Thoughts on Marcel Khalife

Washington DC, November 16–What can I possibly say about Marcel Khalife that hasn‘t already been said by multitudes of poets, writers, scholars, musicians, politicians and fans, who have dubbed him the Bob Dylan of the Middle East, a genius, an innovator, and a motivator? Of course, Khalife is all those things to many people across the world. However, what struck me at a reception in the Palestine Institute on November 9th was not his larger than life persona. Rather, it was his normality.

Born in 1950 in Amchit, Mount Lebanon, Marcel Khalife was inspired by the musical heritage in his native village. In 1972, he created his first musical group intended to revive and spread folkloric music. Khalife went on to create the Al Mayadine Ensemble, which garnered incredible attention and success, in Lebanon, and beyond. His voice and oud playing have been recognized as the soundtrack to a generation of uprising, conflict and struggle in the Middle East.

Marcel Khalife appeals to us wide-eyed, educated, politically active Arab Americans, with our long lists of praise, and need to reaffirm our roots. And during the reception, he listened respectfully to wave after wave of political commentary, contemplated for a few seconds, and then responded in a soft and eloquent voice. “No, I have to object to the use of the word militia,” he gently responed to one enthusiast‘s claim that while all militias have died in Lebanon, only the “Marcel militia” remains. I am an artist, he affirmed time and time again, not a politician or revolutionary. My art is my own expression, and if someone else along the way gets it, if someone else understands, then that would be great.

What is most intriguing about Marcel Khalife is that despite his far reaching and multi- scoped work, economically, socially, and politically, he remains a tender reminder of the common man. This is not because he is in any way common himself, in fact the opposite holds as absolute truth. Instead, Khalife‘s wide appeal stems from his ability to integrate complex poetry of the likes of Mahmoud Darwish into music folklore, and making it accessible outside political or education specific rhetoric. In fact, the composer states “while I respect the word, it has monopolized the creative arena for a long time,” and this is why he finds himself leaning towards purely instrumental music which gives another creative outlet its rightful and due attention, and also happens to be far more universal.

In his songs, Khalife insisted, he works for himself, not for any larger good or moral high ground. “My music is never reactive to a specific event in history or incident,” Khalife answered one audience member who asked if he would compose a song about Iraq. Instead he went on to say, that it is a summary of emotions that lie outside the context of time. Khalife doesn‘t sympathize for people or causes; he empathizes emotions and internal struggle through his voice and instrument. 

The most fascinating time of the evening came when discussing Khalife‘s prosecution, or rather persecution, for the song “Oh Father, I am Yusuf,” based on the poem by Palestinian poet Mahmoud Darwish. In the song, Khalife narrates the story of Joseph and his brothers, and quotes passages from the Koran. The album, “Arabic Coffee Pot,” released in 1995, created uproar among some who insisted that it was blasphemous. These charges were eventually dropped by Judge Ghada Bou Karroum who wrote in her decision “that the defendant has chanted the poem in gravity and composure that reveal a deep perception of the humanism expressed in the poem ornamented with the holy phrase.”

“Do you think that fact that the Judge is a woman had any impact on the verdict?” one woman questioned Khalife, “especially considering the complex relationship between women and religion.” To this he responded, “I love women.” “So do I!” interrupted a man in the audience. After the laughter died down, Marcel clarified. “I mean I think every man has a feminine side to him, with me I think that my feminine side almost competes with my male one. That why I lean towards the woman.” He went on to thank women, and femininity as part of the creative process. “Perhaps if the judge had not been a woman, it would not have been such a gutsy decision. She surprised me in her courage.”

I left the reception that night aspiring to simplicity and appreciations of commonality. The man who at the beginning of the night, when I introduced myself, extended his hand and in a barely audible voice uttered “Hello, I‘m Marcel” left a permanent impression on me. In the most gentle of ways, in a voice that commands an audience, not through volume but through thought and eloquence, Marcel prods us to rethink and reevaluate. I think he does this subconsciously, and that is what makes his music, his creativity, his presence all the more genuine, and all the more appealing. To everyone.

Marcel Khalife and Al Mayadine Ensemble just completed a US tour sponsored by the American-Arab Anti-Discrimination Committee (ADC), the Nagam Cultural Project, Center for Contemporary Arab Studies at Georgetown University, NAAP, and Palestine Center. For more information about Khalife, his music, and upcoming concerts and events in and outside the United States, please visit www.marcelkhalife.com

-By Siwar Bandar