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. His compositions, in turn, are heard from generation to generation. That is all that is said to Raïss Belaid. Better yet: "In many houses, the framed photo of Mohamed V is next to that of Raïss Belaid," says Said Boussif, director Boussiphone first distributor of the 45 laps of the musician. Yet rwayess, there are dozens today. Houcine Elbaz Raïss Amentag or Aarab Atiggi are now singing stars sousse, multiplying representations in Morocco and abroad. Their productions, concerts or audiotapes recorded on VHS still have the wind in their sails. The
Soussi, like others, need we speak their language. Yet the comments were unanimous: "Today, music has become commercial sousse. Most rwayess botch music and lyrics and think only sell". The era of Raïss Belaid is well and truly over. That of romantic melodies which throbbed and feature men singing love poems that were weeping women: "And it's far from a legend. Wherever he went, women were crying. Some even lost knowledge, "said Lahcen Belhaj, director of films and documentaries in Soussi.
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. Each sentence is an image, whether in songs on love, on the emancipation of women or the values of society, "says Raïss Hmad Amentag, originally from the region Tafraout. Better yet. rbab the instrument to a rope, a major in music sousse, c is he who is introduced: "The rope was horsehair. Currently, she is plastic, "laments Lahcen Belhaj.
In 1873 Raïss Belaid was born in Anu n'âaddi, douar in the region of Tiznit. But this is not where he grows up. This will be in the Jewish quarter of Tahala around Tafraout: "It was here that concentrated the largest community Jewish Souss "continues Lahcen Belhaj. Belaïd find itself alongside Jewish Berber singers and poets. It is from them that will teach music. From there, in the ceremonies is to him that we will use .
Like the parties organized by major douars. It soon became one of the largest raïss.
Dr. Mohamed Bizrane surgeon in Agadir and son of Said Achtouk, another prominent raïss died in 1989 says: "When Raïss Belaïd died in 1945, my father was barely 11 years. It was already his idol. He will also all his life. My father always said the music should stop at Raïss Belaid. Achtouk Said has ever recorded: his father objected.
As for his idol, he himself has crossed borders with its music. For Raïss Belaïd recorded his songs. Not in Morocco and not for anyone. He has, indeed, is part of the first series of 78 rpm Pathe Marconi. Nothing more. From this record, we still retains a story, that of meeting the master of Amarg with a master of Arabic song, Mohamed Abdelouhab in this case: "There is a story Mohamed was Abdelouahab admire Raïss Belaid and that it has launched a challenge, that of writing and composing a song on the spot, "says Said Boussif. Raïss For Belaid was known for that too:" It does almost never wrote his poems, he was improvising. "What we still retains Raïss Belaïd? it has traveled throughout Morocco, from village to village, singing here and there with his troop.
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
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