Izenzaren Igout Abdelhadi
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VERY VERY RARE VIDEO Igout
Izenzarn (new)
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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
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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
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Izenzaren Igout Abdelhadi 4
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