The 28th annual Boston College Arts Festival recently concluded, culminating in a magnificent grand finale featuring the Astaza! Middle East Ensemble. On Saturday evening, the ensemble graced the stage, presenting a captivating repertoire of music from the rich tapestry of the Middle East, specifically encompassing the Arab world, Iran, Turkey, and parts of Central Asia.

Astaza!, a distinguished ensemble at Boston College, serves as a vibrant platform for students and community members dedicated to learning and performing authentic Middle Eastern music, thereby fostering a deeper appreciation for this profound cultural heritage.

This year’s theme, “One Thousand and One Nights,” was a tribute to the timeless classic folktale of Scheherazade. This enduring narrative, celebrating wisdom and storytelling, recounts how Scheherazade, through her nightly tales, captivated a king and ultimately transformed his heart over 1,001 nights, symbolizing the power of narrative and cultural resilience.

Under the masterful direction of Nizar Fares, who also enriched the performance with his vocal artistry, the ensemble presented a visually stunning spectacle. Adorned in modern interpretations of traditional Arabic attire, embellished with shimmering rhinestones, they transported the Arts Fest audience into an enchanting realm, bridging ancient traditions with contemporary expression.

The concert commenced with a mesmerizing solo on the oud, a traditional pear-shaped instrument, its enchanting melody filling the venue and setting a reverent tone. Following a moment of profound silence, the ensemble united to perform “Üsküdar,” a cherished Ottoman tune, immediately recognized and celebrated by the diverse audience of friends, family, and students, who joined in clapping and singing the Arabic lyrics.

Fares encouraged collective participation, providing English translations and Arabic phonetic spellings in the program, ensuring that everyone, regardless of familiarity with the songs, could partake in the joyous celebration of culture.

Interspersed throughout the musical journey were poignant poetic recitations inspired by “One Thousand and One Nights.” Notably, “Musings on One Thousand and One Nights” by Hussam Jefee-Bahloul, one of Astaza’s master musicians, paid homage to Scheherazade’s unwavering courage in storytelling, even in the face of adversity. Bahloul eloquently articulated the profound essence of art: “Why, then, do we write, and sing, and tell stories? If not to save ourselves in the face of nothingness, ruin, and death.”

A heartwarming anecdote shared by Fares about his collection of music boxes led to a unique musical fusion. He presented a music box playing Giovanni Marradi’s “Arabesque,” which he masterfully blended with his own composition, “Danden Līa Laḥnān” (Hum Me a Tune). This segment culminated in an invitation for the audience to join the dabke, a vibrant traditional Levantine line dance, fostering an atmosphere of communal joy and cultural exchange.

The performance of this blended piece, commencing with “Arabesque” on the piano before the ensemble joined, created a harmonious synergy. Soon, musicians initiated the dabke, and without hesitation, a multi-generational crowd—students, parents, grandparents, and children—eagerly joined, forming a spirited, snaking line of dancers, embodying the unifying power of music and dance.

The grand finale featured “‘Alfi Lēla w Lēla,” or “One Thousand and One Nights,” soulfully soloed by Manale, Nizar Fares’ mother. The entire audience rose to their feet, singing along in a powerful display of unity and cultural pride. This multi-generational performance beautifully underscored the enduring appeal and rich legacy of Middle Eastern musical culture, inviting all to partake in its timeless celebration.