tag:blogger.com,1999:blog-36044939618204745102024-02-19T10:04:21.914+01:00mes petits mondes ethnomusicologiqueskratší studentské texty
my student writings
mes textes estudiantinsZita Skorepova Honzlovahttp://www.blogger.com/profile/01289470340967168357noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-3604493961820474510.post-14738561416910877932012-11-23T18:46:00.000+01:002012-11-23T18:49:47.035+01:00ACCULTURATION STRATEGIES IN MUSICAL SELF-PRESENTATIONS OF IMMIGRANTS IN THE CZECH REPUBLIC<h2>
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<span style="font-size: small;"><i> This paper is based on my research dealing with musicians - members
of different immigrant minority communities who explicitly identify
themselves with their ethnicity and the region of their origin. The
musicians mention that they come, e.g., from Cuba, Ukraine or generally
from "Central Asia" and the music offered to the audience is presented
as "Cuban," "Ukrainian folk" or "traditional music of Central Asia..."
The subject of study is their concerts, regarded as musical occasions -
performances - with defined modes of participants' interaction. In the
Goffmanian sense, the meaning of each self-presentation is determined by
the behavior of the musicians during the performances, and the
repertoire, place and occasion of the event and type of audience are
considered as "bearers of signs." In their self-presentations, the
musicians expose in various ways who they are, where they come from and
in various ways present the musical (not only) culture of their origin.
Inspiring myself by typology of acculturation strategies formulated by
John W. Berry (Berry et al. 1997), I try to identify acculturation
strategies based on factors determining the character of the respective
musical self-presentations of the immigrants. When can we observe
behavior according to the principles of integration on the one hand and
separation on the other? When using each strategy, how do the musicians
assert themselves on the Czech musical scene?</i></span><br />
<br />
<span style="font-size: small;"><i>ethnomusicology; self-presentation; immigrants; acculturation strategies</i></span><br />
<br />
<div style="text-align: justify;">
<span style="font-size: large;">The number of immigrants in the Czech Republic rapidly increased after
the fall of the communist regime in 1989. Today, there are many immigrant
communities which differentiate in the quantity of their members. While more
than 106,000 Ukrainians and 56,000 Vietnamese officially live in the Czech
Republic in 2012, there are only 139 Congolese, 270 Iranians, 350 Cubans, 546
Kyrgyz, 1,316 Uzbeks and 5,019 Chinese (Život cizinců 2011). In Prague, but
also in other Czech cities, one can attend performances of musicians, each one
identifying himself/herself with some of above-mentioned immigrant communities
and presenting his/her skills on specific occasions, in specific places and for
different kinds of audience. I focused on musicians who perform their own
creations declared as a music originating from or having
a relationship to the country (e.g., Cuba) or region (e.g., Central Asia)
of their origin. Presenters, but also the musicians themselves, call their
performances explicitly "Ukrainian folk," "Vietnamese," "traditional" or
"Cuban" music for entertainment. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;">At the beginning of my research I tried to find
out characteristics of the music itself, where musicians perform, for whom and
on which occasions. I was especially interested in the musicians'
expression and reference to their ethnic identity (e.g., "Vietnamese" or
"Kyrgyz") in musical performances. The central task of my research became an
analysis and interpretation of musicians' self-presentations during their
performances. Beside the participant observation I also had
semi-structured interviews with musicians as well as with some co-organizers of
events or with the manager of a musical group. Non-formal interviews were
very useful, especially during almost "private" events for an internal
audience, e.g., a <i>Nowruz</i> ("Persian New Year") celebration organized by members
of the Uzbek community in Prague. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">It is evident that immigrant musicians are conscious
of performing in the Czech musical environment and they are able to adapt to
different conditions, so which <i>acculturation strategies</i> do they invent and choose?
This became the central question of my investigation. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>Theory</b></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;">First, this research is based on/reflects the paradigm of
ethnomusicology or anthropology of music: What is considered to be "music,"
thus not only the sound itself, but also the human behavior related to
learning, creating, performing and listening to sounds considered to be
"musical" is the result of culturally designed/formed conceptualization
(Merriam 1964). Being iconic and indexical (Turino 1999), music has not only
the ability of expression or representation of something (Bohlmann 2005). It is
also able to create<i> </i>and maintain human relationships and form communities
(Kaufman Shelemay, 2001). According to Thomas Turino (2008), music reflects
social life. I am convinced that the study of musical phenomena enables
the researcher to recognize the specific intentions of people and their
perception of the environment where they live and create music. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Second, I decided to deal with musical activities
of immigrant musicians in the sense of Goffman's interactionism (Goffman 1956).
Musicians always perform for someone; they <i>present</i> themselves to an
audience: I consider them to be active agents consciously developing the
overall design of musical activities as their own <i>self-presentations</i> whose constitutive
elements are planned in advance and performed in real time in front of
listeners. The key element is the <i>interaction</i> of musicians with
a supposed kind of audience and context of an event - time, place and
especially occasion. All these aspects determine the personal appearance or the
"personal front" of the musicians (Goffman 1956: 14) and the "setting" of their
performances (Goffman 1956: 13). I concentrated mainly on live
performances in real time, the "front region" (Goffman 1956: 66). However,
through interviews with the musicians and my attendance at rehearsals
I also wanted to explore the "back region" (Goffman 1956: 69), that means
preparations and planning of performances, choice of repertoire and its
arrangement, appearance of musicians (the visual expression of the musicians'
intentions such as clothes, posture and gestures) and ways of behaving in front
of an audience, place and form of publicity. According to this assumption,
every self-presentation has specific traits - bearers of signs or "sign
vehicles" (Goffman 1956: 1) - which permit it to be identified and interpreted
in such a way.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Third, I found inspiration in the theory of <i>stratégies identitaires</i> (Camilleri et al.:
1990) and the typology of <i>acculturation strategies</i> developed by psychologist John
W. Berry (Berry, Sam in Berry et al. 1997: 291-326) who dealt with consequences
of intercultural contacts not only among immigrants. Berry regards the concept
of acculturation as a process of individual psychological adaptation of
people to a different cultural environment. Each strategy is worked out by
groups and individuals with respect to two major issues: "1) cultural
maintenance (to what extent are cultural identity and characteristics
considered important by individuals), and 2) contact and participation (to what
extent should individuals become involved in other cultural groups or remain
primarily among themselves)" (Berry, Sam in Berry et al. 1997: 296). Berry thus
defines five acculturation strategies: A first possibility is <i>assimilation</i>, when "individuals
do not wish to maintain their cultural identity and seek daily interaction
with other cultures" (Berry, Sam in Berry et al. 1997: 297). On the contrary,
when "the non-dominant group places a value on holding onto their original
culture" (Berry, Sam in Berry et al. 1997: 297), then the <i>separation</i> strategy is chosen.
When this mode of acculturation is pursued by the dominant group with respect to
the non-dominant group, Berry calls it <i>segregation</i>. When there is an
interest in both maintaining one's original culture and interacting with other
groups at the same time, integration is the option. (Berry, Sam in Berry et al.
1997: 297). According to Berry, this strategy seems to be the most advantageous
and the most successful option. Finally, when there is "little possibility or
interest in cultural maintenance and little interest in having relations with
others, then <i>marginalization</i> is defined" (Berry, Sam in Berry et al. 1997: 297).</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">In the spectrum of ways of presentation of musicians'
unique skills I finally identified a few variants where I let
myself be inspired by the framework and basic assumptions of the above
briefly-presented Berry's typology. Musicians employ different strategies which
are based primarily on a relationship to an external (Czech) or internal
(members of immigrant communities) audience on the other hand. There is no one
choosing the <i>assimilation</i> strategy: All the musicians intentionally refer to
their own ethno-cultural identity, which is not considered to be perceived as
"Czech": via their musical activities during commercial or benefit concerts
immigrants present, e.g., a "Ukrainian" or "Central Asian" identity to the
Czech audience. On the other hand they also refer to those identities during
private meetings where music becomes an "autotherapy of homesick hearts" (Janyl
Chytyrbaeva, 23.1, 2010). I didn't identify any performance which could be
associated with the <i>segregation</i> strategy. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;">I was able to recognize four different types of
musical self-presentations which reflect traits of Berry's <i>integration</i>, <i>separation </i>and <i>marginalization</i>. The first two are
completely opposite. On the one hand, there is the <i>impressive musical fusion</i>, which I regard
as an elaborate promotion of an "exotic" music for Czechs. This basically
integrative strategy is chosen by a Chinese singer, Feng yün Song, and an
Iranian guitarist, Shahab Tolouie. On the other hand, the <i>music of invisible
enclaves </i>is definitely
separative and it is preferred by often anonymous musicians during performances
of a private setting with a strictly internal audience. The <i>"ethnic" music for
entertainment</i> strategy chosen, e.g., by Cuban groups performing in bars and restaurants
has features of marginalization. Finally, I consider the last option, "<i>indigenous" music as
an example of multiculturalism, </i>to be "seemingly integrative." This strategy is
employed by musicians performing at "multicultural" festivals for a Czech
audience such as the Central Asian group Jagalmay. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>Impressive musical fusion: integration </b></span><br />
<br />
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<span style="font-size: large;"><b> </b>The first strategy is chosen by two musicians declaring themselves as
professionals having their main income from their musical activities - the
Iranian guitarist Shahab Tolouie and the Chinese singer Feng yün Song. Although
being of Persian and Chinese origin and referring to totally different cultural
backgrounds, their musical activities share many similar features. They both
create their own original compositions based on a fusion of music
considered as traditionally typical for their homelands China and Iran with
musical elements of various origins. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Feng yün Song sings "Chinese," "Korean" or "Mongolian"
folk songs performed by solo voice or with an accompaniment of different
idiophones, percussions or other, mostly "ethnic," instruments whose part is
incorporated in minimalist, experimentally-sounding arrangements. The singer
performs at two types of concerts organized by herself. Feng yün Song often
presents her creations at intimate, almost meditative "musical sessions" with
approximately 17 people in the audience, who also participate during some parts
of an improvised performance. Their active and spontaneous participation
completes the impression of musical pieces which are often designed to be
created directly on the stage of a small music club or tearoom. Moreover,
Feng yün Song organizes an annual festival related to Chinese New Year
celebrations. This event has already reached some level of publicity in the
Czech Republic - the festival is mentioned in some, although specialized, radio
or TV programs or it is possible to notice some posters and smaller billboards
informing about the festival even situated in the Prague city center. There the
singer performs the same songs as at the sessions at tearooms. However, she
also invites different musicians to participate in this event.
A non-musical program of the festival offers a promotion of her own
musicotherapeutic activities, tea culture and esotericism. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Shahab Tolouie, playing the flamenco and classical
guitar or Persian chordophones such as the three stringed lute <i>tar</i>, interprets his own
compositions based on "traditional Persian" and flamenco elements. The musician
invented his own musical fusion which he characterized as "ethnoflamenco."<a href="http://www.lidemesta.cz/index.php?id=871#_ftn1" name="_ftnref1"><sup><sup>[1]</sup></sup></a> This Iranian
guitarist and singer performs his compositions with an accompaniment of several
guitarists who participate in his ensemble and he occasionally works with other
instrumentalists, usually percussionists. Some compositions are only
instrumental, but the musician sometimes sings his adaptations of Persian poems
by famous "classical" authors such as Rumi or Hafez. His musical performances
resemble "Western" art music concerts - they are organized in various concert
halls, theaters or clubs not only in the Czech Republic. Shahab Tolouie
participated with his ensemble in various festivals in Moldova, Ukraine and
Turkey. However, concerts named "The Persian New Year Celebration" can be
considered as highlights of his activities. In addition to Shahab Tolouie and
his ensemble, other musicians and dancers participated at this event linked
with the Zoroastrian holiday <i>Nowruz</i> - the "Persian New Year" - and constituted different
performances with elaborated and impressive scenography. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">It is worthy of mention that performances of these
musicians are not attended by an internal public, i.e., by members of their
immigrant communities. Only a very few Chinese or Iranians are
exceptionally present at their concerts. On the contrary, Feng yün Song and
Shahab Tolouie are musicians who desire to build their professional careers on
the basis of their special and, in the Czech Republic, quite unique abilities,
which they want to present to a basically external public. Both of these musicians
are charismatic individuals whose musical talent together with their skills
represents a useful tool which is utilizable in the creation of their
musical self-presentation. Their concerts have a carefully elaborated
conception of performance setting with the usage of professionally-made
promotional materials and apparent care for personal image and way of
presentation to their audience - the Czech public. In addition to live
performances, both musicians have realized their own professional audio recordings.
</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">They also recognize the importance of establishing
contact with the Czech musical environment. Shahab Tolouie and Feng yün Song
work with Czech musicians and with famous individuals such as David Koller or
Emil Viklický, among others. However, this cooperation is designed rather as
a support for their personal dominance, which remains unquestionable.
A familiarity with the Chinese opera singing style, perfect knowledge of
the Czech language in the former and acquaintance with theoretical principles
of Persian music combined with guitar virtuosity in the latter case can be
considered as the constitutive element of the "know-how" of their professional
musicianship. At the same time, the musicians recognized that "pure" Chinese
opera singing or "Persian traditional music" would not be as attractive to the
external Czech public as the <i>impressive musical fusion</i> is <a href="http://www.lidemesta.cz/index.php?id=871#_ftn2" name="_ftnref2"><sup><sup>[2]</sup></sup></a>. Therefore, the musicians use
their specific skills related to their origins, but, on the other hand, they
feel the necessity of invention and flexibility in the sense of preference of
experimentation and fusion with distinct musical elements, apparently becoming
very fruitful and popular at the present time. A combination of the two
factors enables them to create sophisticated and attractive "exotic" music
which is acceptable to a Czech or an international audience. In such
a way, the musicians are able to reflect current multi-faceted reality
with their activities. Each self-presentation of the musicians is very
impressive: while Shahab Tolouie pays attention to his "personal front,"
gestures, behavior on the scene, texts of promotional materials and their
visual design, the presentation of Feng yün Song is not so evident at first
glance. The power and persuasiveness of her musical personality emanate from
her behavior and acting with participants of musical events which are not
explicitly presented as "unique" or "amazing." Nevertheless, Feng yün Song is
able to impress the audience not only with her singing but also with her
therapeutically guided communication. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">This strategy could be thus considered as a type
of "successful" integration. The musicians who employ this strategy do not
intend to stay in the closed and invisible sphere of their communities with the
internal public. At the same time they do not want to stay on the margins
of the Czech musical scene such as those musicians choosing <i>"ethnic" music for
entertainment</i> marginalizing strategy or the <i>"exotic" music as an example of
multiculturalism </i>strategy which is "seemingly" integrative. </span></div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
<span style="font-size: large;"><b>Music of Invisible Enclaves: Separation</b></span><br />
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<span style="font-size: large;"><b> </b>Musical performances are often part of private meetings organized by
immigrant minority communities in the Czech Republic which are held on the
occasion of some important religious or secular holiday celebrated in the
native homeland (e.g., the Vietnamese <i>Tet</i>, the Central Asian <i>Nowruz</i>, the Ukrainian <i>St. Melanie</i>, Kazakhstan Day).
From time to time, such events have organizational support from official
diplomatic representatives or minority associations; sometimes they are the
results of the personal initiative of a few community members. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">I decided to regard these events as "invisible"
due to their discrete character; except for some rare invitations situated
sporadically, e.g., on specialized websites, the events are not promoted and
invitations for interested visitors are communicated only personally. News
about those events sometimes appears in minority periodicals or on Internet
websites. For this reason the audience is always constituted only of members of
immigrant minorities, except for a few Czechs who are friends of theirs.
Although such events have a prearranged structure, it is possible to
perceive many informal elements as well. There is usually someone who moderates
the whole evening and introduces each part of the program - this also concerns
the musicians and their performance. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">On the one hand, organizers invite existing musical
formations, otherwise regularly playing for a different audience, to
participate in a community event: this is the case of the folk-music group
Ignis performing at the Ukrainian "Malanka" ball or Central Asian musicians
performing at the Nowruz celebration organized in 2010 by the Uzbek community
in Prague. Those musicians are not professionals; music making is only their hobby
and their activities have a non-profit character. On the other hand,
especially at the Vietnamese Tet, or New Lunar Year, celebrations it is
possible to notice many "unknown" and almost anonymous musicians who perform
their chosen piece only at special community events as volunteers. The Czech
language is usually not used during the whole event except, e.g., for greetings
like "good evening" (dobrý večer). Musicians perform their own arrangements of
folk and "traditional," but also modern, songs which are popular in their
homeland. The performed pieces are thus related to the culture of the
community's origin or they refer to something "foreign" that is nevertheless
perceived as attractive, entertaining and preferred by the audience: we can
thus hear Persian, Arabic and Russian songs at an Uzbek meeting as well as
imitators of Czech pop singers at a Vietnamese Tet celebration. All the
performed pieces are received with an apparent and often nostalgic <a href="http://www.lidemesta.cz/index.php?id=871#_ftn3" name="_ftnref3"><sup><sup>[3]</sup></sup></a> acquaintance by the audience.
Members of the audience sometimes participate together with musicians by
dancing or music making themselves or they ask musicians to perform some
concrete compositions. These events are totally different from events where the
identical immigrant musicians perform for Czechs. The informal and pleasant
atmosphere is nourished by the familiarity of the audience with the repertoire
and their participation. Musical performances coincide with Thomas Turino's
participatory music making model (Turino 2008: 28-51). An important role is also
played by an accompanying program together with an offer of "national" food
catering such as an Uzbek <i>plov </i>or a Vietnamese New Year's menu. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">According to the presented theoretical typology of
acculturation strategies, this case could be interpreted as <i>separation</i>. By their
participation at musical performances and other parts of the program, members
of immigrant minorities revive a piece of their own former world of their
homelands during such events. That is the reason why I call this strategy
the <i>music of invisible
enclaves</i>. It seems that
immigrant minorities often live unnoticed next to the Czech majority and they
are invisible to the Czechs although their cultural events are attended by 60
Central Asians or a few hundred Vietnamese or Ukrainians. During these
events, distinct ethno-cultural enclaves are brought back: one can feel oneself
to be in Vietnam, Central Asia or Ukraine for a while. All the performed
pieces are "insider" oriented. Therefore, any adaptation for "outsiders" is
needless as well as an invented or reinforced "authenticity." Whereas members
of the Central Asian group Jagalmay play for Czechs on the <i>rubab </i>lute and
a dancer presents "Uygur" dances, later the same musicians play an
electronic keyboard or a guitar and music playback accompanies belly
dancing of the same dancer in front of a Kyrgyz audience. Vietnamese
volunteers often present various popular music pieces which are not directly
related to the New Lunar Year celebration. However, the main task of those
performers is entertainment of their "own" internal audience <a href="http://www.lidemesta.cz/index.php?id=871#_ftn4" name="_ftnref4"><sup><sup>[4]</sup></sup></a>. They do not want to
impress the listeners with original virtuoso creations, nor earn money for
their special musical "craft," nor represent an idealized form of "their"
musical culture to Czechs. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>"Ethnic" music for Entertainment: Marginalization </b></span><br />
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<span style="font-size: large;">Music characterized by presenters, organizers and often by immigrant
musicians themselves as "ethnic" has various forms and functions. During my
research I found out that some musicians of immigrant origin perform regularly
at Prague bars and restaurants and they entertain guests with their musical
skills. This is the case of groups playing various genres and styles presented
as "Latino" music, such as the Cuban ensemble Santy y su Marabú. The group
consists of several musicians of Cuban, other Latin American and also Czech
origin. In addition to the founding members, other musicians are often only
temporary members of the group. With their repertoire of their own arrangements
of Cuban "traditionals" performed on "typical" Cuban instruments such as the
Cuban guitar - <i>trés cubano</i>, the bass guitar, the <i>conga</i>, <i>bonga</i> or other regionally "typical"
types of percussions, the flute and sometimes some brass instruments and the
keyboard they appear in Prague music clubs such as the Popocafépetl or Jazzdock
and they participate in festivals and events related to Latin American dance
and entertainment. However, in a small "Cuban trio" they often accompany
private meetings with their music and perform in up-scale restaurants and bars
situated in the city center such as the bar <i>La Casa de la Havana Vieja</i> in Prague 1. Every
Thursday, the frontman of the group playing the <i>trés cubano</i> arrives there at 8
PM with two or three other musicians. Situated in a corner of the bar,
they usually perform the same songs as at various concerts, just in more modest
arrangements without sonorous instruments such as the flute or the trumpet. The
musicians play practically indifferently and without considerable attention of
the bar's guests, who only occasionally pay attention to their playing.
According to the bar's official website, the musical accompaniment of those
Cuban musicians helps to invoke a "real Cuban atmosphere." The presence of
"live" musicians from Cuba with their music is thus a marketing strategy
to increase the attractiveness of the bar. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">According to my observations and accounts from
interviews, I decided to regard this strategy as <i>marginalization</i>. Although their
music is presented as "authentic" and "traditional" Cuban <i>son</i>, it is not perceived
as completely strange and unusual for a Czech audience. It is generally
known that Cuban or Latin American musical elements such as basic rhythmic
patterns have been naturalized in European popular music since the first half
of the 20<sup>th</sup> century. The members of Santy y su Marabú, professionals
with a musical education obtained in Cuba, can use their musical skills
the way they learned them without the necessity of a change or adaptation,
unlike the above-mentioned Feng yün Song or Shahab Tolouie. The original
purpose of the music of Santy y su Marabú and other similar ensembles is for
"dance and entertainment."<a href="http://www.lidemesta.cz/index.php?id=871#_ftn5" name="_ftnref5"><sup><sup>[5]</sup></sup></a> However, even during the group's
performances at summer festivals with large audiences, it is often not easy to
persuade people to dance. The music seems to be too complex for listeners,
except for occasionally present salsa connoisseurs<a href="http://www.lidemesta.cz/index.php?id=871#_ftn6" name="_ftnref6"><sup><sup>[6]</sup></sup></a>. This is the first aspect of
marginalization. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Second, the concerts of the complete group mostly
during summer festivals and sometimes in clubs are less numerous and less
important than regular playing of the Santy Trio in bars and restaurants, which
is the major income of the musicians. According to the manager of the group,
the musicians live by their music. Especially in those places and contexts, the
music performed by the Santy Trio seems to be mere, although "unique and
original," sonic accompaniment of bar or restaurant guests' conversations. The
ability of the Cubans to offer an
"authentic" form of their "own" music represents a unique possibility of application
of their skills and special musical "craft," not as a means of nostalgic
longing for their homeland, but for making a living here in the Czech
Republic. Nevertheless, the musicians are rarely noticed by the audience, who
perceive their playing as a part of the atmosphere of the entertainment in
the bar. On the other hand, the musicians seem to be satisfied with their
position and roles which they perform<a href="http://www.lidemesta.cz/index.php?id=871#_ftn7" name="_ftnref7"><sup><sup>[7]</sup></sup></a>. They are not inclined to
experimentation or inventions of something very new and original; they
do not intend to become "famous" as those who choose the <i>impressive musical
fusion</i> strategy. Instead of
this they are faithful to the Cuban <i>son </i>and they just practice and use
what they have learned. Although they sometimes perceive their activities as
routine and non-reflected by the audience, they represent for them the
advantage of living in the Czech Republic, e.g., without the necessity of
knowledge of the Czech language. While groups such as Santy y su Marabú
practice and even live by their musical activities, their music is perceived by
the local audience as something exotic and complex. Within the category of
popular music for entertainment their music therefore stays at the margins of
the Czech musical scene. These are the other aspects of marginalization in this
strategy. </span></div>
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<span style="font-size: large;"><b>"Exotic" music as an example of multiculturality:
"Seeming Integration" </b></span><br />
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<span style="font-size: large;">The last strategy is chosen by musicians obviously presenting their
performances as "traditional music" within the context of festivals organized
in the public and open spaces of city squares or as musical accompaniment
during thematic events organized by NGOs and related to migrants and their life
in the Czech Republic. In the former case, musical performances take place on
big outdoor podiums, in the latter in small theaters or coffee houses, but
always with free admission. On the one hand, there are events which are focused
on one ethnicity ("Ukrainian soirée," Plzeň) or they are "multiethnic" on the
other (Refufest, Prague). In some cases, such events attract the attention of
almost a few hundred people: youths, families with children, inquisitive
passers-by, pensioners, tourists and homeless people, among others. The musical
program usually consists of many different performances. Each group or performer
presents some few short musical pieces. Costumes, dances and different
instruments are welcome by the public. Careful observation enabled me to find
out that the repertoire of performed pieces is not large and one can see
a performer presenting the same pieces in Prague as one month ago in
another Czech city. Nevertheless, most of the visitors watch the performers for
the first and usually for the last time. The audience briefly pays attention to
some few performances of anonymous and unknown musicians, looks at "exotic"
dances and colorful costumes, tastes different "ethnic" foods and goes away.
Only a small number of participants watch the whole musical program. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Musicians and other performers participating in those
events are not professionals who would live by their musical activities.
Performers such as an Iranian poet or a Mongolian girl singing and playing
their "traditional" instruments perform as volunteer individuals or join groups
or ensembles whose member base is unstable, often formed for a concrete
event. Among others, this is the case of the group Jagalmay, founded by Kyrgyz
journalist Janyl Chytyrbaeva from a musical family living and working in
Prague. The ensemble consists of several members who come from various countries
of the Central Asian region. Except for the three-member female "core" of the
group, the majority of the other members join the group only temporarily. All
the members of the ensemble are thus amateur musicians variously positioned and
integrated in the Czech society whose participation in the ensemble is
motivated by a desire "to console their homesick hearts." The group
presents its own arrangements of folk or semi-folk musical compositions from
diverse Central Asian countries with the accompaniment of instruments traditionally
utilized in Kyrgyzstan and Uzbekistan such as the <i>komuz </i>lute, the <i>temir komuz </i>Jew's harp, the <i>doira</i> frame drum, or other
chordophones and percussion of Arabic, Persian or Turkish origin. The musicians
meet irregularly and they often enjoy spontaneous music making in privacy. The
repertoire of Jagalmay thus originates from improvisation-based contributions
of each member. Some pieces are only vocal and instrumental, while others are
accompanied by dances performed by several members or by the youngest member -
the daughter of one of the Kyrgyz singers who performs solo dance parts. All
the members wear several traditional-like costumes and different headgears
associated with a concrete Central Asian region. Clothes and head-covers
are consequently changed even during a performance according to the origin
of the song currently played.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Performances of Jagalmay and similar ensembles or
groups could be characterized as a declaration of an exoticism and
tangible difference reified on an aural and visual level. Several Central Asian
identities expressed in musicians' self-presentations then seem to be flexible
categories which can be employed according to situational circumstances: when
performing Uzbek songs, Kyrgyz musicians wear Uzbek costumes and vice versa.
When arranging their repertoire, the musicians mix together different Central
Asian elements and resultant arrangements are created within a process of
bricolage. However, they refuse musical borrowings which are not considered as
traditionally used in Central Asian musics so they do not "modernize" or
adapt their music to make it commercially more acceptable by adding, e.g.,
Western musical elements. This strategy is based on an accentuation of their
own "original" and unique traits and their instrumentalization in the sense of
their intended usage for "demonstrative" purposes. Because of their
intentionally reinforced difference or alterity, the musicians can thus perform
only at certain of the above-mentioned events and it is not possible to utilize
their music making as an attractive and cashable art or entertainment. It is
worthy of mention that ensembles similar to Jagalmay do not appear at solo
concerts organized without a relation to some extra-musical occasion.</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">Although the musicians have the possibility to perform
in front of an often numerous, mostly Czech, audience a few times per
year, their integration into the Czech musical sphere is only "seeming" because
they can enter it only during special occasions: Individuals and ensembles
similar to the Central Asian group Jagalmay are invited to participate in
festivals or events linked with a sphere of "multiculturalism" and
"migration," such as the Refufest, Respect festival, Ethnica Poetica, or Praha
srdce národů<i>. </i>According to the
organizers, a supposed purpose of such events is an increase of the
informational level of the Czech general public about different cultures, life
experience and difficulties of migrants and refugees. The most characteristic
feature of this strategy is its <i>spectacularity</i>: The program of those festivals
and events does not consist only of musical performances; there are usually
"multicultural" catering, exhibitions of photographs or souvenir-like objects
"typically" representing each region and its culture. The main purpose of
everything that is presented there is an "example of multiculturalism." Musical pieces are recontextualized and they
adopt this new role: The more "exotic" and "entertaining" a musical
performance, dance or costumes seem to be, the more the audience clap their
hands. Performers intentionally choose "typical" musical and other cultural
traits in an idealized form and they present their, e.g., Central Asian,
Vietnamese or Ukrainian "culture" as a collection of artifacts or
curiosities: Central Asia is associated with high white headgear of men, Jew's
harps, the Kyrgyz<i> komuz</i> lute or the Uzbek drum <i>doira </i>and singing in different Turkic languages; Vietnamese
musicians perform an extract from <i>ca trù </i>and "lion dances" in red and gold costumes. All the
exposed traits should be easy identified with a concrete "culture" or
"ethnicity" as its symbolic markers. However, the ethos of "exoticism" and
"alterity" is common to <i>all </i>of the performers. Due to this alterity [in other
words, meaning something like this: "We (immigrants) live with you (Czechs),
but we are totally different from you"] they can be part of the Czech musical
scene, but only during those special occasions and contexts. For this reason
the musical activities corresponding to this strategy stay only <i>seemingly integrative</i>. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>Conclusion </b></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;">It is evident that the way of self-presentation of musicians influences
their position and possibilities on the Czech musical scene. The chosen
acculturation strategy determines the place, audience, occasion and context of
the event and each musician has different benefits from it. There are several
types of musicianship practiced by immigrant musicians from one-off amateurs to
professionals or highly motivated amateurs. First, it seems that all the
musicians mentioned and their activities have relatively little publicity. Even
those who have chosen the most auspicious strategy, inventive and flexible
integration in the form of <i>impressive musical fusion</i>, have not become famous or even
known to the general public. Regular Czech listeners of immigrant musicians
could be characterized as "specialists" whose interest in this music has some
particular reasons - from a belief in the relaxation potentials of Chinese
music to the conviction that Cuban music dulcifies a meeting of friends in
the bar or the curiosity of a boy who joins his Vietnamese girlfriend at
the New Lunar Year celebration. However, the four strategies differentiate by
levels of their "visibility": While a billboard inviting to the SongFest
(Chinese New Year Celebration festival founded and organized every year by Feng
yün Song) can attract the curiosity of a random passer-by, Jagalmay's
performance at Refufest requires some interest in refugees or "foreign
cultures" in general. Finally, performances of foreign musicians at community
meetings are known only to those who obtain a personal invitation. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">From the typology of acculturation strategies point of
view, the four kinds of self-presentations presented are related to different
integration and identity formation strategies. Application of this theoretical
viewpoint lets us understand why there are musicians who prefer to interact
with a Czech audience and those who prefer to stay "invisible" and known
only in their own community. Nevertheless, the aforementioned four strategies
should not be considered as completely stable and definitely bound categories applied
exclusively by such or such musician. On the contrary, the musicians often
utilize different strategies according to the situational context: this is the
case of musicians performing for a Czech audience as well as for listeners
from their minority in various circumstances. Although the first "integrative" <i>impressive musical
fusion </i>strategy<i> </i>seems to be the most
successful, I do not consider each strategy as more or less
"successful": Musicians are active agents who choose and elaborate their
self-presentations and they consciously realize their intentions there. </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">In conclusion, the way immigrants <i>treat</i> their music, how
they adapt and arrange it, how they conceptualize the "authenticity" or
"representativeness" of their music (representing "their" culture to Czechs),
and the way of their overall self-presentation reflect the character and level
of their integration in the Czech environment. The framework of their
activities is based on the identification and fulfillment of expectations of an
audience with whom they aspire to interact. Different features of each musical
self-presentation then imply their acceptability and appropriateness in each
context: the greater the attractiveness for a Czech audience, the higher
the probability of commercial success, for example. In any case, by performing
"their" music in the Czech Republic, the immigrants utilize their unique
skills. This can serve many purposes from a hobby or autotherapeutic
activity curing homesickness to musicking as livelihood. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<hr size="1" style="text-align: justify;" />
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref1" name="_ftn1"><sup><sup>[1]</sup></sup></a> "I use flamenco techniques in that, but it
is not pure flamenco, so that is why...because since I add ethnic
elements.., I felt the best word to describe this style would be
‘ethnoflamenco' " (Shahab Tolouie, 16. 1. 2012).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref2" name="_ftn2"><sup><sup>[2]</sup></sup></a> "Basically this kind of fusers were those who presented their music
to the world, their culture to the world... If Ravi Shankar played only
traditional music, he would not be too well known. Of course they have great
traditional... you know Indian masters, but one of them goes and starts fusing by
collaborating with George Harrison, with
this and that... And this way he presents the music to the world and make it
a little bit understandable for the Western audience. So this is, this was
something that I realized, that was missing in our music. We have
traditional music, we have pop musicians who are understandable only for
Persians or for Iranians in general, but there was one category missing over
there. It was fusionists. And that's what I got in Spain. When I was
studying with my teacher I realized, OK, I play something which is
a copy. And they will never play better then me, you know in my Persian
music, they can never play better Persian music then me and I can never
play and <span style="text-decoration: underline;">feel</span> flamenco better than
them. Because... always this kind of traditional music has a root in culture
and in history. And to play the traditional music, you have to be born over
there, to understand it, exactly... Of course, I can play Moravian music,
but I can never play it <span style="text-decoration: underline;">like</span>
Moravians. Because it's a culture, you know. So I realized, it's
better to get the technique and to mix it, to fuse it in my way and to express
it my own way." (Shahab Tolouie, 16. 1. 2012).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref3" name="_ftn3"><sup><sup>[3]</sup></sup></a> As noted by Viktor Rajčinec, the leader of the
Ukrainian folk music group Ignis: "We played in Plzeň.
You have also been there, I remember it...so it was interesting that people
were coming out of the hall, I was putting the musical instruments in the
car and then some old people came to me and they told me: "We haven't heard
those songs for twenty years...and we started to remember...twenty years..." So you
see, it's great that we played it and they remembered....And in Eastern Slovakia,
it was the same situation. They were so impressed. They said: "It's balm for
the soul"...or: "Oh, this song, I sang it as a child!" (Viktor Rajčinec, 5.2.2010). </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref4" name="_ftn4"><sup><sup>[4]</sup></sup></a> According to
a Vietnamese co-organizer of the Vietnamese community Tet celebration in
Teplice, "During the whole year, all the people are interested in business;
they are stressed and have a lot of worries...so then the people want to
relax and they want to be entertained. Basically, the program should be
designed to entertain everybody, all generations." (Thuy Duong Trinh,
22.2.2010).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref5" name="_ftn5"><sup><sup>[5]</sup></sup></a> As Kalanda Kititi, a Congolese guitarist
said: "In my concerts,
I want people to come, dance and have a good time, you see?...When
there are Africans, they dance; that's the greatest atmosphere. It's necessary
to feel relaxed, so often they dance....But Czechs...they are shy, they wait until
others are already dancing and then they join, so it's good atmosphere when the
Czechs start to dance with the Africans." (Kalanda Kititi, 16.4.2010).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref6" name="_ftn6"><sup><sup>[6]</sup></sup></a> "There are some few people
who come to dance the salsa; they know the steps...But the majority of the Czech
audience...it's very difficult to get the Czech audience to dance. People are shy
and withdrawn." (Bibiana Jiménez
Smith, 12.1.2012).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-size: large;"><a href="http://www.lidemesta.cz/index.php?id=871#_ftnref7" name="_ftn7"><sup><sup>[7]</sup></sup></a> The manager of Santy y su marabú told me the following: "There
are places, restaurants...expensive restaurants in good prestigious locations in
the city center of Prague as on Pařížská street, for example...And there the
group is limited...just play...minimum volume...so as not to disturb the guests so
they can chat...And the group is disgusted by it...Because to play and sing with
minimum volume, that's silly...But they take it as their job: "Yea, it's our job,
we are paid for it...so we play what and how they like and we get paid.""
(Bibiana Jiménez Smith, 12.1.2012).</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<h2>
<span style="font-size: large;">References
</span></h2>
<span style="font-size: large;">Berry, John W. - Sam, David. 1997. "Acculturation and Adaptation."
Pp. 291-326 in Berry, John W. - Segal, Marshall H. - Kagitcibasi, C.
(eds.): Handbook of Cross-Cultural Psychology. Vol. 3: Social Behavior
and Applications. Boston, London, Toronto, Sydney, Tokyo, Singapore:
Allyn and Bacon 1997.<br /><br />
Bohlman, Philip V. 2005. "Music as Representation." Journal of
<br /><br />
Musicological Research 2005/24: 205-226.
<br /><br />
Camilleri, Carmel - Kastersztein, Joseph - Lipiansky, Marc Edmon -
Malewska-Peyre, Hanna - Taboada-Leonetti Isabelle - Vasquez, Ana. 1990.
Stratégies indentitaires. Paris: Presses universitaires de France.
<br /><br />
Goffman, Erving. 1956. The Presentation of Self in Everyday Life. Edinburg: University of Edinburg Press.
<br /><br />
Kaufman Shelemay, Kay. 2001. "Toward an Ethnomusicology of the Early
Music Movement: Thoughts on Bridging Disciplines and Musical Worlds."
Ethnomusicology Vol. 45, No. 1: 1-29.
<br /><br />
Merriam, Alan P. 1964. The Anthropology of Music. Evanston: Northwestern University Press.
<br /><br />
Turino, Thomas. 1999. "Signs of Imagination, Identity, and Experience: A Peircian Semiotic
<br /><br />
Theory for Music." Ethnomusicology, Vol. 43, No. 2: 221-255.
<br /><br />
Turino, Thomas. 2008. Music as Social Life. The Politics of Participation. Chicago and
<br /><br />
London: The University of Chicago Press.
<br /><br />
Život cizinců v ČR. 2011. Praha: Český statistický úřad.</span>
Zita Skorepova Honzlovahttp://www.blogger.com/profile/01289470340967168357noreply@blogger.com0tag:blogger.com,1999:blog-3604493961820474510.post-48644720158589397852012-10-24T12:18:00.000+02:002012-10-24T12:29:09.428+02:00ZIMU - barde kabyle de l'époque contemporaine<h3 align="left" style="margin: 12pt 0cm 3pt; text-align: left;">
<span lang="FR" style="font-family: "Berlin Sans FB Demi"; font-size: x-large;">ZIMU – barde kabyle de l’époque contemporaine</span><span lang="FR" style="font-family: "Berlin Sans FB Demi"; font-size: x-large;"> </span><span lang="FR" style="font-family: Garamond; font-size: x-large; font-weight: normal;">ou</span></h3>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR" style="font-size: x-large;"><span style="font-family: Garamond;">UN ÉPISODE ETHNOMUSICOLOGIQUE</span></span><br />
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<span style="font-family: Garamond; font-size: large;"><i><span lang="FR">Mots clés : </span></i><i>musique et identité kabyle moderne, chanson et paroles, activités musicales et patriotisme, adaptations de chansons<span style="color: blue;"> </span> </i></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Arial;">Introduction<span style="mso-spacerun: yes;"> </span></span></span></h3>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Basée sur les analyses musicales de chansons d’un musicien kabyle instalé à Paris, sur les informations concernant son personnage et ses activités musicales publiées sur les divers sites web et principalement sur les entretiens semi-structurés, je ne conçois cette enquête que comme un « épisode ethnomusicologique », car je n’ai pas pu pas assister aux concerts ou aux autres types de spectacles musicaux</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[1]</span></span></a><span style="font-family: Garamond;">, non programmés, pendant mon séjour à Paris. Bien que cette enquête n’est pas fondée sur le travail de terrain au sens de l’observation participante des performances musicales, elle est néanmoins consacrée à certaines questions d’ethnomusicologie contemporaine. Je trouve ces questions pertinentes à éclaircir tout au moins avec les réponses fournies par mes efforts sur le cas étudié. Car je suis persuadée de la nécessité de présenter le procédé méthodologique; je mentionne ainsi toutes les étapes du déroulement de cette enquête englobant aussi mes impressions et mes sentiments subjectifs qui n’accompagnent pas seulement mon enquête, mais chaque recherche antropologique en général. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Dans la création de Murad Zimu</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[2]</span></span></a><span style="font-family: Garamond;">, originaire de Tizi-Ouzou vivant à Paris, j’essaie de déceler un des courants de la musique kabyle contemporaine que je considère assez particulier et pertinent à décrire. Les buts de cette tentative sont devenus les suivants : illustrer comment le musicien lui même réfléchit sur la musique qu’il crée et comment il la conceptualise. Murad Zimu se présente comme un chanteur et poète qui s’oriente uniquement vers une audience kabyle spécifique. Son appartenance à cette minorité algérienne, violement opprimée, et ses attaches fortes à la langue kabyle déterminent le concept entier de ses oeuvres poético-musicales. En même temps, il trouve son inspiration dans la chanson française et dans la musique moderne occidentale en général. Quels sont donc les traits qualifiant l’identité kabyle et son esprit dans ses créations et quels critères identifient cette identité ? Quelle est sa place parmi les autres créateurs kabyles ? Comment ses attitudes personelles se reflètent dans son style poético-musical ? Et comment un auditeur non-kabyle – comme moi – qui est néanmoins attiré par la Kabylie, par l’Algérie</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[3]</span></span></a><span style="font-family: Garamond;"> et par ses musiques en particulier, perçoit ses chansons ? Pour ma part, j’ai décidé de considérer Murad Zimu comme un « barde » kabyle de l’époque moderne : c’est un chanteur et poète affirmant son appartenance à l’identité kabyle dans ses activités créatrices, néanmoins, il désire se distinguer de la majorité des musiciens d’aujourd’hui et éviter certaines pratiques présentes dans la contemporanéité musicale kabyle. Dans cet article, j’ébauche aussi des sujets et des questions qui reflètent le développement général de la musique kabyle dans la deuxième moitié du XX<sup>ème</sup> siècle, cependant, l’article se concentre principalement sur le cas de Murad Zimu. </span></span></div>
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<span lang="FR"><span style="font-family: Arial;">Pourquoi Zimu ? </span></span></h3>
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<span lang="FR"><i><span style="font-family: Garamond; font-size: large;">Prague 2008</span></i></span></h1>
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<span lang="FR"><span style="font-family: Garamond;"><span style="mso-tab-count: 1;"> <span style="font-size: large;"> </span></span><span style="font-size: large;">Il faut avouer que c’est un accident de parcours qui marque le début de cette petite recherche préparée dès l’été 2008 à Prague et réalisée à Paris pendant l’automne 2010. Lorsque on vit en République tchèque, dans ce petit pays de l’Europe centrale sans frontières maritimes et – heureusement – sans passé colonial, l’amateur des musiques du monde arabo-musulman dois se contenter seulement d’une poignée de disques disponibles dans plusieurs bibliothèques ou boutiques spécialisées dans les « musiques ethniques ». Sinon, il est nécessaire de chercher les enregistrements sur les sites web internationaux ou de trouver d’autres solutions – explorer continuellement le répertoire ancien et aussi contemporain sur les ondes de la radio, par exemple. </span></span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Passionnée de la musique d’Afrique du Nord, j’écoute souvent les radios maghrébines. Un jour d’été 2008, j’ai passé la soirée avec la Radio Dzaïr en savourant les anciennes chansons de Dahmane el Harrachi, Boudjema El-Ankiss et d’autres chanteuses et chanteurs algériens plus ou moins célèbres. Ensuite, mon attention fut brusquement captivée par une chanson</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[4]</span></span></a><span style="font-family: Garamond;"> évidemment moderne et assez exceptionelle parmi toutes les chansons - anciennes autant que modernes - chantées en arabe ou dans les langues berbérophones. Je fus émue par une voix masculine très fine et claire chantant une mélodie triste, accompagnée au piano. L’intelligibilité et la clarté absolue des paroles chantées dans une langue amazigh et l’expressivité sophistiquée et émouvante des énonciations vocales qui furent proférées dans une manière cultivée étaient particulièrement remarquable. Excepté la langue utilisée, aucun autre trait, c’est-à-dire un instrument de musique, un rythme ou un mode mélodique ne me rappelèrent l’origine maghrébine de cette chanson. Quel était ce musicien exceptionel ? Dans de tels moments, il faut apprécier les avantages de la technique moderne – un nom de certain « ZIMU » apparut dans la fenêtre du baladeur Windows Media Player. Ensuite, j’ai trouvé son site web officiel et sa présentation sur le réseau social MySpace. Pour les deux années suivantes, j’écoutais sa musique pour mon plaisir en ne sachant que je le rencontrerai personnellement un jour à Paris. </span></span></div>
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<span lang="FR"><span style="font-family: Arial;">Musicien kabyle en France</span></span></h3>
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<span lang="FR"><i><span style="font-family: Garamond; font-size: large;">PARIS 2010 </span></i></span></h1>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">En saisissant l’occasion de passer un semestre à Paris comme étudiante ERASMUS, bien sûr j’étais tentée par l’idée de réaliser une petite enquête sur Murad Zimu. Malheureusement, aucune représentation de Zimu n’était programmée pendant mon séjour à Paris. Néanmoins, juste deux semaines après mon arrivée, j’ai assisté au concert d’un autre musicien kabyle, Cheikh Sidi Bémol, qui caractérise son propre style musical comme « fusion entre modernité et tradition, entre chaabi, gnawi, blues et rock, berbère et celte</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[5]</span></span></a><span style="font-family: Garamond;"> » et qui chante les paroles de ses chansons en arabe, kabyle, français et anglais. Le concert fut organisé à Paris dans un petit café musical</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[6]</span></span></a><span style="font-family: Garamond;"> du XIème arrondissement, spécialisé dans les « musiques du monde » qui me rappela fortement le <i>Popocafépetl <a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference">[7]</span></a></i>pragois. Une demi-heure avant le début du spectacle, c’est-à-dire à 20 heures 30, les places autour de tables pour deux ou quatre personnes, ou les chaises pour des personnes seules près du bar furent occupées par une centaine d’hommes et femmes 20 à 50 ans qui vinrent seuls, en couples ou en groupes, habillés plutôt de vêtements informels. Tous les gens achetèrent les billets s’élévant entre 8 et 10 euros sur place. En étant assise près d’une table pour quatre personnes, j’entendis autour de moi français mais aussi kabyle. Les gens parlèrent en mélangeant les deux langues, on discuta de divers thèmes de la vie quotidienne mais aussi de politique. Ensuite, quelques minutes avant le début du spectacle, une jeune femme passa dans la salle en demandant à ceux d’origine algérienne de signer une pétition contre l’emprisonnement d’un homme algérien. C’était une petite, mais une sérieuse remarque de la contemporanéité inquiétante de ce pays maghrébin. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Le concert commença à 21 heures 12. Cheikh Sidi Bémol monta avec un violiniste et un percussionniste sur le petit podium situé au coin du café et il présenta son nouveau disque « Paris –Alger – Bouzeguéne » en parlant en français avec les auditeurs au cours du concert entier, c’est-à-dire au début, mais aussi au cours de ses chansons particulières. Le programme était composé probablement de nouvelles mais aussi d’anciennes compositions évidemment connues par l’audience qui dansa un peu pendant quelques chansons et proféra des youyous ou des exclamations verbales joyeuses en kabyle. Après 22 heures, il y eut une pause de vingtaine de minutes. J’ai entamé une conversation avec mes voisins assis autour de la table en me présentant et montrant mon intérêt par la musique kabyle, et en particulier, par Murad Zimu. Par hasard, un des auditeurs m’informa qu’il connaissait ce musicien personnellement. Grâce à son intervention, j’ai rencontré Murad Zimu après plusieurs semaines. Munie de toutes les informations préliminaires sur lui, sa musique et ses activités, j’ai réalisé des entretiens qui représentent la source de données la plus importante de cette petite recherche. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">***</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Murad Zimu est né le 2 janvier 1970 à Achallam, un village kabyle dans la wilaya de Tizi-Ouzou. Il doit ses premiers pas musicaux à son frère Mohwelhadj qui lui rapporta une guitare en revenant de Marseille. En suivant ses études de sociologie à l’université d’Alger et dans le département de langue et culture amazighes de l’université Mouloud Mammeri Tizi-Ouzou, Murad Zimu crée ses premières chansons pendant les années quatre-vingt-dix et rencontre ses amis et collaborateurs, le musicien Si Moh et l’écrivain Ameziane Kezzar, parmi d’autres. Il donne ses premiers concerts, il participe avec sa guitare aux spectacles musicaux en Kabylie, il travaille dans une association qui organise les concerts, et il dirige une programmation de la radio. À l’exception de sa première collection privée de chansons « <i>Ijeğğigen n tsusmi </i>» (Les fleurs du silence), Murad Zimu réalise déjà trois albums qui sortent chez différents éditeurs à Alger et à Tizi-Ouzou. Marié à une femme kabyle et père d’un enfant, il vit en France où il est installé dès le début des années 2000 en travaillant comme réceptionniste dans un hôtel au centre de Paris. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Murad Zimu est l’auteur des mélodies de ses chansons, de leur conception musicale et d’une grande majorité de paroles qu’il compose avec l’utilisation de procédés différents. Il crée les textes séparément en écrivant ses idées poétiques, mais de temps en temps les thèmes et motifs musicaux viennent simultanément avec les paroles. Avec l’aide d’appareils d’enregistrement audio, il enregistre des airs complètement nouveaux ou ceux qui sont déjà associés avec des paroles. Dans son ordinateur, il y a des dizaines d’ébauches poético-musicales qu’il compose à la maison en chantant et en s’accompagnant avec sa guitare. Ensuite, les versions finales, c’est-à-dire les arrangements harmonisés et poly-instrumentaux sont créés en collaboration avec les autres musiciens en studio sous la direction de l’arrangeur Samir Sebbane</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[8]</span></span></a><span style="font-family: Garamond;"> ou pendant les répétitions avec le guitariste kabyle algérien Mennad, le percussionniste kabylo-marocain Mounim et l’accordéoniste français Olivier, trois musiciens professionnels installés à Toulouse, coopérant avec Zimu. La collaboration de Murad Zimu avec ses musiciens est néanmoins fondée sur des principes d’amitié solide et dans un cadre informel. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Il est possible de constater que la forme musicale de chansons particulières de Zimu est assez flexible, c’est-à-dire qu’il existe plusieurs versions d’arrangements de la même chanson, soit avec un simple accompagnement de guitare, soit avec deux ou plusieurs arrangements instrumentaux différents (« <i>Ameddakkel</i> » déjà mentionné, « <i>Moh n Moh</i> », « <i>Aghennay n uzekka</i> », « <i>Yya-d ma ad teddud</i> » etc.). Au cours du temps, les chansons sont modifiées selon les circonstances du moment, dépendantes de lieu d’exécution ou de la présentation dans un espace d’internet. Du point de vue d’un auditeur occidental non-kabyle, les pièces musicales de Murad Zimu ressemblent aux chansons contemporaines de provenance internationale. À l’exception de « <i>Ssiwan<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference">[9]</span></a></i> », toutes les autres chansons sont difficiles à identifier comme typiquement kabyles. Son style se caractérise par l’utilisation de mélodies diatoniques accompagnées par des instruments de musique comme la guitare, la guitare basse, l’accordéon, le piano, les percussions et les autres instruments de musique synthétiques. Harmonisées de la manière occidentale, les chansons sont introduites par des courtes introductions instrumentales qui coïncident avec les interludes dans certaines pièces. Tandis que les thèmes et les phrases mélodiques associées avec un ou deux premiers couplets se répètent, les paroles de chansons représentent les poèmes entiers ayant plusieurs strophes dont le contenu est en général non-répétitif. Évidemment, le chanteur attache de l’importance à son expression vocale qui se déroule dans les mélodies non-ornementées, chantées de manière syllabique par sa voix de ténor naturelle. Pour Zimu, la profération claire des paroles, leur audibilité et intelligibilité sont les plus importantes. Murad Zimu fut néanmoins étonné par mon jugement qualifiant sa musique comme « non-kabyle » à la première écoute : </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;"><i>« Moi, je ne vois pas ma musique « occidentale ». Je sais que je travaille sur des accords occidentaux, mais l’air mélodique, il y a toujours quelque chose de kabyle dans l’air mélodique que j’interprète avec ma voix sur des paroles. »</i></span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Pour lui, tous ses créations sont « kabyles » en ce qui concerne les paroles mais aussi la musique. Quelle est la raison de cette réalité ?</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;"> Sauf l’utilisation des aérophones (flûte <i>tajewwaqt</i>, hautbois <i>lγida</i> et clarinette double <i>tizemmarin</i>) et des membranophones (tambours <i>ttbel</i> et <i>abendayer</i>), le répértoire de la musique villageoise kabyle est constitué de corpus des chants exécutés dans la majorité des cas <i>a capella, </i>(Mahfoufi 2002 : 18-22). La musique est traditionellement pratiquée seulement par les amateurs car un statut du musicien professionel n’existe pas jusqu’à aujourd’hui, la majorité des musiciens restent autodidacte. Les changements radicaux dans la musique kabyle datent du XXème siècle, après la fin de Seconde Guerre mondiale. A l’exception de l’influence de musique arabe maghrébine ou orientale, les inspirations musicales extra-kabyles viennent surtout de la musique française du XXème siècle. En commençant par l’utilisation de la guitare, du banjo, de l’accordéon ou d’autres instruments de musiques étrangères introduites successivement en Kabylie, les musiciens kabyles se famililarisent avec les éléments musicaux qui sont en vogue dans la musique populaire occidentale. Les premiers usages de la polyphonie et de l’harmonisation de chansons accompagnées par des ensembles ou orchestres datent des années 1950. Vingt ans après, le chanteur Idir devient le premier musicien kabyle reconnu aussi sur la scène internationale. L’apparition de sa chanson « <i>A vava inouva</i> » des années 1970 marque la naissance de <i>la nouvelle chanson</i> <i>kabyle</i>, un nouveau genre qui trouve ses sources essentielles dans la poésie traditionelle kabyle en s’inspirant des traits sonores d’origine régionale. Dans le même temps, les musiciens kabyles sont influencés par des éléments arrivant de la musique populaire occidentale. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">En conclusion, la « musique kabyle » contemporaine n’est aujourd’hui qu’une vaste catégorie englobant une variété de styles plus ou moins inspirés par les éléments locaux berbères ou arabes plus ou moins « traditionels » et aussi par différents genres de la musique occidentale. Les chanteurs préfèrent (mais pas exclusivement), en créant les arrangements hétérophoniques avec l’harmonisation occidentale, utiliser des claviers, des guitares électriques et acoustiques, le luth <i>oud</i>, la mandole, le banjo, le violon, différents types de flûte et aussi des instruments synthétiques qui sont accompagnés par les rythmes occidentaux ou les rythmes typiques kabyles 3/4</span><span style="font-family: Garamond;"> et 4/4 </span><span style="font-family: Garamond;">de <i>ttbel</i> et <i>abendayer</i>. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Cette hétérogénéité fournit donc la preuve de valeur et d’importance du principe de changement constant dans la musique et dans sa conceptualisation sonore. Aujourd’hui, c’est déjà impossible de caractériser la musique « kabyle » selon les définitions « scolaires » élaborées par les anciens ethnomusicologues et folkloristes. La musique kabyle contemporaine, ce n’est pas seulement le <i>accewiq<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference">[12]</span></a></i>, les chants de mariage des femmes ou les danses collectives accompagnés par les ensembles tambourinaires. Par contre, les Kabyles représentent une communauté transnationale, qui, en sauvegardant son patrimoine culturel et linguistique, est malgré tout imprégnée par diverses influences extérieures. Les musiciens eux-mêmes s’approprient donc des traits musicaux qui sont réinterprétés et integrés dans leurs nouvelles créations. Mais ce fait est juste la raison pour laquelle la musique kabyle d’aujourd’hui devrait être étudiée par des ethnomusicologues.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Pour cette raison, Murad Zimu n’hésite pas sur le caractère « kabyle » de ses chansons. Non-initié à la musique savante régionale arabe, il trouve aussi son inspiration dans le système musical occidental, en principe. Ses choix le distinguent de tous les éléments arabes qui sont associés avec les répressions et avec le programme d’arabisation forcée. </span></span></div>
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<span lang="FR"><span style="font-family: Arial;">Chanteur « non-pratiquant » qui ne se vend pas</span></span></h3>
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<span lang="FR"><span style="font-family: Garamond;"><i>«<span style="font-size: large;"> Ici en France, il y a moins de concerts, parce qu’il y a moins d’organisateurs qui d’abord s’intéressent à la chanson que je fais, que je pratique...J’avertis le public que ce sera des chansons qui ne font pas danser, qui ne parlent pas des montagnes et des anciens et qui ne glorifient pas la JSK</span></i></span><span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;"><i>[13]</i></span></span></a><span style="font-family: Garamond;"><i>....Notre communauté aime faire la fête, aime danser, adore la chanson-nostalgie...et la chanson que je pratique n’entre pas malheureusement dans ce moule. »</i></span></span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Murad Zimu donne son premier concert en Algérie en 1995 ou 1996 à la radio durant le <i>yennayer</i>, le nouvel an berbère, et participe constamment aux spectacles musicaux qui sont organisés par des associations kabyles pour diverses fêtes régionales (la commémoration du Printemps berbère, la fête des cerises, la fête de la poterie, etc.). Ces spectacles ont un caractère informel, avec entrée libre et ils ont lieu en pleine air ou dans des cinémas ou des théâtres en Kabylie. Cependant, il avoue qu’en France, il se produit moins qu’en Algérie. Selon lui, il y a plusieurs raisons principales: 1)la communauté kabyle est éparpillée en France entière et 2)l’organisation d’un concert en France est beaucoup plus formelle qu’en Algérie, il faut suivre toutes les étapes de la procédure administrative, c’est-à-dire demander l’autorisation, payer des droits au SNAC</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[14]</span></span></a><span style="font-family: Garamond;"> etc. À cause de l’insuffisance du temps, il n’a jamais organisé un spectacle lui-même et il se produit toujours lors de concerts organisés pour une occasion et avec d’autres participants. La troisième raison concerne plutôt les préférences et valeurs personnelles de Murad Zimu qui l’empêchent de se produire dans la majorité des concerts kabyles en France. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Ici, les spectacles musicaux kabyles sont aussi organisés pour des circonstances importantes comme le nouvel an ou la commémoration du Printemps berbère. Ces événements, intitulés souvent comme « Gala » et « Kabyle 100% », sont annoncés plus que cinq mois d’avance par des affiches installées dans les lieux publics (dans les couloirs du métro parisien et dans les quartiers ayant une présence kabyle, par exemple) ou présentées sur les sites web kabyles</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[15]</span></span></a><span style="font-family: Garamond;">. Excepté la disponibilité directe chez les organisateurs ou près des salles de ces spectacles, les billets d’entrée s’élevant jusqu’à 35 euros sont accessibles à la FNAC, chez Carrefour et dans les réseaux habituels. En restant dans le cadre communautaire, les spectacles ont lieu dans les grands salles parisiennes comme le Zenith, le Cabaret Sauvage ou le Palais des Congrès Paris-Est, souvent le dimanche l’après-midi pour que les familles entières puissent y assister. Beaucoup de musiciens populaires contemporains participent à ces spectacles organisés dans la majorité des cas par Mega Net Production</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[16]</span></span></a><span style="font-family: Garamond;">. Par contre, Murad Zimu s’est produit lors de plusieurs festivals de poésie et de chanson kabyle</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[17]</span></span></a><span style="font-family: Garamond;">. En 2010, il participe avec ses trois musiciens au festival de culture berbère « Tamazgha » qui a lieu chaque année, la fin de septembre, à Marseille. Fondé en 2006 encore sous le nom « Souk Musiques – Festival des Musiques Nord-Africaines », ce festival présente la musique mais aussi les autres sphères de la culture berbère passée</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[18]</span></span></a><span style="font-family: Garamond;"> et contemporaine, avec la participation d’artistes et d’intellectuels</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[19]</span></span></a><span style="font-family: Garamond;">. Comme d’habitude, surtout les Kabyles ou leurs proches amis ou alliés français assistent à ce festival mais sa conception est donc totalement différente des spectacles de divertissement. Murad Zimu refuse strictement de se produire dans des spectacles qui, selon lui, manquent d’une certaine dignité : </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;"><i>« Je reçoit beaucoup de.... je suis solicité.... d’invitation pour des fêtes...., mais ce sont toujours des fêtes cocktail, c’est-à-dire qu’on est une quarantaine d’artistes, toujours pour rendre un hommage à quelqu’un, ça m’intéresse pas beaucoup..... C’est pas intéressant, parce qu’il y a beaucoup d’argent derrière, mais de l’argent qui n’est pas destiné aux artistes, mais c’est toujours destiné à... à ces <u>parasites</u> de la culture. Tu trouveras dans une affiche aucun respect, aucune, aucune info graphique respectueuse, il n’y a aucun concept.... C’est pas comme le concept de Tamazgha, où il y a vraiment du film, des expositions, il y a du théâtre...après il y a de la chanson et c’est très beau, préparé une année en avance, j’ai signé le contract une année en avance, on a discuté tout, ma fiche technique, mes musiciens.... Ici – non. Les affiches que tu vois, « 100% Kabyle », « La fête nonstop kabyle », « dance kabyle », tous ces... tous ces genres d’organisation, ils font ça – hommage à tel artiste, hommage à telle personnalité, hommage à.... Ils invitent quarante chanteurs; tous disent la même chose : « oui, c’est une grande figure »....Ils remplissent le Zenith avec trois mille, quatre, cinq, six mille Kabyles, ils vont les rassembler, chacun à payer 25 à 35 euros, tout cet argent va vers l’organisateur, les artistes vont travailler gratuitement, c’est comme ça.... Moi, je choisis, je préfère de choisir.... Qu’est-ce qu’ils vont te dire les organisateurs : « oui, c’est vrai que c’est gratuit pour cette fois-ci, mais ça te fait de la publicité »... <u>Non</u>..... Moi, j’ai pas envie de faire de la publicité.... Si c’était mon gagne-pain, peut-être je l’aurais accepté, mais c’est pas mon gagne-pain...donc je peux m’offrir le luxe de choisir des spectacles qui vont dans ma manière de voir les choses de la culture...Je ne vends pas mes chansons comme des navets, comme de produits. »</i></span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Murad Zimu participe aussi aux soirées musicales privées qui se déroulent dans un cadre informel avec la participation d’amis. Ces productions sont ses préférées. En se qualifiant comme un chanteur « non-pratiquant », c’est-à-dire le musicien qui ne fait pas beaucoup de représentations, il est néanmoins reconnu sur la scène musicale kabyle contemporaine et chez les autres musiciens</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span style="font-family: Garamond;">[20]</span></span></a><span style="font-family: Garamond;"> célèbres comme Aït Menguellet, Si Moh et aussi Idir. Plusieurs entretiens avec lui ou de courts articles concernant ses activités musicales ou littéraires furent publiés dans des périodiques, en majorité sous forme éléctronique, sur les sites web kabyles. Toutes ses chansons dans les versions entières audio ou audiovisuel sont diffusées sur son site web officiel ou sur ses présentations sur les réseaux sociaux Facebook ou MySpace, où il a déjà plus de 2000 sympathisants. </span></span></div>
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<span lang="FR"><span style="color: white; font-family: Arial;">Musicien, poète et patriote kabyle ?</span></span></h3>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« La chanson, c’est une expression pour moi dans <u>ma</u> langue...La chanson, c’est un petit peu moi, et moi, je suis Kabyle. Donc je chante dans ma langue et j’ai pas d’ambition de plaire à quelq’un d’autre. Même parmi les Kabyles... je suis pas prêt à faire n’importe quoi. »</i></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Selon lui</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[21]</span></span></span></a><span style="color: white; font-family: Garamond;"> mais aussi selon des ethnomusicologues</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[22]</span></span></span></a><span style="color: white; font-family: Garamond;">, les musiciens kabyles ont toujours un rôle important dans la lutte pour la proclamation et la reconnaissance de l’identité berbère et des langues amazighes qui sont considérées comme les menaces de l’unité des nouveaux états postcoloniaux de l’Afrique du Nord. Tous les mouvements sollicitant l’affirmation de la langue tamazight comme une langue nationale et comme une langue d’enseignement ont été opprimés. Le folklore musical reste la seule forme d’expression relativement tolérée. Ensuite, un nombre des chanteurs et musiciens kabyles associent le cadre des activités musicales avec la lutte pour les droits de la langue et pour la reconnaissance de l’identité amazigh. La chanson en tamazight devient donc le moyen de critiquer le gouvernement et l’expression de revendications concernant les droits de l’homme ou la démocratie. Certains musiciens assez engagés ont été persécutés, emprisonnés</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[23]</span></span></span></a><span style="color: white; font-family: Garamond;"> et aussi - comme Matoub Lounes, par exemple – assassinés. Les chaînes de la télévision ou de la radio d’État sont fermées à la plupart des chanteurs d’expression berbère et la musique régionale de Kabylie ne rentre pas dans le programme du collectage et de la préservation du patrimoine musical de l’Algérie dit « national ». En plus, les musiciens berbères ne participent pas aux représentations officielles algériennes à l’étranger. </span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Aujourd’hui, il n’y a pas de restrictions de publication de musique kabyle en Algérie. Toutes les chansons de Murad Zimu sont enrégistrées à l’ONDA</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[24]</span></span></span></a><span style="font-family: Garamond;"><span style="color: white;">. Néanmoins, les chansons avec des allusions politiques ne passent pas à la radio officielle – c’est le cas de « <i>Salupri</i> », « <i>Tafsut taberkant</i> » et de quelques autres chansons. Les décisions ne sont pas prises par une censure centrale mais plutôt par les animateurs individuels responsables de programmation de la radio. Cependant, d’autres difficultés pour les créateurs kabyles sont toujours d’actualité :<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« Les obstacles existent à un autre niveau.... Par exemple : la programmation d’un spectacle, c’est là ou ça se situe, et le moyen.... C’est-à-dire, ce que font les services étatiques algériens, ils te disent : « Chantez dans votre langue, chantez comme vous voulez, dites tout ce que vous voulez dans la chanson, <u>mais</u>,.... no access ! Tu n’as pas d’accès aux spectacles, tu n’as pas d’accès à des clips télévision.... Regardes... Idir - il est là.... Depuis longtemps. Ils savent qu’ils peuvent le ramener par exemple faire une tournée en Algérie.... Mais il ne fait pas de tournée en Algérie.... Cheb Khaled, Cheb Mami</i></span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;"><i>[25]</i></span></span></span></a><span style="color: white; font-family: Garamond;"><i> – ils font des tournées en Algérie... à Tizi-Ouzou même, en Kabylie même... Et c’est peut-être une question d’argent aussi, avant... Mais là, regarde – ils ont invité Cheb Khaled avec des musiciens qui viennent d’ici, ils ont tous payé.... C’est la Ministère de la Culture qui signe le chèque... tu vois ? Ils chantent en Kabylie.... devant dix mille personnes... Dans un <u>stade</u>.... Alors, on n’offre pas la même chose pour Idir... Pourquoi ? Parce que quand on invite – ils peuvent l’inviter – <u>mais</u>,... quand on l’invite, il y a toujours quelque chose, une connotation politique..... Par exemple j’ai vu certains spectacles où il y a un poster de président algérien derrière<span style="mso-spacerun: yes;"> </span>la scène – tu chantes devant un poster... Moi, je ne peux pas le faire, par exemple.... Donc tu vois, les obstacles sont de cette manière.» </i></span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><span style="color: white;">Donc, comment Murad Zimu se voit lui-même et ses activités musicales par rapport à la situation de la Kabylie contemporaine ?<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">En comparaison avec la musique, les paroles sont incontestablement « kabyles » non seulement pour l’utilisation du tamazight mais aussi pour leur thématique qui est étroitement liée à la realité kabyle. Les thèmes de chansons sont divers, légers et aussi très sérieux, il chante de l’amour (« <i>Tayri</i> »), rend hommage à des personnes proches comme les parents (« <i>Yemma</i> » et « <i>Baba</i> », « La Mère » et « Le Père ») ou des amis (« L’ami », « <i>Ameddakkel</i> »), et consacre ses oeuvres à la commémoration d’événements tragiques de l’histoire kabyle contemporaine (« <i>Aserdas</i> », « Le Soldat » et « <i>Tafsut taberkant</i> », « Le Printemps Noir»). Dans la chanson « <i>Taqccicin</i> » (« Les Filles »), Zimu évoque différentes sortes des filles. En ayant la fin moralisante, Zimu demande à ses auditeurs – jeunes filles et garçons – d’être sincères dans les relations mutuelles et de bien considérer leur présentation personnelle à l’égard de la personne du sexe opposé. L’« <i>Amexbut</i> » («Le Maudit »), composé en 2001 avec Ameziane Kezzar, est une chanson plus sérieuse. Elle raconte l’histoire de la génération des Kabyles qui abandonnent en masse leur pays pendant les années 1990 et devinrent « sans-papiers » en arrivant en Europe. Malgré une vie souvent très misérable en France, les jeunes Kabyles préfèrent s’exiler volontairement, car la situation en Algérie déstabilisée est désespérante avec tout les menaces de terrorisme et les autres problèmes sérieux, pas exclusivement liés avec la question kabyle. </span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Néanmoins, il y a un fait qui pourrait paraître bizarre de nouveau aux auditeurs non-kabyles : certaines chansons de Zimu sont des adaptations de chansons françaises créées par des gens comme Renaud, Georges Brassens ou Georges Moustaki. En principe, il y a deux types d’adaptations faites par Zimu. D’une part, il s’inspire des thèmes exprimés dans les paroles en créant une musique complètement différente (« <i>Ssiwan</i> » adapté selon « Le parapluie » de Geogres Brassens, «<i>Maεlic-tant pis</i> » - « Ma chanson leur a pas plu » ), d’autre part, plusieurs chansons de Zimu utilisent aussi des mélodies ou des éléments d’arrangement musical selon leur « modèles ». C’est le cas de « <i>Briru</i> » (« Manu » de Renaud), « <i>Aberrani</i> » (« Le métèque » de Georges Moustaki) et « <i>Tafsut taberkant</i> </span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[26]</span></span></span></a><span style="font-family: Garamond;"><span style="color: white;">» (« Les charognards » de Renaud). Cependant, quand on les compare avec les chansons originelles, les adaptations sont pourtant des créations nouvelles de Zimu qui ne veut pas être un simple épigone.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Dans le contexte kabyle, l’idée de l’adaptation est née chez Mohiya, un auteur et parolier qui a adapté des pièces théâtrales de Molière et de Jacques Prévert et les a diffusées sur les bandes sonores amatrices qui sont constamment dupliquées dans la Kabylie entière. Murad Zimu m’a raconté les origines de l’idée d’adaptation chez les Kabyles :</span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><i><span style="color: white;">« Mohiya nous a appris à adapter, c’est-à-dire, quand on vient d’une culture orale, d’une langue orale, il nous faut vraiment.. il faut vraiment que notre langue fasse un petit pas pour survivre. Parce qu’il n’y a pas la télévision, pas la radio, donc il faut que cette langue survive avec les thèmes d’aujourd’hui. Si on reste dans la culture orale,.... toute la poésie qui est orale, très ancienne traditionnelle, elle n’est pas très attirante aujourd’hui pour la jeunesse.... Pour actualiser, il nous faut des nouveaux thèmes, des nouvelles idées; pour avoir ces nouvelles idées, l’adaptation était la solution, trouvée par...eh... certaines personnes, surtout comme Mohiya, qui a par exemple adapté « Le déserteur » de Boris Vian qui est chanté par Ferhat.... « Le déserteur » est une chanson universelle qui parle des gens qui refusent de se mobiliser dans l’armée et tout, et tu imagines que cette chanson, elle est arrivée à une langue parlée par deux trois milions de personnes... Une langue qui n’a pas passé à l’écrit, et tout ça grâce à Mohiya par exemple. »<span style="mso-spacerun: yes;"> </span></span></i></span></span></div>
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<span style="font-family: Garamond;"><span style="color: white;"><span lang="FR"><span style="mso-spacerun: yes;"> </span></span><span lang="FR"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Cette idée de l’adaptation tire donc sa source des efforts nourris par les motivations patriotiques. Les Kabyles veulent démentir la conviction que le tamazight, une langue appartenant à la culture de tradition orale, n’est pas capable d’exprimer les idées profondes et sophistiquées dans le cadre artistique ou philosophique<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[27]</span></span></a>. Ensuite, le choix de chansons adaptatées réflète les sympathies personnelles de Zimu. Au début, il a voulu chanter ses chansons favorites de Renaud et Brassens dans une version kabyle pour lui-même et ses amis qu’ils l’encouragèrent dans ses premiers efforts artistiques :<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« C’est un choix personnelle. J’ai toujours aimé écouter Renaud depuis quatre-vingt cinq, je l’ai écouté quand j’ai préparé mon bac, comme il y a une radio en Algérie qui s’appelle Chaine 3. C’est une radio qui utilise... les langues étrangères, le français et tout, donc.... elle passait Renaud et je me rappelle que j’ai aimé très bien écouter ses chansons. Parce qu’on ne pouvait pas le trouvé sur un autre support, il n’était pas vendu en CDs, ni en cassettes, c’était pas encore piraté à l’époque... Mais c’est un choix. J’ai toujours aimé ses chansons et j’ai voulu les chanter en kabyle. »</i></span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><i><span style="color: white;">« C’est généralement inspiré. Ce ne sont <u>pas</u> des traductions. C’est pour ça qu’on dit « adaptation ». Même si j’ai repris les musiques c’est des belles musiques d’ailleurs.... La traduction est très difficile. On parle de... c’est-à-dire, tu pars d’une langue, structurée et écrite depuis des centaines d’années, vers une langue orale comme la mienne, donc on essaie d’adapter..... « Charognards » de Renaud, elle raconte l’histoire d’un jeune qui vient de la banlieue, qui se fait abattre aux Champs-Elysées... Moi, non. J’ai pris la musique. La musique était vraiment très bien, je l’ai pris, mais je me suis inspiré de l’idée des « charognards », c’est-à-dire quelqu’un qui mange.... je l’ai adapté à ma situation à moi, ma société à moi. »<span style="mso-spacerun: yes;"> </span></span></i></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Par contre, Zimu refuse d’adapter ou de « moderniser » les chansons anciennes et traditionelles kabyles</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[28]</span></span></span></a><span style="color: white; font-family: Garamond;">. En plus, il est contre les pratiques de la jeune génération de chanteurs kabyles qui </span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« ont exploité ces chansons traditionnelles pour faire des chansons de fêtes commerciales..... Dans la chanson kabyle aussi, il y a ce qu’il s’appelle « reprise ». Il prennent des chansons traditionnelles d’El Hasnaoui, ils sortent des albums « Hommage à El Hasnaoui », ils prennent toutes les chansons de Hasnaoui, ils les actualisent avec le chaâbi.... Moi je crois c’est une manière de ne pas faire de la composition. »</i></span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><span style="color: white;">Zimu apprécie les chants anciens mais pour son propre travail il préfère les chansons qui posent les thèmes actuels. Sauf le refus de la « modernisation » d’anciennes chansons kabyles, il veut aussi se distinguer des chanteurs et genres arabes ou des genres musicaux qu’il considère comme « occidentalisés ». En étant le sympathisant de Renaud,<span style="mso-spacerun: yes;"> </span>il a néanmoins choisi seulement certains aspects de sa production et refuse sa manière de présentation personnelle.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« Je ne chante pas en arabe. Je ne pourrais pas faire par exemple des chansons de fête....C’est un style que je ne pourrais pas toucher.... Autre style.... le style de la chanson.... je n’aime pas la chanson <u>typiquement</u> occidentalisée, par exemple – du<span style="mso-spacerun: yes;"> </span>rock cent pour cent, de la pop cent pour cent avec de la danse.... Mon style à moi, c’est beaucoup plus... comme je le vois, comme je souhaite de le faire d’ailleurs. Je les cite, je les adapte, mais je ne peux pas faire aussi une chanson comme cent pour cent Renaud. J’aime des textes de Renaud, j’aime ses chansons, mais le style artistique comme ça... Tu sais, Renaud, c’est quelqu’un qui se faisait des tatouages, se photographiait sur des motos, des blousons en cuir, tu vois, tout ces trucs je ne peux pas.. Mon style, c’est plus comme Brel, comme Brassens par exemple, qui vient en costume, avec sa guitare et qui fait des chansons que les gens écoutent. C’est beaucoup plus comme style à moi. »</i></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Sauf le phénomène d’adaptation, il faut remarquer qu’un certain nombre de chansons existe aussi dans la forme de clips vidéo. Créés par Zimu lui-même ou par ses amis, ces clips présentés à YouTube, Dailymotion ou sur son Facebook sont de provenance non-professionnelle</span><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="color: white; font-family: Garamond;">[29]</span></span></span></a><span style="font-family: Garamond;"><span style="color: white;">. Leurs auteurs ont l’intention d’utiliser des images qui correspondent avec le contenu de la chanson en quelque sorte. Nous pouvons donc voir les images de diverses fleurs dans la chanson « <i>Asennan ujeğig</i> », les photographies des victimes et des inscriptions comme « Liberté » sur un mur accompagnent la chanson racontant la tragédie de « <i>Tafsut taberkant</i> », des bijoux berbères figurent dans la « <i>Yemma</i> » consacrée à la mère kabyle etc. En comparaison avec la pratique habituelle, Zimu ne sent pas la nécessité de se produire dans ses clips :<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« Pour moi, le clip, je le vois comme.... scénario. C’est-à-dire il faut vraiment que ça raconte l’histoire de la chanson. Ma présence donc dans le clip est suffisante avec la chanson, avec la voix et le texte que j’ai mis dessus... Donc je préfère avoir des acteurs dans la chanson, que le clip soit une oeuvre à part entière, que ce ne sera pas un clip comme support de diffusion de ma chanson. C’est une ouvre. Il faut qu’il soit une oeuvre. A part entière.»</i></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;">Mais ce qui a une signification la plus importante, ce sont les sous-titres présents presque dans toutes les chansons qui figurent sur l’internet dans la forme des clips vidéo. Le travail artistique de Zimu devient donc aussi une « mission patriotique ». La compréhension de ce fait exige une petite explication : en maitrisant sa langue maternelle seulement sur le niveau oral, la majorité des Kabyles reste illettrée jusqu’à aujourd’hui. Murad Zimu considère ses clips vidéo aussi comme un moyen d’enseignement, de propagation et de diffusion de la langue tamazight dans une forme cultivée. Ses paroles, le niveau de leur thématique et aussi de la langue utilisée sont appréciés chez ses auditeurs qui ne se contentent pas de textes simples. En se concentrant exclusivement sur l’audience kabyle, Murad Zimu n’a pas l’ambition de devenir un chanteur populaire qui est reconnu chez tous les Kabyles et aussi sur la scène internationale même s’il compose ses chansons avec une motivation remarquable. </span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><span style="color: white;"><span style="mso-spacerun: yes;"> </span>Bien qu’il ne fasse pas beaucoup de scène, il met l’accent sur son travail artistique. La technique moderne, avec tout son équipement sonore, et avant tout l’internet, avec son espace illimité, fournissent le moyen principal de diffusion de ses chansons. La diffusion et la possibilité de propagation sont néanmoins les plus importantes pour lui. Murad Zimu ne désire pas se produire aux concerts et festivals fréquéntés par « tout<span style="mso-spacerun: yes;"> </span>le monde » et ne préfère pas chanter dans une langue « internationale » comme le français ou l’anglais pour qu’il puisse attirer aussi des audiences non-kabyles. Il désire que les Kabyles écoutent sa musique et surtout les paroles attentivement et soient touchés par la langue qu’il utilise et par des thèmes qu’il pose :</span></span></span></div>
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<span lang="FR"><span style="color: white; font-family: Garamond;"><i>« Je me méfie des gens qui racontent une chanson et ils te disent : «ah, c’est une très bonne chanson », « ah ce sont des gens comme toi pour la culture »...Tous ça, ce sont des discours, pour moi, qui sont <u>vides</u>.... Mais quelqu’un qui s’intéresse à la chanson, qui te donne un détail, ça c’est un commentaire que j’apprécie. »<span style="mso-spacerun: yes;"> </span> </i></span></span></div>
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<span lang="FR"><span style="font-family: Garamond;"><span style="color: white;"><span style="mso-spacerun: yes;"> </span>En sachant que le concept de ses oeuvres poético-musicales limite peut-être le spectre des auditeurs, Murad Zimu reste le chanteur qui « ne se vend pas » et malgré tout, ses buts sont donc modestes et très grands en même temps : par ses chansons créées dans son style propre, il invite les Kabyles à cultiver et diffuser leur langue et à réfléchir sur leur destin. </span></span></span></div>
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<span style="color: white; font-size: x-small;">ZSH avec Murad Zimu. Paris, janvier 2011.</span></div>
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<span lang="FR"><span style="color: white; font-family: Arial;">Appendix :</span></span></h3>
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<br />
LE PRINTEMPS NOIR<br />
Traduction: Ameziane Aizaf</h4>
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<br />
<br />
<span style="font-size: x-small;">Le soleil avait allumé un incendie céleste<br />
C’était l’été en plein printemps<br />
Le ciel empestait les gaz lacrymogènes<br />
Tout le monde toussait et pleurait<br />
Nous allions affronter la mort<br />
Notre sang était bouillonnant<br />
La police chargeait avec son char<br />
J’avais une pierre dans la main<br />
Nous avions encerclé les gendarmes<br />
Notre jeunesse ignorait la peur</span></h4>
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<span style="font-size: x-small;">Soudain ils se mirent à nous charger<br />
Chacun frappait l’ennemi à sa portée<br />
Nous entendîmes des rafales<br />
Sans savoir la destination des balles.<br />
J’étais avec un groupe de jeunes qui couraient<br />
Lorsque je fus fauché tel un brin d’herbe. <br />
Posant ma main sur ma poitrine<br />
Je sentis mon sang couler à flot<br />
Un éclair de vie dans mes yeux<br />
Et ce fut mon dernier regard<br />
Des gens me soulevèrent<br />
J’entendis quelqu’un annoncer ma mort.<br />
Lorsque la mort m’offrit son giron<br />
Je revis le film des événements.<br />
Depuis le giron de la mort <br />
J’ai vu la suite des événements. <br />
J’ai vu ma mère s’écrouler devant la porte<br />
En apprenant la nouvelle<br />
Et mon père pleurer publiquement<br />
Pour la première fois de sa vie<br />
J’ai vu mes frères pousser leurs cris de douleur,<br />
Mes sœurs dépérir par refus de se nourrir,<br />
Et tous mes copains devenus fous<br />
Souhaiter me rejoindre dans l’au-delà.<br />
J’ai vu mon nom inscrit<br />
Sur les murs et dans les journaux.<br />
Pour ma sépulture on a construit un tombeau<br />
Que les passants visitent par tous les temps<br />
Au village, quand nous étions vivants mais malheureux,<br />
Personne ne parlait de nous<br />
Maintenant que nous sommes sous terre et décomposés<br />
On n’arrête pas de nous offrir des fleurs.<br />
J’ai vu ceux qui m’ont stimulé<br />
Continuer d’exciter d’autres jeunes<br />
Et déclarer : il est mort en espérant<br />
Que d’autres morts le suivent.<br />
Alors que ma mère est pitoyable<br />
Heureuses sont les mères des instigateurs, <br />
Leurs enfants rentrent chez eux<br />
Tous les jours à la tombée de la nuit.<br />
J’ai vu Said et Hocine<br />
Se battre sur ma tombe<br />
On a même édité des chansons pour l’occasion<br />
Oulahlou est devenu une star<br />
Plus personne dans la cité des Genets<br />
Tous sont occupés à la distribution de locaux<br />
On vole même des pauvres vieilles<br />
Tizi-ouzou est devenue un vrai bordel.<br />
J’ai vu les Arouchs de malheur<br />
Travailler pour les partis politiques<br />
J’ai vu les Arouchs qui refusaient le dialogue<br />
S’asseoir à la table des négociations<br />
J’ai vu les Arachs des enfants<br />
Qui rêvaient d’une embellie par les pierres<br />
J’ai vu les archs criant « point de pardon »<br />
Se dédier et pardonner.<br />
J’ai vu les riches<br />
Augmenter leurs capitaux.<br />
J’ai vu nos gouvernants<br />
Toujours vautrés dans leurs fauteuils.<br />
J’ai vu qu’il reste encore des gens<br />
Confiants dans mes meneurs trompeurs.<br />
J’ai vu des vauriens<br />
Devenir de respectables notables.<br />
Je vous ai vu, vous mes compagnons,<br />
A ce jour vous rêvez de printemps.<br />
Vous êtes toujours convaincus<br />
De pouvoir réformer le pays en émeutiers.<br />
Quant à moi, qui ai subi la tragédie,<br />
Je suis dans le giron de la mort<br />
Et si c’était à refaire<br />
Je ne sortirais pas de chez moi.<br />
Maintenant que d’ici j’ai vu,<br />
Tout vu mais hélas trop tard !<br />
Qu’est-ce que ma mort a apporté de plus<br />
A la plate-forme d’El ksar ?<br />
Je me serais sacrifié pour Tamazight ?<br />
Elle n’avait besoin que d’être écrite et parlée<br />
Je serais mort pour faire cesser la tyrannie ?<br />
Mon frère est son mentor.<br />
Je serais mort pour l’Algérie ?<br />
Il n’y a eu de morts que kabyles ! Pourquoi ?<br />
Aujourd’hui le drame fait partie du passé<br />
Vous êtes revenus au point de départ.<br />
Le printemps noir<br />
Ne servira plus qu’à être commémoré. <br />
Ma mère n’est toujours pas consolée,<br />
Elle me pleure toujours.<br />
A ce jour mon père affligé<br />
Refuse d’être dédommagé de ma mort.<br />
Ma mère n’est toujours pas consolée<br />
Elle me pleure toujours<br />
Mon père est enfin consolé<br />
Il a accepté le dédommagement..</span></h4>
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<span lang="FR" style="font-size: 12pt;"><span style="font-family: Garamond;">LES CHAROGNARDS</span></span></h5>
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<b><span lang="FR"><span style="font-family: Garamond;">Renaud</span></span></b></div>
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<span lang="FR"><span style="font-family: Garamond; font-size: x-small;">Il y a beaucoup de monde<br />
Dans la rue Pierre Charon<br />
Il est 2 heures du mat'<br />
Le braquage a foiré<br />
<br />
J'ai une balle dans le ventre<br />
Une autre dans le poumon<br />
J'ai vécu à Sarcelles<br />
J'crève aux Champs Elysés<br />
<br />
Je vois la France entière du fond de mes ténèbres<br />
Les charognards sont là la mort ne vient pas seule<br />
J'ai la connerie humaine comme oraison funèbre<br />
Le regard des curieux comme unique linceul<br />
<br />
[Refrain] :<br />
"C'est bien fait pour ta gueule<br />
Tu n'es qu'un p'tit salaud<br />
On n'portera pas le deuil<br />
C'est bien fait pour ta peau"<br />
<br />
Le boulanger du coin a quitté ses fourneaux<br />
Pour s'en venir cracher sur mon corps déjà froid<br />
Il dit "J'suis pas raciste mais quand même les bicots<br />
Chaque fois qu'y a un sale coups ben y faut qu'y z'en soient"<br />
<br />
"Moi Monsieur j'vous signale que j'ai fait l'Indo-Chine"<br />
Dit un ancien para à quelques arrivistes<br />
Ces mecs c'est d'la racaille c'est pire que les vietmines<br />
Faut les descendre d'abord et discuter ensuite<br />
<br />
[Refrain]<br />
<br />
Les zonards qui sont là vont s'faire lincher sûrement<br />
Si y continuent à dire que les flics assassinent<br />
Qu'on est un être humain même si on est truand<br />
Et que ma mise à mort n'a rien de légitime<br />
<br />
"Et s'ils prenaient ta mère comme otage ou ton frère"<br />
Dit un père bérêt basque à un jeune blouson de cuir<br />
"Et si c'était ton fils qu'était couché par terre<br />
Le nez dans sa misère" répond le jeune pour finir<br />
<br />
[Refrain]<br />
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Et Monsieur blanc cassis continue son délire<br />
Convaincu que déjà mon âme est chez le diable<br />
Que ma mort fût trop douce que je méritais pire<br />
J'espère bien qu'en Enfer je r'trouverai ces minables<br />
<br />
Je n'suis pas un héros j'ai eu c'que j'méritais<br />
Je ne suis pas à plaindre j'ai presque de la chance<br />
Quand je pense à mon pote qui lui n'est que blessé<br />
Y va finir ses jours à l'ombre d'une potence<br />
<br />
[Refrain]<br />
<br />
Elle n'a pas 17 ans cette fille qui pleure<br />
En pensant qu'à ses pieds il y a un homme mort<br />
Qu'il soit flic ou truand elle s'en fout sa pudeur<br />
Comme ses quelques larmes me réchauffent le corps<br />
<br />
Il y a beaucoup de monde<br />
Dans la rue Pierre Charon<br />
Il est 2 heures du mat'<br />
Mon sang coule au ruisseau<br />
<br />
C'est le sang d'un voyou qui révait de millions<br />
J'ai des millions d'étoiles au fond de mon caveau </span></span></div>
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<span lang="FR" style="font-size: 10pt; mso-bidi-font-size: 12.0pt;"><span style="font-family: Garamond;">J'ai des millions d'étoiles au fond de mon caveau</span></span></div>
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<span lang="FR"><span style="font-family: Arial;"> </span></span></h3>
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<span lang="FR"><span style="font-family: Arial;">Références : </span></span></h3>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">BOROWICE, Y., 2007 : « La chanson française, un art de métèques ? », <i>Amnis. Histoire de </i></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span style="font-family: Garamond; font-size: large;"><i><span lang="FR">l’immigration, traces et mémoires</span></i><span lang="FR">, Numéro 7, p. 2-17.</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">ERLMANN, V., 1998 : « How Beautiful is Small ? Music, Globalization and the Aesthetics of the </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Local », <i>Yearbook for Traditional Music</i>, vol. XXX, p. 12-21.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">FRITH, S., 1996 : « Music and Identity » in Hall, S., Du Gay, P. (eds.) : <i>Questions of Cultural Identity.</i> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">London, Sage Publications, p. 108-127.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">GOODMAN, J. E., 1998 : « Saints, Singers, and the Construction of Postcolonial Subjectivities </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">in Algeria ». <i>Ethos</i>, Vol. 26, No. 2, p. 204-228.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">GOODMAN, J. E., 2002 : « Music and the Development of Berber Identity » in Danielson, V., </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Marcus, S. Reynolds, D. (eds.) : <i>The Garland Encyclopedia of World Music, Vol. VI The Middle </i></span></span></div>
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<span style="font-family: Garamond; font-size: large;"><i><span lang="FR">East</span></i><span lang="FR">, p. 273-277. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">GOODMAN, J. E., 2005 : <i>Berber Culture on the World Stage. From Village to Video</i>. </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Bloomington and Indianapolis, Indiana University Press. </span></span></div>
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<span style="font-family: Garamond; font-size: large;"><span lang="FR" style="color: windowtext;">LACOSTE-DUJARDIN, C., 2006 : </span><span style="color: windowtext;">Un effet du « postcolonial » : le renouveau de la culture </span></span></div>
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt; text-indent: 35.4pt;">
<span style="font-family: Garamond; font-size: large;"><span style="color: windowtext;">kabyle. </span><span style="color: windowtext;">De la mise à profit de contradictions coloniales.</span><span style="color: windowtext;"> <i>Hérodote</i>, no. 120, p. 96-117.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">MAHFOUFI, M., 2002 : <i>Chants kabyles de la guerre d'indépendence. Algérie 1954-1962</i>. Paris, Éditions </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">Séguier.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">MAHFOUFI, M., 2007 : <i>Musiques du monde berbère</i>. Paris, Ibis Press.</span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">MAHFOUFI, M., 2009 : <i>Cheikh El-Hasnaoui : Chanteur algérien moraliste et libertaire</i>. Paris, Ibis Press. </span></span></div>
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<span lang="FR" style="font-size: large;"><span style="font-family: Garamond;">SUZANNE, G., 2009 : Musiques d’Algérie, mondes de l’art et cosmopolitisme. <i>Revue Européenne </i></span></span></div>
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<span style="font-family: Garamond; font-size: large;"><i><span lang="FR">des Migrations Internationales</span></i><span lang="FR">, Vol. 25, no. 2, p. 13-32.</span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[1]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> c’est-à-dire, tous les événements musicaux avec la participation de Murad Zimu</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[2]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> prononcer « Mourad Zimou »</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[3]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> mes parents passèrent un épisode de leur vie professionelle en Algérie pendant les années 1980. En étudiant l’ethnomusicologie, j’ai une grande sympathie pour les musiques maghrébines. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[4]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> c’était la chanson « Ameddakkel » (Maâlic Tant-pis. Belda Diffusion, Alger 2004), à présent publiée dans une version instrumentale modifiée ( </span><a href="http://www.mouradzimu.net/"><span style="font-family: Garamond;">http://www.mouradzimu.net</span></a><span style="font-family: Garamond;"> )</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[5]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> </span><a href="http://www.sidibemol.net/accueil.html"><span style="font-family: Garamond;">http://www.sidibemol.net/accueil.html</span></a><span style="font-family: Garamond;"> </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[6]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Satellit Café</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[7]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> un club musical orienté vers les « musiques du monde » au centre-ville de Prague.</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[8]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> en étant presque autodidacte inicié à la musique au lycée, Samir Sebbane appartient néanmoins à la poignée de musiciens kabyles qui vivent de la musique </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[9]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> sauf les paroles en tamazight, seulement le tambour berbère et le mode rythmique utilisés dans la pièce rappelent l’origine kabyle </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[10]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[11]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[12]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> la complainte</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[13]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> le club de football kabyle « Jeunesse Sportive de Kabylie »</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[14]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Syndicat National des Auteurs et des Compositeurs</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[15]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> </span><a href="http://www.kabyle.com/"><span style="font-family: Garamond;">www.kabyle.com</span></a><span style="font-family: Garamond;"> , par exemple</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[16]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> </span><a href="http://www.meganetproductions.fr/"><span style="font-family: Garamond;">www.meganetproductions.fr</span></a><span style="font-family: Garamond;"> - fondée en 1993 par l’Egyptien Magdy Mégaly, cette société de production musicale organise les grands spectacles « Tunisie 100 », « Maroc 100 » ou les grands concerts de « pop-stars » de Maghrib et Machrek comme Warda, Amr Diab, Najat Aatabou, Cheb Khaled, chanteurs kabyles comme Takfarinas ou Lounis Aït-Menguellet etc. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[17]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Festival Youcef Oukaci, Festival de la chansons kabyle moderne, Poésiades de Béjaïa, etc. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[18]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> surtout les commémorations des personnages célèbres comme Cheikh El Hasnaoui, Slimane Azem, Youcef Abjaoui etc. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[19]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> En 2008, l’ethnomusicologue d’origine kabyle Mehenna Mahfoufi a participé à ce festival, selon Zimu le seul événement de cette sorte en France.</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[20]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Depuis ses années estudiantines, Zimu fait personellement connaissance avec la grande majorité des artistes kabyles de sa génération. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[21]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> « J’ai évolué dans un système éducatif qui a occulté les arts en général.... Mais les plus visibles ne sont que des chanteurs ! C’est le seul art toléré.... »</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[22]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Mahfoufi 2002 : 50-52; Goodman 2002<span style="color: blue;"> </span>: 274-275</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[23]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> comme Ferhat Imazighen Imula et les autres</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[24]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> Office National des Droits d’Auteurs Algériens </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[25]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> chanteurs arabes et majeurs représentants du <i>raï</i> algérien réconnus aussi en France et à l’Europe occidentale </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[26]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> voir les paroles de la chanson « modèle » - « Les charognards » - sa version kabyle « <i>Tafsut taberkant</i> » et sa traduction française ci-joints</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[27]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> L’écrivain Ameziane Kezzar est donc l’auteur des traductions et adaptations des oeuvres de Prévert, Pavloff ou Queneau (<i>Aγyul n Ğanğis</i>. Editions Achab, Tizi-Ouzou 2010), mais aussi des traités philosophiques de Platon. </span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[28]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> comme Idir, par exemple.</span></span></span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="FR"><span style="font-family: Garamond;">[29]</span></span></span></a><span lang="FR"><span style="font-family: Garamond;"> à l’exception de clip « Ce voleur qui... », cré en 2009 à l’hommage à journaliste Saïd Mekbel. </span></span></span></div>
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Zita Skorepova Honzlovahttp://www.blogger.com/profile/01289470340967168357noreply@blogger.com2tag:blogger.com,1999:blog-3604493961820474510.post-55212051137367070312011-02-14T10:48:00.000+01:002011-02-14T22:49:18.787+01:00ZIRIAB - Arabic Music in the Czech Republic<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj594ez0DJEf9o8PHVZo_Q6FTTDd1Fh85jGgprIR_6yY_Zs8mFAY9JB4O-XYsclJdhCAubkrz0E67LYn05EA5c2oNp_5MUwtxISLhFRz6cRd5bbEimNZz7Dc5bSUDGyndFat-F29bsh3p4/s1600/IMGA0312a.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj594ez0DJEf9o8PHVZo_Q6FTTDd1Fh85jGgprIR_6yY_Zs8mFAY9JB4O-XYsclJdhCAubkrz0E67LYn05EA5c2oNp_5MUwtxISLhFRz6cRd5bbEimNZz7Dc5bSUDGyndFat-F29bsh3p4/s320/IMGA0312a.JPG" width="320" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPYcD3IFMXrcnAS-9Q1kxUsJsCiaVgfMsD2IVryxjWj2k-Simx54m3PufwFtHZszha2zk_srA8CLR1HeZJ0nwpz-oEJkSJ61VwO_KUXh4g9sSL3gbHrUcv6zRb-PVheQXiV_L_9BMkeuY/s1600/ziriab5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPYcD3IFMXrcnAS-9Q1kxUsJsCiaVgfMsD2IVryxjWj2k-Simx54m3PufwFtHZszha2zk_srA8CLR1HeZJ0nwpz-oEJkSJ61VwO_KUXh4g9sSL3gbHrUcv6zRb-PVheQXiV_L_9BMkeuY/s400/ziriab5.jpg" width="400" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;">Zita Skořepová</div><br />
<div style="text-align: center;"><em>Student of “General Anthropology - Integral Study of Man” Master’s Program, Faculty of Humanities, Charles University, Prague. </em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Abstract</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">With its four musicians of Syrian, Lebanese and Iraqi origin, Ziriab is the only and very first ensemble in the Czech Republic whose members declare their aim to be to perform “original” Arabic music according to its concept articulated by various musicians’ intentions related to the character of the repertoire and its presentation. It is possible to depict four categories of performance - each one of a different context, structuration and audience type. The musicians’ choice of the repertoire as well as their behavior during the concert, then, reflect these three main aspects at each kind of performance. The founding members of the ensemble came from Syria to former Czechoslovakia as exchange-program students in the ’80s and finally decided to stay in Prague as permanent residents. They mastered the Czech language and have fully integrated into the local society, as have the other two musicians from Lebanon and Iraq who joined the ensemble a few years later. Ziriab members’ opinions reveal the fact that their hobby of “dealing with Arabic music” arose during their several years of uninterrupted stay in the Czech Republic. As young men still living in their homeland, they never performed in public or studied music with a mentor’s guidance. This paper thus outlines specific conditions of the relationship between their long-term stay in a foreign country (and culture) and a need to perform music somehow related to the musicians’ - in this case ethnic and secular – identity.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Keywords</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><em>ethnomusicology, Arab minority music in the Czech Republic, music as self-representation</em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Subject, Topic and Theoretical Concepts of the Research </strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Music – defined and regarded as human behavioral activity – is a phenomenon present all around the world. But does “music” mean only intentionally man-made and somehow cultivated “sound”? Since the publication of Merriam’s pivotal book The Anthropology of Music there is no doubt that music is strongly rooted in the culture, or the culture is music itself (Merriam 1977: 202, 204). All attitudes and practices related to musical phenomena represent embodiments of cultural conceptualizations which determine a character of shared status, role and function of musics in the society, their sound design, form of apprenticeship, performance concepts and conditions of acceptance by the audience. This basic fact became a fundamental assumption of every scholar dealing with music from an anthropological rather than just a music-analytic perspective. Merriam’s model was thus innovative in the sense of equilibrium of an anthropological and musicological level of research methods and is admitted as the referred approach<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn1">[1]</a>. An endeavor to depict a scientific image which should not only describe, but also seek an explanation and understanding for the incredible variability of musical concepts guiding different cases of “musicking” and their sociocultural impact and implications is the goal of ethnomusicologists and their contemporary inquiries. For that reason ethnomusicology should use not only musical analysis but also methods and research techniques as fieldwork and semistructured interviews, rather typical for anthropology. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">My choice of a subject of research was, considering my personal preferences, unsurprising<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn2">[2]</a> – I decided to deal with “Ziriab” – the sole musical ensemble performing Arabic music whose members of Middle-Eastern origin declare devotion to genuine Arabic principles and rejection of European musical influences. At first I was impressed with apparently non-European music performed by foreigners living in the Czech Republic for many years. What motivated them to found such an ensemble? Where are they from and where is the performed music from? Where and for whom do they perform? Are they professionals or just amateurs? Does any one of them compose his own music? What kind of songs are performed? Questions like these emerged at the beginning of the research. In fact, it is not always possible to create strict formulations of the topic and delimit the area of research in ethnomusicological projects at the beginning. One must attend a certain number of musical or music-related events, become familiar with the researched people and make first introductive interviews to obtain significant data which can help to outline the direction of later research. During the first months of my inquiry – as a beginner bachelor’s student – I was thus not sure what exactly should attract my interest and which concrete shape I might give to my research design. Continual progress in the research process then provided a lot of information, but which of it should have been of greater value? I was practicing the strategy which Professor Adelaida Reyes calls “guessing-testing.” </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Advance in research nevertheless pointed out key subjects of interest. At first I was occupied with the topic of music and its presentation in completely different conditions<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn3">[3]</a> – that is, the case of Arabic music played in the Czech Republic. Members of the Ziriab ensemble insisted on the notion that their performances fulfill the criteria of a classical Arabic concept. On the other hand the ensemble performs for Czech audiences on various occasions and at various events, so is this circumstance somehow reflected in the musicians’ intentions and behavior during the performances? Both the fieldwork realized during concerts or rehearsals and semistructured interviews conducted with all the musicians provided a fruitful source of information. However, musical analysis – in my opinion – still represents an important research tool because sound remains a not negligible basis of every musical phenomena. This seemed to be true in my case where musical analysis revealed significant knowledge and supported important presumptions formulated during the analysis of fieldwork notes and transcriptions of interviews<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn4">[4]</a>. Systematic participant observation enabled me to identify several types of performance, each one of a different structure, repertoire presentation and kind of audience. I found out that the “classical” Arabic concept as it is described by scholars differs from its presentation by Ziriab in a few key elements. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In addition, I concentrated my interest on the nexus of music-making practices with the ethnocultural identity of the researched people - foreigners living out of their homeland for a long time. Why is it so important for Ziriab’s musicians to play “their” music here in a “foreign” country and different culture environment? Especially a notion expressed by the frontman of the Ziriab ensemble during one of our interviews in the first year of the research became a turning point: </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><em>“You know, this traditional Arabic music – which we play - has very deep roots in all of us. No one deals with it here. And if someone dealt with it, he would play modern music for dance which doesn’t mean anything... And I think we miss genuine music here a lot especially because here we are living in a foreign country. When listening to this music, a listener immediately remembers old memories…”</em> (Marwan Alsolaiman, 27.4. 2007.)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Marwan Alsolaiman mentioned a deep relation to his ethno-cultural origin and the fact that all the members have been living in a foreign country and culture for a long time. Similar statements also appeared during continual interviewing with the other members of the ensemble. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Merriam’s concept, works of Bruno Nettl and other ethnomusicologists<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn5">[5]</a> provided the necessary theoretical fundament of research design and also contributed as a source of information for comparative purposes. I concentrated my research on music conceived as a three-leveled phenomenon (Merriam 1964: 32-33), so I studied sound area<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn6">[6]</a> together with behavior<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn7">[7]</a> to discover the conceptualization<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn8">[8]</a> of Ziriab’s music making. My research was based on participant observation or fieldwork during public or private musical performances which provided both “musical” and “nonmusical”-sociocultural data together with semi-structured interviews and musical analysis. I thus used a combination of methodology applied by anthropology and musicology. The collected data and their analysis in this case study finally supported Nettl’s thesis that musical concepts are continually changing<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn9">[9]</a> instead of being constant and stable entities (Nettl 2005: 280), but rather they receive various implications when used by musicians in specific conditions of actual, live reality. On the other hand, some elements still tend to remain typical if not emblematic for some musical styles and genres. I was thus interested in which components of the “classical Arabic music” concept are important for members of Ziriab and why. When dealing with the case of the Ziriab ensemble I studied references related to the general problem of ethnic minority music and its characteristics when performed for the majority public. Are some features of ethnic minority musicians and their music making, its performance contexts, and types of audience of a similar kind in other parts of the world? At this point it seemed evident that my inquiry should have been enriched with other useful theoretical sources related to this project and its conception. I found relevant information especially in an article dealing with the topic of Lebanese musicians living and performing in Canada by Regula Qureshi (1972), whose conclusions surprisingly coincide with my findings in some points<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn10">[10]</a>. Musical activities tied to a community feeling, the topic of nostalgia and remembrance discussed by Kaufman Shelemay (Kaufman Shelemay 1998) in her remarkable publication about Syrian Jews in America and research of Vietnamese immigrants in the USA by Adelaida Reyes (1999) became inspirational for my work as well. </div><div style="text-align: justify;"><br />
</div><div style="text-align: center;"><strong>“Ziriab – a concert of Arabic Music”</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dznhxR2iGIb9GC291cZled3hw58OL68nAeHWUAC2zG-0ZU6jeP_6TYYrHgqvU_yu_ST58xCrKFnScvAkHTVfg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The 20th of October 2008, 8:12 PM. Eight days earlier I had received an SMS message from Marwan Alsolaiman, the frontman of the Ziriab ensemble. It was a short invitation to their concert: “Dear friends, the Ziriab band is playing next Tuesday at 8:30 PM in Prague, Atlas cinema, Sokolovská 1.” There were no posters for the ensemble’s performance; the concert was mentioned only in a small cinema program lying near the cashier’s. Probably I could hardly have found out that today Ziriab is playing here without Marwan’s invitation. The concert took place in one of the downstairs film theaters with a capacity of approximately 150 people. Following an employee’s instructions, I entered there at 8:25 PM. The theater was designed in the “classical” style quite typical for Czech cinemas built 30 years ago – red velvet theater-like seats, a black rug on the stage and a grayish-green curtain. There were three chairs on the stage, three microphones on stands and one big loudspeaker standing on the right side. Every observer could see four “exotic” musical instruments situated near or placed on the three chairs. They were a darbukka drum, an Arabic ´ud lute, a nay flute and a riqq tambourine. Listeners came during the next thirty minutes till half of the seats were occupied. Most of the people were middle-aged men and women wearing informal clothing. One fifth of the audience was comprised of young students. There were only a few mashriqi (Middle East) Arabs, some of them with their Czech wives. Musicians - three middle-aged Arabs wearing black trousers and white “folklore-like” blouses were already on the stage, finishing the rehearsal and discussing the sound equipment installation and settings with employees. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The start of the performance was delayed about thirty minutes due to technical problems. Marwan Alsolaiman, the oldest member and leader of the ensemble, greeted the audience with a few words in informal, but basically correct Czech. He briefly introduced today’s repertoire, mentioning mainly the origin and authors or famous performers of the songs but not giving any further information about the songs’ lyrics except their Arabic dialect characteristics. The performance suddenly started with a sound of the lute breaking the recent silence. Everyone concentrated on the introduction to the song represented by a solo lute motif. It was an improvised, delicately ornamented melody without a stable metric structure. After a while, the darbukka drum and the tambourine joined the performance playing one of the rhythmic modes so typical for different genres of Arabic music. The Darbukka player started to sing the first part of the song alternating with another musician-singer playing the tambourine; the refrain was rendered as a unisono chorus of all three musicians. Voices moved in a tenor and baritone ambitus and followed the “oriental singing” style: their melodies coincided with lute motifs. Sometimes one could hear quarter-tone intervals within a bit complicated, melismatic melodies. The program comprised 12 songs, each one followed by applause of 20-second duration; I recognized a few very famous Arabic songs among them. People were listening carefully; only a few Arabic listeners clapped their hands and sang refrains together with the members of the ensemble. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Repertoire characteristics </strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The members of the ensemble declare as their aim to perform “original” Arabic music. What does this notion mean and how is the concept of “genuine” Arabic music articulated in their musical activities and music-related attitudes? First, there are remarkable sonic characteristics of the presented repertoire. The musicians intentionally choose musical instruments “typically” used in the region of their own origin<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn11">[11]</a>. Each piece is thus accompanied by one melodic instrument - the ´ud lute or the nay flute– and percussions like the darbukka goblet drum or the bendir frame drum and the riqq<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn12">[12]</a> tambourine. On the other hand there is a strong rejection of instruments such as keyboards, electric guitars and other instruments considered as typical for modern but nevertheless also “Arabic” genres like the raï<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn13">[13]</a>. Tonic material, the main melodic line as well as accompanying motifs are based on Arabic musical theory, which means within the system of melodic and rhythmic modes – maqamat and iqa’at - with strict omitting of the harmony. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The repertoire then consists of popular or folk strophic songs with melismatic melodies sung in a Middle-Eastern Arabic dialect<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn14">[14]</a> by a soloist or unisono choir with the usage of some amount of vocal and instrumental improvisation. Since its foundation, the ensemble has been performing basically two kinds of songs. On one hand, there are folk songs, the majority of them from various regions of Syria and Lebanon originally played by local amateur musicians. The musicians remember them from their own youth when they were still living in their homelands. Listening and memory are also sources for the rest of the repertoire, which encompasses their own adaptations of original interpretations of popular Arabic songs performed by famous singers with relatively large ensembles or orchestra which were broadcasted by various radio stations. These are the most famous songs performed in the whole Arab world mostly in the ’60s, ’70s and ’80s by stars such as Sabah Fakhri, Fayrouz, Fareed al ´Atrash, Wadi as Safi, Nadhem al Ghazzali and other performers mostly of Middle-Eastern origin<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn15">[15]</a>. Despite the presence of modern elements and remarkable European influences, these songs are considered by Arab listeners as “classical” Arabic songs in the present day not only because of their arrangements, but especially due to their longer duration and higher complexity in the sense of more complicated melodic line, style of singing, lyrics and their language. All these elements are conceived to be much more sophisticated than creations of the majority of contemporary performers. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">However, the choice of songs of both types is not random. When seeking a suitable piece for their own interpretation, the musicians follow certain rules which they have developed as criteria for selection. A song performance shouldn’t last more than six minutes<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn16">[16]</a>, but it must fulfill characteristics of Arabic musical theory. In other words, some of Arabic melodic and rhythmic modes must be present there. Nevertheless, the musicians do not adapt songs with maqamat or ´iqa´at, which are considered too complicated<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn17">[17]</a>. They also refuse to borrow songs of such stars as Om Kulthum because of their extreme requirements. Those songs are not only too difficult for the performers themselves; in addition, they are hardly admissible for Czech audiences from the Ziriab members‘ point of view. On the other hand, there is an apparent rejection of recent Arabic songs which the musicians obviously evaluate as too simple<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn18">[18]</a>. The musicians thus tend to an average or medium complexity of their repertoire. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">According to the musicians’ statements, the textual level of songs in Ziriab’s repertoire has an inferior significance<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn19">[19]</a>. However, the character of a chosen text seems to be somehow reflected by the musicians; some themes are preferred while others are avoided. The majority of the songs are based on love poetry with typical motifs of unfulfilled love and emotional struggles. A number of song texts are also devoted to the beauty of the homeland and remembering it when one has lived abroad for ages<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn20">[20]</a>. The authors or famous performers of these songs quite often live in emigration as the Ziriab members do. It is important to notice the absence of religious songs in Ziriab’s repertoire. The musicians also strongly reject any pieces with political allusions. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The ensemble’s interpretation follows elements typical of the original. In comparison with its “model,” the adaptation performed by Ziriab is thus easily recognizable. The main melodic line, its melodic mode<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn21">[21]</a> as well as some basic introductive or interlude motifs coincide with the genuine rendition. Nevertheless, there are significant differences. The ensemble’s frontman Marwan Alsolaiman sometimes composes short introductions or interludes differing from the original. Also chosen rhythmic modes are often not identical with those used in the originals<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn22">[22]</a>. Musicians also usually perform the first two verses of a song and sometimes omit the long recitative mawwal that is present in the original<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn23">[23]</a>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Finally, there are no original songs in the ensemble’s repertoire. The musicians – even the frontman Marwan Alsolaiman who consider himself to be a creative artist – mention a lack of free time for compositional activity. Even other members of the ensemble do not compose their own music. Choosing of “model” folk or popular Arabic songs, their eventual combining with each other and making of their own arrangements, that is the core of the Ziriab members’ musical creativity. However, this fact has a significance for later interpretations. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Four kinds of performance</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The ensemble performs under diverse circumstances and at various events. Basically, it is possible to depict four categories of performance - each one of a different context, structuration and audience type. The musicians’ choice of repertoire as well as their behavior during the concert thus specifically reflect these three aspects in the different types of performance. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Since its foundation, the ensemble has organized its own concerts. Performances of this kind are not part of a festival nor do they accompany a cultural or community event. The musicians organize them by themselves or with a help of some friends. There are no limitations of choice of the concert venue and repertoire in this case, so Ziriab members can fully express their intentions<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn24">[24]</a>. Concerts of this type take place in smaller theaters, tearooms or in other public places suitable for music performances, but generally with a non-mainstream or “alternative” program conception<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn25">[25]</a>. A professionally organized advertising campaign informing about a concert of the ensemble does not exist. If a theater or tearoom has its own leaflets with a program, then Ziriab’s concert is mentioned there. Occasionally, there are amateur-made leaflets which are available near the entrance of the venue of a concert. Sometimes one can find an allusion to a Ziriab concert on Internet servers informing about various cultural events, but the musicians are usually not responsible for these invitations. Instead of this, the members of the ensemble inform close friends about the concert personally by sending an SMS message or e-mail. An audience of this kind of performance then consists of 60 – 110 people, friends of the ensemble’s members – with a few middle-Eastern Arabs<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn26">[26]</a> among them, connoisseurs and lovers of Arabic music, students and other rather intellectuals with some relationship to the Arab world and its culture. The program of these concerts encompasses about 10 – 15 songs of various character. There are “serious” songs of longer duration with meditative parts comprising short vocal or instrumental improvisations as well as shorter songs in a faster tempo and dance-inducing character. People are fully concentrated on music listening at these concerts, clapping their hands only occasionally when a song with a lively rhythm is performed. Marwan Alsolaiman tells a few basic facts about some songs. The other musicians do not usually give comments but they communicate with audience with smiles and gestures. All the members wear formal clothing – dark trousers with blue shirts or white blouses. There is thus apparent unity in the chosen style of clothing.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Because of their Arab origin, the musicians are sometimes invited to give a concert at benefit events related to some kind of current political crisis or environmental disaster in the Arab world. This is the case of meetings organized at moments of escalation of the Israel-Palestine conflict (December 1, 2006, March 14, 2009), a performance at the “Benefit Concert for Lebanon” (October 17, 2006), the “Concert for Algeria” (June 23, 2003). These events are organized by official representatives of Arabic countries in the Czech Republic, Arab community organizations (e.g., the “Lebanese Club in the Czech Republic”), from time to time by Czech NGOs such as the “Multicultural Center in Prague” or the “Czech – Arab Society.” Places suitable for public lectures, meetings of organizations, smaller concert halls or theaters are usually chosen by organizers<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn27">[27]</a>. Arab residents represent the majority of the audience. Some Arab women with but most of them without a hijab accompany their relatives. The number of Czechs in the audience depends on the publicity and character of the event, but Czechs represent rather the minority of the public. Ziriab usually performs very popular pieces and especially patriotic or nostalgic songs with motifs of longing for an Arabic homeland which is far away. Their performance represents only a part of the program; there are film projections, speeches of Arab or Czech speakers and sometimes symbolic acts, such as a minute of silence for deceased victims of a war or disaster. While avoiding any political motivations, the musicians mention their human and cultural relationship to especially middle-Eastern Arabic compatriots. They regard this relationship as especially motivating for such performances. There is thus apparent interest in contributing to those events by their own music performance, which is conceived by the musicians as a means of proclamation of their ethno-cultural identity. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Within its more than 10 years of existence, the Ziriab ensemble has performed at various festivals in the Czech Republic. One thing they have in common is a preference for “ethnic” or “world,” “alternative” or “traditional” music and the phenomena of “multiculturality” or “polyethnicity” (Etno Brno, Color Meeting, Festival staré hudby Český Krumlov, Etnofest, Multikulturní Olomouc, Refufest, the program accompanying FebioFest and Jeden Svět film festivals, etc.). Most of these festivals are organized in the summertime; the concerts thus take place on outdoor, strongly amplified stages. People in the audience obviously attend Ziriab’s performance for the first time; they prefer dancing rather than careful concentration on each melodic movement. The ensemble’s about-one-hour performance consists of rather simple songs in fast tempo, without providing any introduction or information about the repertoire; there is only sporadic communication with the audience. The music performed there has an entertainment or dance-accompanying character and the musicians are conscience of a rather non-attentive audience who watch and listen to Ziriab’s performance only occasionally. However, if the atmosphere of a festival is nice and friendly, the musicians enjoy these concerts and do not refuse to participate in them. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Ziriab also performs at private gatherings. However, there are two completely different subtypes of these performances. On one hand, there are business companies and other organizations whose managers decide to arrange a private entertainment meeting for employees intended as an “Oriental Evening.” Live Arabic music is then a desirable accompaniment for such events. The ensemble then routinely perform simple dance songs without any special effort because very little attention is paid to their performance. As at some festival performances, the musicians do not communicate with the audience which consist of people sometimes wearing “oriental” costumes, sitting at tables with colleagues and enjoying tasty food and drinks<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn28">[28]</a>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">On the other hand, sometimes there are private meetings of Middle-Eastern community members often living in the Czech Republic for decades. The musicians welcome invitations for these performances<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn29">[29]</a>. There is usually an informal, relaxed atmosphere. Members of different Middle-Eastern minorities cordially greet each other. The majority of the people drink beer or wine; occasionally someone serves sweets, tea or one of the typical mashriqi dishes. Both Arabs and a few Czech friends of theirs talk about everyday life, their joys and worries during Ziriab’s performance. Nevertheless, there is lively communication between musicians and audience. People clap their hands happily, sing together with the performers and some of them ask for a specific song. Most of the participants thus understand the lyrics and are familiar with the performed songs. Sometimes a few people start to dance a debka, a folk dance typical for the region of the Middle East. Generally, the program has no prepared structure. The musicians do not use microphones or other additional technical equipment and they do not arrive at the venue before time needed for even a short rehearsal. Often they wear informal clothing. The Ziriab members often perform songs which never appear at concerts intended for Czech audiences. Instrumental improvisations and vocal mawwal are apparently longer and more complex than for Czech audiences. Again, there are songs related to their origin or, on the textual level, to youth and homeland shared by musicians and at least by part of the audience.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>“Original” Arabic Music played in the Czech Republic. Creativity or Ethno-cultural Identity Remembrance?</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Although the musicians expressed remarkable notions of music-making as a hobby and desired activity, is it possible to regard creative musicianship as the main motivation impulse for founding such an ensemble with this repertoire and performance-related circumstances? The musicians themselves repeatedly mentioned their common status as Middle Eastern secular Arabs long living abroad – in this case in the Czech Republic. This fact seems to be a key motive for their musical activities with respect to the following reasons which are evident not only in the statements of the musicians, but also in the level of their repertoire and performance characteristics. In addition, it is necessary to outline an aspect of the adaptation of the musicians’ concept of “Arabic” music with respect to performing in front of Czech audiences and at various events mentioned above. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The founding members of the ensemble came from Syria to former Czechoslovakia as exchange-program students in the ’80s and finally decided to stay as permanent residents in Prague, the capital. They learned the Czech language and have fully integrated into the local society as well as the other two musicians from Lebanon and Iraq who joined the ensemble a decade later. Marwan Alsolaiman together with Haitham Farag, the other founding member of the ensemble, started to perform at meetings of the Association of Arabic Students. Initially, there were no concerts for non-Arabic audiences. After some time various musicians joined the ensemble till 1997, when three members created its stable “core.” Since the end of the ’90s, the range of performance types together with the number and kind of listeners have enlarged. The idea of performing “Arabic” music has persisted and the musicians have developed an evaluation of a repertoire suitable for each type of performance and audience. The members of the ensemble thus delineated a distinction of Czech versus Arabic audience, a festival performance versus an independent concert. Nevertheless, opinions of the members reflect the fact that the hobby of “dealing with Arabic music” arose during their several years of uninterrupted stay in the Czech Republic<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn30">[30]</a>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Let me note that all the members of the ensemble have several features in common. All four musicians were born in three different Arabic countries<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn31">[31]</a> but their shared Middle-Eastern Arab (mashriqi) origin is a priority here in the Czech Republic. There is also the (non)religious aspect of their personal identity. Three members of the ensemble are Druze and one is Christian, however none of them practice their religion and they rather admit their secular conviction. Because of these circumstances, the musicians choose folk songs from various regions of the Middle East or popular songs originally sung by Middle Eastern performers mentioned above. In addition, their secular orientation is reflected in avoiding songs with any religious allusion. The musicians also have their Middle-Eastern origin together with rather secular attitudes in common with their Arabic listeners who prefer to listen to Arabic “oldies” about love and the beauty of the homeland. There is thus apparent correlation of the musicians’ personal features and the character of the pieces chosen for their own adaptation and performance, which is, in addition, in accordance with Arab audiences’ expectations in the cases of performances in majority for the Arab public. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">These stable and clearly defined characteristics of the ensemble’s repertoire, its arrangement and presentation to the audience represent the first level of the musicians’ intentions to follow an “Arabic” music concept which consists of various assumptions expressed and realized during private (at rehearsals) or public (at concerts) music making activities. Another level of following a “classical” Arabic concept is present in the sense of the negative attitude of the ensemble members to professional musicianship. As young men still living in their homeland, they never performed in public or studied music with a mentor’s guidance. Music was not considered as something important for life and all of them had to interrupt their small musical hobby efforts in their youth because of study or work. On the other hand, they appreciate a knowledge of musical theory. Marwan Alsolaiman, who has mastered Arabic melodic and rhythmic modes – maqamat and iqa‘ at by self-study, is thus the naturally respected leader of the ensemble. Other members of Ziriab have no such advanced knowledge nor the ability to play several musical instruments. They also do not intend their musical performances as commercial activities, with the exception of the youngest Iraqi member. Anas Younnis is a professional percussionist but his prestige in the Ziriab ensemble is bit lower than the prestige of the other amateur musicians<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn32">[32]</a>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">As we have seen above, there is also apparently little care for promotion of the ensemble and its activities. With the exception of its mention in various reviews of festival or theater programs and also a presentation on the website of Ziriab’s CD publisher, their own Internet website or a presentation of the ensemble, e.g., on MySpace or Facebook sites does not exist. For these reasons it is not possible to consider a pure desire of musical creativity as the main motivation motive for membership in the ensemble. The musicians of Ziriab thus adhere to their genuine intention of remaining amateurs, which is a preferred and positively valued kind of Arabic musicianship. In addition, they regard their music making as an activity which can help to promote their own culture in an alternative way<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn33">[33]</a>. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Neither instrumental nor vocal virtuosity<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn34">[34]</a> is a priority. Song arrangements are based on spontaneous ideas presented by various musicians at rehearsals. Marwan Alsolaiman then decides on their appropriateness. Rehearsals, then, rather provide time and an occasion for a friendly gathering. Music-making during rehearsals is thus an enjoyable activity when the participants repeat songs they like. Its function is thus not primarily improvement of the musicians’ tasks. If a percussionist does not bring his own instrument, it does not matter. Marwan Alsolaiman lends him another although it is an instrument of different type. Creativity in the sense of composing original pieces is also not a priority. Let me remind you that the repertoire of the ensemble consists of borrowed popular and folk songs which are arranged by the musicians themselves, but according to original “model” characteristics. The choice of each song then reflects the musicians’ preferences – they seek typically “Arabic” pieces but do not intend to perform too sophisticated creations. A long mawwal or other very complex improvisational elements are thus absent, even in performances for Arabic audiences. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We can thus see rejection of an important level of “typically” Arabic creativity<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn35">[35]</a> in this aspect of the musicians’ intentions. But this is not only because of a lack of musical abilities – which is not totally out of discussion – but is also due to their performing for Czech audiences and in specific contexts. With respect to the “classical” Arabic model, the members of the ensemble prefer non-structured performances with attentive audiences. “Informal musicking” for a smaller passively or actively participating, mostly Middle-Eastern audience is thus one of the most enjoyable performances for the musicians. They can perform favorite pieces in a preferred way – with a bit longer improvisation and mawwal and they intensively reply to reactions of the audience who explicitly express their joy and understanding. During these occasions, the musicians, together with the audience<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn36">[36]</a>, remember through specific songs their commonly missed countries and evoke positive memories of their homeland by singing in local dialects and using the musical system which definitely belongs to Arabic culture. On the contrary, Ziriab musicians do not enjoy performing as even well-paid “Oriental sound decoration.” Just for these reasons there are only simpler and usually “dance” songs on a program and improvisational instrumental and vocal elements are often missing in performances intended for Czech and also inattentive audiences of such events. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">My aim was to demonstrate here an evident continual change of definitions of musical conceptualization; in this case members of Ziriab admit to only a part of a “classical” Arabic musical concept, not only because of their potential talent limitations but also due to reflecting a completely different musical and sociocultural environment. When performing for Czech audiences, members of the ensemble choose pieces “not too difficult for listening” because they are conscious of performing for listeners with different expectations from Arabs. On the other hand, the paper has tried to deal with the phenomenon of musicianship as a means of expressing some levels of the Self. In other words, the case study of the Ziriab ensemble presents aspects of proclamation of the ethno-cultural identity<a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftn37">[37]</a> of Middle-Eastern Arabs living in the Czech Republic by way of musical activities and their specific character. Musicianship – in the sense of specific musical and lyrics features of chosen songs and their performance – then can provide a mode of remembrance of such parts of the Self-concept which are missed in a different sociocultural area where a person is living. Research thus revealed that Ziriab members’ choice of the repertoire character, attitude toward musical activities and preference of a certain public and performance type is quite firmly related to their personal identity. It is thus possible to consider the activities of the Ziriab members as a reference to the part of the Self which is missed with respect to living in the Czech Republic for a long time. Music-making then represents the possibility for constant remembering of missed language, homeland culture and memories of certain people, situations and atmosphere. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In my opinion, none of the members would not have dealt with music as much as here in the Czech Republic if they had lived in their homelands. And if they had dealt with it, would they have been devoted to “genuine” Arabic music? That is the question. </div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><strong>References Cited</strong></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;">al Faruqi, Lois Ibsen. 1981. An Annotated Glossary of Arabic Musical Terms. Greenwood: Press Connecticut. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Blum, Stephen. 2002. “Hearing the Music of the Middle East. pp. 3-13 in Danielson, Virginia – </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Marcus, Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Danielson, Virginia. 1997. The Voice of Egypt: Umm Kulthūm, Arabic Song and Egyptian </div><div style="text-align: justify;">Society in the Twentieth Century. Chicago: University of Chicago Press.</div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;">Marcus, Scott L. 2002. “Rhytmic Modes in Middle Eastern Music.” pp. 89-92 in </div><div style="text-align: justify;">Danielson, Virginia – Marcus, Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Marcus, Scott L. 2002. “The Eastern Arab System of Melodic Modes in Theory and Practice: A </div><div style="text-align: justify;">Case Study of Maqām Bayyātī.” pp. 33-44 in Danielson, Virginia – Marcus, Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Merriam, Alan P. 1964. The Anthropology of Music. Northwestern University Press.</div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;">Poché, Christian. 2002. “Musical Life in Aleppo, Syria.” pp. 565-570 in Danielson, Virginia – </div><div style="text-align: justify;">Marcus, Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Qassim Hassan, Sheherezade 2002. “Musical Instruments in the Arab World.” pp. 401-422 in </div><div style="text-align: justify;">Danielson, Virginia – Marcus, Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Qureshi, Regula. 1972. “Ethnomusicological Research among Canadian Communities of Arab </div><div style="text-align: justify;">and East Indian Origin.” pp. 381-396 in Ethnomusicology, Vol. 16, No. 3.</div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;">Racy, Ali Jihad. 2002. “Snapshot: Sabāh Fakhrī.” pp. 563-564 In Danielson, Virginia – Marcus, </div><div style="text-align: justify;">Scott – Reynolds, Dwight (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Racy, Ali Jihad. 2003. Making Music in the Arab World: The Culture and Artistry of Tarab. </div><div style="text-align: justify;">Cambridge; New York; Port Melbourne; Madrid; Cape Town: Cambridge University Press.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Reyes Schramm, Adelaida. 1982. “Explorations in Urban Ethnomusicology: Hard Lessons </div><div style="text-align: justify;">from the Spectacularly Ordinary”. pp. 1-14 in Yearbook for Traditional Music, Vol. 14.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Reyes, Adelaida. 1999. Songs of the Caged, Songs of the Free. Music and the Vietnamese </div><div style="text-align: justify;">Refugee Experience. Temple University Press.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Shiloah, Amnon. 1995. Music in the World of Islam: A Socio-cultural Study. Detroit: Wayne </div><div style="text-align: justify;">State University Press.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Touma, Habib Hassan. 1971. “The Maqam Phenomenon: An Improvisation Technique in the </div><div style="text-align: justify;">Music of the Middle East.” Pp. 38-48 in Ethnomusicology, Vol. 15, No. 1.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Touma, Habib Hassan. 1996. La musique arabe. Paris: Buchet/Chastel.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Turino, Thomas. 2008. Music as Social Life: The Politics of Participation. Chicago: University </div><div style="text-align: justify;">of Chicago Press. </div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref1">[1]</a> A combination of an anthropological and a musicological approach is mentioned, e.g., by Bruno Nettl (Nettl 2005: 8) as a basic assumption of contemporary ethnomusicology inquiries. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref2">[2]</a> In autumn 2003, I attended Ziriab’s performance for the first time and I was impressed with character of the performed music which was especially interesting to me. In addition, the choice of the research topic reflects my sympathy to the Arab world and its culture. This paper is based on my bachelor’s thesis “Ziriab – Arabic Music in the Czech Republic.” fieldwork research realized between autumn 2006 and spring 2009. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref3">[3]</a> The music which is played by the Ziriab ensemble is based on an Arabic musical concept which significantly differs from concepts existing in the Czech Republic. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref4">[4]</a> There is a correlation between the musicians’ statements and music-making related behavior with performed music and its sound features. However, an analysis of musical pieces provided deeper knowledge which sometimes differed from the declared principles in certain aspects, especially in the cases of borrowed songs in Ziriab’s repertoire and their comparison with the originals. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref5">[5]</a> particularly of those specialized in regional ethnomusicology of the Middle East such as al Faruqi (1975, 1981), Stephen Blum (2002), Virginia Danielson (1997), author of the first publications about Arabic music Baron Rodolphe d’Erlanger (2001 [1930, 1935, 1938, 1939, 1949, 1959]), Hachlaf (1993), Scott L. Marcus (1992, 2002), C. Poché (2000, 2002), Ali J. Racy (1986, 2000, 2002, 2003), A. Shiloah (1995), Habib H. Touma (1971, 1996) and music of minorities such as Kay Kaufmann Shelemay (1998), R. Qureshi (1972) and A. Reyes (1982, 1999) </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref6">[6]</a> I concentrated on song repertoire, usage of musical instruments and process of arrangements creation and its melodic and rhythmic character. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref7">[7]</a> I observed verbal and nonverbal communication of musicians at rehearsals as well at public performances of Ziriab, including behavior during music making, vocal and instrumental technique, postures and gestures, overall visage, chosen clothing, verbal presentation of the musicians themselves and their repertoire - as well as at rehearsals. I found out how they reflect different conditions of each performance, and discern behavior in front of distinct types of public. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref8">[8]</a> Conceptualization includes verbally and nonverbally articulated attitudes to one’s own music making. The former presents declared the aims and imaginations of one’s own music making concept; however the latter is expressed in the musicians’ actual behavior related to various levels of music performances. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref9">[9]</a> This thesis was again emphasized at Bruno Nettl’s lecture given in Prague, the 3rd of May 2010, when Nettl mentioned that ethnomusicologists do not study products, but live processes of music-making. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref10">[10]</a> There is an apparent coincidence of two kinds of Ziriab concerts with “structured” and “unstructured” types of performances which Qureshi described in Canada. When the former are intended for a non-Arabic audience, the latter are typical for Arab community gatherings. Other conclusions of Qureshi similar to the case of Ziriab are the following: the high prestige of amateur musicians, a simplification of the traditional concept in the sense of usage of basic maqamat and ´iqa´at – rhythmic modes, a shorter duration of the songs as well as less complex improvised passages. Performing borrowed, not new and original songs, is a favorite practice. On the other hand - as is true of the Ziriab ensemble – Arab musicians in Canada also prefer “typical” Arabic instruments like the ´ud, darbukka or bendir (Qureshi 1972: 381 – 393). </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref11">[11]</a> e. g. Qassim Hassan, S. (2002): Musical Instruments in the Arab World. In Danielson, V., Marcus, S., Reynolds, D. (eds.): The Garland Encyclopedia of World Music, Vol. 6. The Middle East. New York and London: Routledge, pp. 401 – 422.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref12">[12]</a> sometimes called daff</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref13">[13]</a> The ensemble’s frontman characterizes this music as “imported” (Marwan Alsolaiman –interview, April 27, 2007). From his point of view, many contemporary popular Arab musicians thus do not perform “Arabic music” even if the lyrics are sung in Arabic. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref14">[14]</a> e.g. Syrian, Libanese or Egyptian colloquial Arabic</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref15">[15]</a> However, Ziriab has in its own repertoire a few of the probably most popular songs of the Algerian contemporary singer Khaled, with the nostalgic song “Ya Rayah” about longing for his homeland among them. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref16">[16]</a> This reflects the musicians’ assumption that the European audience is not able to listen to songs of long duration which are perceived by Europeans or Czechs as boring in their opinion. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref17">[17]</a> e.g. melodic modes with several quarter or three-quarter tone intervals such as maqam rast or sika and their subtypes; the majority of the songs in Ziriab’s repertoire are accompanied by the most favorite Arabic rhythmic modes such as masmudi saghir/baladi, malfuf, masmudi kabir or maqsum </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref18">[18]</a> “This simple, modern music…I can compose it every day..five songs – music and lyrics together. And I can sell it and it will be successful. But that’s empty music.” (Marwan Alsolaiman, 12.3. 2009) </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref19">[19]</a> “The song is about….love….you know, these silly things..” (Marwan Alsolaiman during a Ziriab performance at the “Mezi ploty” festival, May 31, 2009)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref20">[20]</a> It is remarkable that such songs are often in the repertoire at performances for Arab audiences. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref21">[21]</a> or chosen maqam</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref22">[22]</a> Rhythmic modes performed by Ziriab members sometimes differ from rendition to rendition and do not strictly coincide with the mode used in a “model” song. The metric character of the song remains unchanged; however the usage of a certain rhythmic mode often depends on spontaneous and random choice. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref23">[23]</a> On the one hand, a song performed by Ziriab is closer to an “original” Arabic music model as it is perceived by the musicians because of its arrangement without usage of electric instruments and harmonic elements; however there is a simplification in the sense of omitting a part of the lyrics and longer improvised virtuoso passages of the vocal or instrumental soloist. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref24">[24]</a> except for financial limitations, of course. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref25">[25]</a> Smaller theaters – Solidarita (Prague 10), Gong (Prague 8), various Prague “culture centers” – kulturní domy, Casa Gelmi (Prague 2), cinemas – Atlas (Prague 8), tearooms - Amana, Rybanaruby (Prague 2), the Dahab (Prague 1) restaurant, clubs – Vagon (Prague 2), Awika (Prague 1)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref26">[26]</a> It is remarkable that Arabs of North African origin do not attend Ziriab’s concerts. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref27">[27]</a> e.g. hall of the Municipal Library in Prague (Prague 1), Charitas Palace (Prague 1)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref28">[28]</a> Entrance to such gatherings for private companies is sometimes strictly restricted. However, I had an opportunity to witness some performances on these occasions. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref29">[29]</a> e. g. annual cultural events organized in Prague on the occasion of the anniversary of the death of the famous Syrian poet Nizar Qabbani. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref30">[30]</a> All the musicians loved music and practiced it as a hobby during their childhood but none of them intended to become even a semi-professional musician as they are in the present day here in the Czech Republic.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref31">[31]</a> Syria, Lebanon, Iraq</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref32">[32]</a> This is evident from statements of older and founding members of the ensemble. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref33">[33]</a> It was Haitham Farag who aptly expressed this conviction: “We would like to show people here in the Czech Republic that Arabs….you know I don’t like to talk about this, I don’t want to talk about politics at all, but…we want to show that Arabs are not like those people the newspapers write about, Arabs who are terrorists or criminals.“ (Haitham Farag, November 3, 2008). Other members of the ensemble also expressed an effort to “promote” Arabic culture by means of their musical activities which represent a positive, unreligious and non-political way of proclamation of their opinion. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref34">[34]</a> Only the ensemble’s frontman Marwan Alsolaiman intends to improve his musical abilities and is learning to play new instruments such as the qanun zither. On the other hand, members of the ensemble, except for Annas Younis who is a professional percussionist, do not continually practice playing their instruments or singing at home. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref35">[35]</a> which is – on the other hand – admired by the musicians.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref36">[36]</a> This notion refers to findings of Kaufman Shelemay (1998) that music provides a means of remembrance of shared nostalgia and common memories of a specific community. In the case of Ziriab, it is the community of Middle Eastern Arabs of secular orientation, long living in the Czech Republic. For them, Ziriab concerts given at community gatherings represent an occasion for remembering a part of Self, present and past which is shared by all participants. That is the reason for the absence of, for example, North African Arabs at Ziriab’s concerts. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><a href="http://www.blogger.com/post-create.g?blogID=3604493961820474510#_ftnref37">[37]</a> In the term of ethnomusicologist Thomas Turino (Turino 2008: 115-116) members of the Ziriab ensemble together with their Arab listeners thus belong to a specific culture cohort.</div>Zita Skorepova Honzlovahttp://www.blogger.com/profile/01289470340967168357noreply@blogger.com0