Two faces of Syrian cinema on show in Paris

Updated 03 December 2012
0

Two faces of Syrian cinema on show in Paris

PARIS: For half a century Syria’s filmmakers were forced to work under a numbing state censor or choose exile. But a flow of images beamed online from the conflict zone, spotlighted in Paris this week, may contain the seeds of a new Syrian cinema.
The French capital’s Forum des Images film center is showcasing some of the gems to have slipped past the censors since the 1970s, alongside raw and urgent images born of the revolution. “There are ways to shoot movies in Syria, but you have to be brave,” explained Meyar Al-Roumi, who once resorted to bringing along TV-star friends as decoys to be able to film untroubled by police.
Other times he was not so lucky: In 2007 while working on a portrait of six Damascus taxi drivers, he was denounced by one of them — who turned out to be secret service worker moonlighting as a taxi service.
But the advent of the Internet — and the sense of urgency brought by the Syrian conflict — has thrown things wide open.
Each Friday since April 2011, a collective of volunteers formed by Abounaddara has posted a haiku-like little film on the net, between one and five minutes in length. The 44-year-old Kiwan, who coordimates the network from his current base in Paris, pays tribute to the people brave enough to point a camera at a soldier to bear witness to abuses. But he also says a key goal is to counterbalance the flow of raw images coming out of the conflict zone, relayed by foreign TV networks who buy up hard drives of footage to illustrate their reports.
“That had disastrous consequences,” said Kiwan. “Activists started filming with the aim of getting their images on Al-Jazeera, shooting only what they wanted to see: A soldier firing at the crowd, a minaret hit by bullets.”
“And so the revolution was reduced to a stock image: Of people being shot at like rabbits by barbarous soldiers.”
“That is a terrible reality. But if you reduce the revolution to that — none of it makes any sense.” Kiwan works with a network of self-taught filmmakers in Syria, aged 20 to 40, a majority of them women, linked up the Internet. “Our idea is to show why people decide to take to the streets, what is going on in their heads, the whole social side of the movement.”
Many of the films rely on first-person testimony — from army defectors or ordinary Syrians — their faces obscured. Others are more poetic in approach, though the conflict is always center-stage.
“You have a generation that acquired a film culture on social networks, on YouTube, who are totally free and uninhibited,” Kiwan said. “The revolution brought them together, and I think the future of Syrian cinema will come from them.” Al-Roumi, who has been unable to return to Syria since 2010, is closely watching the output of this new generation.


“There have been some wonderful films” he said. “Syrians are making cinema from reality. New filmmakers are bound to emerge from this — although for now the work is still quite raw.”
While openly supportive of the Syrian rebels, Abounadarra is determined to keep its film-making open-minded.
“We run films critical of both sides,” Kiwan said. “We use humor, derision, we want to make normal cinema with all sort of ingredients.”
Their latest post, “The Unknown Soldier,” shows a defector from the government forces turned rebel fighter, speaking softly of atrocities he says he witnessed, and committed, for both sides.


Ancient musical instruments get an airing in Athens

Updated 21 June 2018
0

Ancient musical instruments get an airing in Athens

  • The phorminx, the kitharis, the krotala and the aulos — string and wind instruments reconstructed by musical group Lyravlos — echoed among marble statues in Athens’s National Archaeological Museum.
  • Music was an integral part of almost every aspect of ancient Greek society, from religious, to social to athletic events.

ATHENS: Hymns sung to the Greek gods thousands of years ago resonated from ancient musical instruments in Athens on Thursday, transporting a transfixed audience to antiquity.
The phorminx, the kitharis, the krotala and the aulos — string and wind instruments reconstructed by musical group Lyravlos — echoed among marble statues in Athens’s National Archaeological Museum as part of World Music Day celebrations.
A family of musicians, Lyravlos have recreated exact replicas of the ancient instruments from natural materials including animal shells, bones, hides and horns.
Music was an integral part of almost every aspect of ancient Greek society, from religious, to social to athletic events. Today only some 60 written scores of ancient Greek music have survived, said Lyravlos member Michael Stefos.
Stefos said they interpret them as best they can, relying on the accuracy of their recreated instruments.
“Joking aside, ancient CDs have never been found,” he said.
Their performance included a hymn to the god Apollo, pieces played at the musical festival of the ancient Pythian Games in Delphi and during wine-laden rituals to the god Dionysus.
Michael’s father Panayiotis Stefos, who heads the group, travels to museums at home and abroad studying ancient Greek antiquities and texts in order to recreate the instruments.
“Usually each instrument has a different sound. It is not something you can make on a computer, it will not be a carbon copy,” said Stefos.
The difference with modern day instruments?
“If someone holds it in their arms and starts playing, after a few minutes they don’t want to let it go, because it vibrates and pulsates with your body,” he said.
French tourist Helene Piaget, who watched the performance, said it was “inspiring.”
“One sees them on statues, on reliefs, and you can’t imagine what they might sound like,” she said.
World Music Day is an annual celebration that takes place on the summer solstice.