in Syria. Since 5 years ago I started learning
several programs by myself, such as Photoshop, Illustrator, and Light Room. From the
beginning of the Syrian revolution in 2011 against the criminal dictator, I used my skills to
show the world what was happening in my country.”
Yaman Hendawi
“Photography is where I found my life’s passion, I love what I do. I love making
photographs that create a shining moment of connection.” Since the war in Syria he moved
from Aleppo to Istanbul, and after a few years he moved to the Netherlands. “Recently I
started to interview creative Dutch photographers, to discuss fears, struggles, and creative
process that have created their success. These great conversations inspire me, and I like to
share those conversations to inspire other like-minded creatives too. In the end, if you want
to think in creative way you have to think different.”
Mahmod Kharrat
Mahmod Kharrat (22) is a professional photographer from Damascus, Syria. He specialized
in portrait photography. Most of his work on this website is from the time he lived in Syria.
But also in the Netherlands he continues making new work. “Photography is my job, it
makes me feel free. Making good photo’s is awesome.”
Taim Safar
visual arts
Taim Safar is an 11 year old boy from Damascus, Syria, currently living with his parents in
Turkey. He’s an ordinary child who loves to draw. Since he was 6, Taim makes striking
drawings in powerful lines, full of fantasy. He attended a workshop at the National Museum
of Damascus, where he was taught by Bassam Alkhouri, an artist who is currently living in
Germany and is in close contact with The Hague Peace Projects. Together they developed
the idea to exhibit Taim’s drawings in the Netherlands.
Alootook Ipellie
Inuit (Canada)
visual arts
Alootook Ipellie (1951 – September 8, 2007) was an accomplished Inuit graphic artist,
political and satirical cartoonist and writer, photographer, and Inuktitut translator. He was
born in the small hunting camp of Nuvuqquq near Frobisher Bay, Northwest Territories,
now known as Iqaluit, Nunavut on Baffin Island. His father, Joanassie, died in a hunting
accident before Ipellie's first birthday, and his mother Napatchie moved with him to the
hamlet of Frobisher Bay. He spent his childhood and early teenage years adjusting to the
transition from the traditional nomadic Inuit way of life to life in government-sponsored
Inuit settlements.
Amani Alnaeib
no biography
visual arts
Edith Ploeg, Brita Trapman & Floor Geurts
The vegetables in the nomadic snacks were offered by the farmers of BioRomeo.
Immanuel Baan
Lisanne Boersma
Teaba Alsalman
Annelieke Damen
Emma Brouwer
Eva Trapman
Robin de Jong
Etrona van der Heijden
Jakob de Jonge
Eva Trapman
Jeroen Aerts
Mink Pinkster
Ayesha Keller
Rebecca Wolf
Leo Keller
Philip Barkhudarov
Frieda Koopmans
John Kayongo
Shuker Barbour
Caspar van der Zanden
designer, finances, website
communication artists, refugees
translator Arabic
PR & marketing
producer concerts
film editor, communication
community work Stek Den Haag
cultural evening, anthropology
artwork marketing
film editor, communication
film director
film director
Host at Better Days for Moria
Musician Better Days for Moria
text corrector English
text corrector English
Dutch Council for Refugees
workshop African dance
lecture Syrian culture
assistance design exhibition
Wanneer u het menselijke een steuntje
in de rug wilt geven, faciliteren wij:
- Teamcoaching
- Inspiratiedagen
- Persoonlijke begeleiding
- Bedrijfsuitjes
Like all things, dead and alive, you are built up out of language.
I can walk into the unending collection of information which you are
like into a library. There I find hallways with staircases with rooms
with bookshelves and different floors with towers and cellars,
filled with language, with you.
This language in one room is like a sun which is only able to rise,
in the other room it is like a trust which is only able to wait
for its breaking point. The language you are is impossible.
It exists of more colours then there are colours.
I have to forget that I have eyes.
I am somewhere in this language, above, below, next to, with
and across from this language. It plays a game with me,
the word for motionless is dancing around me,
the word for farm is the same as the word for castle
and the word for sadness is laughing at me.
I have to forget what understanding is.
‫ﻣﺜﻞ ﻛﻞ اﻷﺷﻴﺎء اﳊﻴﺔ أو‬
‫ ﺑﻨﻴﺖ أﻧﺖ ﻣﻦ ﻟﻐﺔ‬،‫اﳌﻴﺘﻪ‬
‫أﺳﺘﻄﻴﻊ اﳌﺸﻲ ﻓﻴﻚ ﻛﺄﻧﻲ‬
‫أﻣﺸﻲ ﲟﻜﺘﺒﺔ ﳌﺠﻤﻮﻋﺔ ﻣﻦ‬
.‫اﳌﻌﻠﻮﻣﺎت ﻻ ﻧﻬﺎﻳﺔ ﻟﻬﺎ‬
‫ﻫﻨﺎك أﺟﺪ اﳌﻤﺮات و اﻟﺴﻼﻟﻢ وأﺟﺪ‬
To learn this language is to let myself be learned about.
I wait, in my own language.
‫ﻛﺘﺐ و ﻃﻮاﺑﻖ ﻣﺨﺘﻠﻔﺔ‬
ٍ ‫ﻏﺮﻓ ًﺎ و رﻓﻮف‬
I wait in my own impossible ways,
. ‫ ﳑﻠﻮءة ﺑﻚ‬،‫ﳑﻠﻮءة ﺑﻠﻐﺔ‬
‫وأﺑﺮاﺟ ًﺎ‬
ٍ ‫وﺳﺮادﻳﺐ‬
until it will break, straight off of its tree branch
and onto my autumn ground.
‫ﻫﺬه اﻟﻠﻐﺔ ﻓﻲ ﻏﺮﻓﺔ أوﻟﻰ ﻫﻲ ﻣﺜﻞ‬
‫ ﻓﻲ اﻟﻐﺮﻓﺔ‬،‫اﻟﺸﻤﺲ اﶈﺘﻮﻣﺔ اﻹﺷﺮاق‬
‫اﻷﺧﺮى ﻣﺜﻞ اﻟﻮدﻳﻌﺔ اﻟﺘﻲ ﻻ ﲤﻠﻚ إﻻ أن‬
‫ ﺗﺘﻮاﺟﺪ ﻓﻲ‬.‫ أﻧﺖ ﻣﺠﺮد ﻟﻐﺔ ﻣﺴﺘﺤﻴﻠﺔ‬.‫ﺗﻨﺘﻈﺮ ﻧﻘﻄﺔ ﲢﻮﻟﻬﺎ‬
.. ‫ ﻋﻠﻲ أن أﻧﺴﻰ أن ﻟﻲ ﻋﻴﻨﺎن‬.‫اﻟﻜﺜﻴﺮ ﻣﻦ اﻷﻟﻮان وﺑﻌﺪﻫﺎ ﺗﻮﺟﺪ اﻷﻟﻮان‬
I have to forget that I don’t speak this language.
And speak.
‫ إﻧﻬﺎ‬.‫ﻣﻊ وﻣﻘﺎﺑﻞ ﻫﺬه اﻟﻠﻐﺔ‬،‫ﺑﺠﻮار‬،‫ أﺳﻔﻞ‬،‫ ﻓﻮق‬،‫أﻧﺎ ﻓﻲ ﻣﻜﺎن ﻣﺎ ﻓﻲ ﻫﺬه اﻟﻠﻐﺔ‬
‫ اﻟﻜﻠﻤﺔ اﻟﺘﻲ ﺗﻮﺻﻒ اﳌﺰرﻋﺔ ﻫﻲ‬.‫ ﻛﻠﻤﺔ اﻟﺴﻜﻮن ﺗﺮﻗﺺ ﺣﻮﻟﻲ‬.‫ﺗﻠﻌﺐ ﻣﻌﻲ ﻟﻌﺒﺔ‬
‫ و ﻛﻠﻤﺔ اﳊﺰن ﺗﻀﺤﻚ ﻋﻠﻲ‬،‫ اﻟﺘﻲ ﺗﺼﻒ اﻟﻘﻠﻌﺔ‬.‫ﻋﻴﻨﻬﺎ اﻟﻜﻠﻤﺔ‬
‫ أﻧﺎ‬.‫ ﻟﻜﻲ أﺗﻌﻠﻢ ﻫﺬه اﻟﻠﻐﺔ ﻳﺠﺐ أن أﺳﻤﺢ ﻟﻨﻔﺴﻲ أن ﺗُﻌ ّﻠﻢ‬.‫ﻋﻠﻲ أن أﻧﺴﻰ اﻟﻔﻬﻢ‬
‫ﺣﺘﻰ ﺗﻨﻜﺴﺮ ﻣﻦ ﻏﺼﻦ‬،‫ أﻧﺎ أﻧﺘﻈﺮ ﺑﻜﻞ اﻟﺴﺒﻞ اﳌﺴﺘﺤﻴﻠﺔ‬.‫ ﺑﻠﻐﺘﻲ اﳋﺎﺻﺔ‬،‫اﻧﺘﻈﺮ‬
‫ ﻓﺄﺗﻜﻠﻢ‬.‫أن أﻧﺴﻰ أﻧﻨﻲ ﻻ أﺗﻜﻠﻢ ﻫﺬه اﻟﻠﻐﺔ‬
.. ‫ ﻋﻠﻲ‬.‫اﻟﺸﺠﺮة ﻋﻠﻰ أرض ﺧﺮﻳﻔﻲ‬
Milla Braat (the Netherlands)
Stichting Fonds voor de Geld- en Effectenhandel