Mohammed Fairouz, Composer HARDtalk


Mohammed Fairouz, Composer

Stephen Sackur talks to US-Emirati composer Mohammed Fairouz, a youthful artist who has spent much of his creative life defying boundaries and stereotypes.


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Now on BBC News it's time for HARDtalk.

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Mohammed Fairouz, a youthful artist who has spent much

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of his creative life defying boundaries and stereotypes.

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His work ranges from symphonies to opera, to unique fusions

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He's an Arab educated and resident in the West,

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an outspoken advocate for creative freedom who nonetheless rails

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against western cultural imperialism.

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His aim is to foster cultural crossover rather than confrontation,

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but can this artist avoid taking sides?

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Mohammed Fairouz, welcome to heart talk. It is great to be here. Arab

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parents, but schooling and residential life a lot of it in the

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US and some in the UK. In terms of the tradition which is the bedrock

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of your music, would you say it is Western or Arab? The truthful answer

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is that it is much more of a mess than that. Music has no respect for

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borders, sound has no respect for walls. You go to Jerusalem and you

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hear the bells from the Hollis -- wholly support intermingle with the

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mask. Put it this way, people who speak many languages, they talk

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about the language they are dreaming. Do you have a musical

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language which is your instinctive first language? That is where music

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is particularly special. It bypasses all of that because you cannot have

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figurative... I cannot paint a fork in music, it gets passed that and

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goes to the things that are truly universal about human beings, the

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beating of the heart, the human voice, it is energy say you cannot

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have a monopoly on energy or sound. They have mixed for thousands of

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years so if I am to be honest and genuine in answering that question,

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because of what I know, I know how much of a mess it is. It is a very

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frank answer but you have been to some very formalised musical

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schools, you have done the conservatory school in the US and

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also worked with classical Arabic musicians. When you say to them I am

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a fusion kid, do they say you cannot do that because you are not respect

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think the integrity of our tradition? When I went to the

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conservatory, what was really fascinating was walking into music

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history calls and you sort of start with the Greeks and then you skip

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over, there is a blind spot and then you are in the Middle Ages and you

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do not touch on any nonwestern using. You literally have are book

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called following Western music but when you go to Aleppo, what you

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discover all of the stuff from Hildegard, Mozart, Bach, came from

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another civilisation and vice-versa. You find people saying more often,

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wow, we recognise that. That is one of our lullabies. That is one of the

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things we much people off the wall, to serenade our loved ones. You have

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written symphonies and operas, works we serve associate with traditional

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music. I am alive. I am not a classical composer. Most at was a

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classical composer, 18th century period. I am not that old. You said

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I could get off the plane and here put Java in music and they get to a

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club and listen to Beyonce and then a band in Beirut and if I still

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sounded like Mozart after all of that, it would be kind of weird. How

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far it you take this fusion approach? I think as far as it has

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always been taken. I think people have been exchanging ideas

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creatively for centuries, millennia and every Renaissance has been

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refined by the breaking down of boundaries and walls, sharing ideas,

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discovering what people have in common and amplifying each other's

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strengths. To give an idea of how you do this, let's play a clip. This

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is a fascinating performance by an Indian dancer using your music.

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It is beautiful to look at. I wonder how much collaboration there is,

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when you work with the beautiful dancer, you have worked with famous

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poets, how deep is the collaboration. I have to admit, this

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was found well before we imagined Donald Trump would ever be our

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president but it was proposed to be in a reality TV fashion that made me

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very suspicious. When the BBC said they wanted to do this, they said

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you have five days. From scratch. I said, that is impossible. I have

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never met the woman. She has never been to New York. And not only was

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there this Bollywood dance tradition that have thousands of years of

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baggage and history that I did not know much about, there was also

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David cracker, the clarinettist, was bringing a Jewish tradition of...

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You can hear it... Where you go to those Eastern European villages were

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those people are no longer there, the Holocaust, they left the

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country, whatever, they left the country, they are dead, or they were

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killed by the ideas were not dead. You still here the sound. It is

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impossible to kill that energy, impossible to kill an idea even

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though you can kill people. There was the classical stodgy thing of

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the quartet as well coming together and what is magical is that it

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worked. It worked. It is like we could have not spoken the same

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language and yet the fluidity of the human body, the universality of what

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she was doing, she understood the reason. There were things that were

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just be on the need to try to translate and it worked and we did

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it in five days and I think that is sort of like a controlled

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experiment. It is really interesting. Let's switch focus, you

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talk with such passion about finding common ground with an artist like

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her, here you have never met before, purely in artistic terms but a lot

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of your work, the recent work, has had a real world political edge to

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it. To what extent these days are you as an Arab American feel that

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you need to use your art to explore politics? Well, I think an interest

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in statecraft and politics has been something that has defined by work.

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For many years. I think that when a politician comes on the show, they

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are basically coming to sell something and they are asking people

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to give them something - power. And an artist is doing something that is

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very different from that. They are offering ideas and insight into the

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internal human condition and societies are human beings

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multiplied... Offering ideas all delivering polemics and various

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specific critiques. Just looking at recent things, the dictator 's wife,

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which you put on a Washington, DC just before the Trump in duration

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seem to be a direct message about authoritarian corruption that might

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be taken as a your feeling, Warwick, about Donald Trump coming to the

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White House. Of course but I think that the thing about this, Kennedy

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had a great way of putting this, if Donald Trump was in the White House

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during the Cuban missile crisis I probably will never have been born.

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The temperance, the idea of understanding that power has its

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limitations, that wilting power has its limitations and indeed it

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Kennedy did say where power corrupts poetry cleanses. There is a special

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accountability that artists can hold people in power too. Your

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consciousness is very much affected by being an Arab American in an era,

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as we know, Donald Trump in particular with his travel ban on

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certain Muslim countries, appears to associate Muslims... These are my

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words not his... Muslims from particular countries with terrorism.

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As an American citizen, how does that make you feel? I would like to

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emphasise that I do not really think... I think Donald Trump

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represents something that is an outgrowth of at least 60 years of

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decline in one of our political parties in our country that has

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refused to participate in our democratic process, the Republican

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Party and as far as his views on the Muslims are concerned, I think this

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cut to the heart of what we would call a clash of civilisations. This

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is the reason why a clash of civilisations is not happening.

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Sadiq Khan was marching in pride, the Mayor of London, and he probably

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shares a lot of use with Angela Merkel, treating people with

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dignity, being inclusive is, it these are global cities. Insisting

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that someone is your enemy... I am going to stop you. I think it is

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useful to have a representation in Sound and vision. In the Netherlands

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you put on a show, the new prince, which played with images of US

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politics including a character appearing to be based on Donald

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Trump. Let's have a quick look at that now. (MUSIC PLAYING). .

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You have tried preventing us from living. You have tried preventing us

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from living. Chains and irons. Chains and irons.

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Pounding of locks. Keys and bars. Keys and bars. So many arresting

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images that I don't know where to begin almost. One thing strikes me.

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You have put on different forms of music, particular lay operas, which

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clearly carry a critique of power, especially Western exercise of that

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power. But one thing you have in your career is anything that really,

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clearly takes on, confronts, and criticises, the Arab world, you

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don't talk about that. Why is that? I criticise political power around

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the world. I wrote several articles criticising several Arab

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governments. I have been vocal in my critique. What I do think is that

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the West and the Arab world can help each other if they approach each

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other in a more genuine way. I think there is this sense that we are

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going to criticise imperialism coming from the West and the West is

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going to take 40-year-old critiques of the Arab world rather than other

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things we can solve together. There are universal values we have

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together. You are a publicly out gay man and an artist and frankly, you

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would find life in many parts of the Arabian Gulf, Saudi Arabia, the

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Emirates, where your parents are from, you would find life there in

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possible, not least because being gay, being actively gay, is a

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criminal offence that is severely punishable in Saudi Arabia,

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potentially by death itself. But you don't speak out about that at all. I

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have spoken out about sexual repression in Middle Eastern

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countries and Western countries. If I may enter up, you have criticised

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Human Rights Watch, Amnesty International, for you the hour mark

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what you regard as culturally inappropriate analysis. -- for what

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you. You say they are using a completely Western and non-nuanced

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understanding of homosexuality in the Arab world, but I don't

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understand that. They are approaching it with a noninclusive

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point of view that does not take into consideration... I mean, you

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define me as a gay man which I don't identify with in that way... What do

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you mean by that? There are really no Arabic words for "Gay" or

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"Straight." And I Axley find the idea of being "straight" kind of

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strange. There is a tradition and it is quite different. We are coming to

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a point, I think, in the Western world, where we are talking about

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non- binary definitions of sexuality. OK? We are talking about

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fluidity in sexuality. The Arab world, go back, thousands of years

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of tradition in this form. There are a lot of people in the Arab world

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who would like to identify with the tradition that they belong to and

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enjoy equal rights with their fellow citizens. I believe that all Arab

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nations must guarantee equal protection is for all citizens of.

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Would your work, could it be put on in your country of heritage, the

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United Arab Emirates, or Saudi, Kuwait, Bahrain, is there any

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ability for you to do this in the Arab world itself? My song cycle,

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called Songs From Ibin Havesh, based on his same-sex love poetry. They

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have been done in the United Arab Emirates. I have another song with

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baritones and male singers in the West who have identified and seen

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this. And it has been done over there. And they are not only done,

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they are taught and memorised by people over there. I will ask you

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before we end about something very current and relevant for you being

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in the UK. You put on a performance at a big Manchester Arts Festival, a

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musical performance. You are doing it only weeks after a man of Libyan

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origin, a young man, a militant, appearing to be loyal in his own way

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to so-called Islamic State, he put a bomb inside an Ariana Grande

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concert, killing women and children. Do you believe your music and your

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message about the bridge building and the cultural cross-fertilisation

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that can happen through music, do you think about, right now, can make

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a difference to the thinking of people in a city like Manchester?

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Not why itself. I mean, it has been said you must love one another or

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die. He meant it. We have two options. We have a serious issue

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with violence erupting throughout the world. Some of it is linked to

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extremist thought and to radicalisation. I would urge an

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uncoupling of what is, as a matter of fact, a small number of people

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from the second-largest civilisation in human history. That gives them

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legitimacy that they crave. It gives them association they do not need to

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have... But they are Muslims and they are coming out of a very small

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number of mosques inspired by a very small number of militant imams and

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other leaders, and... Absolutely. Absolutely. You cannot deny the

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Muslim origin of this problem. Absolutely not. But what you can say

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and understand are once again fact. You know, we have had zero suicide

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attacks in most countries. The Netherlands, UAE, we have just had

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under 3000 people die of suicide attacks between 1982 and 2015 in the

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United States. We have had, in the United States, at least 30,000

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people die as a result of gun violence every year since 1982 at

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least. I see the crosses, the KKK, I see they have them and burn them. I

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do not associate them with such a mainstream movement as Christianity,

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because the majority of people, Christians, have nothing to do with

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that. What you need is people who believe in civilisation, believing

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perversity, who believe in inclusion, people from all

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backgrounds, Sadiq Khan, Angela Merkel, from the UAE, to come

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together and oppose people who incite hate. They need to do that in

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the US, especially against people like Donald Trump. Your music is a

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part of that? It is forced to be a part of it because I am living in

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this age. Mohammed Fairouz, we have the end it there. But thank you so

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much for being on HARDtalk thank you. Thank you.

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Plenty going on with our weather in the next few days.

:24:14.:24:19.

Ups and downs to come during the week ahead.

:24:20.:24:21.

If you like sunshine, the weekend ended on a high note

:24:22.:24:25.

Stephen Sackur talks to US-Emirati composer Mohammed Fairouz, a youthful artist who has spent much of his creative life defying boundaries and stereotypes. His work ranges from symphonies to opera, to unique fusions of music and poetry. He's an Arab educated and resident in the West, an outspoken advocate for creative freedom who nonetheless rails against western cultural imperialism. His aim is to foster cultural crossover rather than confrontation, but can this artist avoid taking sides?