“Songs of the Departed” is a documentary currently under production that focuses on the musical stories of Syrian refugees in the Bekaa Valley of Lebanon.
During waves of mass displacement and war, “folk traditions” can often be threatened. However in the midst of that, there remain native artists - not professionally trained, who continue to practice their talents as part of their daily lives in refugee camps.
“Songs of the Departed” follows a group of musicians and hakawatis (traditional folk storytellers), whose art has been forced into a detour from its natural course, traversing instead the same difficult route of the refugee as its Syrian artisans
Through their daily challenges and against the backdrop of war and displacement, these talented artisans were captured on film sharing songs of the departed and offering explanations for why they continue to sing.
For director Majd Al-Hamwi and production team George Al-Khoury and Ahmad Khouja, the documentary is a labor of love.
The film is the brainchild of its producer George, a Syrian refugee who came to Lebanon in 2012.
As a humanitarian aid worker and fixer for journalists in most of Lebanon’s refugee camps, George came up with the idea for Songs of the Departed after working with and befriending the artists captured in the film.
Traveling from camp to camp in the past few years with a derbakeh (goblet drum) in his car, George says he was always ready and willing to start a party upon arriving.
Through the experiences of a number of those artists George became acquainted with in his travels, the film explores traditional folk art practices, their impact on the artists’ social environment and the possibilities of their survival.
The film’s cast of characters and their respective talents are varied and unique; Hassan, a young amateur singer who improvises ’Ataba (Arabic dirges or laments) and folk songs in a poetry perhaps only he can understand; Abu Fahd, a rababa (ancient Arabic stringed instrument) player and folk singer with a burly but welcoming voice; Khaled, a Sufi munshid (religious vocalist) who performs trance-like rituals with his family; Abu Suleiman, an exuberant hakawati (folk storyteller) with a fable for every occasion; and Abu Rateb, a professional butcher with a voice that’ll make you cry.
The film strives to focus on how art relates to the main characters’ daily lives, and on the impact this has on their environment. It also tries to convey a sense that these art forms could survive, be passed on to the next generation and developed, even under such circumstances as those of refugees living in makeshift camps.
One of the most important goals the filmmakers hope to achieve is to initiate the formation of a creative network between these different artists; to help them develop a sense of community that will inspire them to meet, get to know each other better and explore the possibilities of bringing their art forms together .
So far the filmmakers have traveled to the characters’ homes at least 15 separate times during the research phase of their project which was initially self-funded.
They are now working on raising financial support to cover the cost of 25-30 more filming trips, recording sessions, rehearsals and lessons needed to complete the production phase of the film.
At a time when refugees are being represented in a predominantly negative light and their plight is being overlooked and disregarded in the 24-hour news cycle, the filmmakers feel it is important to focus on a different narrative than refugees as passive, weak characters with no power.
The film also focuses on the very real and tangible effects that folk music and art have on the lives of people even under the most dire of circumstances, a message that needs to be created visually and then viewed widely in order to counteract the stereotypes perpetuated by mainstream media and dominant political outlets.
“There is beauty and honesty in their voices, their songs, their stories that is hard to come by,” the filmmakers wrote on their fundraiser website.
“We also feel the film needs to be made as it encourages and supports the characters themselves; they may not need the film nor the basic support it offers, but through the visits we have taken thus far we have witnessed the project bring them pride, excitement and aspiration.”
Completing a film of this nature is not a simple task and the filmmakers have had to overcome many challenges.
Traveling between several camps in the Bekaa Valley and south Lebanon as they follow the film’s five main characters and supporting characters is demanding; not only from a logistics, security and storyline perspective, but also for the challenges involved with helping them meet their most basic needs.
Many of the characters are barely managing to make ends meet and while the filmmakers acknowledge it is not their role to serve as aid relief, it is neither their philosophy nor their methodology to enter into the world of refugees with the same lack of compassion that greets them everywhere.
Maintaining open lines of communication that convey a willingness to help when they are able with issues both large and small, George’s phone is often filled with messages and calls informing him of a problem or a need.
The guys do their best to strike a balance that assists and supports where needed without setting a tone of dependency or expectation.
It can be a tricky line to walk, but one that has become easier as George and the production crew have built relationships with the characters and their communities.
The most challenging obstacle they face right now is trying to beat the clock.
George was offered a visa sponsorship to Canada and while Majd and Ahmad are happy for him, they are also sad about losing their friend and creative partner.
They have approximately three months left to complete the production phase of “Songs of the Departed” with George as part of the team
