With 38 years dedicated to music, delving into the roots of Arabic tradition and reinventing the lute ( oud ) with his unique signature, Sami Bordokan makes a memorable transition from concerts to the theatrical stage. Born in São Paulo to Lebanese parents, his life has been a vibrant cultural bridge, mixing ancient melodies with the rich diversity of Brazil. Now, in his acting debut in the acclaimed show “O Profeta”, Sami promises to involve the audience in an unforgettable spiritual and emotional experience. From Arabic classical pieces to authorial compositions that span centuries, his musical journey now joins theater to tell stories that touch the soul.
Sami, since childhood you have been immersed in Arabic music, inspired mainly by your father. How have these family roots influenced your musical journey to date?
Music is a spiritual journey, a journey to our true self, to our essence. It has a beginning, but it has no end. It’s a constant search.
You bring a unique approach to Arabic music, fusing diverse influences, from Byzantine chant to flamenco. How would you describe the process of incorporating these different traditions into your personal style of lute playing and singing?
We all have a personal identity in the way we play and sing, but at the same time, we are influenced by the music around us. It is very important to be open to the sounds that are around us, but also to have a critical sense and be able to select what is most noble.
His tireless search for the roots of Arabic classical music led him to explore several countries, such as Lebanon, Syria and Egypt. How have these experiences shaped your understanding and interpretation of Arabic music?
It was during this process of in-depth study in the East that I discovered that music was something much more complex and sophisticated. There, I learned that, in the 10th century, music was a branch of medicine and that the lute was a therapeutic instrument and that it was essential to be a doctor, to be an excellent philosopher and an excellent musician. At that time, the disease was not treated, but the patient was treated. The lute had 4 strings that represented the 4 elements of nature and then a fifth string was added called the soul string, which is the title of my first album.
In addition to being a musician and singer, you are making your debut as an actor in the play “O Profeta”. What was it like for you to explore this new artistic territory and bring the main character of the work to life?
Being on stage as an actor has been an incredible experience because it has made me step out of my comfort zone and has contributed a lot to my personal development.
“O Profeta” has been a success in several cities, involving the public in a deep and emotional way. What do you believe makes this piece so powerful and how do you see the role of music in conveying this emotional message?
“The Prophet ” brings what we have most noble, our desires, our inner voice, what comes from our heart and soul.
You have an artistic career spanning 38 years and have contributed to a variety of musical projects, including soundtracks for television and theater. How do you select the projects you want to get involved in and what is the key criteria for you?
I don’t think I’m the one who selects the projects, because every time they appear, it seems like they were tailor-made for me. In the case of the Prophet, Gibran’s book is my bedside book, one of my favorites since childhood. But obviously I have a strict criterion: it needs to do good for those who play it and especially for those who listen and watch.
His music is described as having a “mystical and therapeutic side”. How do you see the role of music in healing and spiritual connection, both for you and your audience?
Just as we need to tune the instrument so that it sounds good, we also need to tune our internal instrument, harmonize the body, mind and soul. That’s what my music is about.
You have dedicated yourself to spreading the art of Arabic music in Brazil, through lectures, workshops and concerts. How important is it for you to share this cultural tradition in a context as diverse as Brazil?
All knowledge is only useful when applied in practice. It is something that must be shared, disseminated. Classical Arabic music has unique characteristics that do not exist in Western music, nor anywhere else in the world. In my case, I speak both languages, Portuguese and Arabic, I think I do it in a very natural way.
Throughout your career, you have explored a wide range of musical styles and collaborated with a variety of artists. Is there any particular project or collaboration that stands out as especially meaningful to you?
There are many significant projects, but the Orquestra Mediterrânea do Sesc, in 2006, had a big impact on me. We were 25 musicians, from the most diverse regions of the Mediterranean and Brazil, playing together. It was unforgettable.
Finally, looking to the future, what are your next steps in music and performing arts? Are there any projects you’re particularly excited about working on in the next few years?
We are going to record the soundtrack for the play “O Profeta”. It’s something I’m really looking forward to doing!
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