Haja : incorporating Aghani Al-Banat into a Western popular music recording project : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts at Massey University, Wellington, New Zealand

Abstract

The purpose of this exegesis is firstly to provide historical and cultural context for the collaboration via the works of key scholars who have researched Aghani Al-Banat. Secondly, it provides an overview of the production process – demonstrating how crosscultural collaboration took place, as well as the technologies and creative processes I used. In doing so it also provides insights into my own personal creative and spiritual journey. In Section one of this exegesis I will explore the cultural context and relevance of Aghani Al-Banat as a musical form and the accompanying Subhia dance in modern Sudanese society by referencing studies from Saadia I. Malik’s 2003 thesis ‘Exploring Aghani Al-Banat’ and via that also El-Tahir’s ‘History of Music in the Sudan’ and Sikainga’s ‘Slaves into Workers’. I will then trace the history of the music itself, it’s relationship to the existing class structure and the cultural environment from which it stems. To do this I will explore the overall history of Sudan, it’s colonization, the re-gaining of it’s independence and its current system of government and religious practices. Section two will cover the project’s production techniques, from the recording of the Aghani Al-Banat musicians in Khartoum through to the collaboration process with contemporary NZ artists. To give further insight into the production of the album I will go into detailed case studies of two entirely different tracks off the album from their inception through to their completion. Finally, I will give my conclusions as to what I have learnt during this process, what I would perhaps do differently next time and what contributions the final result of this project make to music and culture in New Zealand (and further abroad)--Exegesis Overview