cultural Fusion
Descendants Bedouin Mâaquil, from Yemen in the seventeenth century and then populating the Berbers Sahara, the Saharawis have inherited this essentially oral culture that characterizes nomadic life. Their language, hassanya is resulting from the merger.
The hassanya from a linguistic mixture of Bedouin dialect led by Banu Hassan a tribe Beni Maâquil, Arabic literal and Zenaga, the Mauritanian Berber. It covers a large geographical area, the Algerian desert in northern Mali, Moroccan Sahara to Mauritania to Senegal and Niger to the north, it is used by a large number Saharan nomads.
Social change
Despite the societal changes brought about by modernism, settlement and urban development, Hassani poetry endures. Young people are still learning the 40 to them are personal and must recite at weddings and family celebrations.
The 'Lagha' popular poetry inspires both men and women, although in this matriarchal society, they speak more in a women and secret poetry, 'Tabraa', which is narrated in their alcoves. If they satisfied their daily, personable and male beauty are highly praised and sung.
Hassani poetry
Base Saharawi culture, Hassani poetry is rooted as much in the Amazigh and Arabic than in Mauritanian griot. These wandering poets since ancient times roamed the Sahara by providing their art, camping nomad nomad camp, to Saquia el Hamra and farther until dromedary market Guelmim.
Hassani poetry is particularly inspired by the life of the desert, the tribal life often made of rivalries and tensions between clans or families. Poets express similarly hopes and fears, the relationship between men and women, the traditions, the gradual disappearance of the nomadic life. Religious faith is a source of inspiration with hadiths and Koranic verses as the basis for poems.
Sociocultural environment change
Hassani poetry has never fallen into disuse, remains a cultural need while settlement, if it inspires nostalgia for a time past, has changed the lifestyle of the nomadic peoples of the past millennium.
Both cultural leaders that poets and musicians Sahrawi aware of the fragility of this unique oral cultural heritage that should not be trivializing.
A musical poetry codified
Music and poetry have always been intertwined in Saharawi oral tradition, allowing a wider understanding and dissemination of poetry. In the eighteenth century Saddûn Wall N'Dartou associates 'qasida' classical Arabic poetry including at least seven to one rhyme, a new musical style.
This one has two modes to the symbolic importance in poetry they support and symptomatic of the cultural mix already underway at that time.
Symbolic musical coloration
'Janba Lbaïda' the way 'white' reveals the Arab poetic compositions, it symbolizes a time ranging from dawn to noon. Boasting smooth and pleasant sensations, it is considered a musical entertainment corresponding to 'Ghazal', lyrical song of Arab origin.
'Janda Lkahla' track 'Black' is African musical contribution. Corresponding to the war and honor, it is more suited to a movement ranging from dusk to midnight. This track is supposed to clear excitement and sense of strength.
Other musical mode usually associated with nostalgia and sadness, 'Labteït' covers symbolically the middle of the night until dawn. It is often used as a poetic epilogue in songs and poetry lovers. These modes take different emotional colorings opening on specific sound worlds.
Poetic and musical Agreement
Played in a strictly defined order, when the player begins his lute melody, the singer or the singer will know instantly what it is declamatory fashion and adapt their song to musical variations from always 'black' to 'white' .
Musical and poetic emotional colorings must be in the same nuances that no dissonance intervenes in interpretation. This type of song called 'Al Haoul' language hassanya often evokes both proven to Saharan than the loneliness she inspires immense fear.
Places of multicultural encounters
Like poetry they accompany the instruments used are also the result of a cultural mix between the Sahara and Sub-Saharan Africa.
Two special places were favored by Saharan instrumentalists: the region of Noun and Saquia el Hamra.
On the banks of the Oued Noun, it is Mhirich Souk, Souk Saturday morning Guelmim, men and cattle from Mauritania and Mali the caravan routes converged to exchange goods after traveling hundreds of kilometers through the desert.
Miscegenation caused is still visible, particularly in Borj Baïrouk Gangas, descendants of black slaves who both play the African drum as bendir Berber or flute.
It is also the Noun 'guedra' famous Sahrawi dance originated. As for Saquia el Hamra, she always had a somewhat mythical place preferred destination of 'Iggaouen' stray griots from Mauritania.
.jpg)
.jpg)
.jpg)
.jpg)
