The taarab is a key concept in Arabic music. It is something like aesthetic shock, the moment of rupture with the real, when the music ceases to be an artistic experience to become a seizure drag the interpreter and the listener. The associated taarab, how not to, with great Umm Kelthum but in reality is something akin to the moment, with passion and life. In proceedings of Nusrat Fateh Ali Khan, the teacher of Pakistani qawali, there were always tough big men bowed in tears in love with his song. That's taarab. When intense flamenco moments someone leaves the seat driven by an invisible spring and pulls in a soul that sounds like ole bulging through the mouth, also taarab. ¿Las adolescentes arañándose It means, dehechas pulling their hair into shouts to Enrique Iglesias? Well why not, it can also be taarab. The shock.

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I go to Julien Weiss overwhelmed by the weight of his name: essential reference of the best music learned Arabic, French-born but resident for three decades in Syria, in a palace of the fourteenth century Mamluk, surrounded by Sufi teachers of Islam that he professes. Their conversations are about astrology, medieval princes, musicology, and photos of their albums never smiles. I walk as if to meet Leonardo da Vinci… ET or. But the smile is the first thing that gives me an interview for fresh start, full of winks, of sharp humor and friendly.