Damir Imamović has become widely known for his unique style of musical interpretation of the traditional musical genre of Sevdah music. While describing himself as a traditional Sevdah musician, Damir emphasizes the constantly evolving nature of Sevdah music. It is a form of music that is open to difference influences, and it is this fluidity and malleability that allow Sevdah to remain, as he puts it ”alive and fresh”. Damir’s new project is called ”Sevdah Takht”, and this fresh new band involves Damir’s collaboration with bassist Ivan Mihajlović from Serbia and percussionist Nenad Kovačić from Zagreb.
Damir Imamović will hold a Sevdah concert at the botanical yard of the National Museum in Sarajevo on 26 July, where he will perform together with his band members Ivan Mihajlović and Nenad Kovačić, violin legend of Sevdah Slobodan Slobo Stančić and young saxophonist Timur Sijarić.
By: Medina Malagić
Sevdah is a musical form that is considered to be innate to the traditions and history of BiH, but it is still largely unknown to the borders outside of the former Yugoslavia. Thus, in what ways would you describe Sevdah to someone who has never been exposed to it? What are the feelings that are typically evoked, the universal messages through Sevdah? Do you think Sevdah, if promoted in this way, can help brand the music to the outside world as a way to foster a broad sense of community?
I play a lot outside of the former Yugoslavia and I would say that Sevdah music needs no introduction in the circles of World Music lovers throughout Europe. Of course, the wider public is not very aware of it but concertgoers know it more and more. I usually refer to it as to a specific genre of poetry and music with strong oriental influences of a once powerful Ottoman empire. Also, an important thing for me to mention is its improvisational character and its openness to different influences. It is what made Sevdah and I believe it is what will keep it alive and fresh.
You are widely known in this region for not only your solo performances, but for helping bring Sevdah music to the fore once again, and this time the sounds are very different than what we consider to be ‘traditional’ Sevdah sounds. How is your sound or interpretation of Sevdah different?
I consider myself a traditional Sevdah musician. The fact that I play an acoustic guitar is something that confuses a lot of people. There is a strong tradition of introducing new instruments in Sevdah music. Once it was an accordion, later on the big orchestras with Western instruments played it. The important thing is to make informed changes and to adapt the playing styles to the tradition. And the change is in the heart of every living tradition.
What do you know about the history of Sevdah music, such as its origins, influences and fusions from the musical repertoires from neighboring countries?
I research a lot and give workshops and lectures on Sevdah and Balkan music. I will be soon giving one in English in Sarajevo (Museum of Theatre and Literature of BiH, Sime Milutinovića st., July 31st). When you compare it to other regional genres it is important to keep in mind that most of our state borders are very young and that cultural processes last for much longer and are slower than political changes. That is why with every new political change a new cultural vision is only partially formed anew and the older one is only partially destroyed. So many times you have smaller units that come into being on the common heritage but go different ways. That is a simple way to explain so many common traits but also the differences.
What is the meaning of Sevdah Takht? How did the three of you meet, and in what ways do your individual musical backgrounds and preferences combine to form the band’s own unique sound?
The “takht” originally means “stage” or “position for the musicians” (based on the origin for “bench” or a “plank”). It used to be a name for smaller bands that travelled throughout the Mediterranean and played different repertoires. “Sevdah” keeps it rooted into the local Bosnian traditions. We met at different concerts and jam sessions. I was in the process of forming a band and Ivan and Nenad were my dream team. I am so happy they agreed to play with me. We became really good friends in the process.
Sevdah is known for its melancholy songs that evoke a multitude of deep emotions, but not all Sevdah songs are melancholy. Some songs are more well known, and others not at all. So, how do you choose which songs to interpret? How would you describe the general themes to be found in Sevdah? A lot of lyrics in Sevdah songs speak about old traditions that are not practiced anymore. However, do you know of any Sevdah songs with unconventional lyrics?
Of course. There are many strange songs. I perform some of them. It is interesting that there are several recurring themes: forbidden or in some other way restrained love between two people, longing for a person or a home, etc. Sometimes I chose a song to perform solely for its lyrics. Sometimes I even chose songs with weaker lyrics if they can give me something musically.
Any particular reason why the museum has been chosen as the venue to hold this concert?
The Museum is a beautiful place that needs no special reason to be chosen as the venue for a concert. It is dreamy, unusual and perfect for our “Midsummer night’s Sevdah” concept.
