Posts tagged with ‘Rai’

A follow-up post on raï. The book above is available in its entirety at Google Books. It can also be bought at Amazon: Raï music is often called the voice of the voiceless in Algeria, a society currently swept by tragic conflict. Raï is the voice of Algerian men, young men caught between generations and classes, in political strife, and in economic inequality. The musicians do use Western instruments, but the music itself mixes Algerian popular songs and rhythms with the beat of American disco, Egyptian modalities, Moroccan wedding tunes, and the songs of Julio Iglesias. The study, in its innovative approach to music as a template of society, helps the reader understand the two major movements among today’s Algerian youth: one toward the mosque and the other toward the West. More from the Wikipedia page on raï in the 1980s: In the 1980s, raï began its period of greatest popularity. Previously the Algerian government had opposed raï because of its sexually and culturally risqué topics, such as alcohol and consumerism, two subjects that were contrary to the traditional Islamic culture. The fundamentalist leaning government also disliked the freedom afforded to women in raï, both in performing raï and in participating in the raï scene by dancing publicly, especially with men, at concerts or in clubs. In 1985, Algerian Colonel Snoussi joined with French Minister of Culture, Jack Lang, to convince the Algerian state to accept raï. He succeeded in getting the government to return passports to raï musicians and allow raï to be recorded and performed in Algeria, with government sponsorship, claiming it as a part of Algerian cultural heritage. In 1986, the first state-sanctioned raï festival was held in Algeria, and a festival was also held in Bobigny, France.

A follow-up post on raï. The book above is available in its entirety at Google Books. It can also be bought at Amazon:

Raï music is often called the voice of the voiceless in Algeria, a society currently swept by tragic conflict. Raï is the voice of Algerian men, young men caught between generations and classes, in political strife, and in economic inequality.

The musicians do use Western instruments, but the music itself mixes Algerian popular songs and rhythms with the beat of American disco, Egyptian modalities, Moroccan wedding tunes, and the songs of Julio Iglesias. The study, in its innovative approach to music as a template of society, helps the reader understand the two major movements among today’s Algerian youth: one toward the mosque and the other toward the West.

More from the Wikipedia page on raï in the 1980s:

In the 1980s, raï began its period of greatest popularity. Previously the Algerian government had opposed raï because of its sexually and culturally risqué topics, such as alcohol and consumerism, two subjects that were contrary to the traditional Islamic culture. The fundamentalist leaning government also disliked the freedom afforded to women in raï, both in performing raï and in participating in the raï scene by dancing publicly, especially with men, at concerts or in clubs.

In 1985, Algerian Colonel Snoussi joined with French Minister of Culture, Jack Lang, to convince the Algerian state to accept raï. He succeeded in getting the government to return passports to raï musicians and allow raï to be recorded and performed in Algeria, with government sponsorship, claiming it as a part of Algerian cultural heritage. In 1986, the first state-sanctioned raï festival was held in Algeria, and a festival was also held in Bobigny, France.

The photo above shows the now abandoned record store and then headquarters of the Disco Maghreb music label in Oran. In 1980s Algeria, Disco Maghreb was to Raï, what Motown Records was to African-American soul in the 1970s. Although Raï is popular throughout Northern Africa, especially in Algeria, Morocco and Tunisia, the Algerian port city of Oran has always been considered its home. With both Arab and French influences Raï is folk music played on traditional instruments mixed in with synthesizers, sequencers and drum machines. It became popular among young people who sought to modernize the traditional Islamic values and attitudes. Regional, secular, and religious drum patterns, melodies, and instruments were blended with Western electric instrumentation. Raï music mixes with hip hop, reggae, funk, blues and with North African beats and rhythms. - Wikipedia Raï singers usually place the word “Cheb” or “Chab” before their names (Cheba for female artists). Cheb is derived from Shabb or young. Famous Raï singers include (Cheb) Khaled, Cheb Mami, Fella and Cheba Djenet. Photo courtesy of tomichill.

The photo above shows the now abandoned record store and then headquarters of the Disco Maghreb music label in Oran. In 1980s Algeria, Disco Maghreb was to Raï, what Motown Records was to African-American soul in the 1970s.

Although Raï is popular throughout Northern Africa, especially in Algeria, Morocco and Tunisia, the Algerian port city of Oran has always been considered its home. With both Arab and French influences Raï is folk music played on traditional instruments mixed in with synthesizers, sequencers and drum machines.

It became popular among young people who sought to modernize the traditional Islamic values and attitudes. Regional, secular, and religious drum patterns, melodies, and instruments were blended with Western electric instrumentation. Raï music mixes with hip hop, reggae, funk, blues and with North African beats and rhythms. - Wikipedia

Raï singers usually place the word “Cheb” or “Chab” before their names (Cheba for female artists). Cheb is derived from Shabb or young. Famous Raï singers include (Cheb) Khaled, Cheb Mami, Fella and Cheba Djenet.

Photo courtesy of tomichill.