Liberation as an intellectual mission [.] has now shifted from the [] domesticated dynamics of culture to its un-housed, decentred, and exilic energies, energies whose incarnation today is the migrant, and whose consciousness is that of the intellectual and artist in exile, the political figure between domains, between forms, between homes, and between languages. From this perspective then all things are indeed counter, original, spare, strange. Said, Culture and Imperialism, 1993, p.189 Unless otherwise cited, this article by sound artist Fari Bradley draws from various conversations and correspondence between herself, fellow sound artist Chris Weaver, and composer Halim El Dabh, between May and August of 2015. Courtesy of Mike Hovancsek. He received two Guggenheim fellowships (1959 and 1961), then held a faculty position at the Haile Selassie I University in Addis Ababa, Ethiopia (1962–64), and Howard University, Washington, D.C (1966–69). From 1969 through 1991 El Dabh was a member of the faculty of Kent State University and, from 1979, co-director of Kent State Center for the Study of World Music. Amongst other accolades he received the 1990 Cleveland Arts Prize.

In May 2001, El Dabh received an honorary doctorate from Kent State University, and another in 2007, from the New England Conservatory. Many of his operas, symphonies, ballets, concertos and orchestral pieces, theatre scores, chamber and electronic works have been performed at the Metropolitan Opera House in New York City, the Cairo Opera House and the Edinburgh Festival, in Amsterdam, Athens, London, Paris and Rome and in concert halls and churches throughout northeast Ohio. Now in his mid-90s, El Dabh continues to compose, connecting both his past and present, straddling not just geography but also the pre-digital and the digital ages. And though the Egyptian public did not hear most of his works until 2002 when he returned to Alexandria, he says he has carried Cairo – the people, the terrain, the sounds – with him.

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At a 2008 performance of his commissioned piece Symphony for 1,000 Drums by 1000 players at Fort Collins, Colorado, for the Peace Corp's Anniversary celebration, El Dabh addressed the crowd in an introduction to the performance. He expressed a theme that had formed the core of much of his own philosophy, which connected his present to his past, straddling not only different geographies, but also the pre-digital and the digital ages. Within the context of his cultural heritage, El Dabh referred to in his introduction as a survey of human attention. He expressed an animism that characterises not only early Egyptian early, but also the framework within which Expressions of Zaar had been composed; with the idea that there is no separation between the spiritual and physical (or material) worlds.

El Dabh expressed this by telling the audience that we have 'many gods who have been served very well', pointing out that that the feminine aspect of the divine (which he no doubt experienced in nature and in music) had been neglected for many centuries. In his introduction to the symphony, he invoked the goddesses of his homeland; Isis who was also the goddess of agriculture, as love and compassion, Ma'at as the balance in this universe and Oshun as 'the water that nourishes us'. Bb400 manual breville mixer.

For El Dabh, the natural connection within his works, which he invokes thorough vibration, is to what he describes as 'the reality of what it is to be a human being'. He went on to describe every single person in the audience as a vibration 'We are all one,' he implored: 'we have forgotten that.'

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