Lena Chamamyan: I don’t want people to dance, I want them to listen

voice, seemingly coming from the Heavens, has captured the minds, hearts—and ears—of music lovers in Syria. Young, talented, charming and beautiful, the singer Lena Chamamyan spread like forest ire in popularity, throughout Syria. She spoke to FW about her past, future, her dreams and convictions.

She began to sing at family occasions at the age of 5. Everybody noticed that Lena Chamamyan was ‘different.’ She had a magical voice—a heavenly one—that she was determined to utilize and develop. Born into an Armenian family in 1980, she first studied Business Administration at Damascus University (graduating in 2002) then joined the Conservatory of Music to transform her talent from ‘hobby’ into ‘profession.’ She graduated from the Conservatory in July 2007. Making folk heritage her hallmark, she took the artistic world by storm in a remarkably short period of time, releasing two CDs, “Shamat” and “Hal Asmar al-Loan” in two years.

Lets start with the latest, your upcoming trip to the Orient Peace Festival in Vienna.

One of the festival organizers came to Damascus and asked to hear my latest CD. It it the festival’s category and will be representing Syria next November. Its great to be able to represent one’s own country at such an event, and show the world that Syria is a variety of things— not just what they see in the Western media.

Who supported your musical career? Does you family have any role?

I started singing when I was a child. I felt that I was different. There was something missing in my life. I was determined to find it. After graduating from university, I refused to take a job and turned down a nomination to continue my graduate studies at the Sorbonne University in France. If I died at that moment, the only thing that I would have regretted was not having been able to sing. As for my family support, they encouraged me after my graduation, when I decided to join the Conservatory. If I chose to enter this domain from another side—like others are doing—I am sure my family would have objected.

Why did you choose «folk heritage?»

At the beginning, I used to work on screenplay music for television se-ries like “Nizar Qabbani” and “Washa al-Hawa” (And So Love Had It). These works left a positive impact on people and newspapers com-mended me for them. Then came the Jazz Music Festival in Syria which brought me to tour several Syrian villages. People came up tome after each concert and asked for a CD so they can re-collect these old songs. I felt that these kind of songs are still acceptable and popular so I decided to make my first CD, “Hal Asmar al Loan.»

Without doubt, there are two ways to make it to the top. One way is easy and cheap, yet it can achieve immediate stardom, regardless of voice or musical talent. Did you ever think of changing your way of music?

If I wanted the short way, I would not have joined the Conservatory. What I am trying to present is not only voice; it is music, tools, and distribution. A rapid rise to stardom is definitely nice but it is based on un-real and fake things; very different from what I am trying to achieve. Making concessions is too difficult for a person who is working hard to improve himself/herself.

In your point of view, what are the reasons that prevent Syrian artists from reaching international stardom? How would you describe the support of production companies for Syrian artists?

Marketing is the essential reason. We don’t have Syrian production companies. As for my CDs, the first one was produced on a grant from the Egyptian Cultural Center. That paved the way for my second CD. Someone liked what I was doing and thought that I had talent; he produced my second CD. I want a production company to support the project, not the person. Sadly companies supporting projects not ideas is the case that we have in Syria.

Has Syria given you recognition for what you have achieved?

If I were to compare myself with others, from the same domain and same Conservatory, I am the most well known. The media was be-side me, and two CDS in two years is wonderful. My problem is with production and distribution companies.

What does universality mean for you?

Universality means easiness and simplicity. During the past two years, I performed in France, Ger-many, Austria, Egypt, Jordan and soon, I will be signing in Lebanon.

Abroad, people like to discover every-thing that is new; they attend my concerts to see what Syria wants to present ‘by Lena Chamamyan and others.’

It was the first Monte Carlo Music Award, and a big fuss was made about it outside of Syria. It consisted of a concert at the Arab National Institute in Paris and a one-year advertising campaign for my CD. It was so nice to be honored by people who speak a different language and have a different way of thinking.

What kind of music do you like?

I love Sufi, Armenian, Pakistani, Afghani, classic Indian and Turkish music. On the other hand I enjoy listening El Hadra, Nasra Fateh Ali Khan, and naturally, Fayruz. I also like marvel music and feel that it contains many meanings that people would not know unless they pay close attention. From the new genera-tion I listen to Lubana Kountar, Ghada Shbeeb and others. I want to listen to something different not just copies of what others have already performed.

The song in that album, called «Sha’am» describes exactly what Sham means for me. Sham is…as much as you love it, this love hurts you.

How do you choose your songs?

I choose my songs in many ways. One song “Qabl al-Asha” was sung to me byan old man. I liked it and recorded it. When I choose a song, I feel it and sing it in a way that I believe is correct.

You once performed a Turkish song. Did it cause you any embarrassment or problems, given your Armenian background?

First I would like to stress that politics and music are not related. They are separate from each other. As for the Turkish song, that happened during my first con-cert in Dar al-Assad where I performed a Turkish Sufi piece. I did not sing in Turkish but the tune was Turkish. By chance both the Armenian and Turkish ambassadors were among the audience. At the end I stood up and said, “With the appearance of God, everyone must remain silent!”

What is Lena Chamamyan looking for? What is her goal?

I hope that I will not be obligated to make any musical or intellectual conces-sions in order to become famous. I want to offer an alternative to the commercial music we ind all around us. I want to promote Syrian heritage in every coun-try that I visit. At the end, I hope that I can continue to do that, present both myself and my country in a positive manner.

After two years of success, to whom does Lena Chamamyan want to say “thank you?”

The first big ‘thank-you’ goes to my parents, who been there for me since child-hood. I big thank you for Bassel Rajoub, and the musicians; my partners at work. Bassel Rajoub is the irst person whose advise I take in any song and he helps me chose the best of them. Another ‘thank you’ goes to my teacher Lubana Kontar. And finally to all those who came through my life and gave me a great memory, ‘thank you.’

I regret having to do things because they are an obligation, not because we like them. This is a problem that all Syrian youth face.

If you could achieve a wish immediately, what would it be?

To have real peace between myself and my soul, and to have a family.

It’s so important to be able to express ourselves in a different language. FW Magazine facilitates this to the foreign reader, enabling him to discover Syria. I wish you FW the best of luck, and a brilliant future.