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Orquesta Expose 1 Rar

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Orquesta El Macabeo (1) Orquesta Expose (1) ORQUESTA FLAMBOYAN (1) ORQUESTA GUARAR. Where do i put crack file. Orquesta La Rebelion; Orquesta La Sabrosura; Orquesta La Solucion; Orquesta Opus; Orquesta Renovacion de Cali. 1 comentario: Unknown 3 de agosto de 2018, 14:25.Joujouka ( Jajouka, Joujouka or sometimes Zahjoukah, In Neo-Tifinagh: ⵣⴰⵀⵊⵓⴽⴰ) is a small insignificant village of 500 people on the edge of the Rif Mountains in northern Morocco: its whitewashed houses have blue painted doors and window frames. A stony path lined with luxuriantly overgrown cactuses and sheer rock leads over a hill to the village mosque and the school. But this isn't an ordinary village.Joujouka is the home of a musical elite whose ancestors came from Persia in the ninth and tenth centuries and who are still renowned for the magic and healing effects of the sounds they make. The Legend of Sidi Ahmed Sheikh There are many myths and legends which surround the inhabitants of the village.

Many of them are about Sidi Ahmed Sheikh, a saint who founded the village in the thirteenth century and brought Islam to Joujouka. Not only that: Sidi Ahmed Sheikh was a great philosopher and a talented poet. It was he who discovered the music, both for his poetry and for his village.In the seventeenth century the ritual musicians of Joujouka served in the court of the sultans of the Alawi dynasty. They lived in the palaces of the Muslim rulers, played on festive occasions and performed regularly on Fridays before the sultans went to the mosque to pray. The art of these Master Musicians is linked both to Sufi mysticism and to paganism.They play on Tebel and Tariyya (drums), Ghaita (woodwind instrument), Lira (flute) and Gimbri (stringed instrument). Over a ritual sequence of several hours, the music develops a hypnotic attraction which puts musicians and public alike into a trance-like state.

Villagers and outsiders both claim that the music has magical and healing properties. The healing effect of the music became known in the surrounding villages: the crippled, the mentally ill, the sterile—they all made the pilgrimage to Joujouka. They hoped that the mystical sounds and the 'Baraka' of Sidi Ahmed Sheikh would bring them a rapid recovery.Boujeloud—the Father of Fear But it's not just the spiritual and healing sounds which are typical of Joujouka's music. The Master Musicians are also deeply involved in heathen, rural customs and dance spectacles.A key figure here is the goat-god Boujeloud—also known as the Father of Fear. Boujeloud is in fact none other than the antique goat-god Pan, who acts as a kind of source of fertility for the villagers. Women are said to become pregnant when Boujeloud touches them with his stick as he dances. Once a year, at the end of the Muslim fasting month of Ramadan, a celebratory fire is lit on the village square in honour of Boujeloud.

The Master Musicians of Joujouka begin to play and everyone waits excitedly for the arrival of the goat-god.And suddenly he's there: a terrifying creature covered in fresh goatskin, wearing a straw hat and with his face painted black. Boujeloud carries two olivewood sticks in his hands, swings them through the air as he begins to sway in time to the music.

Encounter with the Beat Generation The music of the Master Musicians of Joujouka has influenced many western musicians, especially Americans, in past decades. The list of those who have come to Joujouka in search of musical and spiritual inspiration is a who's who of students of pop culture, writers and wanderers between the worlds: from the Tangier-based Beat poets Brion Gysin, William S. Burroughs and Paul Bowles, to the Rolling Stones guitarist Brian Jones and the free jazz pioneer Ornette Coleman.In the forties it was the then mentor of the Master Musicians, the famous Moroccan painter Mohammed Hamri, who was the key figure in bringing the west and Joujouka together. He was the only Moroccan artist who could deal with Burroughs and Gysin as an equal.From his childhood onwards, Hamri had spent much time in the village in which his mother was born. The magic of the music seized the boy, who worked for the whole of his life to support the musicians and the villagers of Joujouka.

During the famines which raged in Joujouka and the surrounding villages in the Rif mountains during the forties, it was Hamri's suggestion to make the fascinating music of the region available to a wider public, to play in public places in larger towns and to earn money to put an end to the poverty in the village. 1001 Nights in Tangier Shortly afterwards Hamri met Paul Bowles and Brion Gysin in Tangier. They recognised and promoted his extraordinary talent as a painter. In 1950, he took them both for the first time to Joujouka where they experienced the Master Musicians.voldsjet.