Ahmed Moneka. Photo courtesy
Afro-Iraqi musician and former refugee talks life journey, music
By William Crooks
Local Journalism Initiative
On Aug. 15, at 8 p.m., Moneka Arabic Jazz will bring their unique blend of “Funky Arab Music” to Parc Quintal in Sherbrooke as part of the highly anticipated Festival des Traditions du Monde. Led by Ahmed Moneka, the Toronto-based band fuses African grooves with Arab melodies, creating a vibrant and multicultural soundscape that resonates with themes of nostalgia, tolerance, and universal community.
In an interview with The Record on August 12, Moneka shared the rich details of his life journey, which deeply influences his music. Moneka described his background as a mix of Iraqi, African, and English influences. He grew up immersed in the African Sufi rituals that his family has practiced since the 7th century, when they migrated from Mombasa, Kenya, to Basra, Iraq.
These rituals, which he learned as a child, were centered on healing and community, with music playing a crucial role. “When we were kids, we sang folk songs and played drums, learning these rituals,” Moneka said, recalling how guests would visit his grandfather’s house for these ceremonies.
Moneka’s journey to Canada began in the context of his work in theatre and film. In 2011, he was involved in a short film that addressed sensitive social issues in Iraq. Although Moneka and his colleagues were straight, the film, which was about LGBTQ+ issues, led to threats from militia groups.
“This is not us as Iraqis. This is not our attitude,” Moneka emphasized, reflecting on the dangerous situation. The film was eventually accepted at the Cannes Film Festival in 2015, and when Moneka traveled to France for the screening, he received a call from his father warning him not to return to Iraq, as his life was at risk. “I got stuck here now almost nine years,” Moneka said, referring to his unexpected exile in Canada.
Despite the challenges of starting over in a new country, Moneka found solace and purpose in music. “Music saved my life,” he said. He initially joined Moskitto Bar, a band that blends Balkan, Celtic, Arabic, and Latin influences, marking his first experience as a musician.
Through this project, Moneka realized that people in North America lacked exposure to joyful Arabic music, which inspired him to create Moneka Arabic Jazz. His goal with this band is to spread joy, love, and a true representation of Arab culture. “I want to clarify the real image about us as Arab people in North America,” Moneka explained.
Moneka is now based in Toronto, where he lives with his French wife from Paris and their five-year-old daughter. Reflecting on his life experiences, Moneka highlighted the importance of joy and love, especially given the dark moments he has witnessed.
“I’ve seen a lot in my life — civil war, death, but also peace, purpose, and meaning,” he said. At 33 years old, Moneka is committed to using his music to bridge people together and reject the negativity that often surrounds discussions about war and conflict. “If we don’t live in the dark, we don’t appreciate the light,” he added.
For those attending the upcoming concert in Sherbrooke, Moneka promises a rich and eclectic musical experience that reflects his diverse influences. “You will hear the inspiration of three continents: West Asia, East Africa, and North America,” he enthused. The performance will feature African grooves, Arabic identity, and North American jazz, along with elements of reggae and funk. “It’s going to be an incredible celebration of diversity and unity,” Moneka said.
The concert in Sherbrooke is part of an extensive Canadian tour that has taken Moneka Arabic Jazz across the country. “We’ve been really busy, traveling non-stop,” Moneka said, listing stops in Alberta, Saskatchewan, Winnipeg, Nova Scotia, and Montreal, where they performed at the Montreal Jazz Festival and Nuit d’Afrique. In addition to his work with Moneka Arabic Jazz, Moneka continues to perform with Moskitto Bar, including an upcoming show on Aug. 17 in Montreal.
Looking ahead, Moneka revealed plans for more international performances after wrapping up their Canadian tour on Aug. 23 with a final show at the Royal Ontario Museum in Toronto. “Then we’re going to South Korea,” he said, adding that they have played in Chile and Colombia, and are also considering shows in the United States, including potential performances at wineries in the fall. “We’re still talking with presenters in the U.S. to finalize those plans.”
Moneka encourages listeners to explore the band’s music online. “Our first album is available, and I really hope people take the time to listen. Music is a powerful tool for connection, and I want as many people as possible to feel the joy and love we pour into our music,” he said.
Afro-Iraqi heritage: Rituals of resilience and cultural survival
The Afro-Iraqi community, which constitutes about 5 per cent of Iraq’s population, has a rich history dating back to the ninth century when Africans were brought to Iraq primarily as slaves during the Islamic Abbasid Caliphate. Despite enduring centuries of oppression, racism, and discrimination, Afro-Iraqis have managed to preserve their unique cultural rituals, which are essential to their communal identity and spiritual well-being.
According to researchers Amir Al-Azraki and Thawrah Yousif Yaqoob, whose work was published in The Black Theatre Review, these rituals, originating from various African diasporic lineages, have been passed down orally through generations. However, they now face the threat of extinction as knowledge keepers age and younger generations encounter systemic barriers to preserving these traditions.
Afro-Iraqi rituals, often held in sacred spaces called “makeed,” are deeply spiritual, serving multiple purposes including healing and honouring ancestors. Rituals like “Nuban” involve music, dance, and ceremonial practices that connect participants to their African roots and provide a sense of community and resilience.
Unfortunately, these rituals are often stigmatized within Iraqi society, dismissed as “barbaric” or “irreligious.” This perception is rooted in long-standing racism and a lack of understanding of Afro-Iraqi cultural practices. Nevertheless, the community continues to practice and pass on these rituals, recognizing their importance in maintaining cultural identity and spiritual connection.
Al-Azraki and Yaqoob emphasize that these rituals are not just cultural practices but vital links to ancestors and sources of spiritual strength. They argue that documenting and preserving Afro-Iraqi heritage is crucial for challenging stereotypes and ensuring the continuation of these unique cultural practices.