100LIVE ELECTRONIC MUSIC FESTIVAL
CAIRO – 2010
14th/15th May 2010
Live electronic music + Live video

ARTISTS:
adham hafez / yara mekawy / ola saad
jan jelenik / telepoetic / mahmoud refat / ahmed saleh
iqbit / ahmed basiony / john kannenberg
ahmed sabry/ nermine el ansari / mohamed allam / eleonora / wensh.

ADDRESS :Kasr El Sham3 Street ,Al Fakhareen – Old Cairo – Behind the Hanging Church and Amr Mosque Tel.: +2 23 610 511 http://www.darb1718.com

[Organized by] 100COPIES MUSIC / CAIRO http://www.100copies.com

[100COPIES MUSIC / CAIRO]
www.100copies.com
www.100radiostation.com

100COPIES is a music label based in Cairo/Egypt, releasing music from Egypt, the Arab world and International.100COPIES is focusing on experimental music, sound and jazz related. The main intentions of the label is creating a platform/network for the independent music scene in Cairo. As well as introducing international artists and independent music from other places to the Egyptian music scene. A limited number of 100 copies will be out for sale inside Egypt. Another limited number will be produced for international distributors from each release.
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[DARB 1718]
www.darb1718.com

http://www.facebook.com/#!/group.php?gid=43270774592&ref=search&sid=1663254969.2200041353..1

Darb 1718 is a registered non-profit organization.
It is the latest addition to Cairo’s art and culture scene. Right In the middle of Old
Cairo, in El Fustat area and just next to the Hanging Church and Amr Ibn Al Aas
Mosque, emerges a new heart for contemporary art and culture.
Darb 1718 is a culture promoting centre, art exhibition space, programs and
initiatives facilitator and education and community service site. It is a hub connecting
Egyptian artists from several walks with the local and international art and culture
scene.
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telepoetic were of my favorites last year there was a youthful tenderness to them.

Ok people, here it comes! As the guys told us before, that Hip Hop is not DEAD! It lives in PALESTINE! From Palestine they made a long trip till they get to the US, and now they are here, here in NEW YORK!
DAM the first Palestinian Hip Hop band, are coming to hit New York city again! So we’ll meet Friday night, April 30 at Southpaw, Brooklyn with:

DAM
QUEEN GODIS
DJ. OJA
DJ. LAYLO

Open Doors: 21:00
Tickets: Advance: 12$e Door: 15$ *Tickets available: http://spsounds.com/

*BROUGHT TO YOU BY PEP (PALESTINE EDUCATION PROJECT)
with Nomadic Wax, Leftist Lounge, and the Hagop Kevorkian Center for Near Eastern Studies.

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• dam | shadia mansour | palestinian hip hop as a social movement. [columbia] (avantcaire.com)
• Theater Review | ‘Palestine’: So Many Identities, So Little Time (theater.nytimes.com)

Date: Monday, 26 April 2010
Time: 7:30 PM
Location: Held Auditorium (Room 304), Barnard College
(3009 Broadway)

Featuring:
DAM
Hasan Salaam
Shadia Mansour
Lowkey
Mazzi

From Palestine to NY to the UK, this panel and performance will address the power of conscious hip-hop and hip-hop as a social movement.

How is/can hip-hop be used as a tool to mobilize, empower and raise awareness on the struggles of oppressed people? How powerful is hip-hop as a means of advocacy: speaking out against war, genocide, conditions in the ghetto and the life of poverty? How can this powerful art form transcend boundaries, break down walls and stereotypes, and provide understanding among marginalized communities throughout the globe? Does the rise of hip-hop among marginalized groups internationally demonstrate an important trend?

Hip-Hop emerged as an innovating artistic form in the late 1970s in New York City. Historically, it has been a way for marginalized communities, specifically Blacks and Latinos, to express the struggles of their people and to highlight local problems to a global scale. Now there is a growing hip-hop movement amongst Arabs, both domestically and internationally, who use it as a means to express the struggles of their people. This panel will discuss the importance of this global dialogue and how it can be used as a space for unheard voices to be recognized.

PERFORMANCES WILL FOLLOW THE PANEL

**Entrance fee: $5

Sponsored by the Arab Student Association at SIPA, Columbia Students for Justice in Palestine, TURATH, LUCHA, MSA, the Black and Latino Student Caucus, International Socialist Organization, and NYU Students for Justice in Palestine.

Email us at columbiasjp@gmail.com for more information

wasn’t there a time when imani uzuri was on every hip hop joint that mattered.

alex ross has me excited to learn more about iannis xenakis. in his waveforms article, we learn of the proposed settings for xenakis’ “polytopes”: multimedia experiences that blended electronic sound, live performance, light shows, and temporary structures. these included persepolis in iran.

xenakis- architect + musician- generally a winning combo- was at one point an assistant to le corbusier before committing to music and there is an exhibition of his compositional, mathematical and architectural sketches currently on at the drawing center on wooster st which i’m hoping to check out this weekend.

alex says ‘to understand fully how his pieces are put together, you need a good working knowledge of probability theory and combinatorial mathematics, among other disciplines‘ and end his piece with xenakis quoted as wanting ‘a total exaltation in which the individual mingles, losing his consciosuness in a truth immediate, rare, enormous, and perfect.‘

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• Persepolis + Remixes Edition 1 (netnewmusic.net)
• Xenakis at the Mall (netnewmusic.net)
• (avant-garde composer) Iannis Xenakis exhibit at Drawing Center + related shows (JACK Quartet, So Percussion, more) (brooklynvegan.com)

only to wander in to the anish kapoor exhibit which i had forgotten was showing.

kapoor’s piece, called memory, made for a lovely calm contemplative epilogue to sehgal’s participatory ‘this progress’ exhibit which was the most fun i have had at a museum since the blue whale at the museum of natural history turned me back into a little boy over the summer.

after being asked to think about progress (what is progress? is it always good? are we progressing? will tomorrow be better than today?), memory (fluid, fragmented, compressed) and lovesex (intimacy, male-female, female-male power structures / struggles, performance, sanctity), von hantelmann’s questioning of what makes art politically and socially relevant was almost too much to take in. she had some interesting ideas and theories about the evolutions of the exhibition, museums and art in the ages of industrialism, consumerism and post-modernism (i only really understood bits and pieces of her talk). though her thesis that the contemporary format of the museums and the exhibition was a representation of individualism that was not relevant in a non-western context seemed a stretch. the question of course if highly pertinent in the context of the guggenheim’s upcoming abu dhabi expansion.
there was some concern in her talk and in the audience’s questions about how museums would translate to the ‘east’ with china’s ambitions to build a thousand museums mentioned condescendingly and almost menacingly a few times.
von hantelmann did illuminate sehgal’s work placing it in the context of our consumerist, post-physical information-age: ‘if it can be bought and sold, it is a product and can therefore be defined as art’.

i don’t think the guggenheim has ever looked better completely stripped of art.

oh and you really should buy historicity.

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• Art Review | ‘Contemplating the Void’: Take This Museum and Shape It (nytimes.com)