Being a genius child, she applied herself seriously to develop her talent in order to take all chances to succeed. Thanks to her grand-mother, Dorsaf could obtain the best of the local singing and oral tradition.
Helped by her father ,a very keen music-lover and violinist, who supervised her and encouraged her to better advance, she succeeded to pick the attention of the greatest Tunisian composers while still very young.
After graduating from The Musical Academy of Tunis, she started an academic course in the renown High Institue of Musiclogy of Tunis.
There enchained series of concerts with the greatest Arabic and symphonic orchestras and a world tour (Canada, Spain, Egypt, Greece, Lebanon, Jordan, France, Morocco…), which promoted her enormous talent.
Her multiple passages to the temple of the Arabic music, Cairo Opera, endow her to be well-known and appealed by such great maestros as Salah Ghoubachi and Selim Sahab.
There she started gleaning prizes and honors: 1992 Best Prize of young Tunisian talents, 1995 second prize in the Arabic Song Festival in Jordan,and in 1996 the Golden Record of the Tunisian song.
She flied then to Paris to begin her Ph.D. in the Paris-Sorbonne University.
In Paris, Dorsaf collaborates with artists of different grounds and contributes to highly varied international shows. Therefore she enlarges her experience and enriches her musical and cultural repertoire.
Nowadays Dorsaf creates her own style, not imitating, she sings passionately melodies written and produced by significant names.
Over a year, Dorsaf represents the next growing star, able of bringing a deep change in the music universe
Tough by culture and acquaintances, as by her devotion to her job and her mastery of oriental and occidental techniques, she symbolizes the present renaissance of the Arabic renaissance.
(Source : Facebook)
“Open up your mind” – an interview with Dorsaf Hamdani
by Charlie Crooijmans
Who is Dorsaf Hamdani?
“I am a classical Arabic singer from Tunisia and I have a master in musicology. I participate in this project with my two Norwegian colleagues (Berit Opheim and Unni Boksasp) and a Palestinian singer (Waed Bouhassoun), which was a nice opportunity for us!”
In 1992, Mandani receives the best prices for young talent in Tunisia, in 1995; the second prize for Arabic Music in Jordan, and in 1996 the gold disc of the Tunisian song (biography Hamdani at Yala).
Do you have your own orchestra?
“Yes, I have an orchestra in Tunisia. The two musicians at the project are in my band. The violist, Mohamed Lassoued, is my artistic director and there is the percussionist. I do concerts in Tunisia, I travel also outside the country for concerts, and I participate in national and local festivals like this year in the summer.”
What is your usual repertoire?
“It’s a classical repertoire. Like the solo I made at the concert.”
What are the lyrics about?
“My lyrics are very poetic and philosophical. Sometimes we speak about love and heartbreak. In a way it is all about love, loving people, love each other. Or love itself, even romantic, or there was one Sufi poem about Gods love.”
Who are your idols?
“Umm kalthoum, Asmahan, and Fairuz who is still alive. I love this woman she is not only a singer but also a big icon, and a modern woman.”
How did you get involved with the project in Norway?
“This connection is a collaboration of Accords Croisés, which is my label and my producers in France, and the Førde Festival. This was an initiative to put women in front. It is 100 years anniversary of women’s vote in Norway and also the Arabic revolutions and the Arabic spring. So it was a nice opportunity and a nice gathering to get to know each other and to make a mix of cultures together. I think it is a full success for me. I am really glad that we made it, that we can show that there is no frontier and that women can be really upfront.”
How do you connect musically to another culture so different from yours?
“The way to connect with another cultures is to open up. That was my way of being, open up myself, my music, my culture to this other culture that is quite different. Sometimes we have to keep it simple – in a few rehearsals we cannot put all the Arabic music, all the rhythms, all the scales, it is impossible – but it can be also interesting in the way that we change our way of thinking and we just open up our mind, accept different codes from other cultures.”
Do you also have the feeling the the music is a reflection of the culture or community?
“Oh yeah, sure. It does. I think the way of being with music. It’s not only music itself, it’s the way we act. Music is connected to nature, connected to the human way of being, the language, everything is connected together. When you recognize this in your own culture – it took me a long time to see this, but it is obvious now – you can manage with other cultures, absorb it and make it fluid.”
During the debate I felt that Norway wants to be seen as an open and free country advocating freedom of speech, while at the border you could be treated like a suspect. What do you think of this?
“I think it is the same thing everywhere in this world. Humans are the same everywhere. It is not only Norway or another country. It’s because there is a war, a revolution, or there is poverty. So people unconsciously will think, ‘we have to interrogate this person, because maybe he or she is a terrorist’. It is not very bad that the police asks questions, it is the police and they have to do their job. So I don’t see it as a big thing. Because even in Tunisia, in my country, I can be arrested. Just interrogated by the police, because there is an event and they are looking for something, a criminal or anything. We don’t have to see this as a judgement or as an aggression. At my point of view, we have to open our minds and see the positive things. Always!”
Is it easy to do concerts in Tunisia?
“Right now, it’s not a problem to do concerts, but sometimes we are afraid that maybe somehow there will come a period that fundamentalists will say, ‘okay now we have power and from this day on you cut everything, no music, no dance, no sculpture, anything’. So it is a menace. Right now there is no problem for my music. Maybe for other arts, yes, like rappers, or exhibitions of arts, with sculptures or nude photos or things like that, that have been aggressed. I cannot say that it doesn’t interest me because I am not a sculptor or I am not a photographer. No, I am an artist so I have to take part of this.”
(Source : http://newsandnoise.wordpress.com/)
Dorsaf Hamdani est née le 6 juin 1975 en Tunisie. fille d'un violoniste passionné de chant arabe, Dorsaf Hamdani rentre au Conservatoire National de Musique de Tunis en 1985. Elle débute ensuite une carrière de chanteuse dans le style malouf tunisien, et se produit avec différents orchestres. Dorsaf Hamdani reprend le chemin des études en 1995 et va suivre un cursus de musicologie à la Sorbonne. Elle sort diplômée de la prestigieuse université parisienne et brûle de mettre sa voix au service de projets musicaux ambitieux.
La jeune diva est servie en 2011 lorsqu'elle enregistre avec le multi-instrumentiste iranien Alireza Ghorbani l'album Ivresses - Le Sacre de Khayyam. Ce disque somptueux est basé sur la poésie soufie iranienne du légendaire Omar Khayyam. Dorsaf Hamdani ne s'arrête pas en si bon chemin et s'attaque ensuite au répertoire de trois des plus grandes chanteuses de la tradition arabe. Princesses du Chant Arabe fait sensation en février 2012, avec des interprétations exceptionnelles de titres de l'Egyptienne Oum Kalsoum, de la Libanaise Faïrouz, et de la Libano-Syrienne Ashaman.
Le même mois sort l'album Melos, enregistré aux côtés du percussionniste iranien Keyvan Chemirani. Cet album fait se rencontrer trois traditions musicales issues de la Méditerranée. Les musiques arabo-andalouses, tunisiennes, et grecques s'y entrecroisent par la voix de Dorsaf Hamdani. Aidée par des musiciens de chacun des pays, Dorsaf Hamdani impose une nouvelle fois sa présence et une force vocale qui n'est pas prête de s'éteindre.
(Source : http://www.music-story.com)
Dorsaf Hamdani درصاف حمداني - Princesses du Chant Arabe أمــيــرات الـطــرب الــعـربــي
01 Yallah tnam Rima (Viens dormir Rima)
02 Rajeen ya hawa (Ô Amour, nous sommes de retour)
03 Layali els ons (Nuits d'intimité)
04 Mawwal ya dirati (Ô ma tribu)
05 Ghanily chwaye chwaye (Chante un peu pour moi)
06 Ahwa (J'aime)
07 Taqsim bayati (Improvisation au violon)
08 Li assabri houdoud (La patience a ses limites)
09 Loughat azzohour (Le langage des fleurs)