The song calls out US President Joe Biden stating: ‘blood is on your hands’.
Screenshot from this TikTok video showing Macklemore perform Hind’s Hall for the first time, in New Zealand on 07 May 2024.
While on tour in New Zealand earlier this week, US rapper Macklemore surprised his fans by performing his newest song, Hind’s Hall, which he had just released the day before. “Yesterday [Tuesday], I put out a song called ‘Hind’s Hall’ – can I play it for you guys?” Macklemore asked the crowd and before that he declared solidarity with the Palestinian people: “I stand here today and every day forward for the rest of my life in solidarity with the people of Palestine, with an open heart, in the belief that our collective liberation is at stake – that we all deserve freedom in this life of ours,”
Macklemore released the new song on X (formerly Twitter) and stated that once the song is up on streaming platforms all proceeds will be given to UNRWA. The post features a lyric video with images of recent campus protests, the ongoing genocide in Gaza and more.
The song title refers to campus protests at Columbia University in the US. Student’s occupied what is called Hamilton’s Hall and renamed it Hind’s Hall, in reference to and in remembrance of 6-year old Hind Rajab who was killed by Israeli forces on January 29 2024.
Dunja Bahtijarević is a poet, singer and translator. She performs traditional songs and explores musical contexts that breathe new life into them. Photo: Lav Turski via Balkan Diskurs, used with permission.
This article by Bojana Radić was originally published by the Post-Conflict Research Center on Balkan Diskurs and within the first edition of MIR Magazine. MIR, which means ‘peace’ in Bosnian is an annual publication and platform for young inventive people. An edited version has been republished by Global Voices under a content sharing agreement.
Sevdalinka (also known as sevdah) is the folk musical expression of Bosnia and Herzegovina. The word sevdalinka comes from the Arabic word sawda which means ‘black bile’ — one of the four bodily ‘humors’ — that was believed to determine the melancholic state.
In Bosnian, sevdah took on the meaning of longing and of a zealous and sorrowful love. It is not possible to determine the exact period of the origin of sevdalinka, but it is assumed that it was created right after the Ottoman conquest of medieval Bosnia when the first urban settlements emerged. As they settled, the Ottomans brought with them certain musical traditions and melodies, which were representative particularly of the Asia Minor area. These melodies are part of a melodic system called makam and have their own characteristics, which the peoples of the Balkans adapted to their emotions with their singing. Sevdalinka is primarily an urban folk song of Bosniaks, but it is also popular throughout southeast Europe.
Musically, sevdalinka is characterized by a light, slow tempo and rich harmony, which leave a melancholy feeling with the listener. They are very structurally complex songs and imbued with emotions, and they are traditionally performed with a lot of passion and soul. Like any art form, the traditional music of this area has its laws, history and future, and many performers opt for more modern performances of older versions by adding their personal stamp.
“The sevdah I sing is a wonderful genre that combines poetry and music in a miraculous way. I see it as a field of new possibilities,” reveals Damir Imamović, Bosnian musician, performer of traditional music, and singer-songwriter of sevdalinka.
He has performed in several bands and founded the Damir Imamović Sevdah Takht band in 2012. He also writes his own songs and says that nothing more than the inexplicable beauty of a text or melody will drive him to record a song. The song “Pjevat ćemo šta nam srce zna” (We’ll Sing What Our Heart Knows) performed by Amira Medunjanin was written by Damir. The album “Singer of Tales“ received the Best of Europe award after being at the top of the Transglobal chart for months. Of the 100 best world music albums, he took sixth place and the album was also declared the best in the category of traditional music by the German Association of Music Critics.
Damir Imamović stands as a luminary figure in the realm of Bosnian music, wielding expertise as a musician, singer, composer, and preeminent authority on the traditional melodies of Bosnia and Herzegovina, specifically the evocative “sevdalinka” or “sevdah.” Photo: Almin Zrno via Balkan Diskurs, used with permission.
When talking about the best in the world of sevdalinka, it is impossible not to mention Biljana Krstić from Serbia. After a career in pop music, in 2001 she founded the Bistrik band through which she promotes ethno-musicological heritage. So far, they have released four albums: “Bistrik,” “Zapisi,” “Tarpoš,” and “Izvorište.”
“Tarpoš” featured in British world music magazine Songlines’ ‘Top of the world’ selection, as well as winning French magazine TRAD’Mag’s ‘Bravos’ award for lyrics of the month.
In addition to many other numerous awards, Biljana Krstić and Bistrik received the ‘Vitez srpske muzike’ (Knight of Serbian Music) award in 2009, and in 2015 Krstić and Miki Stanojević won the Grand Prix award for the music from the film “Branio sam mladu Bosnu” (lit. “I Defended Young Bosnia,” official translation “The Man Who Defended Gavrilo Princip”).
Krstić says:
Those songs of distant ancestors both make me happy and heal me at the same time. When I just remember how much time I spent with old music and audio recordings, with archive and field recordings… I listened to them God knows how many times, analyzed them, and learned to sing them. The source of traditional texts is always clear and strong. Those beautiful songs strike directly into the heart and flood the banks of all your senses. You feel as if time has been suspended, which is complemented by immense satisfaction and joy.
For Vera Josifovska-Miloševska from Macedonia, traditional music is also a living, breathing thing. She is the vocalist of Ljubojna, one of the most prominent and most representative bands of traditional music. The band was formed in 2001 and in 2005, they recorded their debut album “Parite se otepuvačka” (Money brings death — a Macedonian proverb and theatre play).
In 2012, Vera Miloševska was chosen among the 12 best vocalists from the Balkans to participate in the Regional Cooperation Council project ‘Les femmes des Balkans.’
“What connects me to traditional music is love. These local melodies gain contemporary progression and expression through my singing,” she says.
Vera Miloševska Josifovska is one of the most important contemporary performers of Macedonia. Photo: Vlatko Chachorovski via Balkan Diskurs, used with permission.
Among the newer performers of traditional music, it is worth singling out the Zagreb ethno-group Kazan. They were formed in 2012 and their debut album “Ružo” was released in 2018. Singer Dunja Bahtijarević says that it is important for her that traditional music be reinterpreted within a contemporary framework.
Although there are different approaches, I think that traditional music is preserved by putting it in a contemporary context through adaptation and reinterpretation. At the beginning, I didn’t even know where my desire for exploring traditional music came from. At first, the songs were just beautiful to me, and then I discovered the opportunity of marrying something very authentic in myself and something very universal, or even modern, in those songs. All the songs survived because people have found themselves in them.
For Bahtijarević, as for the other artists, what is most inspiring is the dimension of time and the path that the songs have travelled from their inception to their current form.
For some people, music is a healing power, for some it is entertainment, and for others it is a life saving shelter. For Lisa Marie Simmons, music plays a role that encompasses all of the above. After a difficult childhood Simmons found solace in music and poetry which eventually led her on a path of art and exploration around the world. She finally settled in Italy where she leads two different ensembles , Hippe Tendencies and NoteSpeak, along with producer and songwriter Marco Cremaschini.
Simmons and Cremaschini released NoteSpeak 12 back in February, an eclectic mix of jazz, hip-hop beats, fusion and spoken word that grooves seamlessly throughout. Simmons’ work is always socially conscious she told me via email. Samia from their first NoteSpeak album was inspired by a documentary Simmons saw about the sad story of Samia Yusuf Omar. Simmons found the author of the book that the documentary was based on: Don’t Tell Me You’re Afraid by Giuseppe Catozzella. Simmons wanted to shine a light on the horrendous numbers of refugees lost to the sea every year, an end to life that she, if not for the luck of a birthplace, might have had to endure herself. Simmons went further in her research for the song and eventually made contact with Samia’s sister, who did make it across the Mediterranean, who gave her blessing for Simmons to share Samia’s story in song.
HK: What’s the backstory here?
LM: I grew up in the U.S., in Boulder, Colorado of the 70s and 80s – hippiedom and counterculture movements. Progressive yes in many ways, culturally diverse, not at all. I was adopted and raised by a Black father and a white mother and I found myself navigating the complexities of race and identity from a young age. My upbringing was marked by a blend of tension and creativity, as I sought refuge in words and music to escape the abuse in our household and the challenges of being a minority in a predominantly white community.
HK: Do you find yourself connected equally to both music and writing?
LM: Absolutely. Music and writing have always been intertwined in my life, serving as both a form of expression and activism. I’ve found solace and empowerment in both mediums. Whether through songs, essays, poems or stories, I strive to amplify marginalized voices and challenge societal norms.
HK: And perhaps an activist as well?
LM: Without a doubt. Activism is at the core of my identity and creative endeavors. I’ve been involved in various social movements throughout my life. My activism manifests through my art, as I use music and writing to advocate for change and do my best to inspire others to join the fight for justice.
My journey as a multi-disciplinary storyteller has been shaped by my experiences growing up as often the only Black person in the room. Through my art, I strive to challenge, among other issues, systemic racism, white supremacy and the patriarchy one song and one poem at a time.
HK: Have you always been concerned about the world around you, the politics of it all?
LM: Growing up in a predominantly white community, and the household I did, there was not much I could find that reflected me. In the town library, though, I found books by people like Alice Walker, James Baldwin and Maya Angelou that showed me another world and how the past informs the present; the institutional racism woven into the fabric of America from its inception. I was keenly aware of the injustices and inequalities that existed in my own home town which helped build empathy for those outside of my experience. I firmly believe that sharing our stories is the key to building compassion. From a young age, I found myself drawn to activism and social justice, whether it was participating in protests or in movements like streaking (Boulder in the 70s!).
Young Lisa Marie, painted by her adoptive mother (used with permission).
HK: Has your music always been a tool and a voice for the oppressed or the voiceless, or was there a switch at one point?
LM: Music in general has always been a powerful tool for expressing and reflecting the issues of today. From my earliest encounters with literature and music, I was drawn to works that spoke truth to power and shed light on social injustices. I have tried since I began writing and composing to amplify the voices of those whose stories are not in the mainstream’s consciousness. I often use my own intimate and personal experiences to speak to larger issues. From the moment I witnessed the power of protest and expression as a child, I knew that music would be my medium for challenging the status quo. While my approach to activism and advocacy has evolved over the years, my commitment to using stories as a medium for connection has remained steadfast. Whether through songs, essays or poetry, I continue to use my art as a platform for change and empowerment.
HK: Can you tell me a bit about the process of making NoteSpeak 12 and what you wanted to achieve with it?
LM: The making of NoteSpeak 12 was a journey filled with serendipitous encounters and creative synergy. My co-founder, Marco Cremaschini, and I met in Brescia in 2005 after several near misses of crossing paths over the years. Our collaboration began as a result of our shared passion for music, both of us drawn to the others’ artistry. After so many years of working with one another it was an organic evolution from our first band Hippie Tendencies to the NoteSpeak project. The first album was NoteSpeak (Amori e Tragedie In Musica), NoteSpeak 12 was the sophomore offering and we are currently working on the third in the trilogy. We are intent on making sure Marco’s compositions and my words complement each other seamlessly.
Our creative process is collaborative and dynamic. We exchange ideas, trade work, and continuously push each other to explore new territories. The songs on NoteSpeak 12 are a reflection of this shared vision, each with its own story and inspiration. Some songs started from poetry, while others began with the music. Some musical ideas were mine, some concepts for the poems were Marco’s but all were intricately woven together to form a cohesive and expressive whole.
Our goal with NoteSpeak is to create a body of work that transcends traditional boundaries of music and poetry. We wanted to blur the lines between spoken word and music, allowing each to complement and enhance the other. Through this fusion, we aimed to convey a range of emotions and experiences, from introspective reflection to impassioned protest.
With NoteSpeak 12, Marco and I sought to continue this tradition by using our art as a platform for social commentary and protest. Each song on the album carries themes of resilience and resistance, addressing issues ranging from immigration to environmentalism. Through our music and poetry, we strive to spark dialogue, inspire action, and give voice to those who may otherwise go unheard. Through our collaboration, we hope to challenge conventions, provoke thought, and ultimately, effect change.
HK:Musicians that sing about politics, animal rights, women‘s rights and raise awareness about different issues sometimes get backlash and are told to keep politics out of music. What is your take on the connection between music and activism in your opinion? Why can music be such a powerful tool for getting a message across?
LM: Speaking out politically is not just the artist’s right; it is imperative. In the course of shopping for a home for NoteSpeak (Amori e Tragedie In Musica), an A&R guy at a well-known indie label chastised me when I sent him the project, saying that, “It is not the musician’s job to be political.” I find it pretty much impossible to understand that stance. However, I know many musicians decline to perform for any political party for various reasons, chief among them not to risk alienating any fans who may be across the aisle. But to say that musicians should not voice an opinion on political issues makes me wonder what that A&R dude had been listening to. Famously, Bob Dylan refuses to endorse a political party, but c’mon now, the history of his oeuvre makes it very clear where he stands on a variety of issues. In today’s tumultuous political landscape, it’s more crucial than ever for artists to stand up and be heard, especially when faced with the cacophony of our world order’s rhetoric. I’m keenly aware that we are privileged in our birth countries, more so even by the fact that we can take the time to wrestle with such questions. Exceedingly lucky that we don’t suffer more pressing issues, such as having to take three hours out of our day to fetch water,fight for the right to an education, battle the suppression of free thought, or countless other obstacles. If the artist does not hold up a mirror to injustice we are missing an opportunity to effect positive change.
HK: Are you following other contemporary artists whom you‘d like to give a shout out to? Are you aware of other musicians, perhaps in your local scene or elsewhere, who use their talents in a similiar way as you? (I understand that you are in Italy at the moment, so you might have interesting perspectives on the music scenes there and in your native home?).
LM: So many. Esperanza Spalding, Aja Monet, Saul Williams, Ani DiFranco, Evan Greer, Angélique Kidjo, Buffy Sainte-Marie, Sarah Gee, and on and on and on. As for using their talents in a similiar way- there’s nothing new under the sun, except we are each our own little universe, our experiences form how we see and respond to what surrounds us, so each, if digging deep, is entirely unique. In Italy there’s a long history of musicians working for social change like DeAndrè, DeGregori, Gaber etc. Today there are voices from Afro Italians like writer, journalist, activist Igiaba Scego, whois a fiercely dedicated leader as is author, journalist, activist Cristina Ali Farah, another whom I deeply admire. Director, writer and actor Alfie Nze is making incredible films that inspire dialogue. Model and activist Bellamy has created the digital platform AfroItalian Souls celebrating AfroItalians while simultaneously providing a space to amplify black Italian voices. Afro-Italian queer immigration activist Medhin Paolos is a photographer, filmmaker, and musician whose current project in collaboration with Harvard University, “Mind the Gap” will have far-reaching effects as the heart of the work will be implemented in Italian classrooms. Activist Karima 2G makes music with a message. ARTivist Kwanza Musi Dos Santos is getting national attention with her non-profit work, as is interpreter, journalist, and activist Uche Bridget, and so many more, there are way too many marvels disguised as humans to list here. In my own little corner of Italia, I am awed by and honored to work with: Uno Collective, activist Francesca Sanneh is one of the collective’s intrepid leaders whose commitment and tireless energy to the cause inspires me daily – and Afrobrix. Musicians: Osasmuede Aigbe, Eva Fuedo Shoo, Daniela Savoldi, and Anna Bassy are talent and beauty personified while fighting the good fight.
HK:What musicians, authors or activists have inspired you in your life? What kind of extra curricular activism (outside your art) do you partake in, in one way or another?
LM: Again the list is endless. The usual luminaries Angela Davis, Alice Walker, Maya Angelou, Sonia Sanchez, Nina Simone, Audre Lorde, Mari Evans, James Baldwin, Toni Morrison, Nikki Giovanni, Billie Holiday, Marvin Gaye, Gil Scott-Heron and so many more. Coming of age in Boulder there were also the influences of Joan Baez, Woodie Guthrie, Bob Dylan and, again, so many more. As for extra curricular activism, I believe in living a life of conviction, and demonstrating one‘s ideals in every facet of the path we walk. You can find essays on my advocating for the rights of Black birth fathers, sharing stories on DAWTA the podcast with my co-host Dionne Draper to support the transracial adoptee community, writing about the racism in my adoptive mother’s family.
HK: What is on the horizon for you, musically and in life?
LM: At our artist residency at SUNY Oneonta in November we began writing the new NoteSpeak album in earnest and have begun full band rehearsals, now I’m hunting for the funds to head back into the studio to record it. Then we’ll tour it as widely as we can and perhaps I’ll then have more concentrated time to continue the work on my semi-autobiographical novel.
HK: Anything else you‘d like to shout from the rooftops?
