No politics please for Baghdad bikers aiming to unite Iraq

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Members of the Iraq Bikers, the first Iraqi biker group, gather next to their motorbikes on a street of Baghdad, Iraq December 28, 2018. Picture taken December 28, 2018. (Reuters)
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Members of the Iraq Bikers, the first Iraqi biker group, ride their motorbikes on the streets of Baghdad, Iraq December 28, 2018. Picture taken December 28, 2018. (Reuters)
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Members of the Iraq Bikers, the first Iraqi biker group, gather outside a cafe in Baghdad, Iraq December 28, 2018. Picture taken December 28, 2018. (Reuters)
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Members of the Iraq Bikers, the first Iraqi biker group, ride their motorbikes on the streets of Baghdad, Iraq December 28, 2018. Picture taken December 28, 2018. (Reuters)
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A member of the Iraq Bikers, the first Iraqi biker group, poses for a photograph before riding his motorbike on the streets of Baghdad, Iraq December 28, 2018. (Reuters)
Updated 20 January 2019
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No politics please for Baghdad bikers aiming to unite Iraq

  • That is why the first rule of his bikers club is: you do not talk about politics
  • The Iraq Bikers — who now number 380 — are men of all ages, social classes and various faiths

BAGHDAD: Roaring along Baghdad’s highways, the “Iraq Bikers” are doing more than showing off their love of outsized motorcycles and black leather: they want their shared enthusiasm to help heal Iraq’s deep sectarian rifts.
Weaving in and out of traffic, only the lucky few ride Harley Davidsons — a rare and expensive brand in Iraq — while others make do with bikes pimped-up to look something like the “Easy Rider” dream machines.
“Our goal is to build a brotherhood,” said Bilal Al-Bayati, 42, a government employee who founded the club in 2012 with the aim of improving the image of biker gangs and to promote unity after years of sectarian conflict.
That is why the first rule of his bikers club is: you do not talk about politics.
“It is absolutely prohibited to talk politics among members,” Bayati told Reuters as he sat with fellow bikers in a shisha cafe, a regular hangout for members.
“Whenever politics is mentioned, the members are warned once or twice and then expelled. We no longer have the strength to endure these tragedies or to repeat them,” he said, referring to sectarian violence.
With his black bandana and goatee, the leader of the Baghdad pack, known as “Captain,” looks the epitome of the American biker-outlaw.
But while their style is unmistakably US-inspired — at least one of Bayati’s cohorts wears a helmet emblazoned with the stars and stripes — these bikers fly the Iraqi flag from the panniers of their machines.
The Iraq Bikers — who now number 380 — are men of all ages, social classes and various faiths. One of their most recent events was taking party in Army Day celebrations.
Some are in the military, the police and even the Popular Mobilization Forces, a grouping of mostly Shiite militias which have taken part in the fight to oust Islamic State from Iraq in the last three years.
“It is a miniature Iraq,” said member Ahmed Haidar, 36, who works with an international relief agency.
But riding a chopper through Baghdad is quite different from Route 101. The bikers have to slow down at the many military checkpoints set up around the city to deter suicide and car bomb attacks.
And very few can afford a top bike.
“We don’t have a Harley Davidson franchise here,” said Kadhim Naji, a mechanic who specializes in turning ordinary motorbikes into something special.
“So what we do is we alter the motorbike, so it looks similar ... and it is cheaper.”


Rarer than a Sumatran rhino: a woman composer

Updated 18 February 2019
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Rarer than a Sumatran rhino: a woman composer

  • “I was the only woman in all my classes in the Conservatoire, and it was fine,” said Pepin, who is now working on her first ballet score in her Paris apartment which doubles as a studio

PARIS: Camille Pepin is part of a very rare breed. She is a female composer.
Women have conquered space, risen in the military ranks, but some professions remain resolutely and bewilderingly masculine.
When Pepin turned up for her first day at the Paris Conservatoire — as usual the only woman in a class of men — an official told her that her name wasn’t on the list.
But when she insisted that she was and that he look again, he cried, “Ah, you’re a woman!“
Camille is also a man’s name in France.
“I would never have thought,” he apologized. “There are so many men...”
With so few female composers in the classical music repertoire, it was an easy mistake to make.
Pepin has never let everyday sexism get her down though, laughing it off like water off a duck’s back.
“One male composer told me I was getting commissions because I was a woman and not too bad looking,” said the 28-year-old, whose first album, “Chamber Music,” is released later this month.
After a concert of one of her more combative pieces, “a man came to tell me my music was ‘very fresh, flowery and sweet’,” she told AFP.
“I am a woman so clearly those three words” apply, she said wryly.
Pepin, whose music recalls both Claude Debussy and American minimalist composers like John Adams, said sometimes the sexist stereotypes which persist in the classical music world are hard to take.

One “old school” music professor insisted she sit on his right at lunch “because that was a woman’s place” and sent her off to make the coffee.
“I was the only woman in all my classes in the Conservatoire, and it was fine,” said Pepin, who is now working on her first ballet score in her Paris apartment which doubles as a studio.
Mostly the young composer, who made her breakthrough with the orchestral piece “Vajrayana” in 2015, said she was treated exactly the same as her male colleagues in classes with French contemporary composers like Guillaume Connesson, Thierry Escaich and Marc-Andre Dalbavie.
Beyond the classroom, however, progress is slow in the conservative world of classical music.
Pepin believes it will take generations for the forgotten work of female composers to get just recognition.
Beyond the casual unthinking sexism, she said the biggest problem for young female composers was “a lack of role models.”
A few woman such as the American composer Meredith Monk, Kaija Saariaho of Finland and Tansy Davies from Britain have managed to break the glass ceiling.

But even Pepin admitted that when she was younger she didn’t know of a single female composer.
“We never studied them,” she said.
Who has ever heard of Helene de Montgeroult (1764-1836), Louise Farrenc (1804-1875) or Fanny Mendelssohn (1805-1847)?
Fanny was the older sister of the more famous Felix Mendelssohn, with many at the time saying her work was more expressive.
But after she married she was limited to domestic duties and had to content herself with being her brother’s chief editor and muse, which led him to call her his “Minerva” of wisdom.
“Lots of female composers were crushed like Clara Schumann (the wife of Robert Schumann),” despite being one of the most distinguished composers and musicians of the Romantic era, said the pianist Celia Oneto Bensaid, who often performs Pepin’s work.
“You play my music,” Schumann once bluntly told his wife, a star of concert halls across Europe.

Born into a family in the northern French city of Amiens that wasn’t particularly musical, Pepin began to write her own melodies at 13.
But even at the age of five in her ballet class, her eyes were more drawn to the piano.
“I was so fascinated that I would forget to do my exercises,” she said.
Before settling on composing, Pepin thought about being a dancer. “I need to feel the notes physically,” she said.
Her first ballet will be choreographed next year by Sylvain pad for France’s Ballet du Nord.
Finally, she feels she is getting beyond the dreaded question — “But what do you do for a living?” — when she tells people she’s a composer.
“They thought it was just something I did to chill on Sundays,” she laughed.