May 2008

Raiss Said Haj Belaid Achtouk

Said Achtouk

A master of the song Amarg [1]

by Lahsen Oulhadj

Africa North Amazigh cultural areas are distinguished by their rich musical heritage characteristics and diverse influences. Regions of south west Morocco are no exception to the rule. They are known by this iconic music, and by far the most widespread, Amarg, and a mosaic of poetic traditions and dance. Amazigh language, the term refers Amarg first nostalgia [2] and poetry, and, by extension of meaning, where the same music poetry is sung and danced. P. Galland-Burnett, who has extensively studied the Amazigh literature, saw in the term Amarg, root WRG (dream), and offers this definition joking: "What unites the dreams" or "field of vision, imagination games, illusions" [3] . A host of great musicians, singers, just as exceptional gifted, have hoisted the music at the peak of perfection, and left an indelible mark its evolution: El-Haj Belaid, Boubaker Anchad, Boubaker Azari, Janti Hussein, Mohamed Albensir Omar Ouahrouch to name a few. S. Achtouk with his prolific, vibrant and innovative, can legitimately claim to be part of this lineage of legendary artists.

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Raiss Said Achtouk 6
sent liondelile

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In this article, I will not pretend to make an exhaustive study of the author. This is not the idea which founded this work. I will therefore only attempt as modest as it is to try out some instruments of biographical, literary and sociocultural able to explain only in part, the genius of this great artist and his contribution to musical and literary production Amazigh. A thorough and comprehensive certainly require several hundred pages.

Who is he?

S. Achtouk, whose real name Bizran, was born in the early thirties to the village of Izourane Idaou-Bouzia in one of the biggest tribal confederations of the Souss, the Achtouken, hence its nickname. This tradition of relate to her tribe of origin is widespread among rways [4] . Examples are legion: Mohamed Albensir in reference to his tribe Ilbensiren, Boubaker Anchad of Inchaden, etc..

The father of our poet is fqih village. It naturally he taught him the Quran and the basics of reading and writing. Needless to say he would categorically oppose the calling of his early musical offspring, for two reasons: first, the ban imposed religious music, on the other hand, the negative image What the musicians in the popular imagination. In fact, the Amazigh had an ambivalent relationship of fascination / rejection towards music and poetry. See what a poet says Amazigh about this:

Hurma [5] MLAT yyi! rad man Saha awîh

Tell me please, what benefit would I,

Ay bu ayt-twenza hê imurig nssen nit

O women, practice of imurig when I know

Is ila Laib Ilit wannat isalan

it is demeaning and devaluing me as much

Is ugîh i ka inu they tadallit [6]

But I do not care because I do not want my language is despised

The paterfamilias having caught the train to handle lutar [7] , has not hesitated to crack him on the head in the hope of deterring of his vocation. He tried everything, but in vain. The obstinacy or stubbornness of our poet had because of his radical opposition.

way, it was ultimately left to do, but with two conditions: first, do not voluntarily register with finance and his voice on any audio or video (all tapes of poor sound quality currently circulating in the market, have been recorded illegally and without his knowledge during his musical performances), secondly, never succumbing to the lure of emigration in Europe. What was said was done. The music of our rrays [8] was never produced by any production house, despite the offers, you can well imagine, and actuarial and producers of all stripes. He did not ever think to settle in Europe while there visited several times.

That said, our artist has not devoted solely to music and poetry. He had such diverse activities as varied. For example, populations of Idaou-Bouzia have entrusted an electoral mandate to represent them on the board of the rural commune of Belfaâ, not far from the city of Agadir. A task which he carried, according to several testimonies, with seriousness and dedication. He was also interested sport and particularly football. He presided for many years, the fortunes of the team Biougra and has consistently supported all the teams emblematic of Souss, Hassania Agadir and Raja particular. He also built a farm with the help of a friend, to produce tomatoes, but without much success. This was S. Achtouk a man jack of all trades and a colorful character. It remained so until his death in a clinic in Rabat, September 7, 1989, following a long illness.

His musical and poetic

The Achtouken ajmak are distinguished by a variant, it seems, the ahwach [9] , notwithstanding the practice to a lesser degree course here and there , dance to ahiyad [10] and ismgan [11] . One can easily imagine that our singer's childhood was rocked by this tradition mainly poetic, choreographic own this part of the Souss. And whose influence will be constant and important post on his work. It would be interesting to give a little description ajmak to better understand poetic and musical production of S. Achtouk.

Amazigh tribes of Achtouken, instead of crossing swords, as was often the case in the past, opted for another choice less hawkish and more civilized: the ajmak. In other words emulation or a "war" poetic on the village square, the Asrir between two rival groups. In our time, and fortunately also the ajmak is rather an expression of collective joy and an overwhelming desire to be together without it loses some of its original features. And this is not just a dance, "it is a total performance which includes music, rhythm, dance and a host of signs that the experience of centuries has refined and expanded, all accesses an aesthetically developed " [12] .

The ajmak to be more precise, is to recite poetry contests in one go and by two alternating rows aligned shoulder against shoulder, separated by a space of a few meters, dozens of men filled with beautiful voices and especially from tribes or clans or simply different villages (lâimma). The participants, who join in as and when the ceremony must, at the end, forming an arc. Their dress must be perfect: djellabas an immaculately white turbans around and shaking heads, brand-new slippers, not to mention the eternal and shimmering ajnwi, this dagger whose symbolism is obvious. All that confines the ajmak a solemn ceremonial.

The poetry contests, sung collectively, are the fruit of the moment is to say improvised with all that this term was positive: spontaneity, purity and naturalness. They are produced by one or more finders-bards who have already demonstrated in the past their skills and whose reputation is well established (such Rrih, Ouseltana, Ourrabouss, Oughidda and many others). To be recognized in this very select circle of poets ajmak, it is imperative to meet some conditions for the less important: an Amazigh punished, a quick wit, mockery, irony, satire, and especially a deep knowledge of the habits and customs and history of the region. Must still put it all in verse. This not only requires a knack for this ajmakienne poetry, but also, as you can imagine, a complete mastery of the rules of versification metric and impenetrable for the ordinary people. Only sometimes acquired an audience and "insider" can understand all the subtleties, and thus to grasp the full meaning and beauty. It is not given to everyone to enjoy the ajmak and a fortiori to participate, one is tempted to say.

can easily return to our account the remarks of Mr. Olsen Rovsing About ahwach that fit with our own findings concerning the ajmak: "But it takes to retain that local listeners words or, shall we say, their version of the lyrics, because the ambiguity of meaning is, it seems, a stakeholder in this poetry "and later adds that" we sometimes feel that every effort is made to obscure the words, either by ambient noise, (...) or by articulation of words. So poetry is agreed to, rather guessed " [13] .

Exchanges between the participants interspersed with interludes where dances are performed relentless rigor. Everything is calculated to the second closely. Tremors jerky shoulder, the beats of the feet on the ground and head movements should always be made in unison and a concomitantly. All accompanied by the clapping of hands responding to rhythmic measures that only experienced practitioners can explain. The result, despite the large number of participants, is a homogeneity and a more perfect layout.

After each exchange, a third group (Id Boujmak) has invested the space between the two groups; menu is a battery of drums on frame, or tallount taggenza [14] , heated for long periods, a fire lit for the occasion. These are tallount sounded violently and collectively with just the fingertips (assender). You must be at his best physical shape in order to follow the fast pace. Older participants were quickly out of breath. In addition, a watchful eye and especially the ear of the chief percussionist are always on the lookout (fire rrays [15] Dekoum was a legendary master). Tempo, bending forward and finish with a collective genuflection must be executed with perfect regularity

The slightest weakness or the slightest false note is immediately detected. The poorer and young people are reprimanded or simply excluded. This has the unfortunate effect of slow disappearance, but actual ajmak. Because succession is far from assured. The ajmak is somehow a victim of the unconsciousness of the old and the absurd mania for perfection and authenticity, which, incidentally, many observers see a stale formalism. Do not be surprised to see that those who are currently practicing with a few exceptions in their fifties or even sixties, if not more!

However, the only participant who can afford liberties with ajmak Lamet is, in fact, it is a clown and comic character, dressed differently, which can run in all directions, making acrobatic movements, grimaces, and sometimes even initiate calls in order to amuse the audience, but does it still repeat, never interfere, ever so slightly, the course of the ceremony.

Running the ajmak, as we can see, is held alternately in the following order: a very elaborate choreography specific, poetic and ultimately the exchange assender. It is thus indefinitely throughout an evening that does not end, generally, as auroras. At this point, participants gather in a festive and carnivalesque disorder for a final dance with the sound of tallount and a naqous [16] (tamssoust), where, in a very playful, is a refrain sung with a throbbing rhythm. In the end, everyone congratulates and forgive, in a sporting spirit as the end of a battle without winners or losers, of course hoping for another meeting as soon as possible.

is very formative in this school of poetry and rigor that Said Achtouk acquired the essential knowledge poetry and music, and was later his debut. It must be said that it was neither the first nor certainly, hopefully the last. A line of great artists from there began Achtouken: Hussein Janti, Boubaker Anchad, Brahim Achtouk, Bihtti, etc..

In truth, the ajmak has underpinned the creativity that our poet has consistently demonstrated throughout his artistic career, and had a major influence, if not decisive, on his enormous work. Moreover, it has never prevented the act of participating even the worst moments of his long and exhausting disease. It shows its importance in his life as man and artist.

S. Achtouk did not stop in so good way, he strived to move forward. Having realized that the strict canons of ajmak bridled somewhat poetic potentialities, he turned to the musical art Amarg which he prepared for a long time in self-assured and its capabilities. He taught himself to handle the lutar and rribab [17] without whom this music is absolutely not possible. He imitated his debut the biggest song of the Amazigh in all its variants: Anchad Boubaker, Janti Hussein, El-Haj Belaid, etc.. Nevertheless, conscious of his lack of experience, our artist has not hesitated to join in 1959, the company of another giant rways Ahmed Amentag who speaks in these terms: "The first band that Said Achtouk was built, was mine. He was considered one of the most famous poets of ajmak. Meanwhile, he learned to handle the lutar rribab and [...] He had an audience that he is fully vested in the his deeds in poetic ajmak. A member of my group rrays Achtouk Abdellah, I introduced him as gifted and prolific poet. He stayed with me for six months, the time to complete his training as a violinist. It was only later that he formed his own troupe [18] .

Shortly after, S. Achtouk gave free rein to his immense talent. The virtuoso violinist, the renowned composer, singer and poet considered outstanding: these are the many facets of the creative personality of our rrays. It was through his genius, his sensitivity on edge and create a merit musical style sui generis, which earned him a lasting success.

Achtouk Said and his work

S. Achtouk has emerged as one of the leading figures of the Amazigh. There is no doubt, if I take a theatrical expression, a showman. But for the sake of realism, we talk rather of "the beast of asarag" [19] . Each time it recurs somewhere of large crowds of fans fans traveled to see him. On the occasion, most often, marriage ceremonies families in the region, and occasionally, during holidays and celebrations of almoggar, these annual spiritual gatherings and trade, probably the remains, still alive, paganism Amazigh, organized by a tribe or tribal several fractions around the Mausoleum of their patron saints (Boushab Sidi Sidi Cherif Said, Sidi Bibi, Imi Lefayh, etc.).

Our artist has always preferred a direct contact with his audience. An exchange or communion occurs gradually as the course of his musical performances that agency on the spur of the moment and the quality of assistance. It begins roughly by instrumental preludes to classical rhythms that can be considered the basics of music Amarg, on which the dancers, singers, in their finery, sketching elaborate group dances. It later that he sings while following a relatively unchanging ritual. First, he asks God to his saints, and especially (Sidi Moussa Hmad Or, Ait and Ait Douzmour Waghzen) whom he believes their blessing for everything goes as smoothly as possible. And there it should be noted that any singer or poet, early in his career, must rely on one or more saints. To do this, follow an initiation rite called in Amazigh tchyyikh consisting of several overnight stays inside the shrine of a saint who alone, it seems, is able to grant the "keys" of poetic genius. Poetry makes a world of supernatural forces. Judge for yourself:

Ad ak nshâdêr ssadat ura ssâlihîn

I appeal to saints and marabouts

Ad Ah irxu lhêsab irxu u awal

so I could have easily inspired

In a moment of lack of inspiration is the saint who became the most natural remedies:

Man za ak CCIX has a wall-s thendazêh awal

Where are you my saint to help me put my words in order

Then he welcomed and peace to all his audience that he encourages him to stay calm and listen carefully. And connects immediately by the generosity seek assistance easily by sending songs rave and admirers. What is not without offending at the highest point in particular his young audience, generally educated. While the rich and notables, appointed personally, find this as an opportunity to flaunt their wealth. At best they could. Exeunt, with ostentation, wads of banknotes to meet the artist and his musicians. It must be said that sometimes borders on the ridiculous. Whatever is said, must go to the obvious.

This practice, relatively speaking, is justified. For the Moroccan state, unfortunately, does not even recognize the character of the Amazigh culture that equates blithely folklore, sentenced to disappear sooner or later. How do you want the Amazigh artist can claim to legal protection service that guarantees him a living from his craft? To be brief, I would say, holding the bright side, it's a sort of patronage that allows him to live somehow. The problem is that Said had Achtouk a social and physical enviable and does not need to behave this way. The fact remains that, despite the trial he can be a giant Amazigh music.

In some of its representations, Said Achtouk can give the best of himself; poems with musical accompaniment minimized and a bit like the African griot, flowing at a rate in a staggering total elation of the audience, especially when sensitive issues are discussed: the woman and love. The Amazigh "feeling the language of poetry as a language different from everyday language, and they say she is beautiful" [20] . The yawl strident women and cheering wildly at the men will alternate throughout the evening. He can sing sometimes to aphonia. To relax, he often embellishes his performances with anecdotes and puns than delight of his audience.

However, it happens sometimes that our poet is not at its best or just a bad mood for whatever reason. He will sing once or twice and leave his place to apprentice musicians who accompany him. Iqsiden (aqsid singular), thus S. Achtouk calls his poems, to show these two lines:

ago uqsid ur dah Ha-ta-y akw imatîl

Here's another new poem

Igan win Ghilad iggut mani- No Yut

is today and very deep sense of

They are often very long, very sober and we will not talk about their poverty, as did H. Basset, but an economy "sometimes extreme, [which] is not characteristic of Berber, but it seems he, characteristic of all traditional poetic language. This is the medieval poetic language" [21] . We can also notice that our artist is not very different from other rways that "reproduce the techniques of verse and the richness of rhetoric Amazigh poetry often uses symbolism: rhyme and assonance, imaging sought special vocabulary, and a range of materials contributes to poetic charm connoisseurs and the general public " [22] .

iqsiden These have characteristics that can be considered as constants of poetry Traditional Amazigh. First, the lack of unity of the subject, several themes can be discussed in a single poem. In addition, position papers or even antagonistic opposite can be adopted in the same poem without further disturbing measure the public. Secondly, the presence of syntactic and lexical differences, even if S. Achtouk not abused a lot, which is consistent with the overall point of A. Basset about licenses in the Amazigh poetry by saying "the secondary nature of genres and numbers, use the plural to singular [and vice versa], the low priority given to verb tenses and the use of a particular vocabulary, marked by archaisms and neologisms " [23] . And H. Jouad, who by his excellent research, has cleared the system of versification Amazigh poetry explains that "this violation of grammatical agreement" and "more poetic license" to meet a need for "adjustment" in relation to a "matrix metric" [24] . However, this poetry is not a square the circle. She always carries a meaning which, admittedly, is not always accessible to everyone.

Some recognize him an exceptional poetic talent. We feel that behind his lyrics, there is a research and deep reflection. He refuses to use borrowings and avoid overly somehow Arabs and Gallicisms. It is a true goldsmith of the Amazigh language. His ability to choose the word or formula involving moving, coupled with an infallible memory, make it an undisputed and indisputable. In addition, Nature has spoiled twice: she has a warm voice and friendly, highly appreciated by its audience, and an impeccable physical condition and can remain straight and sing for hours without never lose the thread of his ideas or not stutter one time. Only in the last years of his life, the disease did not help, he gave visible signs of weakness.

He addressed all issues and all the themes inherent in his environment Social and cultural: emigration, agriculture, rural exodus, etc.. He also dabbled in all kinds poetic praise, poetry, national, religious and moralizing, etc.. However, the kind where Said Achtouk really excelled is undeniably sentimental poetry and love the less it is not very popular among the Berbers. The themes of women and love are a recurring theme in his poetry. This is all the more paradoxical that the corporation is dominated by the most puritanical moral that does not tolerate any talk about her feelings, much less sing. And it there, in fact, he has demonstrated not only a lot of originality, but also courage.

So, S. Achtouk has overcome this taboo and weighing gave this sentimental poetry such acclaim. It is reminiscent of those poets-finders who invented and propagated the poetry of the "death love" or courtly love, the Middle Ages in Europe. Like them, our rrays placed the woman at the center of its concerns. He knew better than anyone in Amazigh express the different facets of the soul of a poet perpetually enthralled and fascinated by the female gender. Indeed, just to mention his name to a layman or a specialist to be told Amarir n tayri. To ponder where these magnificent S. Achtouk, with simple words, describes beautifully feminine beauty. The picture it in brush, which may seem strange to a reader not Amazigh, in fact corresponds to a certain feminine ideal, deeply rooted in the popular unconscious, and which the poet merely gives form:

Bark llah ay Atbir Iheb rric

Oh joy! you, the dove that hides its feathers!

Rzêmen-d iu Azzar ighwman, ihêbut akw

Who let her black hair covering it

Tuzzûmt ignzi AH-Ibda tidlalin

You have made a parting in the middle of your forehead

Afus of umggerêd ns akw ibayn

can see your hand and your neck

Zund UKAN ih Gisen diamond

diamonds which hung

Imma kra n twallin zud tadwatin

Your eyes are like inkwells

Imma kra n tmimmit tga tamdûwwurt

Your mouth is rondeTuxsin rwasent kullu diamond

Your teeth are like diamonds

Udem ns idûwr yurwus AH-UKAN

You have a round face that reminds me

Tazughi lfjer llîh n-d iqerb lhâl

The lights of dawn

Adar zud UKAN lkwas n lbellar

Your feet are like crystal glasses

Idûwr asen Tirra n d Lhen Lucam

surrounded by the patterns of henna tattoo and

Ignzi ns No ajddig lwurd ih-d iffugh
Your forehead is like a rose that has just hatched

This beauty fantasy and furthermore amplified by the set of comparisons related to precious materials do not exist necessarily in the rural areas, our poet leaves no indifferent it disturbs him deeply. Exaggerated or hyperbolic forms are used extensively. Judge for yourself:

Ad UKAN felli terzêmt i usmmaql

soon as you throw me a glance

Yaddum kullu u ADIF ura ssâhêt

I feel my body melt

Unnîh lqtîb ihâdan timlli n ufus

I saw a scarf held by a white hand

Wallis irban ighlb a blank UKAN Ayyur

one that holds more beautiful than the moon

Is UKAN say mmaggarêh ikcmâh lxuf

I'm so upset when I have met

Ibid izer inu naddum kullu hê lmakan

That I can no longer stand up

Nghwid Atay nsu gis imikkik n yan

When I took a sip of tea

Iggummi ufus inu has dah sul ize lkas

My hand would not even let go of the glass

Therefore, the poet can not resist the feeling of love that long compared to a disease that consumes him slowly. He does not hesitate to ask God to inspire affection (in the words of the poet) in the heart of being loved by adopting his usual plaintive tone. In desperation, he relies purely supernatural, and more precisely the magic and witchcraft to explain his troubles. They are the only recourse against the inexplicable. It must be said that in terms of our poet, his predisposes the rural. There is a very sophisticated local knowledge of all kinds of recipes designed to provoke love or blur. So that love is never considered a natural phenomenon and it is part of the magic:

Ghwîh ak nk lxater nra ad darnêh timyurm

I do everything for you to stay with me

Nekki ssennêh nit IZD lhêrz ad ah Turama

I'm sure you bewitched me with an amulet.

Or:

Rawaha NMUN has a wall f UKAN terbbit has tasa naked

My love, come with me!

Nrbut BDDA zud arraw hê ifasen

I took care of you as my own child

Ur nessin man has lhêrz yyi iksen ssâhêt

I knew that it made me the amulet so hard

The advent of new values in society, due to the influence of capitalism and consumerism, has an impact on the habits and attitudes of people. New behaviors dictated by money, until then unknown, are emerging. S. Achtouk tirelessly to denounce this logic materialistic insidious and irreversible, which poisons relations between men and women and prevents any possibility of ipso facto pure and selfless love. As an inveterate romantic, he always regretted that this situation does disenchantment and disillusionment:

Ur nsamêh i TMEA ihlk willi rih

I do not forgive the greed that killed all those I love

Ur ujjan has yyi ilkm walli f-d Allah

It has prevented my beloved back

Lhûb inghat lgherd lmal sul Illan has

money killed the love and all corrupt

Ih ljib kra go inna i nk ak nrak

If someone wants your money, he will tell you he loves you

Ar ak rzzêmen lbiban kullu wi LXiR

And you promise wonders

Ar ih DMHUI lgherêd iqqenten-id fellak

Once he has what he wanted, he will leave forever

Even if the poet is immersed in happiness with the beloved, the envious, the hideous character whose presence is constant in the poems achtoukiens is always on the lookout for any opportunity to turn the fire of discord. Resignation and despair, the poet speculates on the reasons for this persecution:

Izd ay amhêsad is K UKAN isere Rebbi hê naked tama?

Oh the envy! Have you no other occupation than me?

Ay Ajda nna-ard of rebbîh ifferd iks yyiten

Whenever I raise a foal, you take me

Ak Yut Rebbi yan Iran has yyi bdu s usmun inu

God curse those who want to separate me with my boyfriend

This is S. Achtouk, an eternal and perpetual flayed inconsolable, his sentimental poetry can be regarded as a long lament that his conception of love is no longer short, without overstating, has never been short in society. He often pessimistic, rather than singing the joys of love is its disappointments and sorrows that are celebrated. But without ever falling into total despair. Meditate on these verses:

Mladá yan ssuq Illan was ur sar iqwdâ yan

If there was only one market, no one is shopping

Mladá ago anu ka u ku-Illan ingha fad yan

If there was only one well, everyone would have died of thirst

Mladá there has uhêbib Illan ingh lhûb-ku yan

If there was that only one to be loved, love would have killed everyone

The woman is never mentioned in a direct manner. Modesty, even some excessive reserve, being a social norm. You must guess that behind all these metaphors lies a beloved or adored:

The green-eyed dove

Ay Atbir Igan azrwal, Han lbaz (i)

O dove with green eyes, watch the falcon!

Itter fellawen kun has ghwin izrb ur (i)

He awaits the right moment to catch you

The white horse

Ayyis umlil ittâfen Tidd ura ssâhêt

The white horse is great and in very good shape

ad izzigz Rebbi lhânana has giwen ilint

God instills love in your heart

Falcon

I Rebbi has lbaz rzêmd rric u i alen

O hawk, look at me

Ighlb a blank igenzi nnun tafukt

Your face is more beautiful than the Sun

Fringe

Ya Latif tawenza my Kunt yaghen

O God! Fringe, what have you?

Ura akw nzêdâr i lhûb nnunt

I can not love you

The colt

Want iran ayyis yawid Ajda mzzîyen

Anyone who wants a horse, a colt he chooses

Ih iffug s umawal igas rkab iziyyin

If he goes to Fantasia, he put a nice saddle

Even if it is openly discussed, is the masculine, oddly, which is obligatory:

The lover

Ay ahêbib larzaq bdânâh

My love, fate separated us

Walynni lqelb ur sêbern gik (i)

But my heart remains inconsolable

's friend and the possessive

Bbîh of lawalidayn NMUN of umddakl

I argued with my parents because my friend

Iga winu, nga wins, nàzzu Bahr Dar-s

It is mine, I am his, he loves me

companion

A k Yut Rebbi yan Iran has yyi bdu s usmun inu

May God curse the one who wants to part with my boyfriend

Taking advantage of its stylistic or semantic subterfuge, which can only be viewed through the prism of a puritanical society where the passion of love is seen as a threat or an element of chaos that threatens its cohesion, S. Achtouk has treated this subject brilliantly even if the various social and psychological barriers must oppose his business.

Hence it takes its inspiration? Many of those who knew him say, unequivocally, that his main inspiration is his own experiences sentimental. And maybe the realism of the description of his experience, and therefore the sincerity that emanates from his writings, which have earned him, among other things, the esteem of a large audience where all ages are represented

His peers also readily acknowledge his genius and his power to captivate the most recalcitrant of his listeners. Ahmed Amentag, once again, speaks in these words: "Said a poet Achtouk is very talented ... He is considered the poet of love par excellence. He excelled in other genres certainly poetic, but his poetry remains the sentimental dominant throughout his work. " [25] And many young artists have chosen to do their training within his company as: Rqiya Talbensirt, Jamaa El-Hamidi, Jamaa Izik and many others. Let's see how El-Hamidi recalls his fond memories: "[...] I spent several years in his company. Our relations are characterized by respect and seriousness [...] We always advised to be disciplined and respect the public [...] Even after I left, we have always respected and well understood, he never hesitated to call me to play with him. In fact, I've never separated Said Achtouk after his death, God rest his soul in his vast paradise. He left a huge void. He was liked and loved living death. " [26]

In total, S. Achtouk left a monumental work that is urgent and imperative to collect and transcribe to avoid it being lost or that it is continuously retracted by some unscrupulous singers. Except a few attempts of a few passionate people, a few researchers or some socio-cultural associations Amazigh, who try as much possible, to do so, we are today, and our regret, far from it. These were, despite their limited means, albeit a very commendable effort. And there it is imperative to pay special tribute to the association "Tiwizi" of Biougra to have had the salutary idea to organize a regular song festival Amarg in memory of this prodigal son of Souss. In terms of cultural leaders of the country, do not expect much from them. It is quite appalling to see that they continue to disregard the Amazigh culture. Despite the rhetoric of good intentions more highest authorities of the country, it is still largely absent from their concerns and their programs. Worse, I find it absolutely incredible that no town or even village Souss has deigned to give, in recognition of the name of S. Achtouk to a place or a street as small as it is. It is still the least, when we know the deep and sincere love he had for this region.

To give the reader an overview of poetry achtoukienne, I suggest this adaptation of one of his songs, trying to stay as far as possible faithful to the text.

IHNNIK ALLAH! GOODBYE!

1 - Allah ihnnik ahêbib lli-d ay NMUN (a)

Goodbye my lover that I frequented as

2-Iwin wiyyâd ur gik kun ibid LXiR (a)

You have been ungrateful in me leaving

3 - Mencek ad kkîh NMUN Nekki of itunes (a)

We loved long

4 - Ghilad Tfelt yyi, my Igan Laib init? (A)

Now I ask you the reason for your departure

5 - Inida ghar lmal at awi-kra darnêh (a)

If it is because money, take all my belongings!

6 - Inida anwwac ur ak nssugr yat (a)

If it is because of the envious, I can not help

7 - Ar awen itsutul ikcem ger yyi of itunes (a)

He has done everything to stand between our two

8 - Zayd-at-d ar k / h awn Remin (a)

I leave you, but one day he will turn away from you

9 - Willi awen ittinin heart has nbdû of itunes (a)

While it has promised you eternal love

10 - Nekkin ka fellawen ikcemn ddîd, Asih (a)

I was the only one to defend you

11 - Fellawen has winu ssiàr tadallit ura (a)

You were my pride but my shame

12 - No Mencek tmmara ad fellawen Jarah (a)

You have caused me great harm

13 - Attan has Mencek u kun ikkan ijji i ak (a)

You have recovered all your ills

14 - Nzûr kullu ssadat fad has Dawah kun (a)

We went to see all marabouts to heal

15 - Ar-ak d nttawi ladwiya zud arraw (a)

We looked to you as our own child

16 - Nekkisk i tmmara, Tegma yyi lie (a)

You cause us suffering, as we do everything to avoid

17 - IFFI-d fella u Attan zud iggig, ntelf (a)

I suffer from all his troubles overwhelm me

18 - Allah ar da Waxx UKAN ssendamêh (a)

I rise to power of compassion crying

19 - Yan XH n-ar isllan itndam gitnêh (a)

Anyone who hears me deeply sympathizes

20 - Walaynni Keyi ur igguz lhâl gik ( a)

But you are left unmoved

21 - Laxbar uhêbib nnîh aya-d (a)

is all it is my Beloved
22 - Ur ah yat of gin, ur darnêh iga yat (a)

There is nothing for me and vice versa

23 - Nsamêh have llîh Isber hê lhûb Nnah (a)

I forgive him, even if party

24 - Llah ihnnik ay ahêbib LLID NMUN (a)

Goodbye my lover that I frequented as

BIBLIOGRAPHY

A. Assid, Mr. El-Moustaoui, Achtouk Said Kray, the poet of love and women, Casablanca, Ed.Ennajah Eljadida, 1998. (In Arabic)

A. Aydoun , Music of Morocco, Casablanca, Ed Eddif, 1995.

A. Basset , Essay on Literature Berber, Paris, Ed Ibis Press-Awal, 2001.

A. Bounfour , Berber Introduction to Literature, 1: Poetry, Paris, Ed Peeters, 1999.

P. Galland- Pernet, Series chleuhs poems, Lille, Ed Klinksiek, 1972.

P. Galland -Pernet, "Oral Literature and text representation: traditional Berber poems," Studies in ancient literature No. 3, Paris, Ed Press Normal School Superior, 1987.

H. Jouad , unconscious calculation of improvisation, Berber poetry: rhythm, and number sense, Paris, Ed Peeters, 1995.

Mr. Olsen Rovsing , songs and dances of the Atlas, Arles, Paris, Proceedings of the South / Cité de la Musique, 1987.

NOTES

1. Its plural is imurig. It is used as a collective.

2. It can also be defined as: regret, sorrow, lack, lack, like a music or the emotion it provokes

3. P. Galland-Pernet, "Oral Literature and text representation: traditional Berber poems," Studies in ancient literature No. 3, Presses de l'Ecole Normale Supérieure, Paris, 1987, pp. 107-118.

4. "Rways" and plural "rrays" in the singular. He is a poet doubled a musician, composer and choreographer

5. The transcript of Amazigh followed here is that mondeberbere.com-used on site except for the "h" that I transcribed and emphatic "xh".

6. These worms are the lead singer of Ibarazn.

7. Lute Amazigh three or four strings. Other instruments used are:

- Rribab: fiddle monotone

- Naqous: idiophone Amazigh, made of any metal object hit with two bars of the same material.

- Nuiqsat: copper cymbals attached to his left hand and one on the right hand collided with the dancers.

- Tallount or taggenza: tambourine frame.

- Tam-tam, two drums attached to different size, beaten with two wooden sticks.

8 . See footnote 4.

9. This term, which is not used in Achtouken means the poetic dance-chorégrapique most common among las Amazigh South West Morocco.

10. This dance is in the takeover by a group of drummers and flutists rhythms of songs Amazigh best known, and on which dancers perform choreography specific figures.

11. The dance is where freed slaves used a lot of castanets, "tiqarqawin" and a large drum, probably from sub-Saharan "Ganga".

12. A. Aydoun, Music of Morocco, Casablanca, Ed Eddif, 1995 88.

13. Mr. Olsen Rovsing, songs and dances of the Atlas, Ales, Paris, Actes Sud / Cité de la Musique, 1987, p.25.

14. See footnote 7.

15. See footnote 4.

16. See footnote 7.

17. See footnote 7.

18. A. Assid, Mr. El-Moustaoui, Said Ahtouk Kray, the poet of love and women, Casablanca, Ed Ennajah el Jadida, 2000, p.11.

19. This is the courtyard of the house and there is usually a repeat of the "rways" during family celebrations.

20. P. Galland-Pernet Series chleuhs poems, Lille, Ed Klinksiek, 1972, p. 17.

21. A. Bounfour, Introduction to Literature Berber, 1 - Poetry, Paris, Ed Peeters, 1999, p.33.

22. A. Aydoun, op. cit. p.56.

23. H. Basset, Essay on Literature Berber, Paris, Ibis Ed Pres Awal, 2001 ??????

24. H. Jouad, unconscious calculation of improvisation, Berber poetry: rhythm, and number sense, Paris, Ed Peeters, 1995??

25. A. Assid, Mr. El-Moustaoui, op.cit, p.11.

26. A. Assid, Mr. El-Moustaoui, op. cit, p.11.

source: www.azawan.com

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