New video
Lesly Duppas - These vonne when
New video
Lesly Duppas - These vonne when
For a non-Soussi, the name evokes Lhaj Belaïd anything. His music either. Berber culture, we know only too well, has never received the recognition it deserves. And if, for a non Berber, names like Nass El Ghiwane or Jil Jilala are icons for a Soussi, said they do not know Lhaj Belaïd approaches the offense. Tafraout in Sidi Ifni, from Paris to Brussels in the Moroccan Berber community, there is almost sixty years after his death, none. Unique and inimitable.
Lhaj Belaid was raïss. The equivalent of a mâalem Gnaoui in culture for beginners. A master of music really. A raïss, composer, author and performer, troop leader. He was much more than that. Poet, Master of rhymes, metaphors and Amarga (the word means nostalgia and poetry but also music sousse where this poetry is sung): "Anyone who can not understand the texts Raïss Belaid.
What the emergence of the phonograph, the men and women gathered douars, outdoors, around his music and many were crying from the first note of his rbab. It has often been invited by Glaoui Almighty pasha of Marrakesh, to sing in front of his illustrious guests: "It's greatly admired and were even said it was his advisor."
history holds that he sang as women, love, war between the tribes and nationalist poems. And he initiated with other major rwayess Sassbo, Boubaker Anachad, Boubaker Zaâri, all of whom were his disciples and in turn marked the undersigned song.
It also remains his family. His son, who lives in abject poverty in Tiznit. Raïss too. And his grandchildren, also gifted musicians, known in the region of Tiznit. There are still rwayess, all influenced by his music. It also remains of the 45 laps, carefully guarded by families Sousse and cassettes increasingly difficult to find.
And yet: "It is what the song sousse Mohamed Abdelhalim Hafez Abdelouhab or to Arabic music." There's also this little young, named Said Ibba, located in France and which this year took over and modernized the directory Raïss Belaid. Success by connoisseurs.
There are still songs that Soussi know by heart and sing with nostalgia. Among many: Atbir Oumlil (white dove), Taleb (the learned), or Beni Yacoub. And finally there is the words of which we note: "O white dove, if you're ready to welcome me, I would come to you, even getting lost along the way."
Rwayess :
artists voice disappearances For the more pessimistic, yes. The rwayess, these masters of song Sousse have given way to bands who, increasingly, introduce modern musical instruments (drums, keyboard ...) from cover most importantly, the sound of rbab of derst (tam tam) or the Loutar (4 strings). This is
not all the text in Amarg very important, is relegated to second place.
Large rwayess? No, there is more: "Maybe Tabaamrant leaving the task of writing his lyrics to other gifted it." It must also be said that nothing is done to preserve the tradition of rwayess or to make them known to a wider public, not only Berber.
As for the concerts, they are organized in the Souss region, exclusively. The two televisions, they, perceive and treat even music sousse under its most folk. Far from the Berber poetry who would win both to be translated. The maalems Gnaoua had their festival through which they emerged from the shadows.
So, when a festival rwayess?
Source: Tel Quel
.................
LISTEN RAISS Haj Belaid in real player
Izenzaren Igout Abdelhadi
sent DraX2007
...................
VERY VERY RARE VIDEO Igout
Izenzarn (new)
sent Brox
Who
n has never echoed to the captivating rhythms of the legendary band, Izenzaren? That was never conquered by the beauty of his lyrics always telling the Amazigh and its problems? None probably! It is certain that at one time or another, the Amazigh people, and even strangers, were captivated by the musical troupe like no other. Notwithstanding its enormous success, the group has remained very quiet and this has probably amplified the aura of mystery that surrounds it.
The advent of musical groups in the Souss is not an incongruity that can only be explained in terms of mimicry of the West. This concept has always been present in the culture of the Amazigh Souss. Large rways, Haj Belaid, Boubakr Anchad, Lhousayn rims, etc., each have formed their own troupe with which they roamed the villages and cities of Souss and even beyond. Haj Belaid went to France as an example.
However, the band, in its modern sense was introduced with the profound changes that occurred in the Amazigh Souss society at the dawn of the 60s. An era characterized by a boiling creative musical including the creation of a modern and avant-garde tabghaynuzt (spider). If you believe Chamkhi Aziz, one of the founders of Izenzaren "tabghaynuzt was the first orchestra in Morocco, for our generation, it was the first school where we learned a lot. "
This musical and comedy (not unlike the example of a band equally mythical Ayt Lmzar because native of Lmzar of Ayt Melloul) was founded in 1960 by artists whose names do not tell nothing to ordinary mortals. Because they are almost all dead or eking out a living in total anonymity. These include: Abellahi El Madani, Farkou, Brahim n Ssi Hmad, Bihmaden Mohamed Jamaa and Bouslam Outznit.
latter, it seems, was a prodigy. He was a multinstrumentiste phenomenal. Almost all musical instruments (accordion, banjo, rribab, guitar) had secrets from him.
It is through this company so that future Izenzaren founders had the idea to found in 1970 a group they called Laqdam (steps). Training that did not last long, but this is only a postponement. For our young musicians are determined to give substance to another group who will live longer.
Success
After many names, the choice was finally arrested on Izenzaren. Birth this training was done in a manner quite spontaneous, unlike Usman (lightning) which was rather a very thoughtful artistic endeavor whose founders were the first militant Amazigh Cultural Movement (Brahim Akhiat, Moustaoui, Azaykou , Eljechtimi, Amarir ...).
Izenzaren group was highly original at all points of view. He even invented a new musical, "tazenzart" with his rhythms, his poems and his own theme.
It crystallized for years across the Souss, the quarrel between the ancients and the moderns, between advocates of "tarrayst. In other words, the traditional practice of music. And the proponents of this new trend of Amazigh music, "tazenzart.
If the group has had tremendous success with youth, adults were obviously for a long time reluctant to this new form of music with musicians from very long-haired rebels and methods that break completely with what is known so far.
It was not uncommon for rways, imagining that the group Izenzaren was a threat to them, took them in derision. Said Achtouk example. But with time everything contrived, since their audience was not the same. Izenzaren rather directed at young, often educated, and who listened to Western music instead. One could even argue that many of these young people have learned to appreciate the music of rways making a detour through the modern Amazigh groups. What is my case and many others of my generation Amazigh.
rupture with rways is visible at certain levels. The physical appearance and clothing: hair that goes to the shoulders, modern clothes (jeans, shoes ...). Musical instruments: the banjo that overtakes ribbab, violin, bass (agembri), etc.. The songs that embrace the concerns of an entire generation of young Amazigh, bewildered by the rapid social transformations. Finally, the rhythms that bear no resemblance to what was happening in rways. The first cassette
Group was commercialized in early 1974. The success has been meteoric. It became a social phenomenon. A legend was born, in other words. Everyone or almost humming, and even more, knew by heart their first worship songs, tinged with the nostalgia and melancholy that characterize so Music Amazigh Souss: immigration henna wad itmuddun, wa zzin, etc..
Izenzaren musical talent is not enough to make this group what it is without the contribution of a lyricist who wrote the majority of their songs, Hanafi Mohammed. "A man's shadow and a poet extremely shy, but oh so talented," according to the expression of Chamkhi Aziz.
Commitment
With Izenzaren, involvement in music, a concept little known until then in manners Moroccan music takes on its full meaning. For two reasons. First, the group, which never succumbed to the money - its members do not necessarily run on gold - has always had a great idea of the musical art in which he has given his pedigree. We can say that this attitude is really unique in the Tamazgha. Secondly, the song has izenzarienne this particular feature does not address topics hackneyed. It is true that the group discussed the love in its infancy, but without falling into the facility and even less vulgarity. I would even say that their love songs were provided with this "I do not know what, that mystery which gives the artwork an everlasting life. Zzin Wa (O beauty), tasa ittutn (heart injury), as has àawd tasa naked (oh my heart says), etc., are now part of the classical repertoire of the Amazigh song.
way, Izenzaren espouse progressive practical concerns of the public. Exit the sentimental theme! Now, their themes, characterized by a cure for even less pessimistic black circle around the social and political protest, the identity claim, the Termination of all injustice, etc.. For proof, one need only see the titles of their songs: Till (darkness), Gar azmz (bad times) lmeskin (poor) izillid (the storm), Tuzzalt (dagger), tixira (end of the world), etc..
Separation
success from the dissensions were soon to burst within the group. Result. It is divided into two parts with the same name: the first around Chamkhi Aziz, the second round Iggut Abdelhadi. In fact almost everything has been said about the separation. Many believe to this day it is a conspiracy by the very people that the success of this group Amazigh disturbed at the highest point. But it seems that the reasons are more personal than anything else. Incompatibility of temperament between the group members certainly! Moreover, to inquire, I asked Aziz Chamkhi who had this eloquent answer: "but we were not married to talk of separation! Besides, I never understand why we often wonder about this. "Nice way to avoid reviving memories we prefer silence forever.
If the first group has done a thorough research on the Amazigh musical heritage by delivering the taste of the day and how! - Directory classic big rrays including Hajj Belaid, and creating time to time, the second group has always done in pure creation. It is also the most popular not only because of the rebellious personality, marginal and nonconformist, its lead singer, Iggut Abdelahad, but also because of this unique way to handle the violin and especially the banjo. Some call him the magician glad of this instrument, even its largest specialist throughout Tamazgha. It must be said that his compositions are inimitable. So far nobody has been able to match it, although we have witnessed the advent a multitude of groups, as diverse and varied, and do not lack of talent: Archach, Titar, Izmawen, Laryach, Oudaden, Ibarazen, Igidar ...
Izenzaren musical influences are the least numerous. Provided that it lends ear can range from musical heritage presented by the Amazigh Ahwach the ajmak the ahyad the ismgan or ignawen the rywas, rhythms and even Afro-Saharan Country of America.
Izenzaren abdelhadi
sent batif-26
When will the new?
Izenzaren with their texts characterized by a language of their most popular and original arrangements, will always remain a myth that has influenced a whole generation of Amazigh. Until now, each performing group, there are thousands of fans who travel to attend, and often everyone collectively resumed their lyrics.
This musical is often acclaimed as the best group of Amazigh. But we almost regret that it did not produce any album since 1990.
In 1998, one of their concerts in Agadir, the audience sang together at the group: "Nera amaynu! "(We want something new). The response was Iggut Abdelahad for less scathing: "We must understand that you have the old albums to require a new," he let go.
Indeed, this is not given to everyone to understand poetry izenzarnienne often described as "esoteric", but as an audience in love with this group, the new is always welcome. Even if we never get tired of listening to their old songs that never lose their magic. Moreover, they are outright identity markers for Amazigh youth thirsting for recognition and, especially, looking for symbols. Which can easily be verified visually in each of their shows. Long live
therefore Izenzaren and thank you to them! Because they gave us, in addition to emotion, the pride of being Amazigh.
The only new song that the group remains, Ghika IZD ad a tram?
IZD Ghika ad a tram? Ghika ad ran? has ggisen UKAN iligh IZD Ghika ad a tram? Ghika ad ad ran? ad yyi nit ittjrun temtatent ayt my ar-k gh iswak ur lsan, BBIN asen w adan, ilih asen asafar lkem yyi ugharas s-n! Zund nekkin, Zund keyyin keyyin Zund, Zund nekkin yan yan ay iga iga lhsab w awal war lmal igh ur sis gguten amya llin IZD Ghika ad a tram? Ghika ad ran? wa ne ad yyi itjrun * * * * wa-d f yyi AFUS! gh kem anmun ugharas nffagh has Tamazirt NFL tt i wa wiyyadv NSTAR gh tmizar tilli lligh ur nlul
source : Lahsen Oulhadj (Montreal) Souss.com
............. .......
Izenzaren Igout Abdelhadi 4
sent tariracht
.................
Bernd Mattheus
A remix album, Requiem of a special kind: The starting material for the title on White Nights used Brinkmann excerpts from original recordings Cioran (from the also in supposé released CD "Cafard") and wraps them into a concrète soundtrack mix of minimal techno, jazz samples and Musique. Nine small compositions, Miniatures - an acoustic sketch book ... "Brinkmann EM Cioran selected excerpts from interviews he has subtly woven into the music. Dive at a particular place and disappear in another. It is a relaxed and what is tersely presented, high precision of speech. The musical sketches make the comforting to Cioran's remarks clearly: Set in a music, which in turn embeds jazz samples and other noisy musical references of the past in pluckernde fine crackling beats and electronics, his statements seem somewhat reassuring. The Levitating, on a Passing of the music vibrated the importance of gravity ... "(SPEX)
Caroline Krueger
Dchayra Born in 1978 in a suburb of Agadir and capital of the Amazigh, Amawi is studied and started his career there. Taghufi
Ddigh ur mad dari ayk the winu ttinigh
Adar inu ittidu tasa nu ar n spy
Ad gis Ingham igider LLI kkusigh nekki n
Tayri not tikessad inu ugigh ad rwelgh
Ndel SERS ar gis Nessa neffagh isuyas
Imeghza aragh qqazn gh isemdal nnagh
Inagh f wiyyad jjin slag ur ur ur Rmin
Ddigh dari mad ayk the winu ttinigh
IgH produce different sized neddu Han is also an NRA Ad awigh
ur boobs idda an iLink drgh ssikeln AGH
sar NAF nekki dis ad sul nsawal
Tengha iyyi taghufi wakha yuf an ur adugh
Ad akw ur tennit id is kwen ttugh ur ufigh
Ighra iyyi kra iqqan agh d ad t lkemgh nfelk
Ddigh ur dari mad ayk a winu ttinigh
Igh teddit dar usagm kti d is ak nnigh
Imun unzar d tagut gh ulawn kigan
Ass nna bdan issudu unzar akal nnagh
Ibbaqi d wakal iger s tudert neg amud
Imettawn n tagut igh taggug agh assan
Nekki d im ar nessa win tittit igum agh
Ddigh ur dari mad ayk a winu ttinigh
Tgit andaru lligh atlalan igadren
Ur ssingh aylligh nestara timizar
Kemmi n ur tssent nghal is a ten tneqqat
Neffugh nesgutti kigan nger s unaruz
Nghal is naggug nmun bedda gh ugharas
Neqqel s unzar d tagut ad bdun nmun
Kigan ad netini ghemk ur jjit urigh
Gh ass ad gh turigh ha tabrat inu tlkem n
Ali Sedqi Azayku
..................................................
..................................................
Nkkin
Nkkin igh t nnigh
Tabbayt n wul ayan
Nkkin igh t nnigh
Arraw mmu lâh imams
Nkkin
Ini aggas war asafar
Nkkin
Ini Taddagt ira ku yan
Ikkis gisnt amud wanna yufan
Ibbin gisnt azûr ar ittirir
Nkkin d anya
Yûdn imarirn ns
Ussana kra its ttazzaln
ittamum Ar ...
Muhêmmad Akwunâd
What ideas unfounded
What words I heard
How many lost worlds
What lies
How many people
themselves as angels
What experiences
Painful
Difficult decisions to take
principles ... to understand more
But there thousand and one reasons
To play good range
And save a lot of souls
And stop all these dramas
Hassan Essaoussani
......... .......................................
.......................................... .......
Nella sul
Yak nella sul sul Nedder
early Nttef Ula agwmmay
Nttef izuran gh tasutin
Man tugga sul ighaman
I Willi iran ad agh illih
Ur agh agh ur bed .. bed
Nnan iles nnun ur ribs early
Nnan ur ttafem izuran
Nnigh ASN Adrar irad irar
S iles nnagh irad
inin
Amazigh rad ilin
Zund igider gh ignewan
Ur jju ksuden ijawan
Ula jju gan isemg n yan
Man tugga sul ighaman
I willi iran ad agh illih
Ur agh ran ur agh ran..
Mohamed Oussous
We'll show them
it is in life
More important than their rotten ideas
That does not submitting
Qu we will find the solution
Even if we must die
We will always keep the smile
Words are engraved on our graves
We were free like doves
That has never stopped fighting
Against all that was rotten
In life
And we proved it ..
Hassan Essaoussani
................................ ............
.......................................... ..
Tiri nem
Azzar nem Zund imuzzar
CA iffi f ighir
joint ar not kkerzen
Gh tasa nu purposes going
Right SHE NRA tagudi not
Irigh not attack
Right Gaghan does not give awerz
Ad Fella takwlt
Right ad fsigh d tazult
IgH the Tall titted NTM
Ajj iyyi Gaghan gives isemg not
Ad KEM ka matergh
Ini izd ITravel ad tsiggilt
Ur n n AKW ittin
Ad gisen negnu aqeccab isfawn
Mad tlessat
Tayri not Tayri not
Tayri not Tayri not
Oussous
....................................... ......
Nzant
Nzant meqqar tuzzelt kiyyin tahlt
Awin gik ismedan d temmariwin
Afus invest yadar ccant n isennan
Ttut mad ur Iginla ad tnt ttannayt
Nettentin jjawent gh sorrow Or thread ttirint
Kiyyin Tizi ghd udant tannit arraw
Tafukt tsmun azenzar hiyylent tillas
Taghwrit tella frujjant AKW talatin
Termit! mach tawargit let mmiment
Anaruz Illana gh ugnes ifkak tumert
Tutt sisent aggas ttut irafan
Asekka let AFA ttazzalt ar tterfufunt
Manz? bu taddart ttun tammara ing!
Zzenzan tid tree lords ttazzalt t nnin
Tettast net tagdift ak mmalan
ULL's Zund aznzar fkank i tillas
Nzant! aggas ad illa tgit f wakal
Tudert aghdejaj nk ini Isasi
Tutilt anaruz Manik's Yuma?
Tallai ulaw n uzzal tmussun lord!
Walli tnt izenzan kiyyin ad wattesn
Meyarn GIK ad tgent clock tmussut
Awal an und igigil hours ak tn DUS
Kiyyin tgit aznezum trakin tmettant
Nzant! ametta a iggut hours as sellan
Ur ad ssemghurn ISA smezziyn IGH ad tsulut
ASSA n tzrit targagayt taffeta agharas
Tigemmi like ak d aggint mad tten t yusin
Willi isekkan Agadir gh llan isental
Wiyyad ccan imendi nes awin tillas
Mohamed Akounad
source: http://www.amawas-music.com/
Interviews with François Bondy, Fernando Savater, Helga Perz, Jean-François Duval, Leo Gillet, Luis Jorgen Jalfen, Verena von der Heyden-Rynsch, JL Almira, Lea Vergine, Gerd Bergfleth, Esther Seligson, Fritz J. Raddatz, Fetjö Francis, Benjamin Ivry, Sylvie Jaudeau Gabriel Liiceanu, Bernard-Henri Levy, Georg Carpat Focke, Branka Bogavac Count Michael Jacob.
Franz von Winter
discussion of Emil Cioran's work from systematic-theological perspective orthodox stamp