Cat eNews Donate ( Search Stanford Li SHE STANE ORDLIVE Colendar Ticket Info. Plan Your Vist Stanford Students Campus & Community Give Blog Islamic Voices: Music of the Arab Spring (© anmists, EVENT REVI CATEGORES Acts Behind he Scenes Event Review People Event Preview Inthe News Student Voices Photo Gallery Video \ge° ond octvict Emal Mathlovihi headline: at the Bing on October 5 By Ramzi Salti Music directly fueled the outbreak of the Arab Spring protests, which began in late 2010 in the streets of Tunisia and then spilled over into Egypt and spread across the Middle East and Norlh Aftica, As these protests and demonstrations of dissatisfaction with local governments were met with violent regression, revolutionaries responded with unparalleled forms of creativity. Though the region sill simmers with poltical instability, this flowering of artistic expression has led to a decrease in censorship and brought international recognition to the abundant diversity of contemporary Muslim musi.clso fitted Kelmti Horra, worldwide, ond bootlegs of EMEL MATHLOUTHI Mame | Mathlouth thew must be Romy Es 2 young singer in his 20s whe went down to Tohrir Square to creote music during the Awards. Meryom SéMusic not only accompanied the revolution, it was a revolution in and of itself becoming the means of self-expression and empowerment for young Muslims responding to a globalized digital age. This Muslim Intemet generation has taken to Twitter end Facebook with sowy, utilizing ononymaus space online to express their views freely and create a ripe environment for sharing music across borders. Over and over, we have witnessed artisis and musicians upload a music video clip on YouTube, only to become a viral sensation ovemight before governments had the chance to ban. or censor it. ‘As global Muslim artists today continue to display responsiveness ond versaiilty in the face of social transformations and new technologies, they engage the West through some of its own contemporary musical genres, blending rock and hip-hop with Arabic lyrics to convey their messages and distinctive experiences. In Syria, the reper Omar Offendum, who released his landmark album SyrianamericanA, has become a voice for @ new generation of Syrians and Syrian Americans, as he continues to challenge Western apathy towards Syria's conflict and support humanitarian relief efforts through his music. Similerly, Palestinian hip-hop artists such os the members of the group DAM. d under the banner of the Arab Spring and began singing about became re-ererg their own feelings of oppression within a larger context But many Muslim artists do not situate themselves geographically within the Arab world. Rather, they hove deep roots in the Weel, where they have a special affinity for the hip-hop and indie music scenes flourishing in North America. Yassin Alsalman, better known by his stage name the Narcicyst (or Narcy), on |ragi- Canadian journalist and hip-hop M.C.—who headlines a panel conversation and performance showcase at Oshman Hall in the McMurtry Building here at Stanford on October 14—currently resides in Montreal. His multimedic performances ond music videos address Islamophobia and an ever-growing sense of alienation felt by many Arcbs and Muslims in both the United States and Canada.‘on the Islamic Voices Scholer ond gerfermer Su’ad Abdul Khabeer, who joins Nore. series, uses @ concept she calls “Muslim Cool" to explain the way hip-hop has become @ source of common expression for Muslim identity ond black experience thot challenges racist attitudes in America. And, equally impressive is the ever- increasing number of Muslim men and women using contemporary styles to sing not only cbout racial inequality but also about feminism and marginalized sexualities, such os the Lebanese rock group Mashrou' Leila, whose songs boldly focus on homophobia, gender, and identity. Though this musi¢ began os o youth movement, it has now begun fo cross over into wider segments of Muslim seciety—even among so-called purists who used to consider hip-hop, jazz, and indie rock to be alien to the canon o} ectives Arabic music but ore gradually coming fo accept these genres and the per they promote as part of new, emerging Arab and Muslim musical cultures. iions of Muslim music and culture into new: Artists such as these are exoonding the def cond innovative territory. In doing so, they present a striking contrast with scenes of conflict, oppression, and religious fundamentalism in the Midcle East and North Afric, ‘ond, at the same time, they counter the ignorance and negative perceptions of Islam prevalent in American society thet mcke it eesy to everlook the wealth of Muslim talent. The Islamic Voices series ci Stonford seeks to offer a glimp: of the range and originality of contemporary Muslim creative culture. It also afitms the power of orfstic exchange to foster mutual understanding end challenge simplistic preconceptions about modem Muslim life and politics. Through encounters with these brilliant young musicians, who have managed fo turn their music into a global phenomenon, we hope to empower other voices ond inspite us all with optimism fer a better tomorrow. Dr. Ramzi Salti is o lecturer in Stanford University’s Arabic Program and the host of Arabology, which airs weekly on KZSU Stanford 90.1 FM.