PROGRAMMA

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PREFACE

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 ImreArtistic directors Op Doortocht

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PROGRAM

Carmen Cavallaro (USA / Spain, *1947)El GritoSolo: 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 BadaaEnsemble: 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 HabibiSolo: 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 SharagSolo: Jonathan Ploeg

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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) Zikr

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 khelSolos: Lisanne Boersma, Maartje Masereeuw

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LYRICS AND TRANSLATIONS

Carmen Cavallaro (USA / Spain, *1947)El GritoText: 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

La elipse de un grito, va de monte a monte.

Desde los olivos, será un arco iris negro sobre la noche azul.

¡Ay!

Como un arco de viola, el grito ha hecho vibrar largas cuerdas del viento.

¡Ay!

(Las gentes de las cuevas asoman sus velones)

¡Ay!

The Cry

The ellipse of a crysighs from hillto hill.

Rising from the olive trees,it appears as a black rainbowupon the azure night.

Ay!

Like the bow of a viola,the cry causes the long stringsof the wind to vibrate

Ay!

(The people of the caveshold out their oil lamps)

Ay!

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Eindeloos uitzicht

Ik zag je zomerlachen nam een poging tot jou.

Ver van hier ben jealleen het landschap is je thuis.

Mijn stem brengt mijzover ik vooruit kan,wat kan de afstandscheiding creëren.

De laatste keer toen ik je ontmoettewas je mijn droom

en een reizende lijn.Omdat ik een mens benstond 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 PasarText: 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

Los niños miran un punto lejano. Los candiles se apagan. Unas muchachas ciegas preguntan a la luna, y por el aire ascienden espirales de llanto. Las montañas miran un punto lejano

After the Passing

The children gaze at a point far, far away.The oil lamps are extinguished.Some blind girls question the moon,And through the air rise spirals of tears.The mountains gaze at a point far, far away

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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

En el infierno del sonido, bajo de él y abajonuevamente, 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 yo.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 retornar.

Ni tornar, ni reaparecer, no estaban llegar y venir, despojado del irse no me pude marchar,Sin el reanudar no pude retornar ni repetir, ni insistir ni persistir. No pude renovarme ni convertirme ni cambiarme, y sin mudanza ni mudar me quedé sin quedarme, estuve sin ser y sin fui, y hable sin decir y mentí con la verdad en la cabeza, descabezado.

En el infierno del sonido bajo de él y abajo,abajo en serio, en la quinta capa del silencio el secreto de su imposibilidad, la risa del mudo, una carcajada como un dios, TOTAL, exponiendo su código frente a mí. Y solo allí pude ver mis canciones y

The laugh of the mute

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 code.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 returnNor turning, nor reappearing, there was not arrival or coming, deprived of going I could not leave,Without restarting I could not return nor repeat nor insisting nor persisting. I could not renew nor convert nor change myself, and without migration nor change I stayed without staying, I was there without beingand without past, and I talked without speaking and I lied with the truth in my head, headless.In the hell of the sound, under it and under, seriously under, in the fifth layer of silence is the secret of its impossibility, the laugh of the mute, a belly laugh as a god, TOTAL, exposing its code in front of me.And only there I could see my songs and

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encontrar el hogar en la mudanza:Dejando notas necesariamente anónimas yhaciendo brotar de los recuerdos del mudonotas 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 nosotros.

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 mine.“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 us.

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)

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Nog steeds

jouw geluid brengt nog steedsverrassend gelukonbewogen rijpen

gedachten vliegen rondom jouw aanwezigheid

urenlang blijft jouw blikhangen in de momenten

van mijn natte geestverdampt in de diepegebaren 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 األَسمر اللون

يا األَسمر الّلون ياألسمَرانيتعبان يا قلبي خيّو هواك رماني

يا بو عيون وساعحطيت بقلبي وجاع

بعطيك سبع رباع خيومن العني حاللي

يا بو قمر فضة وعليش هالبغضةبعطيك تا ترضى خيو

من عني رسمالي9

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 فتنّا

يا ليل يا ليل يا ليل يا عنيأومى بلحظة أسرنا

يا ليل يا ليل يا ليل يا عنيغُصنٌ ثنى حني مال

يا ليل يا ليل يا ليل يا عنيوعدي ويا حيرتي من لي رحيم شكوتيفي 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

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Wil je teruggaan?

ze vragen mij:ga je terug naar Koerdistan

als het land veilig is

ik antwoord:als ik ooit terug

naar de baarmoeder zou gaanzal ik geen asiel aanvragen

en geen vlucht voor mijn ziel kiezenik zal mijn lichaam

niet laten trillen in de kou

ik schommel in twee wereldende ene waar ik nu in leef

de andere in mijn dromeneen land voor mijn paspoort

geschreven in de ladevan een gemeentekantoor

mijn andere land

ligt in het noorden

het noorden van mijn hart

Baban Kirkuki(Kurdistan, Iraq, 1974)

هل ترغب بالعودة ؟

يسألونني هل ترغب بالعودة إلى العراقعندما يصبح آمناً

فأجيبإذ ما عدت يوماًإلى رحم أمي

سوف لن أطلب اللجوءولن أختار مأوى لروحيسوف لن أدع جسدييرتجف من البرد

أنا متأرجح بني عاملنيعالمٌ أعيش فيه اآلنواآلخر في أحالميوطنٌ لجوازِ سفري

مكتوبٌ في إحدى أدراجدوائر السفر

وطني األبدييقع شماالً

شمال قلبي

القصيدة مترجمة من ديوان )إقليم بلجيكا )٢٠١١

:الشاعر بابان كركوكي

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Sem Sprang (the Netherlands, *1991)The FieldText: based on a poem by Rumi and written for this project.

The Field

I’m a worried man with open handsRead between my lines and you will understandThere is no relieve outside our skinTongues draw the same truth in different ink

Out beyond ideas of wrong and rightThere is a field where the soul liesHere before words jolt through our handsLet 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 ochtendHet wordt altijd weer lichtEr komt altijd weer een morgenEn 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 دوماًسيأتي النور دوماً

وسيكون هنالك غدٌ جديدٌ دوماًويوما ما يوما ما، ستصبح أنت والداً

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De ziel

langs de bruggroeiden braamstruiken

en onder de brug

de rivier stroomde langzaamik was op de brug

toen ik beseftedat ik zonder stad,

zonder lawaai, jouw stilteniet kan leven

mijn perspectieven kunnen niet groeienzonder de botsing van het leven,

zonder moeilijkheden, zonder verdriet,zonder ontmoeting, afscheid en dan vertrekken

mijn gedachten zouden een klein jongetje gebleven zijneen verdoofde mens zou ik gebleven zijn

als ik trouw aan het geloofgebleven was

mijn ziel zou nooit vergroten, ontwikkelenals ik hem in het idealisme ingelijst had

mijn ziel moet een zigeuner zijndie veel vertrekpunten herkent

mijn ziel herkent geen land, geen huis, geen bepaalde zonehij is overal

mijn ziel herkent geen bestemmingmaar hij is iets van mij

een eigendom van mijn lichaamen niet van U

Baban Kirkuki(Iraq, about 1971)

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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 song.

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 together.”

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.”

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Woestijn

het zand

stukken van sterren stukken van woestijnstukken van zand stukken van hitte

stukken van vuur stukken van lichamenstukken van putten stukken van dodenstukken van leven stukken van dromen

stukken van woestijn stukken van nomadenstukken van angst stukken van dapperheid

stukken van olie stukken van benzinestukken van geschiedenis stukken van verdelen

stukken van tranen stukken van personen

het zand waaiten kust de aarde

het proeft de droogheid van zijn broeders

stukken van fabels stukken van beeldhouwenstukken van ritme stukken van boodschap

stukken van dans stukken van maskersstukken van woestijn stukken van manen

stukken van tenten stukken van zonsondergangstukken van voortduring stukken van aankomen

stukken van voorbij stukken van beginnenstukken van woestijn stukken van ogen

stukken van verdwijnen stukken van bewegenstukken van plaats stukken van vreemdeling

een eindeloze golfeen defilé met duizend vragen

Baban Kirkuki(Kurdistan, Iraq, 1974)

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A.R. Rahman (India, *1967), arr. E. Sperry (USA, 1971) Zikr

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 هوايعيني واضوى على بغداد

عني مِتم ربكّ بيك

عيني وبخلقتك جاد

سابيني واهلل، وبحالي شسوى

باهلل يا مجرى املي

يابا سلّم عليهم، عليهمصعبانة الفرقة علي

يابا اشتقنا إليهم، إليهمواهلل ما ريده، باليني بلوة

فوق النخل فوق ، یابافوق النخل فوق

مادري المع خدّه ، يابامادري القمر فوق

واهلل ماريده

باليني بلوة

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CREDITS

We want to thank the following people for making this project happen:

MUSIC

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

Altos Annelieke Damen, Eva Trapman, Hadewich Huybrechts, Eva Koopal, Sofie Kerstens, Raquel Paleo Garcia, Yente Ploeg, Brita Trapman, Machteld Simoens

Tenors Jonathan Ploeg, Jeroen Kerstholt, Stijn Timmer, Florian Bonte, Sem Sprang, Olivier van Donk, Peter Wansink, Erik Voncken, Imre Ploeg

Basses Joost Gadellaa, Wiebe Rinsma, Laurens Meindertsma, Immanuel Baan, Tijmen van Barneveld, Floor Geurts, Bas Peters, Eelke Bakker, Andreas Jost, Niek-Jan Lathouwers

Mohamed Alsamna Palestina/Syria Ud & vocalsIbrahim Khano Turkey/Syria percussionAli Esmail Palestina/Syria back vocalsMohamad 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 Tunisia voiceAchref 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 the Netherlands artistic director, arrangerImre Ploeg the Netherlands artistic directorDiederik ten Böhmer the Netherlands composition ‘La Risa del Mudo’Nicolás Barría Chile poem ‘La Risa del Mudo’Ruth Tapia Montanares Chile pronunciation ChileanBjarni Gudmundsson Iceland composition ‘How Noisy They Seem’Raquel Paleo Spain violin, pronunciation SpanishWillem van Merwijk the Netherlands NBE arrangement Kanu ya HabibiSem Sprang the Netherlands song ‘The Field’Diederik van der Laag the Netherlands composition ‘En ooit zul je vader zijn’Barkev Taslakian Lebanon artistic director

and conductor Fayha Choir

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Hezron Abel Tanzania artistic director Masai choir LoruvaniBuck Tilley Tanzania producer Masai music CD,

contact personTeaba Alsalman Iraq/Netherlands pronunciation Arabic songs, interpreter

EXHIBITION

Baban Kirkuki Kurdistan, Iraq poetBaban (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 Iraq poetRodaan 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 poetMilla 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 Chile poetNicolas 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).

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Helena Klakočar Vukšić Bosnia graphic artistBorn 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 artistPalestinian 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 Syria graphic designerBesher 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 Syria photographer“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 Syria photographerMahmod 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 Syria 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.

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Alootook Ipellie Inuit (Canada) visual artsAlootook 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 Syria visual artsno biography

NOMADIC SNACKS

Edith Ploeg, Brita Trapman & Floor GeurtsThe vegetables in the nomadic snacks were offered by the farmers of BioRomeo.

ORGANISATION

Immanuel Baan designer, finances, website ambis.nlLisanne Boersma communication artists, refugees lisanneb.nlTeaba Alsalman translator ArabicAnnelieke Damen PR & marketing javoordezaak.nlEmma Brouwer producer concertsEva Trapman film editor, communicationRobin de Jong community work Stek Den Haag stekdenhaag.nlEtrona van der Heijden cultural evening, anthropologyJakob de Jonge artwork marketing jakobdejonge.comEva Trapman film editor, communicationJeroen Aerts film director Mink Pinkster film director millk.nlAyesha Keller Host at Better Days for Moria betterdaysformoria.comRebecca Wolf Musician Better Days for Moria betterdaysformoria.comLeo Keller text corrector EnglishPhilip Barkhudarov text corrector EnglishFrieda Koopmans Dutch Council for Refugees vluchtelingenwerk.nlJohn Kayongo workshop African danceShuker Barbour lecture Syrian cultureCaspar van der Zanden assistance design exhibition

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Stichting Fonds voor de Geld- en Effectenhandel

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.

To learn this language is to let myself be learned about. I wait, in my own language.I wait in my own impossible ways,until it will break, straight off of its tree branch and onto my autumn ground.

I have to forget that I don’t speak this language.And speak.

Milla Braat (the Netherlands)

مثل كل األشياء احلية أو امليته، بنيت أنت من لغة أستطيع املشي فيك كأني أمشي مبكتبة ملجموعة من

املعلومات ال نهاية لها هناك أجد املمرات و الساللم وأجد

غرفًا و رفوف كتٍب و طوابق مختلفةوأبراجًا وسراديَب مملوءٍة بلغة، مملوءة بك

هذه اللغة في غرفة أولى هي مثل الشمس احملتومة اإلشراق، في الغرفة

األخرى مثل الوديعة التي ال متلك إال أن تنتظر نقطة حتولها. أنت مجرد لغة مستحيلة. تتواجد في

الكثير من األلوان وبعدها توجد األلوان. علي أن أنسى أن لي عينان

أنا في مكان ما في هذه اللغة، فوق، أسفل،بجوار،مع ومقابل هذه اللغة. إنها تلعب معي لعبة. كلمة السكون ترقص حولي. الكلمة التي توصف املزرعة هي

عينها الكلمة التي تصف القلعة، و كلمة احلزن تضحك علي علي أن أنسى الفهم. لكي أتعلم هذه اللغة يجب أن أسمح لنفسي أن ُتعّلم. أنا انتظر، بلغتي اخلاصة. أنا أنتظر بكل السبل املستحيلة،حتى تنكسر من غصن

الشجرة على أرض خريفي. علي أن أنسى أنني ال أتكلم هذه اللغة. فأتكلم

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