The Cultural Urgency of Schinkel Pavillon’s ‘Disappearing Berlin’
disappearing-berlin-lafawndah-schinkel-pavillon
January 29, 2020
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# The Cultural Urgency of Schinkel Pavillon’s ‘Disappearing Berlin’
Disappearing Berlin is a music and
performance program with a title that resonates beyond the city limits
of Berlin to any major city subjected to rapid cosmopolitan
transformations. Contemporary art institution [Schinkel Pavillon][1]{:
rel="noreferrer noopener" aria-label="Schinkel Pavillon (opens in a new
tab)" target="_blank"}'s off-site program showcases artists in spaces
that are responsible for shaping Berlin's cultural landscape since the
city's upheavals and reconstructions in the 1970's. Spanning music, art,
dance, and performance, *Disappearing Berlin* began in 2019 and hosts a
range of one-off performances in varying sites around Berlin. Its
ambitions are to highlight spaces that are at risk of being demolished
or have been recently privatized, reminding us that Berlin is a city in
a constant state of flux.
The event happened just one day after the [Griessmuehle protests][2]{:
rel="noreferrer noopener" aria-label="Griessmuehle protests (opens in a
new tab)" target="_blank"} last Wednesday on January 22, 2020. Clubbers
and politicians organized and gathered in front of the Neukölln town
hall in objection of the imminent closure of the iconic Berlin
nightclub. Considering the transitions then and now, Disappearing
Berlin urges us to question how we navigate and occupy space as
ravers, artists, and musicians. While a city as we know it is
disappearing--what is left behind when the smaller, but no less
significant, cultural components are also at risk of becoming completely
erased?
[1]: https://www.schinkelpavillon.de/
[2]: https://www.nytimes.com/2020/01/24/arts/music/griessmuehle-berlin-club-closures.html
[YouTube Content][1]{: target="_blank" rel="noopener noreferrer"}
The programmer for Disappearing Berlin, Marie-Therese
Bruglacher, addressed this problem in association with her core motives
for the ongoing project. "It aims at nurturing new perspectives on this
unstoppable transformation and how it can be shaped," she says. "Hence,
preservation is only one aspect, the other is strongly future-driven and
focuses on how forgotten, endangered, or newly emerging spaces can be
staged."
Although these objectives highlight an advancing social, economic, and
political problem in Berlin, Bruglacher also recognizes its limitations.
"Performance as well as music are ephemeral methods to occupy space,"
she explains, about the project's ethos. "So even if we, for example,
fight for the preservation of free cultural spaces in Berlin, art
certainly is not the right vehicle to achieve this goal on a political
level. However, its playful approach can open up new paths and bring
awareness to the rapid changes around us. It is important that we
realize and remember that we are able to shape the city that we live in
before it's too late."
To kick off the program for 2020, Schinkel Pavillon invited Paris-based
curator [Martha Kirszenbaum][2]{: rel="noreferrer noopener"
aria-label="Martha Kirszenbaum (opens in a new tab)" target="_blank"} to
organize an evening that she called, *Leylet Hob (A Night of
Love)--*with films and live performances at [Xara Beach][3]{:
rel="noreferrer noopener" aria-label="Xara Beach (opens in a new tab)"
target="_blank"}. Leylet Hob (A Night of Love), Kirszenbaum
explained, "is a famous motif in contemporary Arab music."
[1]: https://www.youtube.com/embed/FqaXsx9sdwI?feature=oembed
[2]: https://www.instagram.com/martha_kirsz/?hl=en
[3]: https://www.facebook.com/xarabeach/
[Image: Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Meriem-Bennani_Xara-Beach-23-January-2020C87A1231.jpg]
The evening was a presentation and rethinking of Orientalist
imaginations, to showcase contemporary iterations of Middle Eastern
cultures while centering Middle Eastern perspectives. The cocktail bar
and hookah lounge's rooftop terrace is a central point of the vibrant
Kottbusser Tor area in Kreuzberg. Tourists and locals frequent the
neighborhood for its eclectic nightlife, but it is likely the popular
Turkish venue is overlooked by many outside of the Middle-Eastern
diasporas living in Berlin. A mix of musicians, such as Egyptian-Iranian
pop polymath [Lafawndah][1]{: target="_blank" rel="noreferrer noopener"
aria-label="Lafawndah (opens in a new tab)"} and Kuwaiti musician
[Fatima Al Qadiri][2]{: target="_blank" rel="noreferrer noopener"
aria-label="Fatima Al Qadiri (opens in a new tab)"}, as well as other
artists were invited into the space to perform and exhibit work outside
of their released musical projects or usual institutional gallery
contexts. The organizers at Xara Beach, as Bruglacher puts it were also,
"\[...\] curious to try out a new concept that clashes with their
regular nights and audience."
Kirszenbaum explained to me that she has previously worked with
Lafawndah in other art contexts. As curator of the French Pavilion at
the 58th Venice Biennale, Kirszenbaum invited Lafawndah to soundtrack
certain parts of [Laure Prouvost][3]{: rel="noreferrer noopener"
aria-label="Laure Prouvost (opens in a new tab)" target="_blank"}'s
"Deep See Blue Surrounding You" (2019) video works. Kirszenbaum also
mentioned that [Fatima Al Qadiri][4]{: rel="noreferrer noopener"
aria-label="Fatima Al Qadiri (opens in a new tab)" target="_blank"},
before her album releases with [Hyperdub][5]{: rel="noreferrer noopener"
aria-label="Hyperdub (opens in a new tab)" target="_blank"} and
conceptual musical contributions to projects such as Future Brown, was
part of the Gulf based art collective, GCC. Both Lafawndah and Fatima Al
Qadiri are staples in diasporic Middle Eastern electronic music, yet
they are often not recognized for their contributions within the arts.
[1]: https://lafawndah.bandcamp.com/
[2]: https://soundcloud.com/fatima-al-qadiri
[3]: https://www.laureprouvost.com/
[4]: https://www.electronicbeats.net/ninos-du-brasils-favorite-tracks-from-laurel-halo-and-fatima-al-qadiri/
[5]: https://www.electronicbeats.net/hyperdub-maybe-weve-changed-a-lot-or-maybe-not-very-much-at-all/
[Image: Meriem-Bennani-Hafida-high-hood-2017-courtesy-of-the-artist-and-Clearing-New-York-and-Brussels.jpeg]
Looking beyond the geographical Middle East, Fatima Al Qadiri's music
videos made in collaboration with Sophia Al-Maria, ["How Can I Resist
U"][1]{: target="_blank" rel="noreferrer noopener"
aria-label="“How Can I Resist U” (opens in a new tab)"}
(2012) and ["Spiral"][2]{: target="_blank" rel="noreferrer noopener"
aria-label="“Spiral” (opens in a new tab)"} (2017), draws
from traditions in the Arab world that are being reshaped through club
and queer cultures by Arabic disaporas within Europe.
[1]: https://www.youtube.com/watch?v=tpgtuWQ2vUc
[2]: https://www.youtube.com/watch?v=3DDhvdAwJMw
[YouTube Content][1]{: target="_blank" rel="noopener noreferrer"}
Lafawndah performed several songs which were recovered from famous
Persian pop singers on a candle lit stage. In her usual cadence, she
sang in Farsi with a certain exuberance and intimacy that can only be
achieved through a nuanced embodiment and distinct cultural positioning.
She was accompanied on stage by Haval Khalil and his classical Arabic
band, a familiar trajectory for her of working in collaboration with
musicians from different cultural backgrounds but an aesthetic departure
from her experimental/pop musical releases. Adding to her versatility,
Lafawndah performed live at Griessmuehle later in the week as part of
[CTM Festival][2]{: rel="noreferrer noopener" aria-label="CTM Festival
(opens in a new tab)" target="_blank"} for [Puticlub][3]{:
rel="noreferrer noopener" aria-label="Puticlub (opens in a new tab)"
target="_blank"}'s line-up of Latinx, diaspora, and QTPOC artists.
[1]: https://www.youtube.com/embed/RJQJOxb2u3U?start=54&feature=oembed
[2]: https://www.electronicbeats.net/ctm-and-boiler-room-curator-opium-hum-chooses-his-ones-to-watch-for-2020/
[3]: https://www.facebook.com/puticlubberlin/
[Image: Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Lafawndah_Xara-Beach-23-January-2020_1.jpg]
The evening offered us a fresh perspective to the vernacular around
contemporary representations of Middle Eastern pop culture as it
clashes, reshapes and merges with its traditional music and culture.
Within the framework of love and preservation of unofficial cultural
sites in Berlin, Kirszenbaum was interested in organizing an evening
that banded together the conventions and pluralities of Middle Eastern
diasporas by localizing those experiences to the social fabric of
Berlin.
"Kottbusser Tor has been a socially problematic, but nonetheless a
lively place," Bruglacher comments on the historically Turkish and Arab
neighborhood, "Lively places exist through new encounters and change
that enable all participants to take responsibility for their own parts.
It is these forms of co-existence -- newly emerging as well as forgotten
ones -- that we are interested in emphasizing. The city of Berlin,
\[with\] its diversity and openness, has been thriving on these
co-existences. This is what we have to preserve!"
[Image: Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Zadiel-Sasmaz_Xara-Beach-23-January-2020.jpg]
*Disappearing Berlin* shows us, by simply setting cultural exchanges in
the gems of a city, of the urgency to preserve its authenticity which is
at risk of becoming laminated. Whether it's a call to change through
music across generations, challenging stereotypical depictions within
communities, or anchoring cross cultural exchanges to localized
environments, Schinkel Pavillon in collaboration with Martha Kirszenbaum
called upon an audience to participate in a night of love and
demonstrated an emotive response to issues of gentrification,
displacement, and privatization of urban landscapes. To consider
bringing people together as an act of love in direct response to these
issues faced across communities in Berlin and universally. Analogous to
the plea from the 'SAVE OUR SPACES' video uploaded to
[Griessmuehle][1]{: target="_blank" rel="noreferrer noopener"
aria-label="Griessmuehle (opens in a new tab)"}'s YouTube channel,
"BERLIN, DON'T BREAK OUR HEARTS."
Jazmina Figueroa is a writer based in Berlin and is currently
completing a masters in anglophone modernities in literature and
culture. Her published work spans topics of arts and culture, politics
of technology, and digital media theory. Follow her on Twitter
[*@Jazmazzzz*][2]*. *
[1]: https://griessmuehle.de/sos
[2]: https://twitter.com/Jazmazzzz
---
id: 30c017a9-f0b6-4f78-a80b-82844493e607
blueprint: article
title: 'The Cultural Urgency of Schinkel Pavillon’s ‘Disappearing Berlin’'
date: 2020-01-29T16:52:03+01:00
wp_id: '181360'
slug: disappearing-berlin-lafawndah-schinkel-pavillon
teaser_image: legacy/disappearing-berlin-lafawndah-schinkel-pavillon/Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Lafawndah_Xara-Beach-23-January-2020.jpg
contents:
-
type: text
text: '<p><em><a rel="noreferrer noopener" aria-label="Disappearing Berlin (opens in a new tab)" href="https://disappearingberlin.de/" target="_blank">Disappearing Berlin</a> </em>is<em> </em>a music and performance program with a title that resonates beyond the city limits of Berlin to any major city subjected to rapid cosmopolitan transformations. Contemporary art institution <a rel="noreferrer noopener" aria-label="Schinkel Pavillon (opens in a new tab)" href="https://www.schinkelpavillon.de/" target="_blank">Schinkel Pavillon</a>’s off-site program showcases artists in spaces that are responsible for shaping Berlin’s cultural landscape since the city’s upheavals and reconstructions in the 1970’s. Spanning music, art, dance, and performance, <em>Disappearing Berlin</em> began in 2019 and hosts a range of one-off performances in varying sites around Berlin. Its ambitions are to highlight spaces that are at risk of being demolished or have been recently privatized, reminding us that Berlin is a city in a constant state of flux.</p><p>The event happened just one day after the <a rel="noreferrer noopener" aria-label="Griessmuehle protests (opens in a new tab)" href="https://www.nytimes.com/2020/01/24/arts/music/griessmuehle-berlin-club-closures.html" target="_blank">Griessmuehle protests</a> last Wednesday on January 22, 2020. Clubbers and politicians organized and gathered in front of the Neukölln town hall in objection of the imminent closure of the iconic Berlin nightclub. Considering the transitions then and now, <em>Disappearing Berlin </em>urges us to question how we navigate and occupy space as ravers, artists, and musicians. While a city as we know it is disappearing–what is left behind when the smaller, but no less significant, cultural components are also at risk of becoming completely erased?</p>'
-
type: text
text: '<div class="ar-16-9"><p><a href="https://www.youtube.com/embed/FqaXsx9sdwI?feature=oembed" target="_blank" rel="noopener noreferrer">YouTube Content</a></p></div><p>The programmer for<em> Disappearing Berlin, </em>Marie-Therese Bruglacher, addressed this problem in association with her core motives for the ongoing project. “It aims at nurturing new perspectives on this unstoppable transformation and how it can be shaped,” she says. “Hence, preservation is only one aspect, the other is strongly future-driven and focuses on how forgotten, endangered, or newly emerging spaces can be staged.” </p><p>Although these objectives highlight an advancing social, economic, and political problem in Berlin, Bruglacher also recognizes its limitations. </p><p>“Performance as well as music are ephemeral methods to occupy space,” she explains, about the project’s ethos. “So even if we, for example, fight for the preservation of free cultural spaces in Berlin, art certainly is not the right vehicle to achieve this goal on a political level. However, its playful approach can open up new paths and bring awareness to the rapid changes around us. It is important that we realize and remember that we are able to shape the city that we live in before it’s too late.”</p><p>To kick off the program for 2020, Schinkel Pavillon invited Paris-based curator <a rel="noreferrer noopener" aria-label="Martha Kirszenbaum (opens in a new tab)" href="https://www.instagram.com/martha_kirsz/?hl=en" target="_blank">Martha Kirszenbaum</a> to organize an evening that she called, <em>Leylet Hob (A Night of Love)–</em>with films and live performances at <a rel="noreferrer noopener" aria-label="Xara Beach (opens in a new tab)" href="https://www.facebook.com/xarabeach/" target="_blank">Xara Beach</a>. <em>Leylet Hob (A Night of Love), </em>Kirszenbaum explained, “is a famous motif in contemporary Arab music.” </p>'
-
type: images
images:
- legacy/disappearing-berlin-lafawndah-schinkel-pavillon/Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Meriem-Bennani_Xara-Beach-23-January-2020C87A1231.jpg
-
type: text
text: '<p>The evening was a presentation and rethinking of Orientalist imaginations, to showcase contemporary iterations of Middle Eastern cultures while centering Middle Eastern perspectives. The cocktail bar and hookah lounge’s rooftop terrace is a central point of the vibrant Kottbusser Tor area in Kreuzberg. Tourists and locals frequent the neighborhood for its eclectic nightlife, but it is likely the popular Turkish venue is overlooked by many outside of the Middle-Eastern diasporas living in Berlin. A mix of musicians, such as Egyptian-Iranian pop polymath <a href="https://lafawndah.bandcamp.com/" target="_blank" rel="noreferrer noopener" aria-label="Lafawndah (opens in a new tab)">Lafawndah</a> and Kuwaiti musician <a href="https://soundcloud.com/fatima-al-qadiri" target="_blank" rel="noreferrer noopener" aria-label="Fatima Al Qadiri (opens in a new tab)">Fatima Al Qadiri</a>, as well as other artists were invited into the space to perform and exhibit work outside of their released musical projects or usual institutional gallery contexts. The organizers at Xara Beach, as Bruglacher puts it were also, “[…] curious to try out a new concept that clashes with their regular nights and audience.”</p><p>Kirszenbaum explained to me that she has previously worked with Lafawndah in other art contexts. As curator of the French Pavilion at the 58th Venice Biennale, Kirszenbaum invited Lafawndah to soundtrack certain parts of <a rel="noreferrer noopener" aria-label="Laure Prouvost (opens in a new tab)" href="https://www.laureprouvost.com/" target="_blank">Laure Prouvost</a>’s “Deep See Blue Surrounding You” (2019) video works. Kirszenbaum also mentioned that <a rel="noreferrer noopener" aria-label="Fatima Al Qadiri (opens in a new tab)" href="https://www.electronicbeats.net/ninos-du-brasils-favorite-tracks-from-laurel-halo-and-fatima-al-qadiri/" target="_blank">Fatima Al Qadiri</a>, before her album releases with <a rel="noreferrer noopener" aria-label="Hyperdub (opens in a new tab)" href="https://www.electronicbeats.net/hyperdub-maybe-weve-changed-a-lot-or-maybe-not-very-much-at-all/" target="_blank">Hyperdub</a> and conceptual musical contributions to projects such as Future Brown, was part of the Gulf based art collective, GCC. Both Lafawndah and Fatima Al Qadiri are staples in diasporic Middle Eastern electronic music, yet they are often not recognized for their contributions within the arts. </p>'
-
type: images
images:
- legacy/disappearing-berlin-lafawndah-schinkel-pavillon/Meriem-Bennani-Hafida-high-hood-2017-courtesy-of-the-artist-and-Clearing-New-York-and-Brussels.jpeg
-
type: text
text: '<p>Looking beyond the geographical Middle East, Fatima Al Qadiri’s music videos made in collaboration with Sophia Al-Maria, <a href="https://www.youtube.com/watch?v=tpgtuWQ2vUc" target="_blank" rel="noreferrer noopener" aria-label="“How Can I Resist U” (opens in a new tab)">“How Can I Resist U”</a> (2012) and <a href="https://www.youtube.com/watch?v=3DDhvdAwJMw" target="_blank" rel="noreferrer noopener" aria-label="“Spiral” (opens in a new tab)">“Spiral”</a> (2017), draws from traditions in the Arab world that are being reshaped through club and queer cultures by Arabic disaporas within Europe. </p>'
-
type: text
text: '<div class="ar-16-9"><p><a href="https://www.youtube.com/embed/RJQJOxb2u3U?start=54&feature=oembed" target="_blank" rel="noopener noreferrer">YouTube Content</a></p></div><p>Lafawndah performed several songs which were recovered from famous Persian pop singers on a candle lit stage. In her usual cadence, she sang in Farsi with a certain exuberance and intimacy that can only be achieved through a nuanced embodiment and distinct cultural positioning. She was accompanied on stage by Haval Khalil and his classical Arabic band, a familiar trajectory for her of working in collaboration with musicians from different cultural backgrounds but an aesthetic departure from her experimental/pop musical releases. Adding to her versatility, Lafawndah performed live at Griessmuehle later in the week as part of <a rel="noreferrer noopener" aria-label="CTM Festival (opens in a new tab)" href="https://www.electronicbeats.net/ctm-and-boiler-room-curator-opium-hum-chooses-his-ones-to-watch-for-2020/" target="_blank">CTM Festival</a> for <a rel="noreferrer noopener" aria-label="Puticlub (opens in a new tab)" href="https://www.facebook.com/puticlubberlin/" target="_blank">Puticlub</a>’s line-up of Latinx, diaspora, and QTPOC artists.</p>'
-
type: images
images:
- legacy/disappearing-berlin-lafawndah-schinkel-pavillon/Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Lafawndah_Xara-Beach-23-January-2020_1.jpg
-
type: text
text: '<p>The evening offered us a fresh perspective to the vernacular around contemporary representations of Middle Eastern pop culture as it clashes, reshapes and merges with its traditional music and culture. Within the framework of love and preservation of unofficial cultural sites in Berlin, Kirszenbaum was interested in organizing an evening that banded together the conventions and pluralities of Middle Eastern diasporas by localizing those experiences to the social fabric of Berlin.</p><p>“Kottbusser Tor has been a socially problematic, but nonetheless a lively place,” Bruglacher comments on the historically Turkish and Arab neighborhood, “Lively places exist through new encounters and change that enable all participants to take responsibility for their own parts. It is these forms of co-existence – newly emerging as well as forgotten ones – that we are interested in emphasizing. The city of Berlin, [with] its diversity and openness, has been thriving on these co-existences. This is what we have to preserve!”</p>'
-
type: images
images:
- legacy/disappearing-berlin-lafawndah-schinkel-pavillon/Disappearing-Berlin_Leylet-Hob-A-Night-of-Love_Zadiel-Sasmaz_Xara-Beach-23-January-2020.jpg
-
type: text
text: '<p><em>Disappearing Berlin</em> shows us, by simply setting cultural exchanges in the gems of a city, of the urgency to preserve its authenticity which is at risk of becoming laminated. Whether it’s a call to change through music across generations, challenging stereotypical depictions within communities, or anchoring cross cultural exchanges to localized environments, Schinkel Pavillon in collaboration with Martha Kirszenbaum called upon an audience to participate in <em>a night of love </em>and demonstrated an emotive response to issues of gentrification, displacement, and privatization of urban landscapes. To consider bringing people together as an act of love in direct response to these issues faced across communities in Berlin and universally. Analogous to the plea from the ‘SAVE OUR SPACES’ video uploaded to <a href="https://griessmuehle.de/sos" target="_blank" rel="noreferrer noopener" aria-label="Griessmuehle (opens in a new tab)">Griessmuehle</a>’s YouTube channel, “BERLIN, DON’T BREAK OUR HEARTS.”</p><p><em>Jazmina Figueroa is a writer based in Berlin and is currently completing a masters in anglophone modernities in literature and culture. Her published work spans topics of arts and culture, politics of technology, and digital media theory. Follow her on Twitter </em><a href="https://twitter.com/Jazmazzzz"><em>@Jazmazzzz</em></a><em>. </em></p>'
---
Chunk #1 (Position: 0)
# The Cultural Urgency of Schinkel Pavillon’s ‘Disappearing Berlin’ Disappearing Berlin is a music and performance program with a title that resonates beyond the city limits of Berlin to any major city subjected to rapid cosmopolitan transformations. Contemporary art institution [Schinkel Pavill...
Chunk #2 (Position: 1)
Spanning music, art, dance, and performance, *Disappearing Berlin* began in 2019 and hosts a range of one-off performances in varying sites around Berlin. Its ambitions are to highlight spaces that are at risk of being demolished or have been recently privatized, reminding us that Berlin is a cit...
Chunk #3 (Position: 2)
While a city as we know it is disappearing--what is left behind when the smaller, but no less significant, cultural components are also at risk of becoming completely erased. [1]: https://www.schinkelpavillon.de/ [2]: https://www.nytimes.com/2020/01/24/arts/music/griessmuehle-berlin-club-closures...
Chunk #4 (Position: 3)
However, its playful approach can open up new paths and bring awareness to the rapid changes around us. It is important that we realize and remember that we are able to shape the city that we live in before it's too late." . To kick off the program for 2020, Schinkel Pavillon invited Paris-based...
Chunk #5 (Position: 4)
To kick off the program for 2020, Schinkel Pavillon invited Paris-based curator [Martha Kirszenbaum][2]{: rel="noreferrer noopener" aria-label="Martha Kirszenbaum (opens in a new tab)" target="_blank"} to organize an evening that she called, *Leylet Hob (A Night of Love)--*with films and live per...
Chunk #6 (Position: 5)
A mix of musicians, such as Egyptian-Iranian pop polymath [Lafawndah][1]{: target="_blank" rel="noreferrer noopener" aria-label="Lafawndah (opens in a new tab)"} and Kuwaiti musician [Fatima Al Qadiri][2]{: target="_blank" rel="noreferrer noopener" aria-label="Fatima Al Qadiri (opens in a new tab...
Chunk #7 (Position: 6)
Kirszenbaum also mentioned that [Fatima Al Qadiri][4]{: rel="noreferrer noopener" aria-label="Fatima Al Qadiri (opens in a new tab)" target="_blank"}, before her album releases with [Hyperdub][5]{: rel="noreferrer noopener" aria-label="Hyperdub (opens in a new tab)" target="_blank"} and conceptua...
Chunk #8 (Position: 7)
Both Lafawndah and Fatima Al Qadiri are staples in diasporic Middle Eastern electronic music, yet they are often not recognized for their contributions within the arts. [1]: https://lafawndah.bandcamp.com/ [2]: https://soundcloud.com/fatima-al-qadiri [3]: https://www.laureprouvost.com/ [4]: https...
Chunk #9 (Position: 8)
Looking beyond the geographical Middle East, Fatima Al Qadiri's music videos made in collaboration with Sophia Al-Maria, ["How Can I Resist U"][1]{: target="_blank" rel="noreferrer noopener" aria-label="“How Can I Resist U” (opens in a new tab)"} (2012) and ["Spiral"][2]{: target="_blank" rel="no...
Chunk #10 (Position: 9)
She was accompanied on stage by Haval Khalil and his classical Arabic band, a familiar trajectory for her of working in collaboration with musicians from different cultural backgrounds but an aesthetic departure from her experimental/pop musical releases. Adding to her versatility, Lafawndah perf...
Showing 10 of 13 chunks