{"id":6411,"date":"2017-03-16T15:30:25","date_gmt":"2017-03-16T22:30:25","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=6411"},"modified":"2017-04-06T09:29:53","modified_gmt":"2017-04-06T16:29:53","slug":"letter-from-lebanon-refugees-escape-war-with-the-help-of-classical-guitar","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/letter-from-lebanon-refugees-escape-war-with-the-help-of-classical-guitar\/","title":{"rendered":"Letter from Lebanon: Refugees Escape War with the Help of Classical Guitar"},"content":{"rendered":"
From the Spring 2017 issue of Classical Guitar<\/em> | BY SUSAN MCDONALD<\/h6>\n

Shots rang out, and the children sitting in a semi-circle on the ground in front of me stiffened, watching for my reaction. My hands froze for just an instant as I glanced quickly around the room for any escape, any hiding place. There was none. If my worst nightmare had come true and ISIS had broken through the border, all was lost. There was nothing I or anyone else could do. I continued playing, smiling at the children who were sitting on the floor in front of me. They relaxed. They had been through worse.<\/p>\n

This was all new to me. I was used to performing in many types of circumstances, from deep in the Amazon to Iraq, but this felt a bit extreme even by my standards. I had come to Lebanon under the auspices of American Voices, an international organization whose unofficial motto is \u201cArt in Difficult Places.\u201d Not that Lebanon itself was difficult\u2014far from it. We had found the country to be extremely gracious and welcoming, and it had served us well not only in our mission of cultural diplomacy but also in acting as a safe hub for our students coming from Iraq and Syria to attend our teaching program. As director of the guitar program for YES Academy (Youth Excellence Onstage) at the University of Notre Dame Louaize (Lebanon) and director of international programs for Fine Arts Foundation, my mission was twofold: I had come early to give concerts in Syrian refugee camps throughout Lebanon, delivering musical instruments and art supplies, and hoping to offer a brief respite from the hell the children had experienced. The next phase would be to work with advanced students from Lebanon, Jordan, Iraq, and neighboring Syria.<\/p>\n

Our students were all very skilled players, coming from the most sophisticated conservatories in the region. This was the second year for the guitar program and I was filled with anticipation. The year before, when I had started the program, I\u2019d had the opportunity to work with eight advanced students. Three of them had come late, having struggled to make it across the border from Syria for two weeks of relief from the unending barrage of mortar fire and military checkpoints. This year, those three students, plus the fourth member of their quartet, were to be my teaching assistants and would be in charge of the program for younger kids.<\/p>\n

Word of the program had spread and this year I was set up to have 19 students, with 14 coming from Syria. I was anxious to see whether they would make it across the border. Since we were in a relatively remote area without cell phone reception, I wouldn\u2019t know until we had made it back to Beirut.<\/p>\n

I was deep in the Beqaa Valley of Lebanon, well within the \u201cred zone\u201d on all of the embassy maps\u2014the area where even necessity did not warrant travel for American citizens, and where the embassy had no responsibility and no real ability to protect me.<\/p>\n

We had gotten lost on the way here. Waving towards a mountain range several miles away, I asked my driver what was over the mountains<\/span>.<\/p>\n

\u201cSyria,<\/span>\u201d h<\/span>e replied.<\/span><\/p>\n

I notice<\/span>d a<\/span>s w<\/span>e drov<\/span>e pas<\/span>t mile<\/span>s an<\/span>d mile<\/span>s o<\/span>f refuge<\/span>e encampment<\/span>s tha<\/span>t man<\/span>y of<\/span> th<\/span>e peopl<\/span>e wer<\/span>e ver<\/span>y well-dressed<\/span>. I ha<\/span>d eve<\/span>n see<\/span>n severa<\/span>l luxur<\/span>y car<\/span>s parke<\/span>d nex<\/span>t to th<\/span>e UNHC<\/span>R tent<\/span>s an<\/span>d realize<\/span>d tha<\/span>t thes<\/span>e peopl<\/span>e wh<\/span>o ha<\/span>d fle<\/span>d i<\/span>n th<\/span>e middl<\/span>e o<\/span>f th<\/span>e nigh<\/span>t t<\/span>o Lebano<\/span>n ha<\/span>d bee<\/span>n well-to-d<\/span>o befor<\/span>e everythin<\/span>g ha<\/span>d falle<\/span>n apart<\/span>. The<\/span>y were doctors<\/span>, lawyers<\/span>, engineers<\/span>, professors. Th<\/span>e fac<\/span>t tha<\/span>t th<\/span>e famil<\/span>y ca<\/span>r wa<\/span>s a Mercedes didn\u2019<\/span>t preven<\/span>t ISI<\/span>S fro<\/span>m comin<\/span>g t<\/span>o slaughte<\/span>r everyon<\/span>e i<\/span>n th<\/span>e middl<\/span>e o<\/span>f th<\/span>e night<\/span>. These wer<\/span>e th<\/span>e peopl<\/span>e wh<\/span>o hadn\u2019<\/span>t lef<\/span>t th<\/span>e countr<\/span>y i<\/span>n time<\/span>, wh<\/span>o ha<\/span>d though<\/span>t thei<\/span>r position<\/span>s in societ<\/span>y woul<\/span>d protec<\/span>t them<\/span>. No<\/span>w the<\/span>y wer<\/span>e huddle<\/span>d unde<\/span>r tarp<\/span>s wit<\/span>h n<\/span>o electricity<\/span>, no water<\/span>, an<\/span>d n<\/span>o hope.<\/span><\/p>\n

W<\/span>e finall<\/span>y mad<\/span>e i<\/span>t t<\/span>o th<\/span>e las<\/span>t refuge<\/span>e cente<\/span>r o<\/span>f th<\/span>e da<\/span>y an<\/span>d a grou<\/span>p o<\/span>f littl<\/span>e girl<\/span>s i<\/span>n hijab<\/span>s cam<\/span>e runnin<\/span>g ou<\/span>t t<\/span>o gree<\/span>t me<\/span>. \u201cW<\/span>e lov<\/span>e you<\/span>, Miss!<\/span>\u201d the<\/span>y giggled<\/span>, huggin<\/span>g me. On<\/span>e littl<\/span>e gir<\/span>l followe<\/span>d m<\/span>e aroun<\/span>d everywher<\/span>e I went<\/span>, sittin<\/span>g nex<\/span>t t<\/span>o m<\/span>e and occasionall<\/span>y strokin<\/span>g m<\/span>y hair<\/span>. I aske<\/span>d a voluntee<\/span>r wha<\/span>t he<\/span>r stor<\/span>y was.<\/span><\/p>\n

\u201cHe<\/span>r mothe<\/span>r wa<\/span>s killed<\/span>. I<\/span>n fron<\/span>t o<\/span>f her.\u201d<\/span><\/p>\n

I hugge<\/span>d th<\/span>e littl<\/span>e girl<\/span>, the<\/span>n gav<\/span>e he<\/span>r a peacoc<\/span>k feathe<\/span>r an<\/span>d le<\/span>t he<\/span>r stru<\/span>m a few chord<\/span>s o<\/span>n m<\/span>y guitar<\/span>. Sh<\/span>e nestle<\/span>d u<\/span>p nex<\/span>t t<\/span>o me<\/span>. I kisse<\/span>d th<\/span>e to<\/span>p o<\/span>f he<\/span>r head.<\/span><\/p>\n

O<\/span>n ou<\/span>r retur<\/span>n t<\/span>o Beirut<\/span>, a ca<\/span>r swerve<\/span>d int<\/span>o ou<\/span>r lane<\/span>, sideswipin<\/span>g u<\/span>s an<\/span>d sendin<\/span>g us <\/span>off the road. As I waited for our driver to return from checking on the other driver, I finall<\/span>y receive<\/span>d th<\/span>e cal<\/span>l I ha<\/span>d bee<\/span>n waitin<\/span>g for<\/span>. Th<\/span>e Syrian<\/span>s ha<\/span>d mad<\/span>e i<\/span>t acros<\/span>s th<\/span>e border<\/span>! The<\/span>y ha<\/span>d gon<\/span>e throug<\/span>h a tremendou<\/span>s amoun<\/span>t o<\/span>f effor<\/span>t t<\/span>o ge<\/span>t here<\/span>. The<\/span>y had rise<\/span>n befor<\/span>e daw<\/span>n t<\/span>o tak<\/span>e taxi<\/span>s fro<\/span>m Damascu<\/span>s t<\/span>o Beirut<\/span>. Althoug<\/span>h America<\/span>n Voices an<\/span>d the Fin<\/span>e Art<\/span>s Foundatio<\/span>n wa<\/span>s payin<\/span>g fo<\/span>r i<\/span>t all<\/span>, the<\/span>y stil<\/span>l ha<\/span>d t<\/span>o borro<\/span>w mone<\/span>y from famil<\/span>y an<\/span>d friend<\/span>s t<\/span>o sho<\/span>w a<\/span>t th<\/span>e borde<\/span>r s<\/span>o the<\/span>y woul<\/span>d b<\/span>e allowe<\/span>d int<\/span>o Lebanon<\/span>. They ha<\/span>d letter<\/span>s fro<\/span>m us<\/span>, fro<\/span>m th<\/span>e universit<\/span>y an<\/span>d eve<\/span>n fro<\/span>m th<\/span>e America<\/span>n Embassy<\/span>, bu<\/span>t none o<\/span>f i<\/span>t wa<\/span>s enough<\/span>; the<\/span>y were stil<\/span>l hel<\/span>d fo<\/span>r hour<\/span>s a<\/span>t th<\/span>e borde<\/span>r i<\/span>n preparatio<\/span>n for<\/span> bein<\/span>g sen<\/span>t bac<\/span>k t<\/span>o Syria<\/span>. Finall<\/span>y, th<\/span>e U<\/span>N ha<\/span>d gotte<\/span>n involve<\/span>d an<\/span>d the<\/span>y wer<\/span>e o<\/span>n their way.<\/span><\/p>\n

M<\/span>y student<\/span>s wer<\/span>e waitin<\/span>g whe<\/span>n w<\/span>e finall<\/span>y arrive<\/span>d bac<\/span>k a<\/span>t th<\/span>e university<\/span>. The<\/span>y wer<\/span>e al<\/span>l line<\/span>d u<\/span>p t<\/span>o gree<\/span>t me<\/span>, waitin<\/span>g wit<\/span>h smile<\/span>s an<\/span>d hugs<\/span>. I ha<\/span>d see<\/span>n thei<\/span>r video<\/span>s an<\/span>d felt tha<\/span>t I kne<\/span>w the<\/span>m already<\/span>. The<\/span>y al<\/span>l playe<\/span>d o<\/span>n a<\/span>n extremel<\/span>y hig<\/span>h level<\/span>: Dyens<\/span>, Rodrigo, Villa-Lobos..<\/span>. The<\/span>y studie<\/span>d a<\/span>t th<\/span>e Highe<\/span>r Institut<\/span>e o<\/span>f Musi<\/span>c i<\/span>n Damascus<\/span>, whic<\/span>h wa<\/span>s a musica<\/span>l oasi<\/span>s i<\/span>n th<\/span>e mids<\/span>t o<\/span>f war<\/span>. I<\/span>t was<\/span>, essentially<\/span>, th<\/span>e Julliar<\/span>d o<\/span>f th<\/span>e Middle East, turnin<\/span>g ou<\/span>t concert-leve<\/span>l musicians<\/span>. Syri<\/span>a ha<\/span>d a grea<\/span>t traditio<\/span>n o<\/span>f classica<\/span>l music<\/span>. For<\/span> al<\/span>l tha<\/span>t coul<\/span>d b<\/span>e sai<\/span>d abou<\/span>t th<\/span>e Assa<\/span>d regime<\/span>, ther<\/span>e wa<\/span>s stil<\/span>l stron<\/span>g suppor<\/span>t fo<\/span>r th<\/span>e arts. Man<\/span>y o<\/span>f th<\/span>e building<\/span>s wer<\/span>e stil<\/span>l intac<\/span>t an<\/span>d concert<\/span>s continue<\/span>d throughou<\/span>t th<\/span>e war<\/span>. Even i<\/span>n th<\/span>e mids<\/span>t o<\/span>f mortars<\/span>, whic<\/span>h al<\/span>l o<\/span>f m<\/span>y student<\/span>s ha<\/span>d experience<\/span>d\u2014severa<\/span>l ha<\/span>d the scar<\/span>s t<\/span>o prov<\/span>e i<\/span>t\u2014performance<\/span>s continued.<\/span><\/p>\n

\"Susan<\/p>\n

I asked them a little bit about their lives in Syria, careful to skirt around any topic that migh<\/span>t b<\/span>e dangerou<\/span>s fo<\/span>r them.<\/span><\/p>\n

The<\/span>y struggle<\/span>d wit<\/span>h the lac<\/span>k o<\/span>f electricit<\/span>y an<\/span>d th<\/span>e accompanyin<\/span>g bedla<\/span>m o<\/span>f the generators<\/span>, morta<\/span>r fir<\/span>e, an<\/span>d th<\/span>e constan<\/span>t fea<\/span>r o<\/span>f bein<\/span>g stoppe<\/span>d a<\/span>t checkpoint<\/span>s t<\/span>o b<\/span>e conscripte<\/span>d int<\/span>o Assad\u2019<\/span>s army<\/span>, wher<\/span>e the<\/span>y woul<\/span>d serv<\/span>e a<\/span>s fodde<\/span>r o<\/span>n th<\/span>e fron<\/span>t lines agains<\/span>t thei<\/span>r fello<\/span>w citizens<\/span>. O<\/span>r worse<\/span>, i<\/span>f a checkpoin<\/span>t was controlle<\/span>d b<\/span>y ISIS<\/span>, they riske<\/span>d havin<\/span>g thei<\/span>r phone<\/span>s searched<\/span>. I<\/span>f an<\/span>y o<\/span>f th<\/span>e photo<\/span>s showe<\/span>d tha<\/span>t the<\/span>y were musicians<\/span>, the<\/span>y riske<\/span>d amputation<\/span>, sinc<\/span>e musi<\/span>c wa<\/span>s forbidde<\/span>n unde<\/span>r tha<\/span>t particularly twiste<\/span>d bran<\/span>d o<\/span>f fanaticism.<\/span><\/p>\n

There were specific physica<\/span>l problem<\/span>s I ha<\/span>d neve<\/span>r encountere<\/span>d i<\/span>n al<\/span>l o<\/span>f m<\/span>y year<\/span>s o<\/span>f teaching<\/span>. Si<\/span>x year<\/span>s o<\/span>f wa<\/span>r ha<\/span>d create<\/span>d hunched<\/span>, protectiv<\/span>e postures in many players<\/span>. The<\/span>y al<\/span>l had nec<\/span>k problems<\/span>. I<\/span>t wa<\/span>s almos<\/span>t a<\/span>s i<\/span>f the<\/span>y wer<\/span>e tryin<\/span>g t<\/span>o protec<\/span>t themselve<\/span>s b<\/span>y drawing thei<\/span>r neck<\/span>s int<\/span>o thei<\/span>r bodies<\/span>. Tha<\/span>t i<\/span>n tur<\/span>n cause<\/span>d nerv<\/span>e issue<\/span>s an<\/span>d problem<\/span>s that affecte<\/span>d thei<\/span>r arm<\/span>s an<\/span>d hands<\/span>. I couldn\u2019<\/span>t imagin<\/span>e ho<\/span>w I woul<\/span>d b<\/span>e abl<\/span>e t<\/span>o fi<\/span>x them in two shor<\/span>t weeks<\/span>. I kne<\/span>w tha<\/span>t m<\/span>y wor<\/span>k wit<\/span>h the<\/span>m woul<\/span>d continu<\/span>e lon<\/span>g afte<\/span>r w<\/span>e ha<\/span>d all returne<\/span>d home<\/span>. I wa<\/span>s gratefu<\/span>l fo<\/span>r th<\/span>e internet.<\/span><\/p>\n

First I had them breathe. \u201cEvery time you exhale,\u201d I told them, \u201cimagine that all of the tension<\/span>, al<\/span>l o<\/span>f th<\/span>e fear<\/span>, al<\/span>l o<\/span>f th<\/span>e worr<\/span>y i<\/span>s bein<\/span>g released<\/span>. Driv<\/span>e i<\/span>t ou<\/span>t wit<\/span>h ever<\/span>y breath.\u201d The<\/span>y visibl<\/span>y relaxed.<\/span><\/p>\n

\u201cWhe<\/span>n yo<\/span>u inhale<\/span>, imagin<\/span>e ligh<\/span>t an<\/span>d strengt<\/span>h fillin<\/span>g you<\/span>r body<\/span>, straightenin<\/span>g you<\/span>r spine.<\/span>\u201d The<\/span>y close<\/span>d thei<\/span>r eye<\/span>s an<\/span>d di<\/span>d a<\/span>s I said<\/span>. Thei<\/span>r shoulder<\/span>s relaxed<\/span>. I fel<\/span>t a<\/span>s i<\/span>f I wer<\/span>e par<\/span>t o<\/span>f som<\/span>e hol<\/span>y ritual<\/span>. I wa<\/span>s no<\/span>t th<\/span>e teache<\/span>r here<\/span>. I wa<\/span>s jus<\/span>t par<\/span>t o<\/span>f wha<\/span>t was happening.<\/span><\/p>\n

I went around the room and, one by one, took their hands. They were brittle and tense. \u201cLet go,\u201d I said. There was a marginal shift. \u201cCompletely,\u201d I said, holding their hands. Their hands felt like frightened animals, practically trembling with stress. \u201cYou are safe here. Let me hold your hands. You don\u2019t need to do anything. Just relax.\u201d One by one, they let go. It was the same each time. Once they wrapped their heads around the feeling of safety, they surrendered. Completely.<\/span><\/p>\n

At the end of the class, I asked each student to play something short and to tell me why they played music. As I listened to their answers, I tried to hold myself together.<\/span><\/p>\n

\u201cOur lives are terrible… without music.\u201d \u201cIt\u2019<\/span>s lik<\/span>e Heaven\u2019<\/span>s stairs.\u201d<\/span><\/p>\n

\u201cWhen the bombs are going off, sometimes we think, \u2018If I get killed… it will not be so bad.\u2019 And then I pick up my guitar and it is OK that I live.\u201d<\/p>\n

\u201cBecause for us music is a matter of life and death.\u201d<\/p>\n

The truth was this was so much more than teaching. I was committed to these students<\/span>. The<\/span>y ha<\/span>d becom<\/span>e m<\/span>y musica<\/span>l godchildren.<\/span><\/p>\n

I gav<\/span>e the<\/span>m everythin<\/span>g I had musically<\/span>, physically<\/span>, spirituall<\/span>y\u2014eve<\/span>n financially<\/span>. An<\/span>d ye<\/span>t wha<\/span>t the<\/span>y gav<\/span>e m<\/span>e wa<\/span>s s<\/span>o muc<\/span>h more<\/span>. The<\/span>y renewe<\/span>d m<\/span>y faith<\/span>, m<\/span>y confidenc<\/span>e i<\/span>n m<\/span>y pat<\/span>h, an<\/span>d eve<\/span>n m<\/span>y music<\/span>. Throug<\/span>h them<\/span>, I onc<\/span>e agai<\/span>n accesse<\/span>d al<\/span>l tha<\/span>t I mos<\/span>t love<\/span>d abou<\/span>t music<\/span>: th<\/span>e passion, th<\/span>e surrende<\/span>r t<\/span>o beauty<\/span>, th<\/span>e sens<\/span>e o<\/span>f communio<\/span>n wit<\/span>h thos<\/span>e aroun<\/span>d me<\/span>. Mos<\/span>t o<\/span>f all<\/span>, I sa<\/span>w wit<\/span>h fres<\/span>h eye<\/span>s th<\/span>e tremendous<\/span>, sacred<\/span>, weight<\/span>y gif<\/span>t I ha<\/span>d bee<\/span>n give<\/span>n wit<\/span>h my driv<\/span>e t<\/span>o pursu<\/span>e th<\/span>e lif<\/span>e o<\/span>f a musician.<\/span><\/p>\n

I knew that I needed to fortify them in the face of the storm to which they must return. Realizing how profoundly affected they were by every word I said to them, I gave them images to work with, ideas that went well beyond music but which were perfectly expressed through music: \u201cI firmly believe that every positive note, every sound, every act of beauty, serves to counteract something negative somewhere else. So every time you play a note, send it out into the world. Feel the weight of your arms and push the strings into the guitar. Let the sound resonate. Let it work its mission on the world. Overcome darkness with each note.\u201d<\/p>\n

I let each of them play my guitar. They would sit down, play a few notes, and then clos<\/span>e thei<\/span>r eyes<\/span>, listenin<\/span>g t<\/span>o eac<\/span>h not<\/span>e a<\/span>s i<\/span>t ran<\/span>g ou<\/span>t sweetl<\/span>y an<\/span>d strongly<\/span>, an<\/span>d smil<\/span>e in pur<\/span>e bliss<\/span>. I kne<\/span>w tha<\/span>t whe<\/span>n the<\/span>y playe<\/span>d thei<\/span>r ow<\/span>n guitar<\/span>s the<\/span>y woul<\/span>d remembe<\/span>r the soun<\/span>d the<\/span>y gotte<\/span>n fro<\/span>m m<\/span>y Guillerm<\/span>o Pora<\/span>s Salaza<\/span>r guita<\/span>r an<\/span>d tr<\/span>y t<\/span>o emulat<\/span>e it<\/span>. That alon<\/span>e woul<\/span>d driv<\/span>e th<\/span>e fea<\/span>r an<\/span>d despai<\/span>r asid<\/span>e fo<\/span>r a while.<\/span> I<\/span>n additio<\/span>n t<\/span>o techniqu<\/span>e classe<\/span>s an<\/span>d privat<\/span>e lessons<\/span>, w<\/span>e create<\/span>d a smal<\/span>l guitar orchestra<\/span>. Thei<\/span>r playin<\/span>g wa<\/span>s precise<\/span>, determined<\/span>, and emotional<\/span>. Althoug<\/span>h the students came from severa<\/span>l differen<\/span>t religion<\/span>s, the<\/span>y worke<\/span>d togethe<\/span>r lik<\/span>e brother<\/span>s an<\/span>d sisters, eac<\/span>h lookin<\/span>g ou<\/span>t fo<\/span>r th<\/span>e othe<\/span>r an<\/span>d offerin<\/span>g encouragement.<\/span><\/p>\n

I mad<\/span>e videotape<\/span>s fo<\/span>r them<\/span>. I kne<\/span>w tha<\/span>t someho<\/span>w the<\/span>y woul<\/span>d com<\/span>e i<\/span>n handy<\/span>, that perhap<\/span>s the<\/span>y migh<\/span>t hel<\/span>p the<\/span>m fin<\/span>d opportunitie<\/span>s i<\/span>n place<\/span>s no<\/span>t besiege<\/span>d b<\/span>y war<\/span>. Th<\/span>e firs<\/span>t yea<\/span>r whe<\/span>n I ha<\/span>d don<\/span>e it<\/span>, the<\/span>y ha<\/span>d faltere<\/span>d befor<\/span>e th<\/span>e camera<\/span>, overtake<\/span>n b<\/span>y nerve<\/span>s an<\/span>d th<\/span>e hig<\/span>h stake<\/span>s o<\/span>f hope.<\/span><\/p>\n

Wha<\/span>t coul<\/span>d I possibl<\/span>y tel<\/span>l them<\/span>? T<\/span>o pul<\/span>l themselve<\/span>s together<\/span>? T<\/span>o b<\/span>e more determined<\/span>? The<\/span>y kne<\/span>w ho<\/span>w t<\/span>o d<\/span>o thos<\/span>e thing<\/span>s i<\/span>n th<\/span>e fac<\/span>e o<\/span>f trauma<\/span>, bu<\/span>t not<\/span>, perhaps, i<\/span>n th<\/span>e fac<\/span>e o<\/span>f hope.<\/span><\/p>\n

It suddenly came to me in a flas<\/span>h o<\/span>f inspiration<\/span>. I ha<\/span>d recentl<\/span>y spen<\/span>t som<\/span>e tim<\/span>e dee<\/span>p i<\/span>n th<\/span>e Ecuadoria<\/span>n Amazo<\/span>n workin<\/span>g o<\/span>n a ne<\/span>w Anima<\/span>l Ballet (for which I film wildlife, often in remote locales, and then compose music to go along with their movements and personalities)<\/span>. Rememberin<\/span>g the astonishin<\/span>g biodiversity<\/span>, th<\/span>e man<\/span>y unsee<\/span>n level<\/span>s o<\/span>f life<\/span>, th<\/span>e ric<\/span>h sens<\/span>e o<\/span>f hidden <\/span>mysteries, I knew exactly what to say to them.<\/p>\n

\u201cWithi<\/span>n eac<\/span>h o<\/span>f u<\/span>s fl<\/span>ows a river. A river of beauty, a river of strength, a river that canno<\/span>t b<\/span>e compromise<\/span>d b<\/span>y anythin<\/span>g external<\/span>. I<\/span>n thi<\/span>s rive<\/span>r i<\/span>s ever<\/span>y beautifu<\/span>l sight,<\/span> ever<\/span>y exquisit<\/span>e sound<\/span>, ever<\/span>y not<\/span>e eve<\/span>r written<\/span>. Yo<\/span>u ca<\/span>n alway<\/span>s fin<\/span>d thos<\/span>e thing<\/span>s i<\/span>f yo<\/span>u look into the river.\u201d I smiled at them. They were rapt.<\/p>\n

\u201cOf course there will be times when you get thrown out of the river,\u201d I continued. \u201cYo<\/span>u migh<\/span>t star<\/span>t t<\/span>o panic<\/span>, t<\/span>o clim<\/span>b towar<\/span>d th<\/span>e brambles<\/span>. Tha<\/span>t i<\/span>s natural. Bu<\/span>t don\u2019t<\/span>. Yo<\/span>u mus<\/span>t ge<\/span>t bac<\/span>k int<\/span>o th<\/span>e rive<\/span>r a<\/span>s quickl<\/span>y a<\/span>s yo<\/span>u can<\/span>. Withi<\/span>n th<\/span>e rive<\/span>r is beauty<\/span>. Withi<\/span>n th<\/span>e rive<\/span>r i<\/span>s safety<\/span>. Alway<\/span>s remembe<\/span>r th<\/span>e river.\u201d<\/span><\/p>\n

I kne<\/span>w tha<\/span>t thi<\/span>s imager<\/span>y woul<\/span>d b<\/span>e calle<\/span>d fo<\/span>r man<\/span>y time<\/span>s afte<\/span>r the<\/span>y returne<\/span>d t<\/span>o their war-stricke<\/span>n nation<\/span>. I<\/span>t wa<\/span>s abou<\/span>t s<\/span>o muc<\/span>h mor<\/span>e tha<\/span>n music.<\/span><\/p>\n

Afte<\/span>r the<\/span>y returned<\/span>, eac<\/span>h tim<\/span>e I woul<\/span>d lear<\/span>n o<\/span>n th<\/span>e new<\/span>s abou<\/span>t ne<\/span>w attack<\/span>s an<\/span>d atrocitie<\/span>s takin<\/span>g plac<\/span>e i<\/span>n thei<\/span>r vicinit<\/span>y i<\/span>n Syria<\/span>, I woul<\/span>d worry<\/span>. I woul<\/span>d tr<\/span>y t<\/span>o reac<\/span>h them, bu<\/span>t ofte<\/span>n communicatio<\/span>n wa<\/span>s impossible<\/span>. Desperat<\/span>e t<\/span>o help<\/span>, t<\/span>o offe<\/span>r something encouraging<\/span>, t<\/span>o ac<\/span>t i<\/span>n som<\/span>e way<\/span>, n<\/span>o matte<\/span>r ho<\/span>w small<\/span>, I type<\/span>d a messag<\/span>e t<\/span>o the<\/span>m on Facebook<\/span>. I<\/span>t sai<\/span>d simply<\/span>, \u201cRemembe<\/span>r th<\/span>e River.\u201d<\/span><\/p>\n

On<\/span>e b<\/span>y one<\/span>, a<\/span>s acces<\/span>s wa<\/span>s restored<\/span>, the<\/span>y responded.<\/span><\/p>\n

\u201cTh<\/span>e rive<\/span>r stil<\/span>l fl<\/span>ows for us.\u201d \u201cThe river is life.\u201d \u201cWe will always remember the river.\u201d<\/p>\n

\"\"
Ensemble Enkidu, Iraq<\/figcaption><\/figure>\n

Susa<\/i><\/span>n<\/i> McDonal<\/i><\/span>d<\/i><\/strong><\/a> i<\/i><\/span>s<\/i> <\/i>a<\/i> concer<\/i><\/span>t<\/i> guitaris<\/i><\/span>t<\/i> an<\/i><\/span>d<\/i> Directo<\/i><\/span>r<\/i> o<\/i><\/span>f<\/i> Internationa<\/i><\/span>l<\/i> Program<\/i><\/span>s<\/i> for Remembe<\/i><\/span>r<\/i> th<\/i><\/span>e<\/i> Rive<\/i><\/span>r<\/i><\/strong><\/a> (th<\/i><\/span>e<\/i> internationa<\/i><\/span>l<\/i> branc<\/i><\/span>h<\/i> o<\/i><\/span>f<\/i> Fin<\/i><\/span>e<\/i> Art<\/i><\/span>s <\/i>Foundation<\/i><\/span>,<\/i> <\/i>a<\/i> 501c3 organization)<\/i><\/span>,<\/i> whos<\/i><\/span>e<\/i> missio<\/i><\/span>n<\/i> i<\/i><\/span>s<\/i> t<\/i><\/span>o<\/i> suppor<\/i><\/span>t<\/i> artist<\/i><\/span>s<\/i> i<\/i><\/span>n<\/i> region<\/i><\/span>s<\/i> o<\/i><\/span>f<\/i> conflic<\/i><\/span>t<\/i> o<\/i><\/span>r<\/i> isolatio<\/i><\/span>n <\/i>throug<\/i><\/span>h<\/i> performances<\/i><\/span>,<\/i> deliverie<\/i><\/span>s<\/i> o<\/i><\/span>f<\/i> musica<\/i><\/span>l<\/i> instrument<\/i><\/span>s<\/i> an<\/i><\/span>d<\/i> ar<\/i><\/span>t <\/i>supplies<\/i><\/span>,<\/i> teacher trainin<\/i><\/span>g<\/i> an<\/i><\/span>d<\/i> mentorship. <\/i>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

From the Spring 2017 issue of Classical Guitar | BY SUSAN MCDONALD Shots rang out, and the children sitting in a semi-circle on the ground in front of me stiffened, watching for my reaction. My hands froze for just an instant as I glanced quickly around the room for any escape, any hiding place. There was none. If my worst nightmare had come true and ISIS had broken through the border, all was lost. There was nothing I or anyone […]<\/p>\n","protected":false},"author":2,"featured_media":6414,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,5],"tags":[],"class_list":["post-6411","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2017\/03\/Syan-McDonald-Classical-Guitar-Letter-From-Lebanon-Refeguee.png?fit=2083%2C1111&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/6411","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=6411"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/6411\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/6414"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=6411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=6411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=6411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}