Littérature scientifique sur le sujet « Amazighe music »

Gnawa Diffusion was a successful musical group of first- and second-generation North African immigrants that achieved significant fame in North Africa, the Middle East and Europe during the last two decades. Based in France, though from Algeria, their politicized egalitarian message reached the world. Their musical skills, instrumentation, tastes and appeal to youth sounds, sentiments and meanings gave their globalized music a prominent place on the global stage. In their work Gnawa Diffusion addressed a panoply of political issues and sought to represent and reach their audience. Their greatest popularity came at the height and conclusion of the Algerian civil war. By parsing the meanings of the band’s name, this paper engages the events and cultures that informed Gnawa Diffusion, exploring the history of the Gnawa, the history of Algeria, and the relationships between France, North Africa and contemporary “French” music. Issues of cultural authenticity and representation are tightly layered within the band’s purposes and process of artistic production. Because Gnawa Diffusion was envisioned, organized and led by Amazigh Kateb Yassin, and because the band and media recognized him as the spokesperson and principal author for Gnawa Diffusion, Amazigh’s life story and words accompany this paper’s arguments and analysis. Through a selective sketch of the various musical consequences of the North African slave trade, the spread of Islam, the colonization of North Africa and the immigration of Algerians to France, we can begin to comprehend how these histories combined and harmonized through Gnawa Diffusion to form the new musical forms of a generation of people who seek to overcome their often divisive cultural heritage. In this case, the intent of the music challenges common notions of authenticity and thereby affirms it.

Abstract Mohammed Rouicha is an Amazigh musical legend. Rouicha came to prominence in his teenage years in the mid-sixties in Morocco and continued to evolve and rise internationally until his death in 2012. An artist and a musician, he was ahead of his time in that he believed that people and communities should connect with one another through music, regardless of ethnicity or language. Rouicha appreciated art in all its shapes and forms and was fascinated by Amazigh, Arab, and Hindi Music. He sang in both Tamazight (the language of the Indigenous Amazigh) and Arabic, winning him accolades among listeners in both languages. In this article, I draw on Rouicha's biography and artistic repertoire in Tamazight to analyze his lyrical and musical style. Rouicha's songs revolved around three primary themes: love, struggle, and resistance, and he painted his lyrics with the beauty and imagery of Tamazgha (Amazigh lands), giving a voice to Moroccans’ embodied experiences. His songs represent an imagined Morocco: a place where Amazigh identity is an integral part of the national identity. I argue that Rouicha represented the hope that an imagined linguistic and cross-cultural interconnectedness would unite all of Morocco within their differences.

Abstract A very significant sub-version that derives from Tirruyssa (ⵜⵉⵔⴻⵢⵙⴰ) is called Tanddamt (ⵜⴰⵏⴹⴰⵎⵜ), which refers to musical jousting between two seemingly opponent Rways and/or Raysat. Each singer attempts to address convincing and satirical chants to the opponent singer. Tanddamt is rich of social topoi such as race and gender. This chapter aims to deconstruct the discursive contexts that gave rise to the derivative form of tanddamt, and provide an in-depth analysis of the assorted images of eloquence and satire in the discourse of this melodious genre of contest. A close reading of the conversational poetics of tanddamt shall provide us with profound insight into individual as well as social worries and memories as expressed in the art of Tirruyssa. While the black-versus-white tanddamt triggers an historical debate of racial discourse, blackness, negritude, and slavery, the male-versus-female tanddamt revisits an everlasting discourse of gender discontentment. These binaries are an inherent subject in Amazigh music and constitute a source of acoustic pleasure for the audience. I argue that Tanddamt, as a refined art of lyrical opponency provides a considerable space for ‘subaltern’ expression in the public sphere, which sets it as a propitious canonical genre, amply instrumental in the enrichment of world literature.

By exploring dynamic Jewish–Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, this book offers an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. The book interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches analysed are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish–Muslim interactions across the Mediterranean.