قنطرة

As a Tunisian Fulbrighter, I was so jubilant to discover Kantara, a Tunisian-American group that epitomize the cross cultural exchange, openness and tolerance through art.

Kantara is a celebration of melodies, colors and perfumes across the Atlantic from Tunisia to America. The rhythms bring a well balanced mix of two seemingly different yet harmonious styles. Kantara is a call for acceptance and diversity. Kantara is just what the humanity needs: not walls but Bridges.

I interviewed Kantara’s lead singer and multi-instrumentalist Brennan Gilmore via e-mail in late February and would like to thank him and his mates from this tribune on behalf of all Tunisian Fulbrighters and Plusers here in the US.

Undoubtedly, between Tunisia and America, it is much more than mutual understanding and respect.

After the interview, you'll find a mini-documentary on this amazing group during their mini-tour in Italy.




Let’s begin from the start. How did the idea come up in the first place? How did the group get together?

Kantara was born in Sidi Bou Said in the fall of 2005. I met Riadh Fehri in the summer of 2005, and knew that he was renown in Tunisia for his music and his work at the Sidi Bou Said conservatory. Riadh and I began to jam informally and over the months began to compose and arrange together. At first we hadn’t planned to create a new group. I played guitar with the last performance of Riadh’s Minaret et la Tour project,and following this we decided it would be interesting to develop a group that fused Arabic and Appalachian music. We played our first performance in Italy in November 2005, and were joined by Lassaad Hosni on darbouqa and bendir, and Amel Boukhchina, who sang. In March 2006, we played our first concert with the current line-up, including Ann Marie Calhoun on violon, Brian Calhoun on guitar, and Zack Blatter on bass, in addition to the Tunisian musicians. This concert took place at the Theatre Municipal in Tunis .


Tell us more about your music? How did you find that fine balance between two seemingly different musical styles whether in terms of instruments or rhythms?

Our music brings together Appalachian and Tunisian traditional folk melodies. However, we also compose much of our own material, using this fusion as a base, and we are influenced by musical styles not limited to these genres. Our compositions and arrangements take elements unique to each musical tradition, but create a sound that is entirely new. For example, we use Appalachian harmonies, with Arabic melodies, or Tunisian rhythms with Appalchian songs. Finding the balance is an ongoing process, and we only arrive at that balance after much experimentation. When the whole group is satisfied with the arrangement, then we’ve found the balance. Every musician does what comes natural in their respective traditions with an ear to opening their perspective to the music of their counterpart. When we work together we try to compliment, not overshadow, each other.


Both your band and music are a celebration of the Tunisian American long friendship. Your titles (Kantara, larmes, Way faring stranger, Encuentros, Tempérament, Awtar, Middle of the road, Pureté…) convey a message of diversity, tolerance and openness regardless of languages, origins and ethnicities. In your understanding and experience, how can music be an efficient tool in an existing environment where mutual understanding is very much-needed?

We have seen through our experience with Kantara that music is truly the universal language – five members of the group don’t even have a common language to speak with, yet have still become great friends. Our music highlights the beauty of two different cultures, and is an active example of positive collaboration that transcends national or cultural identity. From the reactions of our audiences both in Tunisia and abroad, we have seen that there is a thirst for this message. There has been a focus in the media on anti-Americanism or anti-Arabism, to the point where in the minds of many, the gap has become almost to wide to bridge. Kantara proves on stage that this is not the case. When audiences have left our performances, they constantly remark on the sense of fraternity among the members of the group – the harmony, not just of the music, but of the family of musicians on stage.


Are there any plans to extend the band to more nationalities for the sake of more diversity?

Kantara is a small group, that is focused on combining two distinct musical traditions – Tunisian and Appalachian music. Of course, these musics are themselves derived from diverse traditions – African, Irish, Spanish, Turkish, etc.

Beyond Kantara, Riadh has created several other projects which bring in many more musicians of different nationalities. With Minaret et la Tour, he combined a Spanish guitarist, an American pianist, and Tunisian musicianis. The project Vent 440 combined Kantara, with the Venezuelan-American flute maestro Pedro Eustache and American pianist Tom Rosenkranz, and Tunisian musicians, all backed by the Vienna Opera House Orchestra. This summer, Riadh is planning a similar concert experience with an Italian orchestra and another diverse cast of musicians from around the world. Called “Ouverture”, these concerts are scheduled to take place in Italy and in Tunisia at the Carthage and El Jem festivals.


You have been doing concerts in Tunisia and Italy. When will your public in the States be able to attend your concerts? Any CDs to be released soon?

We are planning our first mini-tour in the U.S. in late May/Early June. Fans can check out details at our website: www.kantaramusic.com. At this time, we are also planning on heading into the studio to record our first full-length CD. In the meantime, four songs from our demo are available for free download from our website.

Would you like to say a word for your Tunisian fans here in America?

Aslaama. We look forward to showing our friends and fans in the U.S. the unique beauty of Tunisian music and culture, and hope to see you at a Kantara concert soon!