In this episode, Kamyar and Rustin welcome back Dr. Stefan Williamson Fa to talk about the extraordinary life and music of Sufi-Flamenco star, Aziz Balouch. Stefan has re-issued Balouch's EP, *Sufi Hispano-Pakastani*, originally produced in 1962, with [Death is Not the End Records ](https://deathisnot.bandcamp.com/album/sufi-hispano-pakistani) in 2020. Dr. Williamson Fa traces Aziz's biography, from a young boy born in Baluchistan in 1910, to studying in Sindh at a sufi shrine, before making his way to Gibraltar and falling in love with Flamenco music. Balouch became a student of legendary Flamenco master, Pepe Marchena, and spent the rest of his life exploring the deep connections between Andalusian music and mystical Islam. To learn more about Dr. Willamson Fa's research on Aziz Balouch and to listen to his songs in their entirety, visit the accompanying article, "[From Sindh to Andalusia: The Life and Times of Sufi-Flamenco Star Aziz Balouch](https://ajammc.com/2021/01/11/sufi-flamenco-aziz-balouch/)" on the Ajam Media Collective website. ...
In this episode, Kamyar and Rustin talk to Stefan Williamson Fa, co-founder of [Mountains of Tongues](https://www.facebook.com/mountainsoftongues/), a project documenting and promoting musical dialects in the South Caucasus. Mountains of Tongues showcases traditions that defy normal categorizations of "national" or "folk" music through the use of non-conventional instruments, multiple languages, and a blending of different musical genres. Stefan shares three songs from the Mountains of Tongues archive and from his most recent fieldwork in Georgia: a Georgian-Azeri bilingual Kamancha song by Sergo Kamalov, Aşıq Nargile's rendition of the Aşıq Qərib story, and a Azeri electric guitar solo from a wedding in Qaçağan, Georgia. Stefan Williamson Fa recently received his PhD in Anthropology at University College London. His research focuses on performance and lamentation rituals in Turkish-speaking Shi'i communities in Eastern Anatolia and the Caucasus. ...
In this episode, Kamyar and Rustin interview Armenian-American composer and performer Joseph Bohigian about his latest musical composition, “The Water Has Found Its Crack” (2020), which explores concepts of displacement, dispersion, and cultural preservation in Armenian music. The composition’s title refers to an anecdote shared by Turkish-Armenian journalist Hrant Dink about a French-Armenian woman who died while visiting the village of her youth in Turkey. When the question of where she should be buried arose, a man from the village responded “Let her be buried here...the water has found its crack.” It is a story of Armenians longing to be reunited with their indigenous land, not to take it but, in Dink’s words, “to come and be buried under it.” The discussion begins with Bohighian’s reflections about his family’s displacement during the 1915 Armenian Genocide, his upbringing in the diaspora, and his nine-month stay in Yerevan during which he wrote “The Water Has Found Its Crack.” The conversation then turns to the Armenian music theories and folk songs that influenced the piece, specifically the works of the Komitas (1869-1935), a Kütahya-born priest and musicologist widely known for documenting rural songs of the Armenian countryside. Finally, Bohigian takes us through the composition, highlighting various sections and reciting lyrics sung throughout. Visit Joseph's [Soundcloud to listen to "the Water Has Found Its Crack."](https://soundcloud.com/joey-bohigian/the-water-has-found-its-crack) ...
