Des hauts plateaux aux oasis : La chanson saharienne

This contribution proposes an introduction to the Bedouin songs of southern Algeria, commonly known as Saharan songs, or more specifically, as aiyai. Considered all too often as minor despite a rich repertoire and the quality of its performers,the aiyai is a musical genre in its own right, or rather...

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Main Author: Abdelhafid Hamdi-Cherif
Format: Article
Language:fra
Published: CNRS Éditions 2016-06-01
Series:L’Année du Maghreb
Subjects:
Online Access:https://journals.openedition.org/anneemaghreb/2669
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author Abdelhafid Hamdi-Cherif
author_facet Abdelhafid Hamdi-Cherif
author_sort Abdelhafid Hamdi-Cherif
collection DOAJ
description This contribution proposes an introduction to the Bedouin songs of southern Algeria, commonly known as Saharan songs, or more specifically, as aiyai. Considered all too often as minor despite a rich repertoire and the quality of its performers,the aiyai is a musical genre in its own right, or rather a musical-poetic mix, based as much on its poetic texts as on its musical reflection of the nomadic lifestyle and the constant movement across the steppe, from oasis to oasis. Melhoun poetry forms the backbone of the aiyai and takes its inspiration from the environment and everyday living conditions of its nomadic practitioners. It expresses the life of the times, marked by natural cadences. In its variety and its capacity for selfreplication, in its sobriety and in its essence, this genre expresses the vastness of the geography whence it arose. Its highly simplified musicality based on one (or several) gasba (flute), conserves an essential nature which, despite extensive outside influences, casts the aiyai as the regional song par excellence, of “the wide open spaces”.
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spelling doaj.art-c74cd82018ef4ac68b1913912c5f18c12024-02-13T14:56:02ZfraCNRS ÉditionsL’Année du Maghreb1952-81082109-94052016-06-0114839310.4000/anneemaghreb.2669Des hauts plateaux aux oasis : La chanson saharienneAbdelhafid Hamdi-CherifThis contribution proposes an introduction to the Bedouin songs of southern Algeria, commonly known as Saharan songs, or more specifically, as aiyai. Considered all too often as minor despite a rich repertoire and the quality of its performers,the aiyai is a musical genre in its own right, or rather a musical-poetic mix, based as much on its poetic texts as on its musical reflection of the nomadic lifestyle and the constant movement across the steppe, from oasis to oasis. Melhoun poetry forms the backbone of the aiyai and takes its inspiration from the environment and everyday living conditions of its nomadic practitioners. It expresses the life of the times, marked by natural cadences. In its variety and its capacity for selfreplication, in its sobriety and in its essence, this genre expresses the vastness of the geography whence it arose. Its highly simplified musicality based on one (or several) gasba (flute), conserves an essential nature which, despite extensive outside influences, casts the aiyai as the regional song par excellence, of “the wide open spaces”.https://journals.openedition.org/anneemaghreb/2669MelhounaiyaiSahara songBedouin poetry
spellingShingle Abdelhafid Hamdi-Cherif
Des hauts plateaux aux oasis : La chanson saharienne
L’Année du Maghreb
Melhoun
aiyai
Sahara song
Bedouin poetry
title Des hauts plateaux aux oasis : La chanson saharienne
title_full Des hauts plateaux aux oasis : La chanson saharienne
title_fullStr Des hauts plateaux aux oasis : La chanson saharienne
title_full_unstemmed Des hauts plateaux aux oasis : La chanson saharienne
title_short Des hauts plateaux aux oasis : La chanson saharienne
title_sort des hauts plateaux aux oasis la chanson saharienne
topic Melhoun
aiyai
Sahara song
Bedouin poetry
url https://journals.openedition.org/anneemaghreb/2669
work_keys_str_mv AT abdelhafidhamdicherif deshautsplateauxauxoasislachansonsaharienne