مجموعة زهجوكة للموسيقى التراثية تتمنى لجميع عشاقها عيدا مباركا سعيدا. وكل عام و انتم بالف خير.
The Master Musicians of Joujouka/ Zahjouka wish everyone a happy holiday for Eid-ul-Fitr
Official Master Musicians of Joujouka Festival Blog, 2-4 June 2023 joujouka@gmail.com
The New Museum presents “Brion Gysin: Dream Machine,” the first US retrospective of the work of the painter, performer, poet, and writer Brion Gysin (born 1916, Taplow, UK–died 1986, Paris). Working simultaneously in a variety of mediums, Gysin was an irrepressible inventor, serial collaborator, and subversive spirit whose considerable innovations continue to influence musicians and writers, as well as visual and new media artists today. The exhibition will include over 300 drawings, books, paintings, photo-collages, films, slide projections, and sound works, as well as an original Dreamachine—a kinetic light sculpture that utilizes the flicker effect to induce visions when experienced with closed eyes. “Brion Gysin: Dream Machine” is curated by Laura Hoptman, Kraus Family Senior Curator, and will be on view in the New Museum’s second floor gallery.http://www.newmuseum.org/exhibitions/422/brion_gysin_dream_machine
The Rolling Stones were also in Gysin’s orbit; the artist is said to have introduced Moroccan Joujouka, a type of music said to have healing properties, to guitarist Brian Jones. http://blogs.wsj.com/speakeasy/2010/07/14/brion-gysin-inspiration-to-stones-david-bowie-gets-first-us-retrospective/However, Regina Weinreich while praising the show notes that Gysin's Moroccan period is under represented http://www.huffingtonpost.com/regina-weinreich/brion-gysins-flickering-l_b_646195.html.
Moroccan waves pt. 1
Credo che per avere un quadro preciso e dettagliato delle vicissitudini musicali che interessano un villaggio di circa settecento abitanti del nord Africa, Joujouka, basta leggere questo pezzo di Jace Clayton.
Sono appena tornato dal Marocco, dove, anch'io, dopo circa mezzo secolo di pellegrinaggio occidentale, ho assistito alle live session dei Master Musicians of Joujouka; il festival è organizzato dall'irlandese Frank Rynne, che dopo il 2008 - quarantesimo anniversario della prima registrazione dei master ad opera di Brian Jones, Rolling Stones - organizza ogni anno il festival al costo di 300 €, inclusi alloggio nelle abitazioni dei musicisti e vitto a base di pietanze sufi.
Joujouka o Jajouka? Read More http://palm-wine.blogspot.com/2010/06/moroccan-waves-pt-1.html
For 45 years, Miles has lived in the same building in Fitzrovia, north of Oxford Street, a stone's throw from Soho to the south and BBC Broadcasting House to the west. Originally, he occupied a flat on an upper floor with his first wife, Sue Crane; he now lives with the travel writer Rosemary Bailey and their teenage son in the basement. The walls of the narrow hallway are covered with paintings, including several by William Burroughs, made during Burroughs's London phase, when Miles took on archival duties and compiled a bibliography of his work; he has also edited a variorum edition of Allen Ginsberg's Howl. Surrounding the pictures are photographs of Miles with Ginsberg, the cartoonist Robert Crumb and others. He is an exemplary case of social mobility – not upwards via the pursuit of money or status, but into the classless orbit of art. "As soon as I took my art A-level, at 16, I went off to become a painter. There was no further thought than that . . . You went to art school to learn how to do art. Then I saw a programme on television about the Beat generation. It was quite critical, but I thought it was wonderful. There was Ginsberg reading Howl and Lawrence Ferlinghetti with the Golden Gate Bridge behind him. It seemed to me that was the model to go for."Read the full interview http://www.guardian.co.uk/books/2010/mar/20/barry-miles-sixties-indica-interview
The freedom to choose your own style of living has been the main theme of Miles's pilgrimage. "We wanted the church and state to have no part in personal relations," he writes in In the Sixties, having reminded readers of the rigidity of social mores in previous decades. "And once we had got rid of them, then would come the great experiment of deciding how to live."