Recently, I heard a piece of music in which I heard the voice of the Syrian singer Lina Chamamian, whose melodies seemed to me to be a mixture of that global dimension that seems familiar to all of us, but which contains nostalgia and Egyptian sweetness.

About that meeting with Bashamian, Hisham says: “I love human voices that resemble musical instruments, and Lina Shamamian’s voice met this passion for me, although there is a great challenge in combining her voice with electronic music, but I am very satisfied and happy with this new experience.” .”

While I was searching for Hisham Kharma, his works, and the various projects that he produced, I was struck by this diversity, which I find to be either an expression of a state of dispersion that the creator may live in, or a multiplicity of forms of this creativity.. Something I touched in Hisham through this passion in Talk regarding what he offers.

Hisham says: “I love private music albums and live concerts, especially since there is interaction with the audience, and I can identify their reactions from smiles and expressions on faces, applause, etc., and I also love participating in collective and participatory work, in which we work together in order to come up with work.” successful group.”

And because films and cinema are part of this passion that I carry in all my meetings, I found it a valuable opportunity to ask Hisham regarding his experience in composing the soundtrack for the first 3D Arab horror movie, and how the experience was different in this context from other visual projects that he presented in the past.

Hisham says: “The beautiful thing regarding working within the cinematic scope is that we deal with team members who come from multiple backgrounds such as the author, director, actors, and others, and the experience in 13 Days is unique as it is the first Arab 3D horror movie, especially since we are using Dolby Atmos technology, which is a phrase About the process of embodiment of sound, so that the image and sound are embodied, whether inside the cinema hall or even when wearing headphones specially designed for that, so the person feels that he is inside the piece or the movie and part of it.

Balancing the rise towards globalization and keeping pace with new trends in musical techniques in terms of composition and recording on the one hand, and preserving the spirit of the place to which the artist belongs so that the music he presents does not turn into “elevator music”, as we like to call it, is not easy, but rather necessary. To skill, taste, sense of place and identity, how did Hisham Kharma win this equation?

Kharma says: “Every artist wants to reach all people, and to follow trends and the new does not necessarily mean that we forget our identity and the details of the place we belong to, and I am one of the people looking to communicate the spirit of the country in which I grew up to the whole world, so I tried that the music that I present is not It is so completely oriental that only we listen to it, nor that it be music without any soul and therefore not heard by anyone.”

The artist’s passion for his work and the creativity he presents always pushes him to search for different ways through which he can enrich his participation in society, and for this reason, Hisham Kharma holds, from time to time, therapeutic music sessions for different groups in society: not from the point of view of treatment and medicine, but because music combines between People, and reveal to them aspects of their personalities that they were not previously aware of.

Regarding these sessions that Hisham Kharma presents to the children, he says: “I had an experience with children with cancer in Hospital 57357 as part of our attempts to always help in the way we can provide. I had no expectations regarding what awaits me, but I was happy that the children sat throughout the playing period.” And they never felt bored, although the doctors themselves expected that they might get bored following a quarter of an hour and gave themselves up to the music.