Ghalia Benali

Hoping to present the music of Arab cabaret to the Europeans and remain in touch with her origins, Benali performed with the trio "Kafichantas" with lute player, Moufadhel Adhoum, and percussionist, Azeddine Jazouli. The project was a mean to take westerners on a journey of Arabic culture.

While experiencing with acting and cinema, the songstress released her first two albums, “Wild Harissa”, a collaboration with Timna in 2001, and “Nada” in 2002.

In 2003, Benali started working on a multidisciplinary project that included music, story-telling, dancing and graphics. “Romeo and Leila” is a Ghalia Benali autobiography, for every mythical character mentioned in the fictional tale refers to someone she met in her real life journey. As a young artist, Benali left her country and safe haven, searching for a love she only dared dream of. Facing different cultures, beliefs and social pressures, her departure was anything but mundane. In the tale of Romeo and Leila, Benali is both the hero and heroine. Both rising from different worlds, the only thing that could bring them together in harmony is acceptance. The short story is about a secluded and overly-protected princess and five short journeys she has to take to reach the divine perfection found in love. During her hunt for five pearls that would be her liberator, she learns the lesson of a lifetime. Originally written in French and translated to English and Arabic, “Romeo and Leila” shows us that love is rebirth, never death, as tradition and literature tend to carve in our subconscious. The tale was performed by Benali as a musical in Belgium. The personal project was not recorded with a music label, but with the help of the Palestinian founder of Amal Festival in Santiago de Compostella in Spain, Ghaleb Jaber, and the Flemish community of Belgium. The album was released in 2006.

Ghalia Benali has always been spellbound by the Indian culture and its visionary art. The music, costumes, colorful fabrics and choreography have mesmerized her to the extent that she would listen to radio stations broadcasting Indian music during school classes. Years later, the songstress felt the need to infuse her Arabic roots with the Indian ethnicity in the one way she can truly express her soul, music. In 1991, Benali attended the Indian school in Brussels where she met sitar player, Bert Cornelis. After a long jamming session, the song “Bharat” came to life, which evolved over the years to set the tone of “Al Palna” album. The name of the album signified the amalgamation of the Arabic and Indian cultures. The word Al means the in Arabic, while Palna means cradle in Hindi. The album was released in 2008, followed by a tour in India in 2009. The intimate audience of avid music and poetry-recitation lovers continuously appeared entranced with the uniting classical Arabic and Indian tunes. Spiritual poetry about Love, also known as Ghazal, was a commonly performed genre. Later on, Al Plana was reborn in Egypt as ‘The Indian Hadra’ with violin player, Ayman Asfour, and Arabic percussionist, Ayman Mabrouk. The Indian sitar and tablas, while chanting Sufi Arabic words took the audience on a divine journey. It was a project meant for liberal souls and minds. The music is closer to an Athan, which is a call to pray for God.

Ghalia Benali have always been fascinated by Oum Kalthoum, the most prominent of all Egyptian and Arab female singers. Listening to “Al Atlal” song as a child has shaped her passion for music. The love for the music legend ran in the family, where her parents hung a picture of Oum Kalthoum on their bedroom wall. Benali, being the imaginative child she was, believed the photo was of her grandmother. Years later, Benali still as passionate as ever about her fictional and honorary grandmother, she decided to embrace the love the Arab world has for her music icon and pay tribute as a loyal granddaughter. Yet instead of giving the audience a reiterated performance, she created her own rendition of the renowned music that captured her music style, Tunisian essence and spirituality. The Oum Kalthoum album, which consisted of five songs, was recorded in Jet studio in Brussels in 2008. Participated in this project, double bassist Vincent Noiret, rek player Azeddine Jazouli and oud player Moufadhel Adhoum. The album appeared under the Dutch label "Music and Word" in 2010. The project was a huge success in Europe, thousands attended the shows regardless of the language barrier. Benali has turned it into an experience rather than a performance, with her signature body language that translated the lyrics that are beyond Europeans’ comprehension.

By the year 2012, Benali had already made a name for herself in Europe, yet she still yearned for a connection with the Arab audience which led to her next career move. “The Voice” talent show on MBC channel was premiering the same year and the management team contacted Benali to participate in their first season. She left quite an impression during her breakthrough appearance on the show while performing “Ya Mesafer Wahdak” by Mohamed Abdel Wahab. However, she felt her free spirited performance and unique cultural-blending style was not the traditional music the show was looking for. Yet, for the first time, Benali came face-to-face with the Arab audience and sensed what they were looking for in an artist.

Later in 2013, Ghalia Benali collaborated with Zefiro Torna and the vocal consort of Berlin on a new project. Inspired by The Song of Songs, a series of lyrical poems organized as a dialogue between a young woman and her lover in the last section of the Tanakh or Hebrew Bible, the Allegory of Desire came to life. The music involved single voiced madrigals accompanied by instruments, vocal duets and trios, a women's choir and polyphonic settings by composers such as Hildegard of Bingen, De Machaut, Dunstable, Agricola, Lassus, Grandi, Sances, Monteverdi, Schütz, Buxtehude and J. Ch. The project created an inspiring dialogue between cultures while narrating texts by Sufi poets such as Rabaa Al-Adawia and a young aspiring generation of poets such as Egyptian Abdallah Ghoneim and Mohamed Zakaria. Lyrics were written and composed by Benali herself. The international cast took their project to Mechelen, Berlin, Hamburg, Nürnberg, Winterthur, Sevilla and Vilnius, and an album was released in 2016 by Warner classics.

It was during the revolution that people from all over the Middle East felt connected on a spiritual level no matter which country they came from. Tunisian-born and Brussels-based, Ghalia Benali, felt an otherworldly homogeneity with freedom seekers miles away and it felt as if she was destined for her new career venture. MwSOUL, translated as connected, was Benali's next music project. It is considered her most Sufi and spiritually oriented work. Most of the lyrics were written by her, yet the “MwSOUL” hit was written by the aspiring Egyptian poet, Abdallah Ghoneim. It all started during the revolution when Egypt shut down the internet and Benali lost connection with the youth. Ghoneim sent her a poem about souls and hearts intertwining, regardless of their inability to physically meet. The songstress tried to understand her own emotions regarding deaths, crimes and conspiracies and seek the true essence of the events. To her, freedom was never about over throwing political figures, so instead, Benali immediately started recording the powerful poem tackling the individual's path towards liberty. MwSOUL is a project that blends classic and contemporary Arab lyrics. The music using breath (Brass) and beat (Perscussion) was written by Benali, referring to the soul and heart, and arranged by Belgian group, Mâäk, with whom Benali has been collaborating for over 20 years, and led by trumpeter Laurent Blondiau with the excellent oud of Moufadhel Adhoum. Benali graces the stage in the MwSOUL performance and creates a pulse that is organically provided by oud, flute, trumpet, sax, sousaphone & drums, along with her dark and commanding voice and horns that add punchy rhythmic riffs. From moments of calm voice tagged solely with oud or sousaphone to full-throated vocal notes, the performance is a roller coaster of beats and emotions. The album is recorded with W.E.R.F label and is released in May 2017.

Immediately after finishing the MwSOUL project, Benali created a manuscript called “One hour before the Gods Awake” that includes 59 short fictional tales accompanied by 59 art works. The images and texts tell an imaginary and fantasy-oriented version of real unfolded events. From reiterating old mythologies and legends about the beginning of human kind to recreating newer and more passionate versions, the manuscript is nothing but uninhibited creativity. Benali turned her passion into an exceptional electro musical project, with songs and videos that captured a strong message.

The art work's line and structure is created by Ghalia Benali, while the text - or the tales - is by contemporary writers from all over the Arab world. The story line has 59 images, with 59 texts representing the 59 minutes it took humanity to reach awareness.

Fascinated as a child by “The Little Prince” novel by Antoine de Saint- Exupéry, the renowned literature quote “Draw me a sheep” have constantly consumed Ghalia Benali's thoughts. For years, the musician has failed to purchase the doll of her dreams, so instead she made one. Trying hard to find each doll the face it was meant to have, she opted to leave them unidentified, which eventually matched the persona she always imagined.

The concept of “Draw Me a Doll” project is that what a person choose to wear might suggest his/her character, yet it will never embody the soul and authentic nature. The project tackles themes such as freedom, inspiration, beauty, skin-color, diversity, acceptance while highlighting Benali's opposition to prejudice, racism and body shaming. The art dolls are made from spare scraps of cloth material, stuffed with raw sheep wool. They can be white, black, red or green. The fabrics used for the dresses are vintage silk, lace and leather, with gold and silver accessories. The scrawny arms and legs are similar to botanical roots.

As a child with a wild imagination, Ghalia Benali virtually traveled the world in her head, without ever leaving the comfort of her home. Feeling chased out of her safe haven, Benali refused to accept the reality of selling her house which embodied her dreams and memories. Mourning her past, the songstress started showing a fascination in creating miniature worlds, with their own fantasy and drama, in small boxes. Each box is a slide of life, a vulnerable little world that is a cabinet of curiosity. The observer feels sympathy and recognizes himself in the tiny figures and relate to their ignorance and frailty. There is enough space for one viewer at a time which gives a sense of privacy and intimacy.

Benali chose the dolls used in architectural modelling to represent her characters. The boxes have a vintage feel to it, like most of Benali's work, which is about memories and souvenirs. All the objects, fabrics, jewelry and tiny details are covered in dirt, torn and shredded. Benali aimed at recycling un-useful objects in our daily life, to give them a new purpose and meaning. The dioramas, as the musician named them, incorporate a painted background that employ a false perspective and carefully modifying the scale of objects.

One of the most spiritual and philosophical projects Ghalia Benali had worked on is “Underskin”. During an extremely rough patch in the musician's life, feelings such as anger, jealousy, hatred and sadness emerged, along with many unanswered questions. The spiritual aspect of the project was depicted in all the different answers found that carried the same message. A message of visualizing life's experience, standing in the middle of a universe, connecting the land and sky and just being one with your surroundings. It all started in 2005 when Benali envisioned existence as a tree that gave out life through branches that intertwined and flourished. The songstress's pregnancy was portrayed as a tree with its roots entrenched in a hemi-sphere, that represented a mother's belly. The deeply embedded roots in the soil represented a myth regarding the unborn's personality, hidden deep inside the songstress's body. Ghalia Benali used ink, needle and a vintage pencil plume and chose one of her paintings to be tattooed on her body. The message of “Underskin” is that you are the tree, you are the branches and you are the fruits. Inside you lies a fountain that never dries out.