“A Committed, Euphoric International Coalition.”

Total Page:16

File Type:pdf, Size:1020Kb

“A Committed, Euphoric International Coalition.” “a committed, euphoric international coalition.” Bio Founded in 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, the Nile Project is one of the tightest cross-cultural musical collaborations in history. Working to raise awareness of the entire Nile River basin as an ecosystem, the 27- member Nile Project collective hail from all along the great river that connects 11 countries and over 400 million people—a region that has been marred by political and ecological conflicts—from its sources beyond Lake Victoria to its delta in Egypt. Resonant harps and lyres from up and down the river have learned new musical modes, while buzzing timbres and ingenious polyrhythms support vocals in more than 10 languages. Instruments that parted ways millennia before are reunited and pushed into new places. Love songs have crossed geographic and linguistic barriers to forge new, close friendships. The Nile Project’s collaborative model is a blueprint for a new way to organize the Nile. In January 2015, the Nile Project embarked on a 4 month US tour performing 50 concerts with stops at the Lincoln Center, the United Nations and residencies at 30 universities. Using music to spark cultural curiosity and engage audiences, the Nile Project encourages them to feel connected to the river and to explore new approaches to its large- scale problems. In an evolving series of interlocking programs that spring from the musical experience, the project aims to inspire, educate and empower young people worldwide to become Nile Citizens. Full Bio at www.nileproject.org/music Musicians Only US Tour musicians are featured in this publication. For the full list of the 27-member collective, visit www.nileproject.org/music Alsarah – Sudan - Vocals Michael Bazibu – Uganda – Based in Brooklyn, this Vocals, Percussion, Adungu, soulful Sudanese singer and Entongoli Member of Uganda’s ethnomusicologist’s songs leading traditional music and have won high praise from dance company, Ndere, for 17 roots-music tastemakers years. Bazibu plays several like Songlines Magazine. traditional Ugandan stringed and percussion instruments Dina ElWedidi – Egypt - with virtuosic grace. Vocals With experience that Mohamed Abo Zekry – Egypt spans Arabic classical music, - Oud Despite his tender years, edgy theater, and street this oud player has a stunning protest, this young singer has command of his instrument, as most recently worked with well as an open ear for other Brazilian heavyweight Gilbert forms, skills that got him a Gil on her debut album. recent album deal with Hani Bedair – Egypt – Harmonia Mundi. Percussion When the biggest Nader El Shaer – Egypt - stars in the Middle East Kawala Born in the culturally need daff (hand drum) or riq rich town of Port Said, El Shaer (traditional tambourine), they taught himself accordion call Bedair, whose percussion and ney, only to fall in love skills have also earned him a with the tones of the kawala teaching position at several and its role in Arabic music. respected Cairo institutions. Selamnesh Zemane – Jorga Mesfin – Ethiopia - Sax Ethiopia - Vocals Hailing from a This self-taught sax player long line of unique culture meshes jazz with Ethiopia’s bearers in Northern Ethiopia, wealth of musical forms and Zemene has brought her ideas, both as a respected band traditions to collaborations leader and favorite sideman for with indie darlings like Debo greats like Mulatu Astatke. Band and The Ex. Kasiva Mutua – Kenya – Sophie Nzayisenga - Rwanda - Percussion Mutua may have Inanga The first female master learned drumming from her of the Rwandan traditional grandmother, but has zither (inanga), Nzayisenga developed her own knack for learned at her internationally powerful Afropop beats. Her acclaimed father’s knee before expressive playing can tell a setting out to make the story on its own, or keep a instrument her own. band perfectly in the pocket. Steven Sogo – Burundi – Meklit Hadero – Ethiopia - Vocals, Bass, Ikembi, Umuduri Vocals Co-founder of the Nile This Multilingual can play Project, this American-based anything with strings including Ethiopian singer frequently the umuduri, Burundi’s answer digs deep into jazz and singer- to the birembau. He was named songwriter styles, but never a World Bank musical loses sight of her roots. ambassador. Discography Aswan Jinja 2013 2015 Recorded at the Nile Project’s The soundtrack for their 2015 US first live concert in Aswan. The Tour, Afropop calls the album was named among NPR’s compositions on Jinja ”seductive “5 Must-Hear International and beautiful music.” Albums” of the year. Available Summer 2015. “A committed, euphoric international coalition” “Producing harmony in a divided world” “a collaborative spirit flow” “a multinational intensity” More press coverage at www.nileproject.org/press Photo by Karsten Moran for the New York Times nileproject.org A project of Zambaleta Music inquiries: [email protected] Media inquiries: [email protected] General inquiries: [email protected] zambaleta.org zambaleta is a 501(c)3 tax-exempt NGO based in San Francisco, CA with a mission to design participatory musical experiences and provide a novel approach to musical production, education and networking. 3001 20th Street, San Francisco, CA Phone: +1 (415) 234 3952 Email: [email protected] .
Recommended publications
  • Natacha Atlas Mish Maoul Mp3, Flac, Wma
    Natacha Atlas Mish Maoul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Mish Maoul Country: UK Released: 2006 Style: Vocal, Ballad MP3 version RAR size: 1860 mb FLAC version RAR size: 1358 mb WMA version RAR size: 1445 mb Rating: 4.6 Votes: 178 Other Formats: AHX APE MP3 ADX APE MP4 AAC Tracklist Hide Credits Oully Ya Sahbi Bass, Acoustic Guitar, Keyboards, Strings, Programmed By – Dubulah*Cello, Double Bass [Contrabass] – Bernard O'NeillDrums – Brother PDrums, Shaker, Keyboards, Programmed 1 5:33 By – Neil SparkesGoblet Drum [Darabuka] – Ali El MinyawiKeyboards – Natacha AtlasNey, Flute [Kawala] – Louai HenawiVocals – Sofiane SaidiWritten-By – Dubulah*, N. Atlas*, N. Sparkes* Feen Accordion – Gamal El Kordi*Cymbal [Zills], Bells, Shaker, Tambourine, Drums [Duf] – Neil SparkesDouble Bass – Bernard O'NeillGoblet Drum [Darabuka], Drums [Duf] – Ali El 2 MinyawiGuitar, Drums, Keyboards, Arranged By [Strings] – Dubulah*Ney [Solo], Zither 5:46 [Qanun] – Aytouch*Oud – Nizar HusayniRecorded By [Strings] – Khaled Raouf*Strings – The Golden Sounds Studio Orchestra Of CairoVocals – Princess JuliannaWritten-By – Dubulah*, Julie Anne Higgins, N. Atlas*, N. Sparkes* Hayati Inta Backing Vocals – Sofiane SaidiBacking Vocals, Flute [Djouwak], Performer [Tabel], Handclaps, Arranged By – Hamid BenkouiderBacking Vocals, Oud, Lute [Gambri], Drums 3 3:57 [Bendir], Zurna, Percussion [Karkabou], Programmed By, Arranged By – Yazid FentaziDouble Bass – Bernard O'NeillGuitar – Count DubulahProducer – Hamid Benkouider, Natacha Atlas, Philip BagenalWritten-By – M. Eagleton*, N. Atlas* Ghanwah Bossanova Double Bass, Piano – Bernard O'NeillDrums – Brother PDrums, Programmed By, Percussion 4 [Riq], Shaker, Shaker [Shell], Cymbal [Zills], Goblet Drum [Darabuka], Drums [Bendir] – 6:29 Neil SparkesGuitar, Programmed By, Keyboards, Strings – Count DubulahWritten-By – Dubulah*, N. Atlas*, N.
    [Show full text]
  • 2587Booklet.Pdf
    ENGLISH P. 2 DEUTSCH S. 5 Discover Bellydance with ARC Music Bellydance is the common name for the dance of the Arabic and 1. Storm over Giza Middle Eastern world – or the dance of the orient. EUCD2316 Egypt Unveiled – Hossam Ramzy & Phil Thornton An ARC Music Production. The term bellydance is actually a misnomer, as the emphasis is on several body parts, and perhaps most noticeably on the hips. A skilled Following the huge success of the previous albums Eternal Egypt, dancer uses certain movements to interpret specific characteristics Immortal Egypt and Enchanted Egypt, Phil Thornton and Hossam Ramzy of the various instruments. In fact, translating the music this way is present Egypt Unveiled, crowning the trilogy. A magnificent album, so integral to the art form that musician and bellydance historian echoing the majesty of the pyramids, revealing the mystery of Egypt in Hossam Ramzy – included on this collection – has said that the dancer a 21st century guise. is the “final musical instrument of the orchestra” (article: ‘You Are a Musical Instrument’ at hossamramzy.com). 2. Sehr Oyounik EUCD1305 Source of Fire – Hossam Ramzy Bellydance is in itself a fusion. It has been influenced by Ottoman, Licensed from Hossam Ramzy. Indian, Persian, Greek and other civilizations, and in today’s modern world, its rhythms can be found in hits by some of the planet’s biggest An album of emotional compositions delving into the untapped, pop stars. heartfelt melodies that have been burning inside Egypt’s most virtuoso soloists, the Hossam Ramzy Egyptian Ensemble. While Source This collection highlights several forms of bellydance from Lebanon, of Fire follows Hossam’s high standard in dance pieces it washes onto Turkey, Tunisia, Egypt, Libya, Morocco and even Macedonia.
    [Show full text]
  • Possible Quiz Questions for Music in Egypt Match the List of Egyptian
    Possible Quiz Questions for Music in Egypt Match the list of Egyptian instruments with the descriptions. 1. mizmar a. a plucked zither 2. kawala b. a tambourine with five sets of cymbals 3. tabla c. a short-necked lute with five pairs of strings 4. nay d. an Arabic folk oboe 5. qanun e. a four-stringed Western instrument used in Egyptian musical traditions 6. ‘ud f. an end-blown reed flute used in madh music 7. violin g. the end-blown reed flute featured in east Arab art music 8. riqq h. single-headed, goblet-shaped drum Use the list of instruments to match with the pictures of Egyptian instruments. ___________ ___________ ___________ ____________ ______________ ____________ __________________ Tabla Kawala Qanun Violin Mizmar ‘Ud Riqq Match the singer or type of musical tradition with the description. 1. Hakim 2. Umm Kulthum 3. Zaffa 4. Takht 5. Firqa 6. Mizmar ensembles 7. Call to prayer _____A. Wedding procession _____B. Egyptian pop music superstar _____C. Recurring soundscape heard across Egypt at several times throughout the day _____D. The orchestra-sized ensemble which performed Arab art music from the 1930s _____E. The most famous Egyptian singer who became the “Voice of Egypt” _____F. A small performance ensemble for eastern Arab art music in the late-nineteenth and early-twentieth centuries Possible Quiz Answers for Music in Egypt Match the list of Egyptian instruments with the descriptions. 9. Mizmar a. a plucked zither 10. Kawala b. a tambourine with five sets of cymbals 11. Tabla c. a short-necked lute with five pairs of strings 12.
    [Show full text]
  • ABOUT the Artists ABOUT the Performance
    ABOUT THE ARTISTS The Nile Project is a collaborative group of musicians, educators and activists who work together to build awareness about and generate new ideas to address environmental challenges in the Nile River basin. It was founded in August 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, who both feel passionately about the power of music to make a difference in the Nile region. The 437 million citizens of the 11 nations in the Nile River basin do not have many opportunities to connect with each other. Girgis and Hadero believe that these countries must work together to solve the environmental challenges facing the Nile River, such as food sustainability, climate change, water policy and pollution. The Nile Project brings together musicians from the Nile countries to make new songs and tour around the region and beyond, sharing the music and cultures of their river neighbors. Another strategy the Nile Project takes is education, working with universities to hold workshops that provide students with opportunities to learn more about the Nile River and develop ideas to create a more sustainable Nile Basin. The organization also offers a Nile Prize, which provides students a way to turn their inspiration and environmental knowledge into new and exciting sustainable solutions for the Nile ecosystem. In 2015 The Nile Project tours the United States for four months, bringing music and education programs to American universities and towns. The Project aims to inspire and educate citizens around the world to work together for environmental sustainability. About the PERFORMANCE The Nile Project performs original music that was composed collaboratively by all the participating artists.
    [Show full text]
  • ARABIC MUSIC Devin J Stewart, Ph.D
    HUMANITIES INSTITUTE ARABIC MUSIC Devin J Stewart, Ph.D. Arabic Musical Traditions Instruments. Music is one of the most complex, varied, and ubiquitous aspects of cultural production in the Arab worlds. It is found even in the most conservative communities. In Arabic music, drums are the most important instruments for dancing and group singing such as wedding songs, and the lute is the most important for accompanying solo singing. Other traditional instruments include the mizmar, similar to an oboe, various types of flute called nay or kawala, a rabab or spike fiddle, and the qanun or zither. In modern times, the violin has replaced the rabab in many contexts. The piano was introduced and adapted, the electric guitar came and went, and the synthesizer and drum machine are now standard in pop music. Distinguishing features. Arabic music is readily distinguished from Western music by several factors. It has distinct rhythms, usually played on a variety of ceramic or frame drum, and represented by a series of heavy and light strokes termed dum and tak. While a few of the most common rhythms fit into a 4-4 bar, many are more complex, having 7, 9, or 13 beats. The popular rhythms in the Middle East are distinguished from those found in Iran—where 6/8 rhythms are the most popular—and from rhythms in areas where sub- Saharan African influence is strong, such as the Gulf and Morocco, where 3 on 2 rhythms (i.e., two simultaneous rhythms) are popular. The equivalent of Western key signatures or scales are called maqams or modes, of which dozens exist, each with a name such as rast, saba, nahawand, and so on.
    [Show full text]
  • When the Rivers Met... A.J
    (LYRCD 7459) When the Rivers Met... A.J. Racy, MIDDLE EASTERN MUSIC James Peterson, WESTERN ORCHESTRAL MUSIC Middle Eastern Music and Western Orchestral Music This album represents a collaboration between two extraordinary artists who come from different musical traditions, but who have created an exciting path for merging their respective artistic voices. A. J. Racy is a Lebanese-born composer and phenomenal virtuoso on a variety of Middle Eastern wind and string instruments. James Peterson is a highly innovative American composer and arranger, in the Western symphonic idiom. The material on the album consists of specially edited selections from two longer sound tracks that the two artists jointly composed—one for a documentary film made by Craig McCourry, titled The Great Bazaars (McCourry Films, 2001), and another for a feature- length television drama produced by Ramzi Rassi, The Last Cavaliers (2002). Racy and Peterson met in Los Angeles in the late 1990s and have subsequently worked together on a number of musical projects. 1 Music and Instruments In this recording, the Western-based component presents various instrumental configurations, dynamic effects, and harmonic textures. In turn, the Middle Eastern- derived material introduces a distinctive vocabulary of timbres, embellishments, and modally inspired melodic structures. The integration of the two idioms gives the overall content its own distinctive ambiance, as well as its internal stylistic and expressive variety. A wide array of instruments is used. The orchestral sections occasionally combine standard Western instruments with such Arab percussion instruments as the tar (large framedrum), tablah (single vase-shaped drum), and riqq (small tambourine). Also eight, mostly Middle Eastern, instruments, heard on the album either in ensemble contexts or in solo or solo-drone passages, are all performed by A.
    [Show full text]
  • The Nile Project
    Appalachian State University’s Office of Arts and Cultural Programs presents APPlause! K-12 Performing Arts Series April 4, 2017 10am-11am The Nile Project As an integral part of the Performing Arts Series, APPlause! matinées offer a variety of performances at venues across the Appalachian State University campus that feature university-based artists as well as local, regional and world-renowned professional artists. These affordable performances offer access to a wide variety of art disciplines for K-12 students. The series also offers the opportunity for students from the Reich College of Education to view a field trip in action without having to leave campus. Among the 2016-2017 series performers, you will find those who will also be featured in the Performing Arts Series along with professional artists chosen specifically for our student audience as well as performances by campus groups. Before the performance... Familiarize your students with what it means to be a great audience member by introducing these theatre etiquette basics: • Arrive early enough to find your seats and settle in before the show begins (20-30 minutes). • Remember to turn your electronic devices OFF so they do not disturb the performers or other audience members. • Remember to sit appropriately and to stay quiet so that the audience members around you can enjoy the show too. PLEASE NOTE: *THIS EVENT IS SCHEDULED TO LAST APPROX 60 MINUTES. 10:00am – 11:00am • Audience members arriving by car should plan to park in the Rivers Street Parking Deck. There is a small charge for parking. Buses should plan to park along Rivers Street – Please indicate to the Parking and Traffic Officer when you plan to move your bus (i.e.
    [Show full text]
  • Ancient World: Instruments of Antiquity Manual
    Instrument Introduction Ancient World: Instruments of Antiquity is an exciting journey to the origins of musical sound. All of the most important instruments of antiquity have been extensively sampled for the first time ever. Master Luthier, Nikolaos Brass’ collection of ancient Greek instruments forms the basis of Ancient World. Brass dedicated his life to the research and re-creation of ancient musical instruments, using the same methods and materials which were used in ages past. Some of the instruments, such as the Syntonon and Copperphone, are extremely rare with only two or three existing worldwide! The multi-sampling of these beautiful instruments presents a rich array of String, Wind, and Percussion implementations. All of the performance techniques have been meticulously sampled. For instance, the string instruments have articulations such as plucked, with and without vibrato, harmonics, plectrum, tremolo, arpeggios, glissandos, behind the bridge, slides, and more. In some cases, up to thirty samples per note have been recorded. Beyond the multi-sampled instruments, Ancient World contains an extensive collection of looped performances for almost all the instruments presented in the collection. The loops are categorized in Slow, Medium, and Fast tempos and automatically adapt to BPM changes. In order to expand the geographical and historical boundaries, many rare instruments from Medieval times, the Mediterranean basin, as well as the Middle-East have been added. Ancient World is an indispensable tool for composers who are active in film, TV and video games. 2 Of 14 USER INTERFACE Ancient World’s interface is simple and easy to use. The controls include: REVERB - This knob controls the amount of reverb added to the instrument sound.
    [Show full text]
  • For Lovers of Arabic, North African and Tribal Dance Everywhere Contents…
    By MeMBers for MeMBers for lovers of Arabic, North African and Tribal dance everywhere Contents… Page 1 Editor’s Letter by Liz Newman Letter from the Chair by Rosemary Le Fevre Page 2 Twenty Five Years of Dance: Katie Holland talks to Editor, Liz Newman Page 6 Is This Your First Time Teaching Online? MADN update Twenty Five Years of Dance – see pages 2–5 Page 7 Membership Form and GDPR Permissions and Hannah’s Events: Review of Sharing Information Page 16 Workshops with Galit Mersand Page 8 Tenth Anniversary in Torquay and Casbah Cafe Showcase by Jan Piggott Algerian Dance Workshops Page 10 Whirling Queens: Neo(n) with Leyla Hayat and DEADLINE Dervish and the Mash-up Casbah Cafe Christmas FOR NEXT Chapter or profound, reflective Afternoon Hafla Review ISSUE: trance-dance? A New Year and a New JULY by Eva Forrai: Slow Tornado Home for Casbah Cafe Page 12 An exploration of the Basis of by Hannah Newton 1st 2020 Middle Eastern Music with an Page 21 Considering Catering for introduction to Classical Music Your Hafla or Event? and the Muwashaha to expand MADN update a dancer’s knowledge by Maureen Pemberton Page 22 The Importance of Defining Your Dance: Part 4 Page 15 Insurance Form by Ne-Kajira Page 15 Poem: Elemental Page 25 Events Dance/Muscle Memory by Francesca Page 26 Belly Dance and the Danu Rhythm of Life by Rosemary Le Fevre Page 28 Teacher’s Listing MOSAIC is the official magazine of Mosaic Arabic Dance Network (MADN). MADN was founded in 1993. Articles and reviews express the opinions of the author and are not necessarily those of the MADN committee.
    [Show full text]
  • Appendix • • Apéndice • Anhang • Appendice
    AT3_Appendix_1.fm 1 ページ 2010年11月12日 金曜日 午後12時35分 07H3APPEND-WL-1B EASGFDICkT 1234512 3 45 1234512 3 45 12345 Appendix y y Apéndice y Anhang y Appendice y OTHERS 025 TANPURA 2 104 17 GM/DRUMS 014 GM XYLOPHONE 13 0 GM/DRUMS 051 GM SYNTH-STRINGS 1 50 0 GM/DRUMS 088 GM BASS+LEAD 87 0 GM/DRUMS 125 GM TELEPHONE 124 0 OTHERS 026 HARMONIUM 1 20 16 GM/DRUMS 015 GM TUBULAR BELL 14 0 GM/DRUMS 052 GM SYNTH-STRINGS 2 51 0 GM/DRUMS 089 GM FANTASY 88 0 GM/DRUMS 126 GM HELICOPTER 125 0 OTHERS 027 HARMONIUM 2 20 17 GM/DRUMS 016 GM DULCIMER 15 0 GM/DRUMS 053 GM CHOIR AAHS 52 0 GM/DRUMS 090 GM WARM PAD 89 0 GM/DRUMS 127 GM APPLAUSE 126 0 OTHERS 028 HARMONIUM 3 20 18 GM/DRUMS 017 GM ORGAN 1 16 0 GM/DRUMS 054 GM VOICE DOO 53 0 GM/DRUMS 091 GM POLYSYNTH 90 0 GM/DRUMS 128 GM GUNSHOT 127 0 Appendix y Appendice y y OTHERS 029 SANTUR 1 15 18 GM/DRUMS 018 GM ORGAN 2 17 0 GM/DRUMS 055 GM SYNTH-VOICE 54 0 GM/DRUMS 092 GM SPACE CHOIR 91 0 GM/DRUMS 129 STANDARD SET 1 0 120 OTHERS 030 SANTUR 2 15 19 GM/DRUMS 019 GM ORGAN 3 18 0 GM/DRUMS 056 GM ORCHESTRA HIT 55 0 GM/DRUMS 093 GM BOWED GLASS 92 0 GM/DRUMS 130 STANDARD SET 2 1 120 OTHERS 031 SAROD 1 105 18 GM/DRUMS 020 GM PIPE ORGAN 19 0 GM/DRUMS 057 GM TRUMPET 56 0 GM/DRUMS 094 GM METAL PAD 93 0 GM/DRUMS 131 STANDARD SET 3 2 120 OTHERS 032 SAROD 2 105 19 GM/DRUMS 021 GM REED ORGAN 20 0 GM/DRUMS 058 GM TROMBONE 57 0 GM/DRUMS 095 GM HALO PAD 94 0 GM/DRUMS 132 STANDARD SET 4 3 120 Tone List Lista de tonos Klangfarbenliste Liste des sonorités Toonlijst Lista dei timbri OTHERS 033 SAROD 3 105 24 GM/DRUMS 022 GM ACCORDION 21
    [Show full text]
  • Baladi, Classical and Folk – the Music
    1 www.guyschalom.com Egyptian Music – Folk, Baladi, Classical, Sha’abi and Pop Guy Schalom, April 2011 Egyptian music – it‟s all the same, right? Not exactly. As with music from any country, there are many different styles. Different styles of music have a different flavour and intention. Recognising and understanding these differences will help you to fully appreciate the music (and as dancers, to interpret it effectively). This article will help you hear INSIDE the music. It is my own perspective of the main styles of Egyptian music and the major elements which identify them. When learning a piece of Egyptian music (or music from any other style), begin by asking yourself some of these questions: . What instruments do you hear? . In which language are the songs being sung? . What is happening in the piece? (is it a song? dance music? a complex compositions? improvisation?) . Where would you expect to hear this music being performed? . What is the character of the piece? i.e. how does the melody make you feel? . What rhythms do you recognise? The answers to these questions will enable you to understand Egyptian music well enough to categorise it broadly into one of the five major genres. These are Classical, Folk, Baladi, Sha‟abi and Pop. FOLK Essential Listening: Les Musiciens du Nil (the Musicians of the Nile), Metqal Qenawi, Fatme Serhan, Egyptian folk music (which includes Saiidi music – from Southern Egypt) is learnt by ear and is rarely written down. In its native context, folk music is usually performed outdoors to accompany weddings and other parties.
    [Show full text]
  • Strikes As Iran Prepares to Break Nuclear Limits
    UK £2 Issue 211, Year 5 June 23, 2019 EU €2.50 www.thearabweekly.com What to expect from Bahrain meeting Refugees in MENA Pages 6,18 Pages 5-6,11 Iraq’s mysterious fires Page 3 US mulls ‘measured’ strikes as Iran prepares to break nuclear limits ► According to analyst Roland Popp, Iran has only two options left: to remain patient and hope that Trump would not be re-elected next year “or war.” Thomas Seibert being fired. It was unclear if attacks on Iran might go ahead later, the newspa- Istanbul per said, nor was it known whether Trump had changed his mind or he Gulf region is sliding whether his administration had be- towards war as the United come concerned about logistics or States considers “meas- strategy. T ured” strikes against Iran Iranian officials told Reuters that while Tehran threatens to retaliate, Tehran had received a message from officials said. Trump through Oman warning that Iran’s announcement to break a US attack on Iran was imminent. limits set by the international nu- Tehran said Iran would retaliate clear deal is making it more difficult if the United States attacked. The for mediators to find a solution and IRNA news agency quoted Mohsen irritating European powers. Baharvand, a senior Iranian Foreign Reports from Washington said Ministry official, as saying the Unit- that although initial plans for re- ed States would “receive a recipro- taliatory strikes were abandoned at cal response whose consequences the last minute, the administration are unpredictable.” of US President Donald Trump was The military escalation came af- still considering a “measured” mili- ter Tehran signalled it was ready to tary response after Iran shot down surpass limits set by the 2015 nu- Suspended strikes.
    [Show full text]