But, in recent years, Khalifé has been determined to swim against the tide of Arab culture by seeking to carve out space for instrumental music, emphasizing his work as a player and composer.

“Poetry is essential in Arab culture, and most Arabic musical creations have been based on lyrics and poetry,” said Khalifé, 57, speaking in Arabic through an interpreter from his home in Paris. He makes his first San Diego appearance since 1995 Sunday at the Birch North Park Theatre.

“But it's also true that some composers and musicians have created significant instrumental works, experimenting with solo pieces for classical Arabic instruments such as oud and qanun,” Khalifé continued, referring to the dulcimer-like Arabic harp. “I took this a step further, and was able reach audiences beyond scholarly musical circles. For the first time, instrumental music has reached the people and been well received despite its experimental nature.”

While his latest work, “Taqasim,” is an instrumental tour de force, Khalifé hasn't left the written word far behind. Conceived for a trio of oud, acoustic bass and percussion, the hour-long piece was inspired by Darwish's poetry. Released earlier this year on a gorgeously produced CD by Nagan/Connecting Cultures Records, “Taqasim” is an intricate three-movement work that flows from Darwish's rhythms and imagery.

“What's special about it is that I'm specifically avoiding his voice and song,” Khalifé said. “I'm stressing the use of instrumental music to express the essence of Darwish's poems.”

While finding an audience in the Arab world for his instrumental compositions has been a major challenge, Khalifé has faced far more daunting hurdles as a performer. In a region where free expression is often squeezed between the repressive impulses of authoritarian states and Islamic fundamentalism, Khalifé has frequently faced threats and prosecution.

Since the mid-1990s, he has endured three blasphemy trials in Lebanon for including a Koranic verse in his song “O Father, It Is I, Yousef,” which is based on a Darwish poem.

Raised in a Maronite Christian family, Khalifé has been denounced repeatedly by Sunni clerics, though Darwish spoke for many in the Middle East when he rallied to the musician's defense.

“Fundamentalism is in the process of stifling culture and creation in the Arab world, and I say it is shameful,” Darwish said. “We should all be ashamed. If Marcel Khalifé is found guilty, it will be an insult to culture.”

Ultimately, Khalifé was found innocent. But he has continued to ruffle feathers. Earlier this year in Bahrain, his collaboration with poet Qassim Haddad, inspired by the passionate Arab love story of Qais and Laila, sparked an investigation by a hard-line Islamic faction in parliament. Around the same time, his work was banned in Tunisia because Khalifé joined other prominent Arab intellectuals in signing a petition protesting the country's curtailment of freedom of expression and violation of human rights.

Given the risks and difficulties Khalifé has faced in his career, it's easy to understand why he has expressed dismay and hurt over a smaller controversy surrounding his performance in San Diego.

His concert was originally scheduled to take place at the Salvation Army's Joan B. Kroc Theatre. But Salvation Army officials balked at the engagement when they realized that the organization presenting Khalifé was Al-Awda San Diego, an activist group dedicated to promoting the right of Palestinian refugees to return to Israel.

“I still believe there would have been a chance to make it happen if there had been better communication earlier on,” said Manal Swairjo, an Al-Awda leader who has translated many of Khalifé's songs into English. “If they had said we have this concern, assure us there will be no leafleting, we would have said sure, it's a cultural event, not a political rally. Their issue was with the presenter, not the artist, but they have mistreated us both.”

As word of the cancellation spread around the country, the Salvation Army has faced tough criticism for appearing to disrespect a widely revered artist. The company publicizing Khalifé's North American tour sent out a press release saying that the Salvation Army demanded that an Israeli artist appear on the same bill as the oud master. According to the Salvation Army's Capt. John Van Kleef, however, the issue of an Israeli performer was raised in the context of describing the theater's mission, not as a condition for the booking.

“The theater is designed to help celebrate common values,” said Van Kleef, administrator at the Ray and Joan Kroc Corps Community Center. “We can't be mistaken for supporting Al-Awda's agenda. That was the Salvation Army's sensitivity. When we discovered we couldn't proceed with the contract, we helped Al-Awda find a suitable theater. This wasn't about Marcel Khalifé, who is obviously a celebrated musician.”

The distinction between rejecting Al-Awda and rejecting him is largely lost on Khalifé. He worries that there's a climate of fear and anxiety in the U.S. surrounding Arab culture. He's spent much of his career trying to build bridges between East and West, just as his ensemble features his sons, percussionist Bachar Khalifé and pianist Rami Khalifé, alongside the great jazz bassist Mark Helias.

“We want to say to everyone who welcomes us or not that we want to give a message of peace,” Khalifé said. “They are welcome to be with us in a human dimension based on rights, understanding and trust instead of fear. That's why small incidents should not be overlooked. We should fight for a better understanding and more inclusive dialogue.”