GEORGE V MAGAZINE
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The trailblazing Paris-based Tunisian musician, musicologist and conductor Amal Guermazi has spent many years introducing Arabic music to Western audiences as leader of the Mazzika Orchestra — billed as performing an “exquisite fusion of Arabic music with refined orchestral artistry … (reinterpreting) Arabic classic and pop masterpieces with rich orchestral arrangements.”
Here, Guermazi talks about her belief that music can offer refuge in times of upheaval, her sense of responsibility as a woman in a field dominated by men, and her ambitions for Mazzika.

In troubled times, what is the importance of music?
There’s a quote by the Danish writer Hans Christian Andersen: “Where words fail, music speaks.” And a quote by the French writer Victor Hugo: “Music expresses that which cannot be said and on which it is impossible to be silent.” I believe music is capable of being a true refuge for the soul — not in the sense of escaping reality, but as a return to those deep values that restore inner balance. It’s a way of understanding and containing things more deeply when language falls short. Sometimes, on stage, I feel that the hall breathes in a single rhythm, as if the music is reorganizing inner turmoil. Rhythm affects the body, harmony affects the mind, and melody touches memory and emotions, so music becomes a shared emotional experience that grants a moment of balance and contemplation. I see music as a human and intellectual necessity.
What advice do you have on using music as a means to enhance inner peace, especially in times of anxiety and pressure?
Every person has their own music that resonates with them. There’s no reason why listening to it shouldn’t become a daily ritual, rather than just fleeting background noise? What matters is truly listening: allowing ourselves to feel, to calm down, and to be present in the moment. Music is not a solution to everything, but it is a tool that helps us become more balanced and closer to ourselves.
When did you realize that you wanted to conduct, as well as play, music?
It wasn’t a single defining moment, but a gradual awareness. When I joined the orchestra, my perception changed; I no longer heard only my part, but the entire work — music transformed from performance into vision.
What does it mean to you to be a woman conducting an Arab orchestra before an international audience?
When I step onto the stage, I think first and foremost about the story I carry: a story of an ancient culture, and a voice of identity that has not always been given the space it deserves globally. Before every concert, I feel this responsibility, and I strive to present this voice in a way that befits its beauty and depth. I see heritage as a living force that evolves with us, and I approach it with respect and awareness. I strive to preserve its essence and core elements while expressing it in a contemporary language that resonates with audiences. My background in musicology helps me sustain this delicate balance. From the outset, I wanted to present authentic Arabic music in a way that can speak to the world. My collaboration with the Mazzika Orchestra gave me the space to bring this music to international stages with a spirit that honors its identity while giving it a contemporary voice.
Was it hard, as an Arab woman, to be accepted as a conductor?
At first, I was met with skeptical looks. But I chose to answer with actions, not words. I didn’t enter this field with a spirit of defiance, but with passion, grounded in competence and hard work. At times I felt I had to prove myself twice over — as a leader and as a woman. But I didn’t dwell on that; I focused on the work. Over time, skepticism gave way to trust and respect. In the end, results become the language that speaks for you. A woman’s presence doesn’t change the essence of leadership; but it enriches it with a different sensitivity.
What would your message be to women across the Arab world?
Trust your voice, and don’t wait for someone to hand you a platform. Build your own, confidently and steadily.
