 Dear friends, it's a very special honour, I'd like to say, to welcome the next artist. Actually not normally an artist, but an actist from Afghanistan. She came to Norway just after Taliban took over. She lives in hiding, even here in Norway, because of her situation. And she performs for the first time live ever, for us, and for her homeland. And I think in this situation you will have the lyrics. It goes for many homelands, but she sings for her homeland. The sound is, let's say, slightly distorted by a board member in Safe News and composer Julian Skar. So please welcome Incognito. My name is Guru Kleveland, I'm the editor of the music library Balade. I'm going to have a conversation here with three women who come from different countries in the world. Cuba, Venezuela and Egypt. While they are making up a little bit, I would like to say that I'm thinking of Samuel Beckett through the day. One of the absurdities of the semester. He said or writes in a screenplay, we can't go on, we go on. And what I think is very important, because the work that has been done in the world, and in the country, in the world 20%, it's a bit of a primeval amount of money, a country that can be called free. But I will also quote Diakan, who very many know, who was a musician and who is a filmmaker and activist. Balade made a pretty big interview with her in December 2020 in the association that she won the award of free speech, which she was awarded in January 2021. Do you want to understand the importance of music and art? You have to see what impressive regimes they make. The first to be shot by artists and intellectuals. Dictators understand that art brings us together. To stand up against something is what makes us human, gives us hope and makes us alive. To control people, they have to leave art. Then I would like to welcome Yasmin El-Baramawi from Egypt. Please give him a round of applause. Daya Myras from Cuba. And Ayveen Bruno from Venezuela. We are just going to chill here in the city, so we are not so familiar with the four of us here. It will be a bit of Norwegian, Spanish and English. So Dabeen, I will start with Yasmin. You're a woman, you're an wood player, you're a sound artist, you're a composer. And you have taken a clear position against the patriarchal regime of your home country. And you have moved to Europe, to Sweden, Malmö, to perform your artistic work. How did you get here? I got here through ICORN, I got approved and then I was chosen from Malmöstad to relocate to Malmö. And how did you gather the strength and your persistence personally and as an artist to be here today, to perform your arts and to be the musician and composer, the artist that you are today? My persistence mostly comes from being incapable to do that before and being charged and not able to express. So I like came out or started to think positive when I arrived here. So it was all the negative oppression that I had as a woman that was energy blocked inside me. I don't know, I'm a storage of bad energy, I'm a store, you know, like store stuff. Did you know that you were aware of this kind of blocked energy when you lived in Egypt or did it become visible for you when you got out of Egypt? To sort of see yourself in a perspective. No, actually it felt when I bounced up, but also I felt it there. Like mostly the last five years in Egypt I was at my home unless I travel. Like I just leave my home to the airport only. So I was detached from my country for the last five years. So I know I was in a bad situation also before I come here. But the bounce up was really, I was really active and it was expected. Like many people told me that people when they move to a foreign country, in the beginning they have difficulties to integrate or to understand the system or the habits of the people or how to work or whatever. But I was really eager to learn and participate in everything because I was locked and I was happy that I was out, mostly out of my head. Out of your head. So what's the difference now as a woman and as an artist, Malmö and Egypt, Sweden, Nordic countries and Egypt? The difference now is that I have many projects. Like I can, I have a project with a visual artist about trauma. I would never do that in Egypt. And I would put all my thoughts about how to deal with the trauma or how trauma changes the person. And to have the possibility to do that in installation or video with a visual artist and then doing the sound. This is something I would never be able to do when I was in Egypt. I'm also feeling more encouraged to do weird stuff. Weird stuff? Like for instance? Like playing sound of animals on, I don't know, on my microtones and have like an elephant or a buffalo or anything I think of. In a context that can, I don't know how to... Would that be impossible for you to do in Egypt? Yeah, because I added to some religious verses and this is completely illegal to do. Oh. You have previously talked about how it is a problem in itself to be a woman in Egypt. That is, you are not expected to be a musician unless you're a singer when you're a woman and teachers refuse to teach female musicians or students. Or they actually sexual assault female music students. Women are always underestimated is another thing you said and that as a woman you simply are not included. So what do you think of your position now as a role model? Do you see yourself as a role model for girls, young women in Egypt? I don't know. I didn't think of that. I felt I was a role model when I was in Egypt like when I reacted and initiated stuff in Egypt like nine years ago. This is when I felt like I was a role model but now I'm really not thinking about Egypt. So maybe I am if they see me on social media but I'm not thinking about it. The first of your question was about sexual, they don't sexually assault, they sexually harass the teacher. Or maybe like blackmail. And being a woman is not just a problem in Egypt, it's a problem. Point. Full stop. Yeah, full stop. And it varies how bad it is from a location to another. It can be worse or bad. So yeah, that's it. What are your goals now? I produced my album and I have like three other projects I'm working on. The one about trauma and one about the Northern Lights. I don't know how I'm going to do that. About the Northern Lights? Yeah. And one with a French drummer and it will have more of installations and weird things. We're looking forward to that. Okay, we'll move on to Diana. Diana and Ross. We're going to speak Norwegian. Are you Spanish? I'm not that good at Spanish so I think I'm better at Norwegian. But you've lived in Norway for a long time. How long? I've lived there since 18th of July. Yeah. You've also told us that you experienced an awakening after you moved to Norway from Cuba. That you can clearly see what you've been through and what kind of regime you've been in. And that you can speak freely now. Can you tell us a little bit about that and what it means to you? Yeah, it has been an awakening journey. To come from a country you've lived in for 22 years. And you have to be a wonder man who knew how to be a murderer and a dictator. Except that you know about that. We're indoctrinated from... You go to the first class in Cuba. It was in the morning when the school was closed. You said that you support communism and that you want to be like Che Guevara. So you come to Norway and read about Che Guevara. I remember that I cried for a week. Why? Because... As I said, we speak a lot about what we get for free. But it's very limited. We're indoctrinated. I didn't have the picture of Che Guevara. I got with me after I came to Norway. And I found a book about Che Guevara. So I gave the whole picture of Che Guevara. I didn't know about that. Because the government came to Cuba. So it's a day you've lived in a big city all your life. So it was a big thing for me. Because I believed in the revolution. I believed in what was said. I didn't know about that. You have just one party that tells you what to do, what to think. Then you come to Norway. And here are several parties. My first meeting in Norwegian was a criticism to Bondevik. I will never forget that. I didn't know much about Norway. But when I read it, I can pick up a few words. This is a criticism to the prime minister. It never happens in Cuba. If you can express yourself freely, without any form or consequence. So I wasn't used to using my voice against the uncertainty of a time. I don't think it would be a promise. And that's what I've learned here in Norway. It's a journey. And to be able to live in a democratic country where everyone can have their own opinion. Their opinions, without fear of repression and consequences. That can be metaphorical. In Cuba, you can be tortured. You can be harassed. Even if the child turns into Cuba because of his political opinions. So. When you work as a child in kindergarten. And you work with a teacher. Was that in your life? Yes. How do you experience studying in Norway? There is a big contrast. When you come from Cuba, you think it's only in Cuba. You get free education. The regime is written a lot about you. Then you come to Norway. You get free education. And I had a big problem when I started studying in Norway. They expect me to be critical. That's what you read. But how could my children be critical? And I said, I didn't get it. Should I be critical? No, no, it's not possible. And then focus or should I focus? So that took about two years. Because I have an A. And there I stand. I have to be critical. You use your voice. You show your identity. So it's also that studying in Norway has been a new journey. In Cuba. We talk a lot about freedom of expression. But it's not about freedom of thought. You get free education. And that's what you should learn. Don't think without getting free education. Don't think without getting free education. So it's also been a day's journey. I've learned a lot. And you have used, what should I say, the awakening and the thoughts and the power of you in order to create a society called Cuba Gambia. That you created last fall. Can you tell us a little bit about that society? What is it? And what does it look like? And then Cuba Gambia means Cuba change. And that happened last fall. So I'm excited to hear about it. Almost the whole of Cuba is out protesting. And they wish for freedom, they say. They call for freedom. It's the sea of people who go out on the streets. And have their voices. They've never seen Cuba before. And that's what I'm against. I've been following this powerlessness. And I'm being provoked. And I'm not doing anything for my people. But when the children gather in Cuba, I thought, if they've lost their freedom, then why can't I do that when I live in Norway? Because even if you live in Norway, it's far away from Cuba, you live under the control of the embassy. You can call, they know where your family lives. You will be believed, they will be believed down there. So I think we have to do something here in Norway. So Cuba Gambia, formalities for Cuba Gambia, you are asking for it. I hope, I had your organization with several other children who live in Norway, who have lost their freedom. And some others who are on their way, what can I say, with the organization, because they don't care and come out of the political landscape that I have chosen. And that's why we want to gather both the Cuban and Cuba lovers to work for the democratic process. We dream of Cuba as a goal here and now politicians and now the Norwegian people. Because I think we have to stop romanticizing the image we have of Cuba. So the object of the subject, there are a lot of fallacies down there, and the world has to know. That's what's being censored by the Cuban. They don't dare to say their opinions, but the rules of the past, what happens in Cuba, because what comes out is very... it's monopolar, when the whole communication is in Cuba. It's all about mass media. So it limits the goal to get information about what's going on behind the scenes. I got to know this in connection with the preparations for the last summer in July. It was a big and peaceful demonstration in Cuba. Can you tell us what happened? What happens is that the Cuban people lack food. They are in a queue for many hours to get food and medicines. They also lack freedom. I think I'm a bit tired. I miss everything. There was one protestant who said, I have lived longer without food and medicines, but now I have freedom. And that says a lot. People went on the street to protest. They didn't have weapons with them. But the president sent revolutionaries who called it civil policy. They were shot, they were sentenced to death. There was a lot of violence in Cuban cities. I was very happy. I saw that people went out to protest. But when I saw what happened later, I thought, how long and how long are they willing to go to keep power? How much do they need to be? It was a long time ago. There was a child, an old man who was raped just because of his political opinion. And the prison? The prison is 20-25 years old. They use sentences that are not punishable. You see what happens with you. You stand against the regime. They have been punished for long, long sentences. They are talking about more children than we know. Around a thousand? What we know? What happens in Cuba. I was surprised when the president came out. He and he. What happened is that we have 5 children this time because of their political opinions. But they meant that all those who took part in the demonstration were sold and paid by the Americans. That's the old discourse that goes down there. They did it because they were paid. Someone who didn't prove it. Someone we don't know is not right. But yes, we don't know the numbers because they censored the information. Yes, that's true. We will go a little further. Ayvin, do you know? Yes, from Venezuela. And now he lives in Spain. Spain, yes. He lives in Spain. In Barcelona. Barcelona? Yes. Tell us a little bit about Venezuela and tell us what you came up with. Well... Hard. Quite hard because leaving your home is leaving your people, your heat, your customs and your children. In Latin America we are very affectionate, very warm and it has been a shock to come to Barcelona and that there was a little distance for me it was not to be able to hug or not to be able to say my love, my life, these types of words. And besides that I had to separate from my parents and I came with my sister to live in winter that in Venezuela does not exist. Every year we have 18 degrees and to face another language because in Catalonia it is called Catalan. Why did you leave Venezuela? Why did you leave Venezuela? Because it was very insecure. You could not live with tranquility and your life expectancy both economic and social were zero. I did not want to leave my country because I did not want to, it was precious and I am in love with my country. But if it is true that you saw that people around you were going through kidnapping, thefts, deaths and you did not want to live that. And my mother practically forced us to leave. And without wanting, against my mother's decision I now know that it was the best decision and at that moment it was very good. I am so sorry. No problem. There are terrible causes even though not only for art but for all people, social, economic Medicines. So it is extremely difficult to live in Venezuela. For a mother and wish that her daughter or her dead children will come out and be able to live their lives that is what we all understand. Exactly. And now I understand it. After seven years my mother has given me a lesson that is the best for you even though she has also wanted to separate. The band that will all experience here tonight? The band. It is a pure female salsa band. There are not so many of them. Tell us about the Lascaramba background and the shape and message. Barcelona is very cosmopolitan and allows you to get people from the world to the whole world. So the Lascarambas are five different countries we are six and we are five countries and it was natural to want to share music. Then by joining us and being all women there was a need to communicate our need to change the machista world in which we were born. Our intention is mainly to enjoy and that everyone can dance our music that they feel happy and that they live a healthy experience but it is accompanied by the message to leave the world a little better than what we find. You have a strong artistic profile you also have a strong political profile both gender-political and as a voice to the oppressed and the marginalized. How do you get out of your art as a woman out and as an artist with a strong political identity? Everything is like a one everything is complemented every step I take I try to follow my ideals and not to be seen intervened because of fear of rejection or whatever you say but in every step I take I also learn because going against what is already established generates debate and it helps me with the music because in a subtle way and through dance rhythms I can take messages that may be strong to talk about. We are starting to get closer to the end I have a question for all of you I will pose the same question to all of you how can you use this day a day like a frequency today and the 8th of March the International Women's Day how can you use those kinds of days to work for artists freedom as well as artistic freedom in your countries and from where we are now? I want to say it because I said I don't care this has gone back to when you asked me about being a role model that I care for the women in Egypt but I don't care if I am a role model that's what I wanted to say gatherings like this it's like a way to network and to help each other to deliver or to aware people more in our countries to be more capable to do that and I am releasing a book on the 8th of March about three women I worked on it it's a drawing it's like a comic book and it will be released online on the 8th of March and published and sold like printed and published online and this project I was working on since 2017 it talks about virginity tests it talks about rape it talks about violence not just sexual violence also violence against women and it has some graphic I don't know like drawings but it's very three strong stories and these kind of things because it's undescribable so it is really important that people can see it drawn pictures as far as you can make pictures of among other things the Tahira it impacts also like videos it impacts people more because they tend to deny and they tend to claim that women exaggerate so to put this truth in their faces is really important and words can be proportional but when you see it like obviously with your eye you cannot say that this is not bad you can obviously see that this is bad and if you say this is normal like you will be you will be not believed so it's a graphic novel and you release it on the 8th of March and it consists of three stories autobiographical stories all three of them and one of them is from and all who worked on this book are women and three artists draw the stories and three women like me who were working with the artist on drawing the story and a doctor for feminism and anthropology in the United States in New Mexico was editing with us everything and helping us with finding resources to print it and have like a grant for it or a publisher so this work happened for like five years we're doing that and finally it will be published next week I believe this graphic novel will have massive impact in a lot of countries there is an English and Arabic version of it brilliant well done if you answer in Norwegian how we can use it on the 8th of March in a way that that we contribute to the work of artists and artist freedom we should not take the same time for God I am glad that I live in a country where everyone is the same and everyone is the same we have to move forward women's voices not just in Norway but in other parts of the world so I think it's very positive what we use that day to mark that women have lived under unbearable conditions because they are weak so I think it's very valuable that we have the opportunity to lift up women's voices I think we should have a support between us if we support each other so that the union has the strength if we all are looking for that place that corresponds to society and join us and that the message is strong and that it really is a change that we feel and that we live every day that when we speak we know that when we listen to the next we have achieved that change that when we express ourselves when we live the way we treat ourselves we live that change and that not only between women but the new generations we give them a little applause for them to say okay we have to finish off now but I would like to say a huge and heartfelt thank you to all of you to Yasmin, to Dayami and to Ivan for sharing, inspiring and motivating us all thank you so much thank you so that's it that's it that's it that's it I just want to say a big thank you to all of you not least thanks to the situation we are in Russia and Ukraine and Russia's invasion in Ukraine so once again let the final comment Ville we have to show solidarity we have the opportunity for it art is not a luxury it is a human necessity it's time to welcome on stage Yasmin El Baramavi for the time being guest artist in the icon city of Malmo and from Egypt and then on Tuesday Rasmus Svalecher Golun from Copenhagen thank you thank you