"Much of what has been forgotten by Europe is being brought back by the Banzi's in the sensitive and evocative music of Al-Andalus"

Historically, Al-Andalus refers to Spain from 711-1492. During these eight centuries, the Spain of Al-Andalus witnessed the closest encounter possible between Africa, the East and the West, as well as between Judaism,Christianity and Islam. 

An outstanding model of tolerance and functioning multiculturalism, Al-Andalus was a time that is known for its mutually beneficial symbiosis among diverse cultures which resulted in remarkable artistic, educational, and cultural enlightenments. This situation and the pluralism that went with it had various consequences: the intermixing of races, bilingualism and multilingualism and, religious dialogue and debate. This is where we find our creative impetus, in the rebirth of al-andalus in todays cultural landscape.

While guarding against romanticism, the positive aspects of this place and time do have their limitation. Al-Andalus was not a perfect society, it was not completely serene or without persecution. However, al-Andalus was arguably the preeminent Western society that served as a link between the Greek and Roman civilizations before it and the European civilization that was to follow it. While the rest of Europe endured the Dark Ages, light and enlightenment shone brightly in al-Andalus. By the end of the eighth century, al-Andalus was the most populous, cultured and industrious land of Europe and was to remain so for centuries. It was a time when diverse cultures, working side-by-side flourished.

Al-Andalus provides an example of constructive interfaith dialogue that offers us much food for thought as well as collective achievements in architecture, agriculture, literature, music, philosophy, public administration and diplomacy. While there is so much to learn about al-Andalus, here we briefly explore its diverse musical landscape.

Tarik Banzi (al-Banzi) our artistic director is from Tetuan, Morocco. Tetuan was founded by Andalusians (Jewish & Muslim) who fled Spain in the middle ages to escape persecution by the Inquisition. Tarik is from one of these families. Here is a short article with the Tetuani family names and history (it is written in Spanish but we hope to translate it soon).

You will find and excellent article on Andalusian music one the Afro pop Worldwide website. The article is written by Bannine Eyre of Afro pop Worldwide http://www.Afro pop.org/explore/style_info/ID/86/Andalusian%20music/. The core of Afro pop Worldwide's spring, 2004, program, "The Musical Legacy of Al-Andalus, Part 1: Europe," is a lengthy interview between Banning Eyre and Dwight Reynolds. Here's a complete transcript of this great interview: http://www.afropop.org/multi/interview/ID/57/Al

Andalusi', Judeo-Spanish (Ladino) & Flamenco musics

Andalusi music. the Andalusian music of North Africa (sometimes referred to as Arabo-Andalusian) is a music of Diaspora connected in a myriad of ways to the past. The classical Andalusian repertoire descended directly from the courtly music of Islamic Spain (711-1492 AD). This tradition is considered by many scholars to be one of the longest continuous traditions of art music in the world. The Andalusian musical traditions are rich and highly complex social constructs where musicians and audience members often argue for the authentic qualities of their own Andalusian tradition in historical terms.

Judeo-Spanish (Ladino) As historians look back before the first millennium at the Jewish populations of Iberia, we see Jews living in convergence with both Muslims and Christians. For almost four hundred years the Jews lived in al-Andalus amid the moderate Islamic rule based in Cordoba while it was not completely serene or without persecution for the Jewish people, it was nevertheless a situation of relative pluralism. The medieval Sephardim like the Arabs were expulsed from Spain, but took with them the culture and character they had acquired over the centuries of their residence there. They continued to speak Spanish in environments where Spanish was not the general language of communication. To their medieval Spanish vocabulary, they added numerous words from Hebrew and from the languages of the lands in which they settled. The result was a Jewish variant of old Spanish, Judeo-Spanish - called Ladino in the printed form. Judeo-Spanish music, sung in Ladino is also a music of Diaspora, uniquely preserved within vibrant Judeo-Spanish communities throughout the world where it merged and adapted with the local musics while still retaining its unique character.

There is also Spanish Medieval music of this period, and we explore that in our ensemble. The Cantigas of Santa Maria are one such example. The Cantigas of Santa Maria were made for the 13th century scholar-king Alfonso el Sabio (the wise) of Castile and Leon who lived in Spain(1252-1284). Regarded as perhaps the most outstanding example of the depiction of performance of secular music of the 13th century, the Cantigas provide important musical and pictorial evidence about the multicultural past of Christian Spain as well as providing a glimpse of the many contributions of Jewish & Islamic civilization on Medieval Europe. We perform selected Cantigas as well as other Medieval music of Spain.

Flamenco, the Andalusian music of Spain is known as flamenco. It is generally believed that flamenco is a Gitano-Andaluz art form combining influences from Gypsy (migration from India), Jewish, Arabic, Western European and Latin American, as well as later infusions of Brazilian, Jazz and Salsa traditions. What is known today as flamenco dates mainly from the 18th century when this cultural expression emerged out of earlier Andalusian folk music combined with the influences of Al-Andalus. hese are commonly referred to as the "Moorish" roots of Flamenco. The music culture of flamenco is found in three primary expressions: cante (song), baile (dance), and guitarra (guitar). Guitar accompaniment became more widespread in the mid-1800's and it is traditionally an exclusively male vocation. We take traditional flamenco toques (ie. Soliare, Buleria) with an Andalusi' instrumentation (oud, darbuka, bendir, ney) . Some of our past recordings explored the Indian roots of flamenco through south Indian Carnatic songs & modes with the Andalusi'-Flamenco treatment that we dub 'Contemporary Andalusian' (1987).

Music with a message!
Our programming strives to represent equally three palatable manifestations' of the Andalusian legacy: Andalusi', Judeo-Spanish (Ladino), Flamenco musics as well as their palatable antecedents (i.e. we also perform certain Indian pieces because of the roots of gypsy flamenco are unmistakably Indian). The makeup of our group likewise reflects the multi-culturalism for which al-Andalus is recognized. We meld the past with the present to create historically informed and esthetically pleasing renditions of traditional musics as well as new compositions which embrace rich treasures of the past and bring them into the present.

Here is a book we thoroughly enjoyed reading written by highly respected scholar and wonderful person, Maria Rosa Menocal. The book is called "The Ornament of the World" You may order it by clicking on the below book cover (http://www.amazon.com/gp/product/0316566888/002-9285173-5914460?v=glance&n=283155)