From the Spanish Arabic al’arabíyya, and this classical ‘arabiyyah, comes “algarabía,” a word used anciently to denote the language of the Arabs, instead of any obscure or unintelligible language, and more recently to the confused bull-bull of many ancient voices. Over time, more optimistic color shades were obtained: on the one hand, rough joythe celebration shared, others, the name of a forest plant whose branches grow in pairs.
This semantic development continues in the same way as the essence Algarabiaa new scenic and musical show that the Universidad de Navarra Museum (MUN) is organizing in its absolute outdoor atmosphere on March 27 and 28 in Pamplona.
shadow, a co-production of MUN together with Khawla Art & Culture Foundation and Abu Dhabi Music & Art FoundationI want to be an exercise in understanding between East and West, between Andalusian tradition and contemporary sensibility. Together with the artistic exchange, it is a cultural dialogue project that celebrates the wisdom of art as a form of knowledge and understanding. Algarabia it seeks, in the words of its promoters, to “give voice to our shared humanity,” noting that beauty—like the flower that gives the show its name—can be accentuated by two distinct branches.
Stage direction and dramaturgy are the work of Ignacio García and Jihad Mikhaeltwo creators accustomed to aligning scenic languages and sound traditions. The musical starting point is the work of Manuel de Falla, a central figure of Spanish modernism and a symbol of the convergence between the popular race and European vanguards. In 2026, we will commemorate the 150th anniversary of his birth, and Algarabia celebrates it by restoring fragments of some of its emblematic titles (Short life, Nights in the Gardens of Spain, Love bro or Sombrero de tres picos), reinterpreted with new elements.
Junto and Falla, music by an Emirati composer Ihab Darwish add oriental raíz counterpoint. The orchestral work is intertwined with the creation Josem Garcia Hormigoresponsible for the score, which combines the gestures of flamenco and Arabic music with a symphonic structure. The result is a sonic tapestry in which the resonances of two traditions are recognized, which belong more to what one might guess: sweet songs and maqām, the Andalusian lament and the Arab staircase.
Ensayo general de ‘Algarabía’
The instrumental section covers 80 choir performers and the Universidad de Navarra Sinfónica Orchestra under time signatures Borja Quintas. Around the rededor are invited musicians who complete the flamenco and oriental tone of the piece: Manuel Masaedo on percussion, Antonio González Reyes on guitar, Belén Vega as lead voice and Aya El Dika as trustee of a traditional Arab instrument.
In the dance aspect, the presence of the dancer and choreographer stands out Jesus Carmonawinner of Premio Benois de la Danse 2021 and Premio Nacional de la Danza 2020, who interprets his own choreography alongside Lucía Campillo. Both feature a roster of young people from a flamenco dance team with four Arab artists from the Sharjah Performing Arts Academy. The image that the show proposes – the choreography of two eagles – embodies the metaphor of a bridge, a correspondence that takes place in different movements but with a common impulse.
A scene from ‘Algarabía’ in her general opinion. Photo: Raúl Villegas
The art direction of Liuba Cid visually translates this espíritu de encuentro antes referido. Through a design that involves students from the University of Navarra, the scenario will be transformed into an Andalusian garden.
Lighting by Juanjo Llorens, costumes by Yaiza Pinillos and audiovisual design by Alejandro Contreras, which includes progressive photographs from the MUN collection, create an atmosphere of light, dark and reflections. Projected flowers, ropes with earthy and golden shapes, visual echoes of Islamic geometry create a thought-provoking scenography.
Everything happened in the garden
Algarabia tells us a story Farrahcuyo nombre means “alegría” in Arabic. He is a botanist who traveled from the East to the Alhambra in Granada to investigate the inheritance of Arab flora in Spanish gardens.
Company on Amiga española Candelaa scientist and writer with whom he conducts a dialogue with the elders of the Granada monument, in which they exchange impressions of all the accumulated knowledge. The women learned to converse from an old man, the spiritual guardian of this garden, who recites verses in Arabic and Spanish.
Poetry by Nizar Qabbani, Miguel Hernández, Ibn Zamrak and San Juan de la Cruz It acts as a lyrical tejido that transcends the plot. This harmony came from an unexpected turn when Florencio and Caló appeared, two young flower sellers bursting into the garden.
A scene from the work ‘Algarabía’ in his general opinion. Photo: Raúl Villegas
Florencio and Farah were immediately fascinated when they entered. However, when the florists are busy arranging the plants, the spell is broken. The young botanist intends to hold them until the end think about the ruined gardenturned into a desert.
In this discussion, the wise old man utters a phrase that sums up the deep feeling of the work: every flower, including the humblest ones – such as seaweed – encloses the whole of the world’s beauty. Young enamorado ready if arrepiente. The reconciliation between the characters culminates in a grand celebration of music and dance, a song of communion between cultures in which the beginning, now yes, green algarabia.
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