“I’m all for making the world a better place!”

There is something rather vulgar about introducing an artist with a list of credentials. One doesn’t define Radiohead, after all, by the fact they’ve been nominated for a handful of Brit Awards. And yet it’s certainly a temptation with Miri Ben-Ari: how can one ultimately communicate the significance of a violinist, little known in this country, agreeing to be a part of One World Week, without the information that so unambiguously makes that fact genuinely exciting.

But then we have another problem: Miri’s credentials are pretty extensive. And, indeed, diverse. “The world’s greatest violinist” (as far as Wyclef Jean is concerned anyway) is as notable for the fact she’s a Grammy Award-winning, urban icon (despite the fact that she plays what is, ostensibly, a classical instrument – indeed, her new single, ‘Symphony of Brotherhood’, is the first instrumental music video by a violinist to feature on the likes of MTV and VH1) as she is for her work with the charity ‘Gedenk’ (dedicated to promoting awareness of the Holocaust among young people) and music education. She co-wrote Kanye West’s ‘Jesus Walks’ for God’s sake. Her fourth record, the brilliantly titled Hip-Hop Violinist, featured, among others, John Legend and Akon. She is, ultimately, remarkably difficult to summarise.

And yet she’s decided to perform, and speak, at One World Week – at Warwick. Allow me to introduce Miri Ben-Ari, then: as far as I’m concerned, it’s time you got familiar…

_The list of artists you’ve collaborated with reads like a who’s who of US popular music of the last two decades – what is it about the collaborative process that you find so appealing and, indeed, fruitful? And what have been the highlights of your collaborative journey?_

The most beautiful thing about collaboration is the fact that you get to learn something from every artist. For example: I learned so much about production from Kanye West, got new ideas from Wyclef Jean, and Donna Summer is super-creative in the studio and treats my instrument like a voice. The artists that I’ve worked with reached their level of success because of their talent, dedication and discipline, and spending time together in the studio was inspiring.

_Hip-hop is a genre you obviously feel an immense affinity with. And yet it is also a genre that is all-too-frequently generalised, looked down upon and ultimately insulted by everybody from media commentators to politicians. What is it that you perceive to be so special about the relationship between your ‘classical’ talent and hip-hop, and how do you defend yourself when people are ignorant enough to challenge it?_

Let me start by saying that as a violinist, my relationship with the hip-hop genre is based on the music and not the lyrics; with that being said, I don’t take an active part in “insulting everybody” and I also oppose lyrics that downgrade women. I do like the fact that hip-hop is all about saying “what’s really good”. My approach to music is based on being true to myself and playing the music that I like, using the violin as my instrument and a voice. I enjoy fusing the old and new and bringing classical elements to the current music of today.

_Why do you think that collaboration is so much more of a feature of hip-hop and R&B than it is of other genres? Is this element part of what you find so attractive about these styles of music?_

Collaboration is a part of hip-hop and R&B because these genres tends to mix different musical elements. One song could include rap, singing and samples of just about every style of music. This is where I enter the picture and fuse it a little more with a classical violin adding my own flavour to the music.

_You’ve worked with a number of artists broadly defined as having something of a ‘crossover’ appeal – Kanye and the Roots being obvious examples. Is the breaking down of reductive genre-labels and the changing of people’s musical preconceptions something you particularly relish?_

Absolutely, I believe in keeping an open mind when it comes to music. It’s good to know and respect what is out there and what came before you and at the same time to be original and not to be afraid of introducing something different and new.

_Playing in the UK is something of a rarity for you – is that a situation you’d like to change? What do you make of the UK variants of hip-hop that have sprung up in the last few years (grime etc.) and the important UK innovators in the genre (Dizzee Rascal, Wiley, Sway etc.)? Would you be interested in doing some collaborative work with, say, Dizzee? I’m sure he would be up for it._

Sounds like a great idea to me! Hip-hop is a genre that took over the world and every country represents hip-hop in it’s own unique way. In fact, I am about to collaborate with a very popular hip-hop group in Germany and am very excited about it.

_The violin is one of the few traditionally classical instruments to make regular appearances in ‘popular’ music – indeed, in any number of different guises (I’m thinking everything from Gogol Bordello’s gypsy punk to your own collaborations with Kanye etc.). What do you think it is about the violin that makes it such a versatile instrument?_

The violin is a string instrument so if you have the orchestral knowledge and experience you can create a strings arrangement in the studio or even live on stage. The violin is also known to be “the closest instrument to the human voice” and this is my personal musical approach to the instrument. When people and artists I work with, tell me that my violin sounds like a voice, it is the best compliment that I could ever ask for.

_My research tells me that you’re a vigorous advocate for, and defender of, grassroots live music and music education. And yet you’ve collaborated with artists such as Britney Spears who are often accused of being less than musicians because of their tendency to mime etc. How do you reconcile these two sides to your life as a high-profile musician?_

I strongly believe in live music and constantly support and promote music education. I strive to bring my very best to every project without criticising others. I don’t need to put people down just because they don’t play musical instruments, people have different skills and it’s important to respect people for who they are.

_Political issues, causes and debate inform both your music and your public profile to a significant extent. How would you describe the relationship between your charity work etc. and your life as a musician? Are the two completely reconcilable?_

I am so passionate about both: my music and my charity work. It is a privilege to be an artist and also give back to the community. It is very time consuming but so fulfilling. My charity work with ‘Gedenk’ promoting education and awareness about the Holocaust is a part of who I am; a grandchild to Holocaust survivors and it connects me to my very roots. It has also helped me to realise how important it is for people to know history and learn lessons from the past in order to avoid repeating the same mistakes in the future.

_Your most recent single features fragments of Martin Luther King’s famous ‘Dream’ speech. How do you make sure that your political agenda infiltrates into what is often entirely instrumental music? Is it difficult to do so without the addition of lyrics?_

My song ‘Symphony of brotherhood’ featuring Dr.Martin Luther King Jr. is in some ways a soundtrack to King’s words. I felt that only instrumental music could follow a speech that is already perfect and complete to begin with. Sometimes, instrumental music can be even more powerful then words because it can put you in a mood and bring up feelings that go beyond words.

_And finally, what is it about One World Week that has caught your attention enough to ensure that you’ve agreed to be a part of it? What do you hope to get out of the experience of both performing and leading discussion at the festival?_

I love the idea of ‘One World’: the opportunity to encourage awareness and positive action on issues that affect our One World. I believe that as an artist, it is my duty to promote messages that are bigger then myself and my music, such as music education, peace and ‘Gedenk’. I am looking forward to my performance on January 23rd and to the student discussion in light of Holocaust Memorial Day. I’m all for making the world a better place!