Fes Festival 2018 - The Wrap

The 2018 Fes Festival of World Sacred Music has been generally acknowledged by audiences and critics as a success. The general consensus is that it returned to its spiritual roots rather than attempting to offer big star performers. 

The lack of introductions in English, inadequate communication about venue changes and no social media presence during the Festival have been the main complaints by patrons.  However, thanks are due to the staff of Esprit de Fes for providing opening night tickets for our team, due to the late delivery of the press passes for The View From Fez. 

The View From Fez guest photo-journalists, Lauren Crabbe from Australia and Venetia Menzies from Scotland, offer their thoughts on the Festival.

The Fes Festival 2018 - bringing the world together

Fes Festival Wrap - Venetia Menzies

Venetia Menzies

The exceptional musical talent of this year’s performers, drawing on ancient wisdom from across the world, provided Festival-goers with a week of both entertainment and insight into sacred musical practices. It was alone their sheer joy for performance, technical mastery and humility that redeemed the shortfalls of the Festival, namely poor management and time-keeping.

Repeated complaints heard from the audience was a lack of translations in English, for both performer’s introductions and of the Festival programme itself. In a country where almost everyone is multilingual, there is no shortage in the availability of narrators who could easily provide information in Arabic, French, English, and even Amazigh. This could prove a turning point, improving accessibility and allowing the Festival a chance on the international stage. With new management retreating back to its Francophone base, they risk alienating customers along both geographical and class lines.

Performances usually began more than half an hour late, and with the audience arriving an hour before the due start-time, this left people impatient and exhausted. For those attending multiple concerts a day this was particularly frustrating. The alteration in the timing of the programme, compounded with late starts, made it impossible for pass holders to attend three concerts in the day, something which Festival regulars were particularly upset about.

Despite these shortcomings, the Festival was once again a success thanks to the immensely gifted performers who graced the stage, many travelling thousands of miles to perform in the ancient city of Fez. The flawless work of the sound and lighting technicians, who provided dizzying projections onto the fortress, deserve a special mention. Particular highlights of the Festival include Dhafer Youssef, whose super-human vocal ability had the largely local audience begging him for more. Another local favourite was Said Belcadi’s Al-Ala Orchestra, who played traditional Andalusia music that whipped people into a frenzy and had them singing along to favourites.

Dhaffer Youssef 

A particular success of this year’s Festival was its syncretism, providing sets which fused sacred music from around the world, offering novel concoctions that mixed styles and languages. ‘3 Ma’, which showcased devotional music from Morocco, Mali and Madagascar, was a shining example of this, with Moroccan Driss El Maloumi, Malian Ballaké Sissoko and Malgache Rajery Madagascar, grinning exuberantly as they played songs which did everything from praising God to mocking African politics.

The Heart of Sufi Africa was another successful blend of musical styles and performers from across Africa. Uniting around the devotional nature of Sufi music, the concert welcomed musicians from Senegal, High Egypt and Morocco. Senegalese Sheikh Papa Sow Djimbira stole the show with his spine-tingling vocals and stage presence. The sheer energy of the Egyptian group’s ritual dances, including whirling dervish-like for minutes on end, had the audience entranced.

Sheikh Papa Sow Djimbira 

Closing the Festival this year, the Soweto Gospel Choir of South Africa injected colour and cheekiness back into the programme, with vibrant costumes, ceaseless dancing and booming vocals. Their final song, where they were joined by the Moroccan Sufi choir led by Hajj Muhammad Bennis, exemplified this year’s focus on celebrating common ground between faiths. Both groups harmonised Hallelujahs and Hamdollilahs as the audience abandoned their seats and poured towards the front of the stage to dance.

If the Festival management are willing to address the shortfalls in organisation, this Festival has the potential to become an international gem, doing justice to the talent of the exceptional performers we’ve seen this week.

                     Fes Festival Wrap - Lauren Crabbe

Lauren Crabbe

Coming into the Fes Festival for the first time, I really didn't know what to anticipate. I expected to witness a lot of tradition, which the Festival wholeheartedly delivered. I expected to be challenged by some of the styles and compositions and messages behind the music, which I was (a welcome challenge, I might add). I expected to reach the end of it all, totally spent, and a little unsure of how to process the flood of new information in my system, which is indeed the case. I didn't expect to be so blown away by the sheer spectacle of some of the performances.

The visuals were astonishing, and witnessing the chameleon-like walls of Bab Makina during the opening ceremony had me instantly captivated. The energy of some of the performers was incredible; Dhafer Youssef's epic soundscapes, the infectious passion of the Soweto Gospel Choir, the frantic dynamism of Goran Bregovic's orchestra, the bolstering fusion of sounds in Heart of Sufi Africa.

Some performances were more understated, but still very special and intimate; the pure and wholesome vivacity of the Moxos Ensemble, the classical rock 'n' roll zeal of Fest Noz, the gentle hilarity of 3MA, the technically brilliant but charming accessibility of the Saint Ephraim choir with Bea Palya and, of course, Jordi Savall. There were few weak links in this festival lineup, and seeing performers unreservedly share their hearts and homeland traditions with their listeners already has me hoping I'll be lucky enough to return again.

Jordi Savall

Despite this resounding success, there is, unfortunately, room for improvement behind the scenes. The biggest problem was lack of almost any kind of English translation, in programs and onstage. Non- (or even weak) French or Arabic speakers not only lose a lose a lot of context, but feel quite excluded when introductions and explanations are directly only at roughly 50% of the audience.

The curse of the smart phone

Sure, it's possible to perform one's own research beforehand, and absolutely to still appreciate and enjoy the spectacle...but it doesn't compare to hearing the traditional meaning entwined with the music and its significance directly from the source. (Or, if not from the musicians, then the announcers.) The varied musical styles (some very unlike anything back home) would be so much more understandable, and therefore endearing, with just a little bit more effort put into multi-lingual translation.

Bungles with programming also led to missed performances. Lack of communication on social media (and apparent indifference to the confusion this might cause) about the last-minute venue change for the Sufi nights was obviously a problem, and misinformation online and in some paper programs regarding performance times of the Linyuanxinlei Art Troupe meant some (including The View From Fez) couldn't experience what surely would have been a dazzling display.

I also think venue staff could have been more diligent. Uneven stair construction leading to a raised platform in Bab Makina caused many people to trip up and potentially injure themselves, while no fewer than five staff lingered nearby but refused to step in and help. Plenty of people talked loudly or on their phones during performances, and loitered in aisles so others couldn't properly see or hear. This was managed a little better towards the end of the festival, but measures could have been put in place sooner.

Thankfully, these criticisms didn't detract from the Fes Festival's core message: appreciating and integrating ancestral traditions from all over the world, and ultimately providing a magnificent platform for artists to share their sacred rituals with us. I was moved, charmed, floored, and heartened by the experience in its uniqueness, and reserve a special place in my heart for having had the privilege.


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Fes Festival Day Nine - Review

The Festival ended on a high note with the audience responding overwhelmingly to a performance from the Soweto Gospel Choir  - with commentary and songs in English. Earlier in the day the audience were dancing in Jnan Sbil gardens

FEST NOZ SYMPHONIQUE 16:30 JARDIN JNAN SBIL: Review and photos Lauren Crabbe

The weather was warm again in Jardin Jnan Sbil, but Fest Noz Symphonique soon dropped the temperature with their cool fusion of old and new music from the Celtic region of Bretagne (Brittany). The ensemble seeks to push the boundaries of rhythm and tempo while retaining the traditional spirit of Breton dance music. The audience was treated to a rockstar performance from start to finish, which, at the same time, remained true to its ancestral roots.

grungy guitar solos by Gregory Dargent

The musicians (who also performed in Goran Bregovic's orchestral spectacle the previous night), sporting earrings, neck tattoos and sleek shades, alternated between sombre songs such as marches and gutsy jigs with shades of gothic rock, and plenty of cheery flute. The orchestra played with classical discipline under some fervent conducting, but boldly cut through with grungy guitar solos by Gregory Dargent and fierce accordion from Janick Martin.

Annie Ebrel

Annie Ebrel's galloping French vocals and stamping feet lent fiery energy to the ensemble, who were soon dripping with sweat and even tearing up at the emotional power circulating on the stage. At times, the backing music would cease as she sang alone, and all eyes were glued to her, utterly captivated.

It was Celtic music that grabbed you by the arm and dragged you to the dance floor; literally in the case of some people, who got up to dance during the encore. Sassy and full of spirit, it was a heartening concluding performance in the gardens.

Fierce accordion from Janick Martin

SOWETO GOSPEL CHOIR 21:00 BAB AL MAKINA - Review and photos Venetia Menzies

Amazing Grace - original member Shimmy Jiyane on the right

South Africa’s famous Soweto Gospel Choir performed the closing show of this year’s Fes Festival, with a performance that was one of the best of the Festival.  Bringing more colour, energy and joy to the stage than any other group of performers, the Grammy Award winning troupe had the audience on their feet dancing by the end of the night, a first for this Festival at Bab Makina. Indicative of their humility and pure joy for performance, they began the night by inviting the audience to clap to a beat, dancing and riffing over their rhythm.

In between powerful group harmonies, members of the choir would come forward one by one, showcasing a diverse range of vocalists, the rest of the entourage dancing in unison behind. The Choir, created in 2002 by David Mulovhedzi and Beverly Bryer, specialises in devotional gospel music, drawing on talent from across Soweto to celebrate and share the joy of faith through music.

South African music has been tied to ideas of revolution and salvation for decades, and during the final years of Apartheid (1948-91), ‘toi-toi’s became increasingly popular. These involved congregations of singers assembling to express their unhappiness and disapproval of government rulings through song, asking God to bring peace and order. Celebration of South Africa’s current freedom was a common theme throughout the performance, with songs being dedicated to both Nelson Mandela, whose name was repeated in chorus, fists raised in the air, and another to his late wife Winnie Mandela.

The narration in English and a wealth of Anglophone songs proved hugely popular to the audience, with cheers of appreciation in response. A tender song performed by the female vocalists was followed by a cheeky caricature of male flirting techniques by the men of the group, including screams of ‘Hey Baby’ at lucky audience members whilst making dance moves mimicking animals in the hunt. The sheer scale of movement on stage surpassed all previous nights, with vocalists continually dancing and belting out from their lungs.

English language narration and songs were a relief to many in the audience

‘I need God in the morning, I need God in the day, I need God in the evening’ the ensemble sang whilst slapping their thighs, touching their toes and dancing like Zulu warriors. They spoke to the audience on topics they can relate to, songs celebrating the power of faith and optimism. The undeniably powerful Amazing Grace, a song only to be attempted by the best, was performed flawlessly by four singers, including original member Shimmy Jiyane, each taking solos, reducing the audience to silence.

Mazwe Shabalala

As Choir Leader Mazwe Shabalala asked the audience if they wanted to go, or they wanted to sleep here, they began an impromptu encore that the audience did not expect. In another festival first, a traditional Fez Moroccan choir joined the stage in the last minutes, singing the Shahadah, praising Allah and making a statement of tolerance and unity between faiths. The Soweto singers danced around them as they rose in volume, harmonising with Hallelujahs, closing the festival on a celebratory theme of peace and cohesion.

Humdullilah and Hallelujah!

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Fes Festival Day Eight - Review

SEPHARADIC SONGS, FROM THE SACRED TO THE PROFANE 16:00 SYNAGOGUE- Review and photographs: Suzanna Clarke

A restored synagogue in Fez's Mellah district - the old Jewish quarter - was the atmospheric setting for this magical concert.

The theme was Sephadic and Andalusian songs, from the sacred to profane, sung by Gerard Edery. Born in Casablanca, and educated in Paris and New York, Edery is a former opera singer, who specialises in making these usually arcane songs engaging. "There should be a reinterpretation of these songs by every generation," he said. "My attempt is to make them accessible, while staying true to the essence of them."

Edery is remarkably successful at it. This is the third time he has performed at the Fes Festival.

That he is a communicator was immediately evident, as he addressed the audience in both French and English; giving explanations prior to each song.

"Shalom", Edery said, and his fine, rich voice filled the space, singing words in Hebrew, accompanied by his Spanish guitar. Two supporting musicians played drums and a canoon, a typical Middle Eastern intrument.

"The song honours Abraham," he said. "And is shared by the three faiths. I am touched to be singing it here in this sacred space."

One of Edery's techniques was to repeat the same words at a faster tempo towards the end of the song, giving a sense of exhilaration.

A lively Tartar song, he described as being "a prayer - inviting the Shabat queen into the service. I think of it as inviting in the female part of every human being."

Love songs from different traditions were also explored. Towards the end of the performance, Edery told us the words of one of the pieces meant, "Goodbye my love, go knock on other doors. To me you are dead forever." - which elicited a ripple of amusement.

These medieval songs given a refreshing new twist, in the surroundings of the ancient synagogue, were a memorable experience.

SAINT EPHRAIM MALE CHOIR AND BEATA PALYA, HUNGARY 16:30 JARDIN JNAN SBIL - Revue Lauren Crabbe. photos: Venetia Menzies

The Budapest Saint Ephraim choir prefaced their diverse showcase of songs (in French and English! A first for this festival) with a quote: "Every music is sacred", which sums up both their agenda as a chorale and why they proved so charming to their audience.

Aside from a refreshingly dynamic range of vocal technique and musical disciplines, from gypsy prayers to Bulgarian chants and late Renaissance pieces, the choir possessed an endearing humility onstage rooted in gratitude for their listeners and the Fes Festival. They and Bea Palya, their female singer, broke down audience barriers with plentiful smiles, good humour, and detailed descriptions of the significance behind the repertoire, including songs that were written for them especially by friends and Hungarian composers.

Bea was a delightful presence to watch onstage. Her training in Indian and Persian vocals really shone; evocative vocals, drenched in raw empathy to the point of hoarseness (which, if anything, gave power to emotion), were grounded beautifully by the choir with strikingly deep harmonies.

They sang to and energised one another, settled in the collective sound swirling all around them. They switched seamlessly between styles and technique, displaying perfect harmonies, neatly staggered timing during a pretty interlude with handbells, and even an Eastern Orthodox liturgy, whose original 72 repetitions of "God have Mercy" were turned into a surprising tongue twister that didn't miss a beat.

Bea Palya and the Budapest choir, though certainly an impressive force, didn't take themselves too seriously, and wrapped up their performance with a selection of "colourful, joyful, funny pieces" from Greece, 12th century Spain, and South Africa. In their words, "Prayer doesn't have to be solemn". This segment nicely reaffirmed what was a heartfelt, sincere, and unpretentious set that had the audience begging for an encore; which they indulged, noting, "We're not going to do the old trick of walking off-stage and then back on again...we're just going to give you the encore right now." Bea led them off with many cheerful calls of thank you and merci and shukran, and some ululating for good measure.

GORAN BREGOVIC AND THE ORCHESTRA OF MARRIAGES AND BURIALS . THREE LETTERS FROM SARAJEVO 21:00 BAB AL MAKINA- Review by Venetia Menzies. Photos: Lauren Crabbe

Goran Bregovic

From the ‘Jerusalem of the Balkans’, a melting pot of religions, cultures, histories and traditions, Sarajevo’s musical master Goran Bregovic played to a full house at Bab Makina tonight. A composer who is famed for uniting multiple styles, from Oriental, klezmer and classical, aiming to transcend divisions of culture, race and geography, he seemed a perfect fit for this year’s theme celebrating ancient wisdom from around the world.

Despite the unquestionable musical talent of Bregovic and his Orchestra of Weddings and Funerals, some may be raising eyebrows over the festival’s decision to invite an artist who has been boycotted in both Ukraine and Poland, due to controversy over his 2015 concert in annexed Crimea where he openly praised Russian rule.

Goran Bregovic (in white)

The stage has never been busier or louder at this year’s festival, with Bregovic joining the 40 strong Brittany Symphony Orchestra, directed by Auréien Alan Zielinski, considerably after the show was due to start. As the orchestra began to play, the vibration and volume of the sound instantly surpassed previous shows. After less than a minute, an unexpected brass band sprung from within the audience, beginning a call and response style song with the orchestra on stage. The band, composed of trumpet, clarinet, drums and saxophone players, walked to the stage as a fiery pace increased.

The women partially drowned out by the orchestra

The performers quickly confounded the audience’s expectations, dispelling any sense of formality and showcasing a fusion of contemporary and traditional styles. Just when you thought the stage could not get any busier, three violinists entered and sat proudly at the front. The first soloist, Gershen Leizerson of Israel, gave a spine-tingling performance, introducing a melancholy mood that dripped of nostalgia and loss.

Bregovic’s music has been self-described as Yugonostalgic, having risen to fame under Tito’s Yugoslavia, leading one of the most popular bands in the country, Bijelo Dugme. As rumbling drum beats echoed through the violist’s solo, the audience was urged to transfer their sadness into determination as a revolutionary mood was created. The twists and turns of the performance provided an insight into the dark corners and memories within the complex mind of the composer.

Miliana Neskovic 

Two female vocalists dressed laden with hats made of flowers interjected, joined by a male choir providing a hearty bass-line, but mostly being drowned by the rest of the orchestra. The second violinist, Miliana Neskovic of the Belgrade Philharmonic Orchestra, reduced audience members to tears as she crouched over her instrument, furiously playing its strings until her hair sprung out and sweat dripped down her arms. Goran watched on with pride, strumming his electric guitar and occasionally joining in with vocals.

Zied Zouari 

The visual projections onto the ancient fortress were a lot more subdued tonight, perhaps allowing the audience a chance to absorb the complex array of instruments and styles on stage. The final violin soloist, Zied Zouari of Tunisia, held the audience in anticipation as he paused before beginning a perfectly rehearsed set that he clearly enjoyed. A child of musicologists and and a musicologist himself, he has been a musician since the age of five, touring in concerts before he reached adulthood. It was no surprise then that he had the audience cheering and clapping, never knowing what to expect next.

Visitors of all faiths and ethnicities were enjoying the diverse array of styles, confirming Bregovic’s claim to “speak the first language of the world, the one everyone understand: music.” The final song offered the violinists a chance to play alongside each other, repeating melodies in different scales over and over, picking up pace and transporting the audience from Bab Makina to Bosnia through this folk-jazz-classical fusion. 


SUFI NIGHTS TARIQA AISSAWIYA : MUQADDAM BELAHCEN 23:00 DAR TAZI

Tomorrow @ the Festival

FEST NOZ SYMPHONIQUE 16:30 JARDIN JNAN SBIL

SOWETO GOSPEL CHOIR 21:00 BAB AL MAKINA

Festival weather: Sunny - 31 Celsius down to 18 at night. Perfect

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Fes Festival Day Seven - Review

MYSTICAL BREATHS DIABOLUS IN MUSICA 16:30 JNAN SBIL - Review: Lauren Crabbe

This afternoon's performance in the gardens by Souffles Mystiques got off to a slow start, with a 15-minute delay and then three lengthy introductions in French before the two flautists eventually came onstage. Vivek Sonar actually introduced their first song in English, though very quietly so his message wasn't clear. The first song was drawn out, a floaty, meditative dance of bansuri flute (with a backing track of sitar playing through a speaker), and the audience took the hint to get comfortable. Many listeners shifted from their seats to the grass; some even brought mats and neck rests, and got very well acquainted with them over the course of 90 minutes.

The ensemble's curious fusion of Hindustani classical and Gregorian chanting, a side-by-side exchange of East and West, appeared to divide the audience. The display of serene bansuri, combined with a toasty afternoon temperature, soon lulled listeners into deep relaxation...or boredom, with some checking the time or their phones, leaning into their propped-up hands, or literally twiddling their thumbs. Seats were vacated and about a third empty towards the end. The performers themselves appeared similarly languid at times, with no communication between songs and sparing in their warmth and animation towards the crowd.

However, the musicians -- while not too charismatic -- were highly talented in their styles. The flautists whimsically dissonant, the Diabolus in Musica vocal ensemble perfectly pitched and richly traditional. One song in particular was of old Northern French dialect, sung tenderly by a tenor and supported with some lovely harp playing, which touched the hearts of French listeners. Other audience members were delighted too, with Margaret and Jan from England describing the musicians as "beautiful by themselves" and their fusion of soft and strong, "intriguing and moving". Certainly the many layers (all deftly harmonised) of booming Gregorian chanting, compared with airy, rhythmic spontaneity of the bansuri proved unique -and would do even better to be paired with audience engagement.

AT THE HEART OF SUFI AFRICA 21:00 BAB AL MAKINA - Review: Lauren Crabbe  and Venetia Menzies

Mtendeni Maulid from Zanzibar
Sheikh Hamid Hossein Ahmad, Sheikh Ghanan and ensemble from High Egypt
Sheikh Papa Sow Djimbira Senegal
Nounou Salam, the song of Khadre Sufis of Senegal
Tidjani Samaa’ from Fez

One thing that is sure to unite Sufi singers from each corner of the Earth is their devotion to Allah, and belief in the power of music to connect them to the divine. Tonight we saw Sufi groups from High Egypt, Morocco, and Senegal, each with their own distinct musical rituals and historical traditions infused the songs.

In many ways, the styles were radically different, most apparent in the musicians' dress (white and beige djellabas for High Egypt and Morocco, sun-yellow or brown with colourful print for Senegal) down to the way they beat their drums; but they came together with staggering cohesion and brilliance.

At the Heart of Sufi Africa proved to be a visual, audial, and tactile feast, with the oneness of God and the brotherhood of man its central message. This theme of unity was apparent in both the heartening way the musicians sought to incorporate their audience into the music, and how they bolstered each other throughout the performance, despite minor hiccups including broken strings and misplaced drumsticks.

Accompanied by projections of a sandcastle and flames on a blue horizon, the Senegalese singers, led by Sheikh Papa Sow Djimbira, (pictured above) rumbled the floor with their spine-tingling bass harmonies, drummed like warriors, and held the microphone in the direction of the crowd, willing them to sing along. When their lead drummer accidentally misplaced his sticks onstage (easy to do when one is throwing them into the air between beats), the performance went on uninterupted, as he proceeded to beat the drum with his forehead and elbows instead.

Said Belcadi (pictured above), lead singer of the Arab-Andalusian ensemble (who performed last night), had only warmth on his face after chanting for half an hour when one of the young violinists appeared to snap part of his instrument. On the show went; even though (so far as we can tell from the programme) an ensemble from Zanzibar, Mtendeni Maulid, didn't make it to the stage. As the Arab-Andalusian musicians weren't listed in the programme either, perhaps it's possible they were standing in for the absentees.

Led by Sheikh Hamid Hossein Ahmad (pictured above), a blind singer and percussionist, the High Egyptian group brought new life to the stage as they swung their bodies from side to side, whirling like dervishes in a trance. The physicality of their performance was unrivalled, with continuous jumping and rhythmic grunting, their energy defying their age. Reminding the audience of their historic roots, indigenous Egyptian alphabets were projected onto the ancient fortress as the singers twirled, throwing their heads and chest back as if giving God their hearts.

The finale of the performance allowed the crowd to hear a medley of each group's musical traditions, as they joined each other at the front of the stage and sang in unison before a projection of glowing golden geometry. The audience rewarded these tireless performers with a standing ovation -- the first at Bab Makina this festival -- cheering and ululating in appreciation for what was, without a doubt, one of the strongest and most soulful performances this Fes Festival.

Sufi Nights:   La Hadra Chefchaounia - Review: Sandy McCutcheon

The most well known of Morocco's female Sufi groups is La Hadra Chefchaounia. Their original musical director was a formidible force in keeping the Hadra tradition alive. Lala Rhoum El Bakkali, a descendant of Sidi Ali Hajj Bakkali founded the zawiya (Sufi lodge) Bakkali of Chefchaoun. She is a professor of music and teaches piano and Arab-Andalusian music, in addition to previously acting as the leader and musical director for La Hadra Chefchaounia.

There has been a change in leadership and the group is now headed by Khira Afazaz (pictured above). The Hadra Chefchaounia has performed locally, nationally and internationally in Germany, the Netherlands, Algeria, France, Belgium, and Spain.

The group took to the stage on time and were given a very warm welcome by the predominantly female audience.  There were a surprising number of young children present most of whom were totally engrossed in the performance. 

The Hadra Chefchaounia have a distinctive sound that harnesses the melodies and rhythms from the Northern Moroccan Andalusian tradition of Chefchaouen. Using hand drums (gwal) and larger frame drums, they set up some interesting rhythms - at times complex and at others as simple as a heartbeat. It was an effortless performance that, with voices perfectly blended, delivered beautiful ethereal melodies in the Andalusian melodic mode.

Tomorrow @ the Festival

Goran Bregovic

SEPHARADE SONGS, FROM THE SACRED TO THE PROFANE 16:00 SYNAGOGUE

SAINT EPHRAIM MALE CHOIR AND BEATA PALYA, HUNGARY 16:30 JARDIN JNAN SBIL

GORAN BREGOVIC AND THE ORCHESTRA OF MARRIAGES AND BURIALS . THREE

LETTERS FROM SARAJEVO GORAN BREGOVIC 21:00 BAB AL MAKINA

SUFI NIGHTS TARIQA AISSAWIYA : MUQADDAM BELAHCEN 23:00 DAR TAZI

Festival weather: Same as today! 31 C down to 17 - perfect

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