‘NIYAZ: The Fourth Light Project’
Photograph courtesy of SRO Artists INC
February 25, 2020 | Genesis Botello
As performers of “NIYAZ: The Fourth Light Project” took the stage in Weill Hall on Thursday, Feb. 20, the room was darkened, opening into the sensational show with exotic rhythms, outstanding acoustics, and the melancholy vocals and percussion of Azam Ali’s voice. The background was visually engaging as the interactive technology demonstrated the projection of swaying smoke and points of light that connected into geometric forms: an interactive creation by the designer/visual artist, Jerome Delapierre.
“Tonight, we will embark upon a journey with sound, light, and movement. It is a multi-sensory celebration of the soul’s journey toward perfection and truth by means of love and devotion,” said the performers.
Niyaz offers a new kind of Digital Scenography and live musical experience that merges virtual and real space, bringing the audience into the performance. It first debuted its music in Montreal, Canada in 2016. Since then, the group has been touring internationally. The visuals capture the audience with movement and coordination of the performers with the three-dimensional projected environment.
One of the performances begins with a mapping of clustered lights, shaped into a building with arched openings. The projection fills the back wall of the stage, as a woman is curled up with a black cloth draped over her body. The audience is silently awaiting the next move by the performer. The woman slowly erects her body and moves towards the front of the stage. She then begins twirling, while Azam Ali follows behind her and sings in a solemn voice. The combination of the performance and music immersed the audience into the feeling of sorrow and hope. The song ends with the twirling woman, reverting into an arched--over position and backing away into the dark.
Audience members of all types of cultural and religious backgrounds enjoyed the global music. The music is a blend of ancient Sufi poetry and folk songs from the Middle East to India, accompanied by acoustic instrumentation and state-of-the-art modern electronics. In addition to Azam Ali’s vocals, there are instruments played by musicians; instruments like the electric kamann, fafta, kaval, kopuz, tabla, and whirling dervish create artistic sounds. The music allows a type of human connection and understanding without the need of comprehending the language of the music.
Prior to the concert, Niyaz spent Wednesday, Feb. 19 at Sonoma State University and spoke to liberal art studies students and first-year seminar classes, sharing information about cultural appropriation and identity. The team carried forth, visiting a gender studies class, where students learned about feminism in the East and the West, how they overlap and their differences. Art and technology classes also benefited by learning about design and media. They are known for their community work and contribution to education.
Many of the songs from the album are described as feminist.
“It is a journey that honors one of the greatest women of the East. Born in the 8th century in modern-day Iraq into a life of extreme poverty and suffering, Rabia Al Basri sought liberation through struggle. She became known as the mother of Sufism for setting forth the doctrine of love and nonduality,” described Niyaz.
In addition to other songs, such as “Aurat (Woman),” that seek gender equality, its music delivers a deep social conscience that is uplifting and transformative: a worthwhile delve for students seeking an entirely new, engaging sound of music.
You can find this article in the STAR Newspaper for Sonoma State University.
