Posted by ljshaffer
When Jane Hirshberg at the Clarice Smith Performing Arts Center asked me last May to participate in a creative dialogue with musicians from The Nile Project, April 2015 seemed a long way off. I was asked because of my research regarding rural African livelihoods, knowledge production, adaptation to environmental change, and community empowerment. As the date approached I became nervous. I’d never done any research in the Nile River basin. I didn’t know much about the water security conflicts going on in the Nile Basin other than what I could google. I’m not from the Nile Basin. I don’t speak Arabic or Amharic or Swahili. I would be onstage at the Smithsonian in the Museum of Natural History. I feel like I sound like an idiot whenever someone asks me serious questions regarding my research and anthropology in general. In retrospect, it was basically a huge flare up of imposter syndrome.
The dialogue focused on the Nile Project’s social and environmental messages. From their website:
The forward-thinking musicians of the Nile Project channel the unsung beauty of East African traditions. In the collective’s collaborative compositions, resonant harps and lyres from up and down the river have learned new musical modes, while buzzing timbres and ingenious polyrhythms support vocals in more than ten languages.
Designed to captivate local audiences but feel equally accessible to international listeners, the Nile Project uses music to inspire curiosity about and active engagement with the cultural, social, and environmental challenges of the world’s longest river. The Collective’s collaborative model is a blueprint for a new way to organize the Nile.The project began in 2011 by two San Francisco-based East Africans in response to the deepening water conflict in the Nile Basin. In a few years, the vision of Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero rapidly expanded to bring together musicians of all 11 Nile countries through Nile Gatherings and African and international tours. Building on the success of its musical program, the Nile Project is launching education, leadership, and innovation initiatives to empower university students around the world with the tools they need to make the Nile more sustainable.
Overall, it was a fantastic experience. The focus (thank goodness!) was on the music and Nile Project. Kojo spoke with Ken about water security and conflict – historic and contemporary – in this region, and Atesh talked about how music is an important component of social movements (see Pete Seeger, Lead Belly, Joan Baez, Woody Guthrie, etc.). I was asked about livelihoods, the interconnectedness of rural/urban communities and water and the environment, and links between art and indigenous environmental knowledge. I was super jealous of how composed and strong the answers Mina and Meklit had to Kojo’s questions regarding the work and passion of the Nile Project. But I realized about midway through that they’ve been answering these sorts of questions for the past 4 months. Practice does make perfect. So does having passion and belief in what you are doing. The musicians of the Nile Project are an inspiration and I feel rejuvenated in my own work after just a little time interacting with them.
Meklit Hadero’s TED Talk on The Nile Project
The Nile Project – Full Performance on KEXP (Seattle, WA) 19 Feb 2015