Podcasts about tarab

A trent'anni dalla sua scomparsa, I TENORI di Radio3i hanno voluto ricordare l'immensa Mia Martini dedicando ampio spazio a lei e ai ricordi di quando, negli anni ottanta e novanta, viveva nella vicina provincia di Varese. Non solo ricordi ma anche musica, con alcune canzoni scelte dagli ascoltatori e il brano "Il fiume dei profumi" che rivive in una versione inedita registrata nel 1991 a casa di Biagio Antonacci, autore del testo e della musica. Il brano è tratto dall'album TARAB, uscito per ricordare la grande Mimì a trent'anni dalla sua scomparsa. Ascolta il podcast.

Maya Youssef is a multi-award-winning composer and qanun virtuoso, acclaimed by the BBC as the "Queen of the Qanun." Recognized as the world's leading mentor in Maqam and Taqsim, she has spent over a decade guiding hundreds of Arabic music enthusiasts and dancers in deeply understanding and embodying Arabic music — without relying on dry theory or vague clichés. Maya offers practical, dancer-friendly insights into recognizing Maqam by ear, understanding the true structure of Taqsim, and interpreting the emotional dynamics in the works of legends like Umm Kulthum and Farid al-Atrash. She is currently preparing a free "Maqam for Dancers Challenge" to help dancers forge a meaningful connection with Arabic music through embodied experience.In this episode you will learn about:- What is Maqam- Nine most commonly used Maqamat, and how they “behave”- The structure and rules of Taksim improvisation- How to predict Tarab moment- Why is it important for dancers to learn about Maqam and TaqsimShow Notes to this episode:Find Maya Youssef on Instagram. Find more about her Maqam for Dancers Intensive here: www.maqamfordancers.com/intensive-2025Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Three female Israeli hostages were released from Hamas captivity Sunday and four more are on their way Saturday. We have the rundown; Two Israeli top guns resign from their roles. Who's up next? & Breaking News! Evidence is out that Israeli-Russian researcher Elizabeth Tsurkov who has been held hostage in Iraq is alive. Iraq's Prime Minister is reportedly working to secure her release. Plus! Some uplifting news and a Torah thought.  Israel Daily News website: https://israeldailynews.org Israel Daily News Roundtable: https://www.patreon.com/shannafuld Support our Wartime News Coverage: https://www.gofundme.com/f/independent-journalist-covering-israels-war Links to all things IDN:⁠ https://linktr.ee/israeldailynews⁠ Music: Feelin Good with Nicole Raviv Live at the Tarab! CREDITS: Musicians: Keys: Jonathan Haringman Trumpet: Avior Rokah Oud: Ohad Elkouby Venue: Tarab Bar, Tel Aviv Sound engineer: Daniel Teich Mixed by: Asher Parkes

On the 305th episode of SceneNoise's Select series, we present Brooklyn-based Alexandria-born selector Solofan, a resident and the host of El Commodino show on Radio Flouka. Having spent years immersed in the underground scene in Berlin and Brooklyn, Solfan developed his own signature sound where he experiments with free-form mixes that unravel like symphonies. His Select set is a high-energy mixture of early EBM, acid house, IDM and hardcore, featuring Tarab influences, African polyrhythms, and deep club cuts, intermingled with tunes by the likes of Trinity Magas and Assassins of Youth.

Láskavá profesionálka, u ktorej pacienti nemajú problém otvorene hovoriť o všetkom, čo ich v rámci diagnózy trápi – aj takto hovoria o reumatologičke Lenke Tarabčákovej. Za svoj prístup a odbornosť získala nedávno ocenenie „Môj lekár“. Sandre Vychlopenovej porozpráva detaily zo svojej náročnej práce, ako milovníčka kníh isto nejaké odporučí a prezradí, kedy jej dobre padne joga, turistika či beh. Vypočujte si túto epizódu NP. | Lenka Tarabčáková (špecialistka v reumatológii, ocenená v ankete Môj lekár). | Moderuje: Sandra Vychlopenová. | Tolkšou Nočná pyramída pripravuje RTVS - Slovenský rozhlas, Rádio Slovensko, SRo1.

„Snažím sa byť otvorená a úprimná, a očakávam, že ten pacient bude taktiež otvorený a úprimný,” sú slová skúsenej reumatologičky Lenky Tarabčákovej. Spolu s Lenkou sme sa zahĺbili do krás a problematík reumatológie. „Drvivú väčšinu zápalových reumatických chorôb tvorí reumatoidná artritída, spondylartritídy, no a najzaujímavejšie a diagnosticky najobtiažnejšie sú systémové ochorenia spojiva. To sú tie diagnostické oriešky. Vyžadujú maximálnu pozornosť, dokážu sa veľmi nemilo vyvinúť a skutočne toho pacienta ohroziť.” Lenka opisuje reumatológiu ako odbor, ktorý vyžaduje, na to aby sme pacientovi skutočne pomohli, aktívnu spoluprácu s ďalšími odbormi a to zvyčajne internistickými. A aký je vlastne dobrý reumatológ? Silný internistický základ je v reumatológii viac ako žiadúci a extrémne nápomocný. Sama je veľmi vďačná, že prvých 10 rokov svoje praxe strávila práve na internej klinike. Vedomosti, ktoré tam nadobudla teraz intenzívne využíva. Aký je zvyčajný postup na ceste k reumatológii, aké možnosti práce táto špecializácia ponúka a mnoho ďalšieho sa dozvieš v našom podcaste! ❤ Prajeme príjemne počúvanie!

Lunes 15 de Enero de 2024 Ya esta disponible MEDELLIN TECHNO PODCAST 198 Presentado por: DERAOUT Invitado: Tarab para mas info: Soundcloud: @tarab95 Instagram: www.instagram.com/tarab_l _________________ Design: www.boldbravestudio.com __ #medellintechnopodcast #ravecode #technodemedellin #medellintechnofestival #medellin #techno #podcast #djset #lunary #tarab #technopereira #pereiratechno

Tarab, the ecstatic feeling associated with listening to and playing great music, is a fundamental characteristic in many varieties of Arab music. In this program, we explore tarab with special guest UCLA ethnomusicology professor A.J. Racy. Racy draws on his lifelong study of music and musicians, and also his insights as a virtuoso performer on the nay flute and the buzuq. Racy guides us through the experiences of listeners and players, providing deep insight into many varieties of tarab. We hear works by A.J. Racy, Sabah Fakhri and Ensemble Al-Kindi of Syria. APWW #424

Next up, Leipzig´s producer duo @faulspaeth leads us into their extraterrestrial soundscape with "Don´t be so Mean". We hope you enjoy this tune as much as we do! Buy Link: echoesoftarab.bandcamp.com/album/echoes-of-tarab-3 ✨Faul & Spaeth SC: @faulspaeth ✨Journey to Tarab SC: https://soundcloud.com/journeytotarab ✨ KataHaifisch SC: @katahaifisch

Dans cet immersion audio, je vous emmène dans mon été en Palestine où j'ai participé à des événements créatifs: notre créations sont un vote pour le monde futur.   Extraits des concerts d'Amel Mathlouti et du podcast Tarab sur le cinéma.

Today? Zara Dance joins us to talk about the concept of Tarab. These are some of my favorite words. Words that simply don't have a translation in other languages. Every language has a word or phrase or saying that just doesn't have a direct translation. And while that's beautiful, it can also cause some misconceptions. Join Zara as she talks about what Tarab is and answers a oft-asked question. Can you only do it to Umm Kulthom music? You can find links to all Zara's amazing work at thebellydancebundle.com/109

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Según el Corán, el Paraíso es un burdel de lujo. Hasta seis suras (capítulos) del Corán están dedicadas a esta noción, con sensuales descripciones de placeres tórridos para quienes logren entrar. Y estas descripciones se ven reforzadas por numerosos hadiths. Desgraciadamente para todos nosotros, sólo los terroristas que mueren en la yihad tienen acceso inmediato, lo que explica por qué están tan deseosos de inmolarse (y de inmolar a otros). Y las mujeres musulmanas no están invitadas al Paraíso porque sólo le aguarían la fiesta a los hombres. Créditos y referencias: Programa escrito, producido y presentado por Gabriel Porras en gabrielvoice.com y murmullosradiantes.com Portada: “El sueño del creyente”, de Achille Zo (1870). Musée Bonnat, Bayonne Música: “Qanun al-Tarab” y “El arte de escuchar”, por Gnawledge, de su estupendo álbum Granada Doaba en freemusicarchive.org. ¡Cómpralo en Bandcamp! “Undeniable”, de Ketsa, en freemusicarchive.org. “Devotion”, de The Pilgrimage Series, Part 1 en artlist.io “Reflections Eastern”, de Master 1, en freemusicarchive.org. Textos citados del Corán: “aquellos que merecen el paraíso se ocupan de cosas deleitosas”: 36:55 Descripción del paraíso y las huríes: 55:66-76 “Los piadosos estarán en un sitio seguro”: 44:51-57 Descripción del paraíso y las huríes: 56: 15-37 Mancebos eternos “como perlas ocultas”: 52:24 Para las fuentes originales del Corán: W. Tisdall, The Original Sources of the Quran Hadiths de al-Bukhari y otros: El paraíso se encuentra a la sombra de la espada: Sahih al-Bukhari 4:52:73 Mahoma no tiene garantizada la salvación: Sahih al-Bukhari 5:58:266 Mujeres con “deseables pasajes frontales” y hombres con penes que no se ponen flácidos: Sunah Ibn Majah, 5:37:4337 Los creyentes recibirán la potencia sexual de cien hombres: Jami at-Tirmidhi 4:12:2536 ¿Cómo será el Día del Juicio Final? Sahih al-Bukhari 8, Libro 76, hadith 577; Bayhaqi Todo musulmán pacifista es un hipócrita: Sahih Muslim; Sunah Abu Dawud 2502. Libro 15, hadith 26 Biografía islámica oficial de Mahoma: The Life of Muhammad, a translation of Ibn Ishaq's Sirat Rasul Allah, with introduction and notes by A. Guillaume. Karachi, Ameena Saiyid, Oxford University Press, 23rd impression 2010. Historia de la invasión de Kaybar en que Mahoma hace quemar a un líder judío: Sirat p. 510-19; History of al-Tabari VIII, p. 122, 123 Tafsir de Ibn Kathir: Ocuparse de “cosas deleitosas” significa “desflorar vírgenes”: Ibn Kathir IX, 383 Tafsir al-Jalalayn, Surah Yaseen verso 55 https://i.redd.it/ga0ox7sd2a851.jpg https://www.reddit.com/r/exmuslim/comments/12frh1x/deflowering_virgins_quran/ https://www.reddit.com/r/CritiqueIslam/comments/hjec12/proof_that_men_are_rewarded_virgins_that_they/ Un artículo muy interesante sobre la religión de los vikingos: https://scandinaviafacts.com/did-vikings-have-to-die-with-sword-in-hand-to-reach-valhalla/

According to Islam, Paradise is a luxury brothel. As many as six Suras (chapters) of the Quran are devoted to this notion, with sensuous descriptions of steamy pleasures for those who gain entrance. And these descriptions are further enhanced by numerous hadiths. Sadly for all of us, only terrorists who die in jihad qualify for immediate access, which explains why they are so eager to blow themselves (and others) up. And Muslim women are not invited to Paradise because they would only spoil the party for the men. Credits and references: Programme written, produced and hosted by Gabriel Porras at gabrielvoice.com and murmullosradiantes.com Cover: "The Believer's Dream", by Achille Zo (1870). Musée Bonnat, Bayonne Music: "Qanun al-Tarab" and "El Arte de Escuchar" by Gnawledge, from their great album Granada Doaba on freemusicarchive.org. Buy it on Bandcamp! "Undeniable", by Ketsa, on freemusicarchive.org. "Devotion", from The Pilgrimage Series, Part 1 on artlist.io. "Reflections Eastern", from Master 1, on freemusicarchive.org. Texts quoted from the Qur'an: "those who deserve paradise occupy themselves with delightful things": 36:55. Description of paradise and the Huris: 55:66-76 "The pious will be in a place of safety": 44:51-57 Description of paradise and the Huris: 56: 15-37 Eternal mancebos "like hidden pearls": 52:24 For the original sources of the Qur'an: W. Tisdall, The Original Sources of the Quran Hadiths of al-Bukhari and others: Paradise is in the shadow of the sword: Sahih al-Bukhari 4:52:73 Muhammad is not guaranteed salvation: Sahih al-Bukhari 5:58:266 Women with "desirable frontal passages" and men with penises that do not become flaccid: Sunah Ibn Majah, 5:37:4337 Believers will receive the sexual potency of a hundred men: Jami at-Tirmidhi 4:12:2536 What will the Day of Judgment be like? Sahih al-Bukhari 8, Book 76, hadith 577; Bayhaqi Every pacifist Muslim is a hypocrite: Sahih Muslim; Sunah Abu Dawud 2502. Book 15, hadith 26 Official Islamic biography of Muhammad: The Life of Muhammad, a translation of Ibn Ishaq's Sirat Rasul Allah, with introduction and notes by A. Guillaume. Karachi, Ameena Saiyid, Oxford University Press, 23rd impression 2010. History of the invasion of Kaybar in which Muhammad has a Jewish leader tortured and burned: Sirat p. 510-19; History of al-Tabari VIII, p. 122, 123. Tafsir of Ibn Kathir: To occupy oneself with "delightful things" means "deflowering virgins": Ibn Kathir IX, 383 Tafsir al-Khalalalayn, Surah Jaseen verse 55 https://i.redd.it/ga0ox7sd2a851.jpg https://www.reddit.com/r/exmuslim/comments/12frh1x/deflowering_virgins_quran/ https://www.reddit.com/r/CritiqueIslam/comments/hjec12/proof_that_men_are_rewarded_virgins_that_they/ The story about Ayatollah Khomeini's thesis on copulation with chickens I read in the wonderful and very moving book Reading Lolita in Teheran, by Azar Nafisi. Read it! A very interesting article on the religion of the Vikings: https://scandinaviafacts.com/did-vikings-have-to-die-with-sword-in-hand-to-reach-valhalla/

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La palabra Tarab no tiene traducción literal y es usada en el idioma árabe para describir los efectos emocionales producidos por la música, pero el término también se asocia a una forma tradicional de música árabe, generalmente aplicado a un viejo repertorio musical[...] ¡Que lo disfrutes! ✅ Si desean sumarse a IVOOX solo tienen que suscribirse o darle el botón del corazoncito ❤️ y comentar : https://www.ivoox.com/podcast-meditaaccion_sq_f1707851_1.html ✅ Si nos sigues en SPOTIFY ó Apple Podcast, ahora nos puedes ayudar a calificar con 5 estrellas ⭐️⭐️⭐️⭐️⭐️. Por favor ayúdanos a llegar a más personas. Tu calificación o Me gusta❤️ no te tomara mas de 10 segundos y ayudará a llegar a más personas. Gracias de antemano!!! Puedes visitarnos en nuestro Sitio Web, para ver el articulo completo: Web: https://meditaaccion.com Síguenos en nuestro canal informativo de Telegram: https://t.me/meditaaccion

✳️Les comparto una muestra de lo que se subirá el día martes al Podcast, Que lo disfruten!!! ✅¿Qué te ha parecido el nuevo avance del episodio? Ayúdanos con tu bonito corazoncito❤️ Y gracias de antemano. El llamado a la oración para convocar a los fieles al «salat», es la oración Musulmana. El encargado de recitarlo es el almuédano, quien es elegido por la comunidad por sus habilidades. ¡Que lo disfrutes! ✅ Si desean sumarse a IVOOX solo tienen que suscribirse o darle el botón del corazoncito ❤️ y comentar : https://www.ivoox.com/podcast-meditaaccion_sq_f1707851_1.html ✅ Si nos sigues en SPOTIFY ó Apple Podcast, ahora nos puedes ayudar a calificar con 5 estrellas ⭐️⭐️⭐️⭐️⭐️. Por favor ayúdanos a llegar a más personas. Tu calificación o Me gusta❤️ no te tomara mas de 10 segundos y ayudará a llegar a más personas. Gracias de antemano!!! Puedes visitarnos en nuestro Sitio Web, para ver el articulo completo: Web: https://meditaaccion.com Síguenos en nuestro canal informativo de Telegram: https://t.me/meditaaccion

Il liuto arabo si chiama oud, che significa letteralmente "pezzo di legno".Da questo nome Oud, Al Oud, sono venuti i termini europei che definiscono il liuto, ad esempio lo spagnolo laud, o lo stesso nome liuto.È uno strumento a corde che viene dalla famiglia dei liuti. È proprio il progenitore della famiglia. Ha un manico stretto e corto ed una grande pancia molto bombata. Visto di profilo ha la forma di una mezza pera. La cassa è decorata con tanti spicchi di legni diversi, ed è molto bella. Il oud ha il manico sottile, come quello di un mandolino, privo di tasti come quello di un violino. Non essendo suddiviso in tasti, permette assolutamente al musicista di produrre qualsiasi intervallo di note. Al contrario, sul manico della chitarra ci sono tasti che suddividono il suono in semitoni precisi, tutti uguali tra di loro. Sul manico di una chitarra non è possibile produrre i micro intervalli che siano invece tipici della musica araba.Il liuto è lo strumento principale della musica araba, soprattutto di quella di origine colta, ma anche in molti casi della musica popolare. Per molto tempo ha rappresentato il sistema musicale arabo stesso, tanto che gli arabi lo chiamano "Amir et-Tarab": anche senza sapere l'arabo, sappiamo che amir vuol dire principe. Tarab significa fascino, coinvolgimento, ed è un fenomeno molto importante nella musica araba, che trova nel flamenco forse il concetto più simile nella parola duende, che significa che significa "essere completamente concentrati all'interno di un fenomeno in particolare all'interno del fenomeno musicale ed essere in contatto con un aspetto sovrumano quasi Divino.Nella musica araba il liuto si presenta sia come strumento solista che come strumento di accompagnamento al canto. Ed è esattamente ciò che capita con la chitarra nel flamenco.Quando esisteva Al Andalus, cioè l'andalusia araba, il liuto era molto diffuso, però si diffuse solo nella musica colta spagnola e non in quella popolare. Quando gli arabi divennero cacciati dalla Spagna, l'inquisizione spagnola mise da parte tutto ciò che ricordava la cultura araba, per cui lo strumento oud venne dissimulato, e nacque un altro strumento, diverso, che è una specie di evoluzione del liuto: la vihuela (in italiano viella), è definito anche "viola a mano". Hanno la stessa accordatura e sono strumenti molto simili.Liuto e vihuela sono stato usato dai truccatori e quindi si sono diffusi tanto in Europa. Il liuto arabo so diffuse tanto nella Andalusia musulmana e bene potato nelle corti. Venne diffuso tanto da Ziryab, musicista di origine irakena, vissuto nel IX secolo alla corte di Cordova. Suonatore di liuto e cantante, Ziryab fu una pietra militare della musica ed ebbe sulla società dell'epoca una grande influenza: ogni cosa che faceva diventava una moda. Un vero influencer ante litteram!Paco de Lucía gli dedicò un cd, dimostrandoci quanto anche il flamenco lo consideri importante come padre di un'eredità musicale. Fino a Ziryab il liuto aveva solo 4 corde, identificate con "i 4 umori del corpo": bile, flemma, sangue e bile nera (questo ci dimostra quanto la musica araba sia nata dalla emozionalità stessa... esattamente come nel flamenco).Ziryab aggiunse una quinta corda. Anche la chitarra in Spagna ebbe una origine simile: nasce da una sorta di congiunzione fra il liuto e la vihuela. Originariamente aveva 4 corde, poi nel 1600 viene aggiunta la quinta, un po' sul imitazione di quello che fece Ziryab. Nel 1700 venne aggiunta alla chitarra la nota più grave, che si chiama ancora oggi bordón.Nel 1800 la chitarra veniva identificata con la musica gitana, con situazioni di osterie, malavita e non di gente rispettabile, quindi rischiava di cadere in disuso, a favore di strumenti "più nobili" come il piano o il violino. Non avevo i tasti l'oud si presta molto bene per accompagnare il canto arabo che è pieno di nell'anno e di vibrati. Il cantante emette suoni non razionali, non prevedibili e non scrivibili con grande precisione su un pentagramma. La musica araba resta essenzialmente di tradizione orale, anche quando si tratta di musica colta! Oggi esistono i conservatori, quindi tutto si può scrivere, ma nella tradizione no. Il musicista deve poter mantenere la sua libertà interpretativa. Il flamenco ad un certo punto fa una cosa molto particolare: il cante è irrazionale e non divisibile con precisione in tono e semitoni, ma viene accompagnato dalla chitarra che invece produce solo suoni temperati, suddivisi in semitoni identici ed invariabili. Questa apparente contraddizione rende quasi più facile al cantaor spaziare liberamente intorno alla nota. Esiste la cadenza andalusa, e le ultime due note della cadenza distano fra loro solo di un semitono. Quando il chitarrista insiste su queste due note, l'equivalente di un mi è un fa, il cantaor si sente libero di spaziare fra i due suoni, senza dover aderire a nessuno dei due.Se ascoltiamo qualche brano di musica araba colta nel quale il cantante sta improvvisando e il liutista lo sta accompagnando possiamo verificare quanto il liuto sostenga la voce del cantante e gli lasci libero tutto lo spazio espressivo. Esattamente come si comporta la chitarra flamenca con il canto soprattutto quando il cante è più antico e più profondo. Pensiamo ad un Fandango grande, ad una malagueña, una granaina, alle tarantas... il liuto e la chitarra sono completamente liberi dal ritmo e lasciano quindi tutto lo spazio al cantante per esprimere la propria creatività.Quanto più ascoltiamo la musica araba e tanto più capiamo il flamenco. E viceversa. Sono genero dovrai ma rispetto, attenzione, cura, lasciare il silenzio per aiutare l'altro ad esprimere la propria creatività senza coprirlo sono elemento essenziale di entrambi i generi.Sono Sabina Todaro mi occupo di flamenco e di musiche danze del mondo arabo dal 1985.Dal 1990 insegno baile flamenco e un lavoro molto interessante sull'espressione delle emozioni attraverso le danze e musiche del mondo arabo che ho chiamato lyrical Arab Dance. Non ricordo la mia vita prima del flamenco e della musica araba perché sono passati talmente tanti anni che mi sembra che ci siano sempre state nel mio universo sonoro.Sono due generi musicali molto radicati nelle espressività emozionale del momento ed è quindi impossibile cercare di quadrare il cerchio e di capire tutto con la ragione perché ci sarà sempre qualcosa che scappa da una logica razionale.La conoscenza della musica araba mi aiuta a capire il flamenco da un punto di vista emozionale e non razionale ma in effetti il flamenco non è una musica razionale.Spesso dico ai miei allievi che nel flamenco È vero tutto, il contrario di tutto e anche altre cose e quindi è chiaro che anche quando penso di avere capito tutto in realtà scopro che sono ancora moltissime le cose che escono dai miei calcoli razionali.La musica araba è talmente irrazionale che ti porta davvero in un'altra dimensione, nella quale esisti soltanto tu e le tue emozioni e non esiste più né il tempo né lo spazio.Mi sono abituata a non aspettarmi che ad una nota nel segua un'altra, semplicemente mi godo le note che arrivano senza prevedere!Lo dico sempre ai miei allievi quanto la musica araba abbia prodotto nel flamenco, ed è importante ascoltare queste relazioni. Ne parlerò ancora in altri podcast!

Interview mit Tamás Petrovics, CEO und Co-Founder von Xund In der Mittagsfolge sprechen wir heute mit Tamás Petrovics, CEO und Co-Founder von Xund, über die erfolgreich abgeschlossene Seed-Finanzierung in Höhe von 6 Millionen Euro. Xund ist ein MedTech, welches mithilfe einer künstlichen Intelligenz Millionen von medizinischen Publikationen automatisch analysieren und verarbeiten kann, um die Grundlage für eigene Lösungen zu schaffen. Bereits bewährte Algorithmen kombinieren die Symptome, persönliche Risikofaktoren und demografische Daten der Patientinnen und Patienten und identifizieren statistisch sowie medizinisch relevante Ursachen für Beschwerden. Durch die Analysen können präventive Versorgungsmethoden angewendet werden, um nicht mehr von der rein reaktiven Krankheitsbehandlung abhängig zu sein. Dieser effiziente Ansatz des Krankheitsmanagements kommt mehreren Teilen des Gesundheitsökosystems zugute, indem er Patientinnen und Patienten sowie medizinischem Fachpersonal evidenzbasierte Lösungen zur Verfügung stellt, die sie bei der Prävention und Behandlung von Krankheiten unterstützen. Xund wurde im Jahr 2018 von Lukas Seper, Tamás Petrovics und Zoltán Tarabó in Wien gegründet. Das Unternehmen beschäftigt mittlerweile mehr als 35 Mitarbeitende und hat neben dem Hauptsitz auch Büros in Budapest und London. Die eigens entwickelte Technologie wird als Digital Front Door von führenden Versicherungen, Krankenhäusern und Pharmaunternehmen verwendet und ist in diesem Segment aktuell das einzige zertifizierte Medizinprodukt der Klasse IIa in Europa. In einer Seed-Finanzierungsrunde hat das Wiener Healthtech-Startup nun 6 Millionen Euro unter der Führung von MMC Ventures und MassMutual Ventures eingesammelt. MMC Ventures ist eine britische Investmentgesellschaft, die in Technologieunternehmen in der Seed- und Series-A-Phase investiert. MassMutual Ventures ist eine US-amerikanische Risikokapitalgesellschaft, die in Unternehmenssoftware, Cybersicherheit, Finanztechnologie und digitale Gesundheitsunternehmen investiert. RoX Health und Lana Ventures haben die Runde ebenfalls begleitet, die damit die bestehenden Investoren der Haselsteiner Familien-Privatstiftung, unter der Führung von Peak Pride, den Tyrolean Business Angels und der 2m-quadrat AG ergänzen. Das frische Kapital soll dazu genutzt werden, das Wachstum zu fördern, die Expansion über die DACH-Region hinaus voranzutreiben und neue Märkte in Europa zu erschließen. Als mittelfristiges Ziel plant Xund die Expansion in die USA, für welche die Vorbereitungen des Markteintritts durch die Food and Drug Administration bereits angelaufen sind. Außerdem soll das Produktportfolio entlang der Patient Journey erweitert und weitere vielversprechende Anwendungsfälle integriert werden.

Join Helana Reyad and her featured guest, Mona Miari, as they talk about women in the Tarab tradition, the commercialization of Tarab, and grapple with the question “Have you recently made art without thinking how it would look on your social media?” --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Dancing to Tarab songs is extremely responsible task. Such songs have a deep cultural meaning, and should be addressed thoughtfully and with respect.⁣⁣ Let's discuss this subject more in-depth.Show Notes to this episode:Follow Iana on Instagram, FB, and Youtube , or contact via email info@ianadance.com . Intensives at the Iana Dance Club mentioned in the episode: Belly Rolls and Flutters & Tab Wana Maly (Tarab).Check out the next SharQui Instructor Academy beginning October 3rd. Apply at sharqui.com/teachFind information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

The commencing festival season we dearly welcome, having compiled Echoes of Tarab 2 just in time. The first artist we present is Joe Carl, who through the means of more advanced alchemy put together a trancey yet funky, epic piece. Thank you for this amazing piece of art. ✨Joe Carl https://soundcloud.com/joe-carl ✨Journey to Tarab SC: https://soundcloud.com/journeytotarab ✨KataHaifisch SC: @katahaifisch

Urmărește episodul în format video aici: https://www.youtube.com/watch?v=OK84gv8kjy8 Poți susține lucrarea Ekklesia aici: https://www.ekklesia.ro/doneaza/

The City of DJinn  project began as an invitation by Mickey Weems,  Project Coordinator to send Marwan Kamel and Micah Bezold to travel from Chicago to Hawaii to perform as the City of DJinn and bring Muslim musical artists to perform and discuss Islam, Sufism, mysticism and transgression to Hawaii. Weems submitted a proposal and was granted by SEEDS IDEAS and the Department of English at UH Manoa. Kamel and Bezold are both students of Sufism who take traditional Arabic music and give it an American twist as their version of drone rock.  When Covid 19  struck, it didn't stop the musical duo from completing the project and they started to work remotely and the collaboration extended to include some of the following artists: DJ Chris Chartier, hip-hop activist Navid Najafi, Poet Yasmine Ruhia, Sama Essa of Oman, DJ Russell Dement-Trent, DJ Yves Kline, violinist Patrick Park , KTUH Honolulu and myself, DJ Nocturna who helped coordinate the interviews. There's a whole list of people to thank for this project but it could not have been possible without the undying passion and dedication of Mickey Weems  Kamel and Bezold ground their music in the intricacies of maqam, the classical system of melodic modes in Arab music and Amercian rock. "I went through a punk phase," he recalled, but was not satisfied with American music and the instruments with  which he had become familiar, first the violin as a child, then the guitar. Eventually, he encountered his true love, the buzuq, a long necked string instrument found in Syria and Lebanon. As rooted as he is in classical Arabic music, one might suspect that his second love is innovation. But he finds much of his energy is dedicated to resurrection. This multitasking duo, City of DJinn create post-Tarab - a longform sonic tapestry of dark, psychedelic, drone rock that draws from experimental music vernacular as well maqam tradition. Their arsenal of instruments ranges from electric buzuq, modified quarter-tone acoustic-electric guitar, violin, fretless electric guitar, foot pedal drums/cymbals, darbuka, daf, DIY stompbox and samplers. https://cityofdjinn.bandcamp.com/releaseshttps://somnimage.bandcamp.com/album/city-of-djinnSubscribe to my monthly mailing list for the latest music news, updates and my next interviews and events:http://eepurl.com/gtw6PPQUEEN OF WANDS with DJ Nocturna Every Saturday on Modsnap RadioKMOD: San Antonio"San Antonio's leading alternative streaming Radio Station since 2017"Listen : http://modsnapradio.comPlaylist and podcast: https://djnocturna.comYouTube:  https://www.youtube.com/c/DJNocturna2pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST)

In this afikra FWD, Helana forwards an article on the presence of elements of Latin American music in songs of Mohamed Abd El-Wahab and Farid al-Atrach. The article was originally written by Bacim Mejri in french and published by The Tunisian Center for Musicological Publication (CTUPM).Note: Helana is not an expert on this subject but is sharing information in the hopes of spurring interest in the subject.Hosted by: Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by The Brooklyn Nomads https://www.instagram.com/thebrooklynnomads/About the afikra Community Presentations:A community member delivers an in-depth presentation on a ‎topic related to the Arab world's history and culture during a one-hour online event. The presentation is the ‎culmination of a month-long afikra coaching process to help identify a topic, find research, and develop the ‎presentation. The goal is to showcase the presenter's curiosity, research, and share some knowledge. Each ‎presentation is followed by a moderated Q&A with questions coming from the live virtual audience on Zoom.  ‎Join the live audience: https://www.afikra.com/rsvp Follow Youtube - Instagram (@afikra_) - Facebook - Twitter Supportwww.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity.Read more about us on afikra.com

Join Helana Reyad and her featured guest, John Murchison, as they discuss his experience as originally a Western musician in the classical Arabic (Tarab) tradition and the role of his main instrument, the bass, in it. Of note, the dour En Kan Fouady John mentions is indeed sung by Layla Mourad. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this afikra FWD, Dema Mourad talks about "Emotion, Performance, and Temporality in Arab Music: Reflections on Tarab." Dema discusses repetition, protension, and retention in Muwashahat and Tarab.Note: Dema is not an expert on this subject but is sharing information in the hopes of spurring interest in the subject.Hosted by: Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by The Brooklyn Nomads https://www.instagram.com/thebrooklynnomads/About the afikra Community Presentations:A community member delivers an in-depth presentation on a ‎topic related to the Arab world's history and culture during a one-hour online event. The presentation is the ‎culmination of a month-long afikra coaching process to help identify a topic, find research, and develop the ‎presentation. The goal is to showcase the presenter's curiosity, research, and share some knowledge. Each ‎presentation is followed by a moderated Q&A with questions coming from the live virtual audience on Zoom.  ‎Join the live audience: https://www.afikra.com/rsvp Follow Youtube - Instagram (@afikra_) - Facebook - Twitter Supportwww.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity.Read more about us on afikra.com

Something BIG is about to hit the e-comm world and most entrepreneurs are oblivious to it.    I'm talking about “Live Commerce”. A live shopping experience that's changing the way your customers shop, forever.    And today, my guest is Róbert Tarabčák, the CEO of a new startup called Korkuma. A new platform providing tools and resources for companies to run live shopping experiences.    If you're doing anything in the e-comm space, you should check this one out.

C'est la rentrée sur Radio Campus Paris ! Les bénévoles sont de retour dans les studios du 93.9 FM, qui vont aussi accueillir de nouveaux et nouvelles venu·es...   Ce soir, on vous propose de découvrir les nouveautés de la grille de Radio Campus Paris, avec 5 bénévoles qui viennent présenter de nouvelles émissions. Accueillons donc Perrine ("Paraît qu'elle est ronde"), Olivier ("La série"), Robin ("Le quatrième mur"), Adalyen ("Au féminin, le singulier l'emporte" et "Tarab en partage"), Eglantine ("Le Journal Influenceur") et Hanane ("Lady Gaza brise les tabous")...   En seconde partie d'émission, on accueillera Hugo et Faustine, arrivé·es à Radio Campus Paris en service civique, respectivement à la coordination de la Matinale de 19h et à la communication.   Présentation : Colin Gruel — Réalisation : Margot Page et Kathleen Franck — Coordination : Hugo Leroi — Web : Colin Gruel

C'est la rentrée sur Radio Campus Paris ! Les bénévoles sont de retour dans les studios du 93.9 FM, qui vont aussi accueillir de nouveaux et nouvelles venu·es... Ce soir, on vous propose de découvrir les nouveautés de la grille de Radio Campus Paris, avec 5 bénévoles qui viennent présenter de nouvelles émissions. Accueillons donc Perrine ("Paraît qu'elle est ronde"), Olivier ("La série"), Robin ("Le quatrième mur"), Adalyen ("Au féminin, le singulier l'emporte" & "Tarab en partage"), Eglantine ("Le Journal Influenceur") et Hanane ("Lady Gaza brise les tabous")... En seconde partie d'émission, on accueillera Hugo et Faustine, arrivé·es à Radio Campus Paris en service civique, respectivement à la coordination de la Matinale de 19h et à la communication. Présentation : Colin Gruel — Réalisation : Margot Page et Kathleen Franck — Coordination : Hugo Leroi — Web : Colin Gruel

Yaël is an international Oriental dance artist living in Paris. She has a very personal and refined style combining tradition and modernity. She is regularly invited to perform and teach abroad (Japan, USA, Canada, China, Europe…) due to her skills as a teacher and the high level of her artistic work. Yaël conveys her passion with generosity and enthusiasm. She focuses on listening carefully to the music and interpreting emotions, while displaying an impeccable technique and creating a wide variety of choreographies. She teaches all Egyptian styles, from a soft and introverted Tarab to an energetic and catchy Shaabi. For her, dance classes are more than teaching an original choreography. She also strives to make her students understand the culture behind Oriental dance, and to convey the ‘soul' of this dance. In this episode you will learn about:- Developing a dance career at local gigs- Yael's first international workshops- Dealing with self-criticism while watching your own performance videos- How to find your individual style- Teaching and adapting to an online spaceShow Notes to this episode:Find Yaël Zarca on Instagram, FB, YouTube and website.Follow Iana on Instagram, FB, and Youtube . Check out her teaching platform: the Iana Dance Club.Podcast: www.ianadance.com/podcast

Join Helana Reyad and her featured guest, Gilbert Mansour, as they talk about what Tarab means to him, the role of percussion, and how its role has changed over time. Gilbert also treats us to a little riq improvisation at the end. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Having now taken you to the end of Mongol rule in China, we move westwards in our histories of the Mongol Khanates. Our next stop is the middle Khanate: the ulus of Chagatai. Encompassing much of Central Asia, the Khanate ruled by the descendants of Chinggis Khan’s second son Chagatai is perhaps the most poorly known. In our first episode on the Chagatais, we’ll take you through their history in the 13th century, touched on often in previous episodes but now recieving its own focus. From efforts at reconstruction by Mahmud Yalavach and his son Mas’ud Beg, to stability under the regeny of the widow Orghina Khatun, to disasters  in battle at Herat to domination under Qaidu and the rise of Du’a Khan. I’m your host David, and this is Kings and Generals: Ages of Conquest.       The territory which became the Ulus of Chagatai was conquered by the Mongols in two stages. The eastern half of the ulus, in what is now southeastern Kazakhstan and northwest Xinjiang, was taken largely peacefully when Jebe Noyan overran the empire of Qara-Khitai in 1218-1219. As covered back in episode 8, the fleeing Naiman prince Kuchlug had fled to Qara-Khitai and usurped power there. When Jebe invaded, Kuchlug ran for his life, leaving the cities of his new empire defenseless. The lack of defense was ironically beneficial, as they largely submitted peacefully, and the former Qara-Khitai troops joined their new Mongol overlords. The more densely populated western half of the empire was not so lucky. This region, including Transoxania and the Ferghana valley in modern southern Kazakhstan, Uzbekistan, Kyrgyzstan down to Turkmenistan, was controlled by  the Khwarezmian Empire, and was violently crushed by Chinggis Khan in the first years of the 1220s, as we saw in episode 9.        Each site that put up resistance fell victim to the Khan’s wrath. The destruction not just of cities, but of agriculture and irrigation canals. The toll on the population was horrific. Perhaps millions were killed in the course of the conquest. Perhaps as many died from the ensuing starvation, spread of disease and banditry. Thousands upon thousands were displaced from their  homes, or transported elsewhere on Mongol order. The initial governors set over the region and cities did little to help, simply bringing more taxation and material demands onto the population.       Chinggis Khan’s second son, Chagatai, stayed in the region after the conquest. Contrary to popular belief, Chinggis did not divide his empire among his sons in order for them to become distinct states. Rather, they were each allotted territory within the empire in order to support themselves. Chagatai was granted much of the former Khwarezmian and Qara-Khitai realms, becoming the basis of the ulus of Chagatai. Stern and demanding, Chagatai had little care for city life or  the cultures of the people he ruled over. He was a man of the steppe, and his reign was spent in the steppe. Though he maintained a quasi-capital at Almaliq, near modern Kulja, northwestern Xinjiang on the Ili River, Chagatai resided in his summer and winter pastures. Almaliq served to collect tribute and house his treasures, his officials and received messengers from the court. Reconstruction of the conquered territories was not his concern. His engineers were used to build large pools for water fowl to flock to for Chagatai to hunt.       This is not to say Chagatai had no interaction with his subjects. Chagatai was a strict upholder of the yassa and the yosun, the laws and customs of his father Chinggis Khan. We have mentioned in previous episodes that there was conflict on who these laws should apply to; that is, just nomads, or to the sedentarized populations of the empire as well. Well, Chagatai was of the opinion that everyone was subject to the laws, which were to be enforced as strictly as possible. Laws against theft were violently enforced. The Persian historian Juvaini, writing in the mid 1250s, who worked for the Mongols and spent quite some time in the Chagatai realm, wrote this famous passage you may have heard variations of:        “For fear of his yasa and punishment his followers were so well disciplined that during his reign no traveller, so long as he was near his army, had need of guard or patrol on any stretch of road; and, as is said by way of hyperbole, a woman with a golden vessel on her head might walk alone without fear or dread.”       The presence of Chagatai was enough to discourage thievery, although the quote has often been taken out of context to suggest a woman could walk across all of Asia under Mongol rule and not face any  danger. While a strict enforcer of the yassa’s promulgations against theft, Chagatai was more infamous in the Muslim world for the anti-Islamic aspects of the yassa. Though the Mongols have a popular image as a beacon of religious liberty, this has been overstated. Though often tolerant in the most literal sense, as in they just tolerated certain religions seen as useful, the Mongols were less accommodating when they found that a religion conflicted with their own customs. The yassa, for instance, mandated the method in which an animal must be slaughtered: crushing the heart, and not letting any blood spill. Needlessly spilling blood on the ground was a great offense to the spirits. The halal method of slaughter perscribed by Islam though, requires cutting the throat and draining the blood. The two methods were inherently contradictory, and conflicts often arose from Mongols attempting to ban halal slaughter. Immediately after describing how Chagatai’s army dissuaded theft, Juvaini wrote the following:   “And he enacted minute yasa that were an intolerable imposition upon such as the Taziks, [so] that none might slaughter meat in the Moslem fashion nor sit by day in running water, and so on. The yasa forbidding the slaughter of sheep in the lawful manner he sent to every land; and for a time no man slaughtered sheep openly in Khorasan, and Moslems were forced to eat carrion.”   Chagatai may not have specifically hated Muslims or been a man of constantly boling rage, as he is often portrayed  by modern authors.  He certainly employed Muslims in the top ranks of his bureacracy. We should probably imagine him better as an uncomprosiming figure seeking to stringently enforce his father’s laws; it just so happened that this enforcement was quite harmful to Muslims caught in the crosshairs. From the Mongol point of view, you could still be a Muslim as long as you did not practice these certain customs the Mongols disliked, such as spilling blood or washing dirty things in running water.   The nuance made little difference to the Muslims of Central Asia, to whom Chagatai consistently appears as a tormenter in the sources. Juzjani, a Khwarezmian refugee to the Delhi Sultanate in India, wrote in the 1250s and describes Chagatai as a demonic figure who wanted to exterminate the Muslims. Often, Chagatai is used in these sources as a contrast to Ogedai, usually depicted as generous and a friend to Islam.    Ogedai’s  enthronement as Khan of Khans in 1229 certainly was a benefit to the Muslims of the empire. At  the start of his reign Ogedai created another governmental layer, the Secretariat system- check out episode 13 for more on this. While the North China Branch Secretariat has received greater attention in our series, at  the same time a Branch Secretariat for Turkestan, or Central Asia, was established to oversee the populations under Chagatai’s rule, and strengthen the Great Khan’s authority there. The man  chosen to head the department was a good choice, a native of Khwarezm called Mahmud Yalavach.   Mahmud Yalavach, and his son Mas’ud Beg, were perhaps the two longest serving ministers of the Mongols, and the two have often weaved their way in and out of our series. Mahmud Yalavach’s early life is unknown, other than that he hailed from Khwarezm. The great Russian orientalist Vasili Bartold suggested that Mahmud Yalavach is identical to Mahmud Bey, the vizier of the final Gur-Khan of the Qara-Khitai. Yalavach first reliably appears as a part of Chinggis Khan’s 1218 embassy to the Khwarezmian Empire, where he is identified as Mahmud Khwarezmi. Taken aside by the Khwarezm-Shah Muhammad II, Mahmud deftly handled their interaction, and for the mission he earned the title of Yalavach, Turkic for messenger or ambassador. Staying in Mongol service, in 1229 Ogedai appointed him manager of the Branch Secretariat for Central Asia.   Yalavach, assisted by his son Mas’ud Beg, proved a very capable man, and under him the first genuine reconstruction efforts after the Mongol conquest were implemented. At his direction with the backing of Great Khan Ogedai, cities and irrigation systems were rebuilt, agriculture encouraged and revitalized, a new tax system implemented and efforts to clamp down on extra-ordinary levies on the part of Chagatai and his sons were enacted. His efforts were successful. Several contemporary sources agree to the restoration of prosperity to the region, corroborated by numismatic evidence.   Yalavach’s first decade in charge of the Central Asian Branch Secretariat was a much needed salve for the region, though he faced competition from Chagatai, who did not take kindly to his brother’s officer’s  interference. At the first opportunity he would get, Chagatai would undermine Yalavach.   In 1238, an unexpected crisis emerged from one of the chief cities of Transoxania, Bukhara. There, a sieve-maker named Mahmud Tarabi became a popular  figure on account of his supposed magical capabilities and ability to communicate with djinn. Juvaini says that, according to reputable individuals with whom he spoke with in Bukhara, one of Tarabi’s spells included making a medicine from dog feces and blowing it into the eyes of the blind, which restored their sight. Juvaini did not have a high opinion of him,  also remarking that in regards to his stupidity and ignorance Tarabi had no equal.   Tarabi developed quite a reputation for magic and miracles, encouraged by a local notable named Shams-ad-Din Mahbubi, who through his personal vendetta against Bukhara’s leadership and the Mongols, encouraged Tarabi’s pretensions. How the very planets were aligning in his favour! Mahbubi told him, even going as far, Juvaini says, speaking of a prophecy that a man from Tarabi’s home village of Tarab would conquer the world. Unfortunately for Tarabi, there was some very stiff competition for such a claim.   Mahmud Yalavach was alerted to the bubbling unrest in Bukhara gathering around Tarabi, and sought to lure the man out and kill him. Tarabi saw through the trap and evaded it, which escalated his troublemaking. His inflammatory speeches to the people of Bukhara riled them up, and his claims of support from the invisible hosts of heaven seemed to have been given some merit when a merchant with a shipment of swords had his wares fall into Tarabi’s hands. With his followers now armed, Tarabi, as all good prophets do, collected around himself riches and women. Convinced of their power, they killed or drove out the Bukharan government and Mongolian representatives.   A response force was rallied- likely local militia under the command of regional darughachi. Mahbubi and Tarabi marched out of Bukhara at the head of their army, convinced of their divine protection. Neither wore armour or weapon, and spread rumours that whoever rose a hand against them would be struck down parrarlyed. The response force was worried, and only set off a volley of arrows when the wind picked up a dust storm. Frightened that this was some trick of Tarabi, the response force fled, and Tarabi’s army doggedly pursued. They caught up to the response force and killed a great many. Upon returning to Bukhara, they were unable to find either Tarabi or Mahbubi. Juvaini asserts that both were struck by arrows in the volley set off by the government forces and killed, though it went unnoticed by both the Bukharan and the government forces. Regardless, under new local leadership, Tarabi’s army turned to looting and pillaging the countryside.   So they remained occupied for a week until a proper Mongol army arrived, either imperial troops or sent by Chagatai. The Bukharan forces went up confident towards them, believing defeating local  militia was the same as defeating the horsemen of the Great Khan.  The first volley of arrows killed  the leadership of the Bukharan forces, and within hours 20,000 of the late-Tarabi’s followers had joined them.  The following day, the Mongols were leading the citizens of Bukhara onto the plain before the city, preparing to unleash a horrific massacre as punishment. Only at the intervention of Mahmud Yalavach, with approval of Great Khan Ogedai, was this averted, and the population spared, probably to the displeasure of Chagatai.    The Tarabi revolt however had undermined Yalavach’s credibility. Later in 1239 when Chagatai sought to transfer territory under Yalavach’s  supervision to another official -something which under the secretariat system, Chagatai lacked the power to do- Yalavach complained to Ogedai. Ogedai agreed with Yalavach’s complaint, but to smooth things over with his brother, removed Yalavach from his office. But to demonstrate that he was not doing this to allow imperial perogative to slip,  Ogedai immediaely appointed Yalavach’s  son Mas’ud Beg to his father’s position at head of the Central Asian Secretariat, while Yalavach would, in the final months of Ogedai’s life in 1241, be appointed to head the Secretariat in North China after Yelu Chucai’s [choots-eye’s] demotion.    Mas’ud Beg was just as capable as his father, and dedicated himself to the reconstruction of Central Asia, but with little progress over the 1240s. Ogedai had little energy for governance in his final years, and when he died in December 1241, Chagatai was the chief figure of the empire, the senior Chinggisid. Chagatai’s support for the regency of Ogedai’s widow  Torogene helped ensure her position, but the last son of Chinggis Khan soon died of illness in 1242.     Chagatai’s favourite son, Motugen, had died during the Khwarezmian campaign. He moved his choice of heir to another young son, but he too died early. Finally, Chagatai decided on a son of Motugen, Qara-Hulegu to be his heir. Qara-Hulegu was quickly confirmed into his father’s position in 1242, and largely cooperated in both financial policy and personnel with the regent Torogene Khatun. Therefore, Mas’ud Beg had to flee to Batu, chief of the Jochids, as Torogene threatened both him and his father Yalavach, men she saw as her enemies. This period we covered back in episode 20. Torogene’s son Guyuk became Great Khan in 1246, welcoming Mas’ud Beg and Mahmud Yalavach back to their positions, but deposing Qara-Hulegu. Instead, Guyuk Khan appointed his friend, a son of Chagatai named Yesu-Mongke, as the new Khan of the Chagatais.  Yesu-Mongke was good at exactly one thing, the sources agree: drinking.    After Guyuk’s  death in 1248, the former Khan Qara-Hulegu and his clever wife Orghina wisely backed the new contender for the throne, Tolui’s son Mongke. When Mongke became the Khan of Khans in 1251, he undertook a massacre of princes of the line of Ogedai and Chagatai who had opposed him and plotted against him. As we saw in episode 21, Mongke essentially dissolved the ulus of Ogedai, and while the territory of the Chagatais remained intact, their ranks were thinned. Guyuk’s appointed Chagatai Khan Yesu-Mongke was deposed and eventually killed on Mongke’s order, and Qara-Hulegu was rewarded for his loyalty with the khanate again. Mas’ud beg and Mahmud Yalavach were reconfirmed in their positions in Central Asia and China. Everyone set out from Karakorum to return to their posts, except for Qara-Hulegu, who died en route. His young son Mubarak-Shah was duly enthroned as Khan of the Chagatais, with his mother, Qara-Hulegu’s widow Orghina Khatun, as regent.    She was a good choice, an intelligent and shrewd woman who understood the dynamics of the Chagatai realm well. She was well respected, as she had been held in esteem by Chagatai himself, and as a granddaughter of Chinggis Khan via his daughter Checheyigen and a prince of the Oirats, she was of distinguished lineage. Over the 1250s, Orghina Khatun in cooperation with Mas’ud Beg furthered the reconstruction of Central Asia. According to Juvaini in the 1250s Transoxania finally reached the level of prosperity it had before the Mongol conquest. Fully backed by Mongke Khan, who also married her aunt, strengthening their connection, Orghina may as well have been the Chagatai Khan herself. The Mongol Empire saw a number of female regents  over the 1240s and 50s, and Orghina may well have been the most capable. She gave Mas’ud Beg full support and materials to restore the economic power of the region. Both became quite wealthy through their efforts, as they had enough money to persoally endow madrassas. When Mongke Khaan’s brother Hulegu passed through the region in 1253 en route to his Iran campaign, Orghina Khatun hosted lavish banquets for Hulegu and his wives, who happened to be Orghina’s sister and half-sister.    The height of the Chagatai Khanate was probably this decade under Orghina Khatun and Mas’ud Beg’s governance. The Chagatayids enjoyed their best relationship with the imperial government, having the full backing of Grand Khan Mongke, the trade routes prospered, cities were rebuilt, their economies restored and the region had a period of relative peace, and the horrors of the  conquest began to slip into the past. There is some indication that the realm may have been, in this time, called something like the ulus of Oghina. The Franciscan Friar William of Rubruck, who passed through the region in the early 1250s, reported that he heard it called Organum. The term is of uncertain origin. Rubruck himself didn’t know where it came from, and there is debate in the scholarship if it actually refers to Orghina, with a number of alternative suggestions made, such as it coming from the name of Urgench, the capital of Khwarezm. But it is terribly coincidental though, that Rubruck would use such a rare term with more than a passing similarity to the name of the lady ruling the area skillfully at the exact same time.    As with so many things, this came to a crash with Mongke Khan’s death on campaign in 1259. Orghina Khatun and her kinsmen supported Mongke’s brother, Ariq Boke, in his declaration as Khan of Khans, which put them at odds with Mongke’s other brother, Khubilai. Khubilai in 1260 sought to place a more amenable figure on the Chagatayid throne in order to deny Ariq an ally, and sent a great-grandson of Chagatai named Abishqa to depose or marry Orghina Khatun. Ariq Boke arrested and executed Khubilai’s Chagatai prince, but soon decided he needed his own man leading the Chagatayids. Orghina was a skilled administrator, but no miltiary leader, and she may not have been willing to allow Ariq to use her realm as a supply depot for war against Khubilai, who had access to all the materials of north China. In 1261 Ariq had Orghina removed and placed Alghu, another grandson of Chagatai, onto the throne. Orghina came to Ariq’s  court and basically spent the next two years criticizing him for the action.    As you undoubtedly know by now, as we covered it in episode 32, the war between Ariq Boke and Khubilai did not go well for Ariq. Alghu turned out to be unreliable, denying Ariq his supplies and backing Khubilai. Soon after, Orghina Khatun left Ariq Boke, returning to the Chagatai Khanate where Alghu forced her into marriage. Orghina was very popular among the Chagatayids, and it seems Alghu struggled for legitimacy. Marrying the influential Orghina was Alghu’s best solution. To seal the agreement, Alghu made her young son Mubarak-Shah his designated heir and once more confirmed the great administrator Mas’ud Beg over Transoxania.    Ariq Boke was furious at Alghu’s  betrayal, and in his frustration invaded the Chagatai Khanate, attacking Almaliq, but was soon, due to famine and desertion, forced to surrender to Khubilai. His victory complete, Khubilai confirmed Alghu and Orghina as the masters of the Chagatayids. With the war between the Toluids settled but the Great Khan’s influence severely curtailed in Central Asia, Alghu was free to strengthen himself as an independent monarch. He had to deal with an upstart Ogedeid prince on his northern border, however, a young man named Qaidu. Qaidu managed to defeat Alghu’s forces in a first battle, but Alghu regrouped and defeated Qaidu late in 1265. Poised to invade Qaidu’s small dominion, matters seemed bleak for Qaidu until Alghu suddenly died at the start of 1266. This much needed reprieve for Qaidu would define the Chagatais for the rest of the 13th century.   As per their agreement, on Alghu’s death Orghina Khatun finally placed her son Mubarak-Shah on the Chagatayid throne in March 1266. This is the last known event of Orghina Khatun’s life, and it seems she died soon after enthroning her son. Apparently this was done without the approval of Khubilai Khan, as when Khubilai learned of this he sent another grandson of Chagatai from his court, Baraq. Only months into his reign, and some 15 years since his father’s death, Mubarak-Shah Khan was captured by Baraq and made his prisoner.        The new Chagatai Khan, Baraq, won his first victory over Qaidu, but when Qaidu returned backed with troops from the Golden Horde sent by the Jochid Khan Mongke-Temur, Baraq was sent onto the backfoot. He pillaged Bukhara and Samarkand to fund  a new army, starting the first round of undoing Mahmud Yalavach and Mas’ud Beg’s work. Even worse, it was for naught; Qaidu and Mongke-Temur sent emissaries for a truce. And so, either in 1267 on the Qatwan Steppe, or in 1269 at Talas, Chagatai Khan Baraq, the Ogedeid Prince Qaidu and representatives of the Jochid Khan Mongke-Temur made peace. They divivded the revenue of Transoxania between them, with ⅔ going to Baraq and ⅓ to be split between Qaidu and Mongke-Temur. Pastures were divided between them, princes and troops were forbidden to enter cities, Mas’ud Beg was to be placed in control of administering the sedentary population and Baraq and Qaidu became anda, blood brothers. Promising to support Baraq in an invasion of the Ilkhanate, they apparently also sent a joint letter to Khubilai criticizing his sinicization. The peace of Talas can be considered a definitive end to Mongol imperial unity, for now the princes ignored divided the empire between themselves.       Though a  peace, it was an uneasy one, and one dependent on turning their energies against other Mongols. Late in 1269 in preparation for his invasion of the Ilkhanate, Baraq encouraged a Chagatayid prince who served the Ilkhans to desert. Ilkhan Abaqa, son of Hulegu, swiftly crushed the prince’s attempt near Derband.        In 1270 Baraq entered Ilkhanid territory in Khurasan, in what is now northeastern Iran and Afghanistan. Accompanying him were a large body of soldiers from Qaidu. Baraq’s army devastated much of Khurasan, overruning Badakhshan, Shaburghan, Taliqan, Merv and Nishapur in the first months of 1270, undoing much of the recovery these places had had since the invasion of Chinggis fifty years prior. Baraq won a victory over Abaqa Ilkhan’s  brother Tubshin and the long serving governor of the region, Arghun Aqa, causing them to flee to Abaqa and warn him of the danger. But Qaidu had given explicit orders to his own men; after the victory over Tubshin, a disagreement between Qaidu’s commanders and Baraq’s was used as pretext for Qaidu’s men to abandon Baraq. Baraq was incensed and sent some men to pursue, all the while giving valuable time for Abaqa Ilkhan to mobilize his forces.   Baraq then turned his attention on Herat in northern Aghanista in July of 1270. But Abaqa, was already on the march, and  the Georgian forces in Abaqa’s vanguard surprised and destroyed Baraq’s advance force. Baraq pulled his men back after the brief clash, with Abaqa keeping his large army mostly hidden. Abaqa then sent a peace embassy to Baraq, and Baraq seems to have momentarily considered; then promptly sent a small group of spies to find and track Abaqa’s army.       Abaqa captured the spies, executing all but one when he had a terribly clever idea. Absolutely devious, in fact. Leaving one spy tied up but near feasting troops, Abaqa had his troops in a panic abandon their camp and make much noise that an army of the Golden Horde had crossed the Caucasus and Abaqa needed to pull back to deal with it. The spy was allowed to escape and report his news back to Baraq, who was positively delighted. He quickly advanced, crossing the Herat river and plundered Abaqa’s deserted camp then moved leisurely onto a nearby plain… where he found Abaqa’s larger army drawn up for battle. Baraq had fallen into the trap, but he was not going to roll over for Abaqa. Baraq’s Chagatayid horsemen led the first charge, unleashing a volley of arrows into the Ilkhanid forces.  Devastating cycle charges of a thousand  horse archers ravaged the Ilkhanid lines, the apparently lighter equipped Chagatais too mobile for the heavier Ilkhanid cavalry. One of Baraq’s chief commanders was struck down by an arrow, but they resumed the attack and their repeated charges pushed back the Ilkhan’s centre and left.       Abaqa considered retreating, but was encouraged by his generals to stick to the field. Redeploying his forces, gradually the Ilkhan encircled Baraq’s army. In a last attempt, Baraq personally led charges against the Ilkhan, until knocked from his horse. According to Rashid al-din, the grounded Baraq shouted at his men, “I am Baraq, give me a horse!” until finally acquiring a horse and riding off the field, pursued by the Ilkhanid troops for two days. One of Baraq’s commanders continued to fight, holding off the Ilkhans long enough to allow a number of Chagatayid troops to escape as well. So ended the battle of Herat, July 1270, ensuring Ilkhanid dominaion of Khurasan. Abaqa’s preoccupation with Baraq allowed the Mamluks to take Tripoli, and the defeat of Baraq ended up allowing Qaidu to dominate Central Asia for the next 30 years.       Baraq reached Bukhara, where he soon fell deadly ill. Qaidu sent troops to capture Baraq, but in August 1271 found that Baraq had succumbed to his illness. The captive Mubarak-Shah used this opprounity to plunder Baraq’s camp and steal his possessions, even the jewelry of his widows, before fleeing to the Ilkhanate with his sister.       Qaidu was now the dominant power in the Chagatai Khanate, a period we largely covered in episode 41. Only a month after Baraq’s death, Qaidu was declared Khan of the Ogedeids, and appointed his first Chagatai Khan. His initiall efforts to instill control were difficult, as sons of Alghu, Baraq and the puppet Chagatai khan himself rebelled. It would not be until 1282 when Qaidu was able to impose his authority,  placing Du’a, a son of Baraq, onto the throne of Chagatai. Du’a and Qaidu had a very effective partnership, and channeled the energies of their combined khanates against the Yuan Dynasty, Ilkhanate and even India. It brought much needed peace to the region internally, even if the overland trade routes, the famed silk roads, were disrupted by their warfare. The aging Mas’ud Beg was heart broken when Abaqa Ilkhan preemptively attacked and sacked Bukhara in 1273, and the city was sacked again in 1276 by the rebellious sons of Alghu and Baraq. Mas’ud Beg must have been pleased for some sense of stability with Du’a and Qaidu’s partnership, and continued to do what he could to rebuild until his death in 1289. So honoured was he that Qaidu and Du’a had Mas’ud’s son immediately take his stead. Du’a and Qaidu certainly did what they could to encourage trade and growth, and even constructed cities, though they did not live in them. Their direction of the energies of their warriors against their foes must have helped keep  rapacious nomads away from the fragile economic centres within the khanates.       It certainly allowed for expansion of their influence. In the 1290s Du’a with Qaidu’s support exerted his authority over Ghazna in Afghanistan, and the fearsome Neguderis there. His eldest son Qutlugh Khwaja was appointed to head them, and from that base conducted raids on northern India at the same time as Du’a and Qaidu led their armies into Yuan territory in northwestern China. Chagatai raids on the Ilkhanate in the 1290s reached as far as Mazandaran, Fars and Kirman, and they even tried to put their own claimant on the throne of the Blue Horde, between the Caspian and Aral Seas.     The final years of this effective partnership, as we covered in quite some detail in episode 41, ended in 1301 with Qaidu’s death against Yuan forces. At the start of the 14th century, Du’a was master of Central Asia and the Chagatai Khanate. Our next episode picks up with Du’a’s reign and the long shadow he cast over the Chagatais, namely in the form of all of his sons who basically each took a turn being Khan. So be sure to subscribe to the Kings and Generals podcast to follow. If you enjoyed this, and would like to help us continue bringing you great content, please consider supporting us on patreon at www.patreon.com/kingsandgenerals. This episode and researched and written by our series historian, Jack Wilson. I’m your host David, and we’ll catch you on the next one!

This week's guest is Faraj Abyad, An Oud Musician, A Composer, and an impressive Arabic & Oud enthusiast, he impressively learned both at a very late age

Join Helana Reyad and her featured guest, Layth Sidiq, as they talk about what Tarab is to him and poignant moments in his memory when he experienced it. In this episode, Layth will elaborate on the role of the violin and its importance to the way Tarab is produced and experienced. Of note, Layth does indeed accurately state that the violinist accompanying Noor El-Hoda in the song Ya Jarata Al Wadi is Abood Abdel Aal. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join Helana Reyad in this new Tarab Mini-Series as she delves into the music genre of Tarab. Tarab is associated with the height of music in the Arab world -- referred to as the Golden Age which spanned from the early-mid/late 1900s. Tarab is a rich dynamic tradition that is definitive of the music of the SWANA region and is a rooting source for its diaspora. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Róbert Tarabčák, zakladateľ a CEO Cinnamon, mal blízko k online svetu už od malička. Začal so skladaním počítačov, čo ho dostalo až ku kryptomenám, blockchainom a práci v USA. Za veľkou mlákou spoznal dolárových miliardárov, ktorí investovali do jeho startupu Cinnamon bezmála 2,5M dolárov.

Join Helana Reyad and her featured guest, Hadi Eldebek, as they discuss Tarab as a human reaction to something profound and beautiful; as a way to root in identity, access memories, and through those, experience the collective. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join Helana Reyad and her featured guest, Faraj Abyad, as we learn more about his journey as a Tarab vocalist and composer. In this episode, Faraj will introduce us to the most distinguishing characteristic of Tarab -- Maqamat (modes). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode I look into Um Kulthum's style of singing and how she induced a state of Tarab in her listeners. Her repetitions, improvisations and heart felt singing intoxicated her listeners. Egypt was the first Arab country to have witnessed an active feminist liberal movement - this was all part of the 1919 revolution. Um Kulthum, through her art, voice and personality embodied independency and power.. Content used, references and further reading: Music Links مصر اللتي في خاطري https://www.youtube.com/watch?v=wZhBv... Instrumental part Alf Leila Wa Leila https://www.youtube.com/watch?v=ul4z6... Instrumental part https://www.youtube.com/watch?v=1wBvu... Reading https://www.theguardian.com/music/202... https://www.bbc.co.uk/programmes/b007... Documentaries https://www.youtube.com/watch?v=xwk0l... Images taken from Wikipedia, Pinterest, Google Images, Getty Images --- Send in a voice message: https://anchor.fm/laradarwazah/message

Do you know that Tarab has multiple meanings? There can be a LOT of confusion around this term, and we're here to clear it up a bit. Shahrzad joins me today to talk about Tarab. What it means, and what difficulties dancers face when trying to dance to this particular style of movement. And, of course, some things that you can work on in your home practice! Show Notes: www.TheBellydanceBundle.com/54

Cinnamon is a new video platform with a couple of unique features. First, you get paid for videos you upload. Second, it happens without ads. And third, it plans to bridge the gap between creators and viewers with a technology called Shorts that makes creators out of consumers. To get the scoop, we’re chatting with the CEO, Róbert Tarabčák.

Join Al Fusaic co-founders, Meagan and Ben, as they chat with one of Al Fusaic's first content writers, Helana Reyad. Helana published Egypt 101, recommended The Beer in the Snooker Club, Headscarves and Hymens, and the TV show, Leila, and is currently working on her own mini-series for the Al Fusaic podcast on music throughout the region. Listen to learn more about Helana, how she found Al Fusaic, her advice to young professionals in the MENA/SWANA field, and what you can expect to hear from the upcoming mini-series on Tarab! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome back to the Magician On Duty Podcast Series! On this edition we welcome Käpt'n 12 & Düsentrieb They are part of the Kollektiv Fuchsbau & Journey to Tarab , and have played major festivals in Germany & Austria and more. They shared decks with the likes of Acid Pauli, Stephan Bodzin and many more. I hope you enjoy this episode as much as i did! Follow Käpt'n 12 & Düsentrieb here: https://soundcloud.com/12imhaus https://www.facebook.com/Kaeptn12Duesentrieb https://www.facebook.com/kollektivfuchsbau soundcloud.com/journeytotarab https://soundcloud.com/kollektivfuchsbau

Pourquoi, dans le cinéma français, l’Arabe est-il toujours le voyou ou le terroriste ? La langue arabe est-elle aussi uniforme qu'on l'imagine ? Pourquoi la danse orientale est une obsession occidentale ? Un vendredi sur deux, Leïla Izrar interroge la perception des cultures arabes en France, et les multiples parts d'arabité dans la culture française. Soutenu par l’Institut du Monde Arabe, Tarab est un podcast de Binge Audio. À retrouver à partir du 20 septembre 2019. CRÉDITS Tarab est un podcast de Binge Audio animé par Leïla Izrar. Cette bande-annonce a été enregistrée le 28 août 2019 au studio V. Despentes de Binge Audio (Paris, 19e). Réalisation : Solène Moulin et Quentin Bresson. Musique : Waseem et Lamisse. Chargées de production et d’édition : Camille Regache et Diane Jean. Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. See acast.com/privacy for privacy and opt-out information.

We’ll be taking the pace down a bit today and start slowly into this beautiful summer week! We are excited to welcome on of the founders of our favorite downtempo collective, Heimlich Musik, to our bartender family: Oliver Rottmann mixed a fantastic New York Sour for you. Oliver is a wonderful storyteller, not only with his studio mixes as it actually was a liveset that amazed us a few months back: his closing set of the Heimlich floor at the Nature Playground festival in 2017 has such an amazing vibe, no question we wanted him to mix a cocktail for Schirmchendrink! Today, Olivers musical projects focus all on the Heimlich collective. There is a bunch of big shows coming up, such as the Bucht der Träumer Festival, Heimlich Showcases in Munich and Berlin this fall and, of course, further events in the Heimlich homebase Vienna, Austria. Further collabs are planned with Russia’s Leveldva collektive and their friends of Journey to Tarab. Sounds like busy times ahead of this weeks bartender! Thank you, Oliver, for taking the time to mix this phenomenal sip! Thanks to Keyvan for the beautiful cocktail on the artwork! Check out www.instagram.com/keydcocktails for more of his fantastic creations. Cheers! The bartenders Link up! Oliver Rottmann www.soundcloud.com/oliverrottmann www.facebook.com/o.rottmann www.heimlich.online Schirmchendrink www.soundcloud.com/schirmchendrink www.facebook.com/schirmchendrink www.instagram.com/schirmchendrink

In studio Fabio Lossani e Giancarlo Nostrini. Abbiamo ascoltato: Wim Mertens - Wound to wound. Lame da barba - Tarantella nuova della barbiera (album Lame da barba 2017). Beppe Gambetta, Carlo Aonzo, David Grisman - Tarantella opera 18 (album Traversata). Dancas Occultas - Heptimo (album Tarab 2009). Sidonio Pereira (Domingo a noite )

In studio Fabio Lossani e Giancarlo Nostrini. Abbiamo ascoltato: Wim Mertens - Wound to wound. Lame da barba - Tarantella nuova della barbiera (album Lame da barba 2017). Beppe Gambetta, Carlo Aonzo, David Grisman - Tarantella opera 18 (album Traversata). Dancas Occultas - Heptimo (album Tarab 2009). Sidonio Pereira (Domingo a noite )

In studio Fabio Lossani e Giancarlo Nostrini. Abbiamo ascoltato: Wim Mertens - Wound to wound. Lame da barba - Tarantella nuova della barbiera (album Lame da barba 2017). Beppe Gambetta, Carlo Aonzo, David Grisman - Tarantella opera 18 (album Traversata). Dancas Occultas - Heptimo (album Tarab 2009). Sidonio Pereira (Domingo a noite )

Author: Miriam Karout, www.planetmundus.com

Reddeye plays an eclectic soulful selection in a smokie basement style. Music from the 70’s to the present day. Catch the regular show every Saturday 4-6pm (GMT) 11-1pm (EST) 8-10am (PST) @ www.sonicstreamradio.net

Last week Muslims celebrated the holiday of Eid al-Adha, which remembers how Abraham was prepared to sacrifice his son to God. Muslims believe Abraham's son to be Ishmael (not Isaac, as mentioned in the Bible). In honor of this festival, host Marcela Sulak reads two poems by Mahmoud Darwish. Here is the beginning of "Ismael's Oud": "A mare dances on two strings—that’s how Ismael’s fingers listen to his blood. The villages scatter like poppies in the rhythm. There’s neither night there nor day. Divine tarab touches us. All points rush towards the elemental Hallelujah. Hallelujah. Everything will begin anew." ["Tarab" is an Arabic term for experiencing ecstasy in music] Darwish is considered the Palestinian national poet. He was born in a village in the Galilee in 1942. He and his family fled to Lebanon in 1948, and his village was destroyed by the Israeli army. Returning to the newly formed state of Israel a year later, Darwish remained there until 1970, when he left to study at the University of Moscow, before moving to Egypt and Lebanon. When he joined the PLO in 1973, he was banned from reentering Israel. He settled in Ramallah in 1995 and passed away in 2008. Darwish wrote over 20 books of poetry and nonfiction, first publishing in Al Jadid, the literary periodical of the Israeli Communist Party, eventually becoming its editor. Text: Mahmoud Darwish, Why Did You Leave the Horse Alone? Translated by Jeffrey Sacks. Archipelago Books, 2006. Music:Abdelkarim Dali - Ibrahim El Khalil Le Trio Joubran - Roubama Le Trio Joubran - Hawana Nasser Shamma - From Great Masters of the Oud

Organized by Lebanese artist Tarek Atoui, "Visiting Tarab" will incorporate elements of the world’s largest collection of Classical Arab music as interpreted by 16 musicians and sound artists ranging in expertise from hip hop to electronic and contemporary music. Atoui invited sixteen musicians and sound artists from different origins and practices to Beirut to explore the world’s largest and most extensive collection of Classical Arab music. The result of this research will be the performance in New York City and will feature the artist as well as Anti-Pop Consortium, Uriel Barthelemi, Jonathan Butcher, Mira Calix, DJ Spooky, Lukas Ligeti, Robert Lowe, Raz Mesinai, Zeena Parkins, Ikue Mori, Sara Parkins, Elliott Sharp, Zafer Tawil and Georges Ziadeh.

Working Musicians