This summer we transform the Rote Fabrik back to its silk factory roots (we mean that both figuratively and literally) with the return of the jazzhane festival, featuring new music from the Silk Road and beyond.

Spanning over three days from July 4 to July 6, 2024, the jazzhane festival hosts open-air and indoor concerts, dj sets, music workshops, panel discussions, and visual sonic lectures with artists from Gaddani, Karachi, Istanbul, Aarau, Zurich, Bern, Lugano, Haifa, Lyd, Öresund, Berlin, and more.

preliminary line up: Kalben, Šuma Covjek, Kety Fusco, Ustad Noor Bakhsh, Istanbul Ghetto Club, Hiba Salameh, Kornelia Binicewicz, Hvitling, Timboletti, Thomas Burkhalter, Rami Younis, Bassma El Adisey, and more…

Preliminary program

Thursday, July 4, 2024

20:00 - 22;00
«The Politics of Curatorship»

with Bassma El Adisey
(curator Aargauer Kunsthaus, lecturer, F&F School of Art and Design Zurich)

Thomas Burkhalter
(anthropologist, founder Norient)

Rami Younis
(founder Palestine Music Expo, filmmaker, Harvard fellow)

Friday, July 5, 2024

afternoon
Music workshops: instruments from the silk road, djing, music production, etc.

20:00 - 04.00
Visual Sonic Lecture - Ladies on Records

with Kornelia Binicewicz
(anthropologist, founder Ladies on Records, curator, dj)


Concerts & Parties
with Kalben, Kornelia Binicewicz, Istanbul Ghetto Club, and more…

Saturday, July 6, 2024

17:00 - 06.00
Concerts & Parties
with Šuma Covjek, Kety Fusco, Ustad Noor Bakhsh, Hiba Salameh, Hvitling, Timboletti, and more…

Artists A-Z

KORNELIA BINICEWICZ

KORNELIA BINICEWICZ

Kornelia Binicewicz is a Polish record collector, dj, and a cultural anthropologist. In 2015, she moved to Istanbul to explore female music from Turkey and the Middle East. She travels the world in search of mesmerizing music and meaningful stories to tell.

The founder of Ladies on Records, Kornelia curates a multifaceted endeavor to represent women's contribution to global and local music of the past decades. Ladies on Records tells the stories of women through the music they created. ​

Kornelia is actively involved in multimedia music projects and exhibitions, podcasts, and mixtapes for music festivals and radio stations (Radio Meuh, Radio Nova, Paranoise Radio). She assists in curating music festivals and writes liner notes and essays for culture magazines.

Her sets are packed with obscure dance floor bangers from all around the world, Turkish and Middle-Eastern rarities, and novelties from the global groove genre. Derived from organic music of the 70s, jazz, and global genres, her eclectic selection brings rich worlds in every meaning of the word to the dance floor.

Dropping knowledge and club bangers, we’re excited to participate in her visual sonic lecture on July 5, 2024, and later see her playing an eclectic dj set at the afterparty.

KETY FUSCO

KETY FUSCO

How do you channel hyperactive and seemingly never-ending childish energy to create cutting-edge music?

Meet Kety Fusco, a master of the electric harp. Bored of playing Debussy, Ravel, or Bach in the classical canon and feeling her creative vision and skills were limited by classical orchestras, Kety broke off and decided to create her own rules, her very own music.

Unlearning everything she was taught, it was the classic harp that became her first victim: Kety maltreats and hammers the harp with anything she can get hold of: forks, knives, tapes, and vinyl records to elicit new and unusual tunes.

Kety was confirmed to be on the right path when Iggy Pop curated her music in his regular BBC podcast Iggy Confidential.

Her sets are as experimental as they are energetic, usually an unknown journey both for the audience and the master at work. 

HVITLING

HVITLING

Hvitling [v'it:ling]; a variety of cod but also the Swedish transliteration of his birth name. He has meandered from the canyons of the Vrbas river to the frosty waters of Öresund before finding his way down to the shores of lake Zurich.

Having discovered an inclination for emotional and, at times, melancholic music from an early age whilst strumming classical ballads on his guitar, his attention was rapidly drawn to electronic music. Like a hvitling frolicking in the currents, he takes the listener on a journey through the sea of his mind.

ISTANBUL GHETTO CLUB

ISTANBUL GHETTO CLUB

Istanbul Ghetto Club is an anonymous art initiative that emerges from Berlin’s widely-recognized underground and avant-garde scene. Equipped with modular synthesizers and the traditional Anatolian Bağlama, the collective produces ecstatic tunes with blends of acid and psych. Their performances are witty, raw, and punky at times, and just as the city Berlin, they embody many fields of tension.

In the collective’s own words, the band formed when fictional Kamil, the Bağlama virtuoso, and Mahmut were thrown out of a Pavyon (a live music bar mainly visited by men to swim in different oceans): one didn’t fit the Pavyon scene, got into serious trouble, the other naively went to help, both ended up being beaten and kicked out of the Pavyon.

Left with a broken Bağlama and almost nothing, they visit a Çorbacı, a place one usually goes for traditional soup after a fun night out. Mahmut tells Kamil he is into electronic music, Kamil believes he can contribute with his beloved Bağlama, they decide to give it a try, the result is a peculiar mix of acid-techno-folklore: it does feel just like a tasty Çorba after a fun night out.

KALBEN

KALBEN

A multifaceted storyteller, Kalben is an innovative Turkish writer and singer with an unmistakable raw voice that she blends into a mix of folk, blues jazz, electro-pop, and stints of arabesque and Turkish classic music.

Her music is as unconventional as herself, a story of a woman who does not want to be defined by others, be it her love, relationships, marriage, career, or success.

Embracing her calling with solitude and grace, Kalben tells her personal stories and authentically connects with her diverse audience.

HIBA SALAMEH

HIBA SALAMEH

Hiba Salameh is a Palestinian music producer, filmmaker, and dj from Haifa. Defying genres, she smoothly mixes electronic music with the rich heritage of Arabic music and its counterparts from the planet’s southern hemisphere.

This is where energetic four-to-the-floor beats meet microtonal tunes and melancholic songs most of us know by heart from childhood. She plays music that travels across borders, denies their existence, and in doing so Hiba unifies her audiences with emotions she perfectly knows how to elicit.

Hiba’s sets are unpredictable, ever-changing in rhythm and pace, creating explosive dance floor energy.

ŠUMA ČOVJEK

ŠUMA ČOVJEK

We keep wondering, whether the Šuma Čovjek members were not selected into their school sports teams and decided to create beautiful music instead:

The band is the result of Bosnians and Algerians growing up in multicultural Swiss cities. Their music is an eccentric amalgam of melancholic ballads, rhythmic pop-rock pieces, oriental beats, and furious brass tunes. This is far from your Balkan-pop-cliché, as the musicians sing in French, Croatian, German, Arabic, and Spanish.

With heartwarming lyrics, wonderful arrangements, and brass beats, their shows turn into fantastic parties.

TIMBOLETTI

TIMBOLETTI

Rumor has it that Timboletti escaped from a confetti factory in faraway-land and serendipitously joined a flea circus on the road.

This is one of the many explanations why his listeners start seeing sepia-colored scenes from exotic places: with the steady, hypnotic rattle of a steam train in the background, the pictures show sequences from the Silk Road: India, Pakistan, Armenia, Iran, Mesopotamia, the Levant, South America, and from the infinite realms of Inner Space.

Timboletti profoundly understands to blend traditional, organic, hand-played tunes, and electronic House beats. You can find yourself dancing to a sad Armenian folk song your parents usually cry to, in other instances, his music takes you on an energetic desert ride, unleashing a racing pulse, often with hypnotizing effects.

The Times They Are A-Changin', and so is the dancefloor: we’re excited to hear how Timboletti adapts his fantastic downtempo sets higher BPM ranges and still keeps surprising us with melodic tunes we are used to from home.

USTAD NOOR BAKHSH

USTAD NOOR BAKHSH

With Ustad Noor Bakhsh, from near Pasni, Balochistan, we are honored to host a master of the Balochi Benju (a keyed Zither), an instrument he has played since his early childhood. Noor Bakhsh is a legendary instrumentalist throughout the Makran Coast, however, he only garnered wider attention after his most recent recordings and videos.

The Benu, once a Japanese toy for kids called the taishōkoto, was adopted by Balochi musicians and made into the refined folk instrument it is today. Noor Bakhsh plays an electric Benju, producing an idiosyncratic sound on an old pickup and a small Phillips amp he bought from Karachi two decades ago. Carrying forward the legacy of his teachers and inspirations, such as Bilawal Belgium and Misri Khan Jamali, his music elicits influences from rich traditions far beyond Balochistan.

Careful listeners will be taken on a journey with Noor Bakhsh’s experimental style, a repertoire that includes Persian and Kurdish tunes, Arabic Ghazals, and the many languages spoken in Pakistan: music that traveled in his lands before the modern borders of Iran and Pakistan were drawn; before Balochistan was divided.

THOMAS BURKHALTER

THOMAS BURKHALTER

Thomas Burkhalter is an ethnomusicologist, anthro-pologist, AV-artist, and writer from Bern, Switzerland.

He is the founder and director of Norient (Norient.com) and the Norient Festival, has co-directed several documentaries (e.g., Contradict, Berner Filmpreis 2020) and AV/theatre performances, and is the author and co-editor of several books (e.g., Local Music Scenes and Globalization: Transnational Platforms in Beirut, Routledge, The Arab Avant-Garde: Musical Innovation in the Middle East, Wesleyan University Press).

Currently, he is working on his new music project Melodies In My Head, and on the podcast series South Asian Sound Stories with musicians from the UK, Bangladesh, India, Maldives, Sri Lanka, and Pakistan.

At the festival, Thomas will be joined by Rami as a panelist to discuss «The Politics of Curatorship» together with Bassma El Adisey.

BASSMA EL ADISEY

BASSMA EL ADISEY

Bassma El Adisey studied art history, comparative literature, and visual theory at the University of Zurich and the University of Basel.

She is a curator at the Aargauer Kunsthaus in Aarau and teaches “Contemporary Art Histories” at the F+F School for Art and Media Design in Zurich.

At the Kunstraum Aarau, she is planning talks, panels, and round table discussions. Bassma is interested in the intersection of art and scenography and how exhibitions can serve as a platform for diverse artistic creation.

Bassma will host the panel discussion «The Politics of Curatorship» with Thomas Burkhalter and Rami Younis.

RAMI YOUNIS

RAMI YOUNIS

Rami is a Palestinian filmmaker, writer, journalist, and cultural activist from Lyd. He co-founded and managed the first-ever Palestine Music Expo, an event that connects the local Palestinian music scene to the worldwide music industry.

Rami wrote for the online magazine +972 and served as both writer and editor of its Hebrew sister site “local call”, a journalistic project he co-founded to challenge Israeli mainstream media outlets. He is also the co-founder and first host of the Arabic-language groundbreaking daily news show, “on the other hand” on the Israeli broadcasting corporation - a show that served a watchdog against fake news.

Rami will be joined by Thomas as a panelist to discuss «The Politics of Curatorship» together with Bassma El Adisey.

Tickets

We place great value on making the festival available to everybody. Together with our friends at the Rote Fabrik, we have worked on an inclusive price policy.

Solidarity tickets help us (1) offer lower prices for members of our community who cannot afford higher ticket prices, and (2) they support us in continuing our activities in the cultural sphere.

Festival Passes

Entrance on Thursday, Friday, and Saturday to the panel discussion, the visual sonic lecture, and all concerts and parties.

Solidarity tickets help us (1) offer lower prices for members of our community who cannot afford higher ticket prices, and (2) they support us in continuing our activities in the cultural sphere.


CHF 155 - Solidarity
CHF 115 - Standard

Festival Ticket Friday

Entrance to visual sonic lecture, concerts, and parties on Friday, July 5, 2024.

Solidarity tickets help us (1) offer lower prices for members of our community who cannot afford higher ticket prices, and (2) they support us in continuing our activities in the cultural sphere.


CHF 70 - Solidarity
CHF 50 - Standard
CHF 25 - Reduced (IV/Kulturlegi)

please note that you need to show a valid Kulturlegi and/or IV-card

Festival Ticket Saturday

Entrance to all concerts and parties on Saturday, July 6, 2024.

CHF 85 - Solidarity
CHF 65 - Standard
CHF 33 - Reduced (IV/Kulturlegi)

please note that you need to show a valid Kulturlegi and/or IV-card

Pay what you can

Workshops, panel discussions, visual sonic lectures

You decide how much you can or are willing to pay.

Solidarity tickets help us (1) offer lower prices for members of our community who cannot afford higher ticket prices, and (2) they support us in continuing our activities in the cultural sphere.


CHF 35 - Solidarity
CHF 20 - Standard
CHF 10 - Reduced
1 drink voucher included

WIN TICKETS

WIN TICKETS

The winners will be notified via e-mail. Please note that winners must show an official ID at the box office.

Conditions: Everbody who is at least 18 years old is eligible to participate. We do not allow multiple entries.

A correspondence will be kept about the draw for our newsletter. We assure that the data will be used exclusively for the newsletter and will not be passed on to third parties. The newsletter can be cancelled at any time!

The legal process is excluded.

Frequently Asked Questions

  • Yes, the jazzhane festival hosts both open-air and indoor events.

  • The jazfhane estival takes place at the Rote Fabrik, Seestrasse 395, 8038 Zürich. We encourage our guests to use public transportation or their bikes. The Rote Fabrik does not offer any dedicated parking sots.

  • We will announce the detailed program and schedule a couple of weeks before the festival.

  • The panel discussion and visual sonic lecture will be in English. The music workshops will be taught in German and/or English depending on the students’ preferences.

  • You can buy your tickets online on seetickets.com or at one of Seetickets’ official retail partners (Coop, Press & Books, Zürich Tourismus, etc.). See here for more information.

    Usually, you can also buy tickets at the box office. Please note that we do not keep a quota on box office tickets. We advise you to always buy your tickets in advance to guarantee your spot at our concerts.

  • We place great value on making the festival available to everybody. Together with our friends at the Rote Fabrik, we have worked on an inclusive price policy.

    We have a pay-what-you-can price policy for our panel discussions, visual sonic lectures, and workshops.

    The concerts and parties have three price categories: solidarity, standard, and reduced (for holders of IV-Cards/Kulturlegis)

  • The Rote Fabrik is a cash-only venue. Please make sure to come prepared. If you need to withdraw cash, you can use one of the ATMs close to the venue.

  • The Restaurant Ziegel oh Lac will take came of your thirst and hunger.

  • Yes, if the weather gods are on our side, you are welcome to jump into the lake. In fact, many of our guests have done so last year.