Project Lām (ل)

At the beginning of the Great Palestinian Revolution against British colonial forces in 1936, Tarweeda emerged as a sonic device for coded communication between detainees and their families, specifically through songs women sang to transmit news messages and warnings to the revolutionaries.

As encrypted song The Palestinian Tarweeda (الترويدة الفلسطنية) establishes a solid foundation for conceiving a tangible sonic space, thinking within an ecology of affect and exploring what could lead to an active form of sonic resistance.

This project envisions the letter Lam (حرف اللام) as a glitch—a vocal stutter that activates a nurturing sonic environment while also serving as a catalyst for decolonisation, emancipating radio warfare technologies at the time, while resorting to voice as their only weapon (Its lyrics were formulated to appear as a code by inserting *Lam* so that the occupier would not be able to comprehend its meaning).

The Tarweeda’s inherent glitch introduces a distinct sonic realm, hinting at the possibility of uncovering a sonic code—a temporal arrangement that ultimately leads to fragmentation and transformation. Within this context, what sonic spaces might the Tarweeda aspire to create when interfaced with a modern drum machine? What forms of collaborative sonic practices could emerge from this interplay? Finally, what can the Tarweeda teach us about the process of decolonizing sound?

Date: 27 November, 2024
Time: 8.30PM - 9.30PM
Venue: Concrete, Alserkal Avenue

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Jad Saliba (born 1984, Beirut) works primarily in sound. A former Oud player, co-founded ensemble ‘Mayal’ in 2010, performing renaissance music of early 20th century Egypt. Saliba was also part of ‘Irtijal’ Beirut’s collective of artists, playing alongside prominent members and other international experimental musicians. Graduated in master’s at the Institute of Sonology in 2020. His current work explores experimental drum machines, contemplating on alternative club music and online community radio broadcasts.

Research Focus:
Jad’s project during the residency marks the beginning of a long-term research initiative exploring concepts of sonic resistance, solidarity, and sonic identity, using drum machines as a primary medium. The research raises key questions: What characteristics define sound as resistant to current political struggles, and is it an urgency to draw from sonic traditions of the MEASA region (to which he belongs) in order to challenge dominant, hegemonic perceptions of sound. He asks: how can we as a community from the Levant and beyond, organise ourselves for such actions.

Image source: diffah.alaraby.co.uk