Posts tagged with ‘algeria’

2004 was the summer of Raï’n’B in France.

“One album that has further diminished the boundaries between cultures and musical genres is Raï’n’B Fever, which marries Algerian raï music and R&B/hiphop. The project is the brainchild of producers Kore & Skalp, who have compiled material by some 20 acts of various origins including Willy Denzey, Khaled, Rim’k, Cheb Bilal and Faudel. The album was released in June on Sony Music France’s urban imprint, Small.”

H/t to africansunset

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.

Reigal: The African King of African Commenters

The more blogs and news sites I follow the more I find myself commenting on other people’s posts. By extension, I often spend as much time browsing the comments and commenters’ sites as I do reading the original article itself.

I love the way The Economist handles comments. All posters must register to comment and receive a commenter profile. Click on a commenter and you can see comments to other stories made by that individual. The end result is a vibrant commenting community mostly free of trolls.

I am a regular reader of the Middle East and Africa section, where “Reigal” is the moniker of one of its most prolific and insightful posters. He has recorded over 300 comments since registering in July 2008, and yes of course he is opinionated. What’s the use in being a serial commenter if you don’t have strong views on anything in particular?

It’s my March mission to find out more about this gentleman. I’ve set myself the goal of reading all 300 of his comments. I’ll attempt to build a profile of him in the coming weeks, and hopefully come with up something like a Top 20 of his comments, or Best of Reigal, in the process.

By the way, I have not even managed to confirm that he is male, only that he is African and immigrated to the UK (I think), so I must apologise for my continued use of the masculine pronoun. Unfortunate force of habit.

Here are some examples of his comments on articles published in the last 10 days.

On “Why Algeria is still dull and gloomy”:

“The survival of Algerian secular state in the face of an almost unimaginably violent Islamist onslaught is one of the most remarkable stories to emerge from the Islamic world over the last 20 years. It shows there is nothing inevitable about the success of violent political Islamism and it can be defeated with a combination of determined force and smart political compromises. Countries like Pakistan and Somalia should learn from Algeria.”

On recent anti-insurgency cooperation between Rwanda and DR Congo:

“The fundamental issues go much deeper than Nkunda and the Hutu genocidaires. It is about the inevitable and unstoppable failure of the Congo as a Nation State and the biblical overcrowding of Rwanda next door. You have a tiny but powerful nation state run like a well-oiled machine but with no resources of its own next to a vast, ungoverned, resource rich space which the nominal owner has no use for. Add the genuine Rwandan fears of the interahamwe threat and the temptation in Kigali to incorporate nearby regions must be overwhelming.

The solution is to let Rwanda run Kivu for ten years under a UN mandate perhaps and then give the people a referendum to decide their future. Why not? Afterall this was common practise in Africa till very recently. Namibia was handed to South Africa; Somalia to Italy; Eritrea to Ethiopia all under UN mandates in the 40s and 50s.

That way the Kivuns will have decent governance; the Rwandans room to breathe and resources to look after their people and Congo will not even feel the difference. It will still a be huge non-country. As long as Rwandans live cheek by jowl in few hills producing nothing more valuable than tea leaves there will be war and possibly other genocides.

But Europe will never contemplate allowing Africa’s borders to change. God only knows why because it is very happy for its own borders to change all the time.”

On the Somali diaspora and how little “Western experts” really know about the country:

“Sir I take exception to lumping the old and the noble Somaliland community in Cardiff with the refugee newcomers in all the other places you mentioned. There has been a small and thriving Somaliland community in Cardiff since the 1820s. It is one of the most remarkable
and least known immigration stories in Britain. Its patterns and features are the stuff of Sociologists dreams are made of.

For starters all the immigrants were young men. They were all from rural Somaliland. They were all seamen. A soon as their ships returned to Cardiff port they disembarked, stayed for few days and then went back home to the Somaliland desert. Not towns but the desert. They acted, looked and felt like any other rural nomad. They were almost untouched by the world they have seen in Cardiff and around the globe.

Almost none of them ever brought their families to UK. Some married local girls but most left their wives and children back home. Six months on ships six months in the deserts of Somaliland rearing (and sometimes raiding) camels.

Unlike the South Asian communities who aspire to bring their whole vilages to Britain the day they land, these people never saw Britain as their permanent place of residence.

When retirement came off they went to the desert never to return. When the British merchant navy died sudden death in the 1970s the whole community upped and went home. We are talking a community of several thousand disappearing within few months.

They only returned in the late 80s when Somalia next door attacked their villages and and tried to annihilate their whole clan.

The nobility and hard work of this community is in sharp contrast to the useless hordes of social security dependent refugees who flooded in during the late 80s and 90s.

The only blemish on this remarkable community’s history is the hanging of one them for murder in 1952, the last man ever to be hanged in Wales. His conviction which everybody knew was more like racist lynching was overturned last year.”

Stay tuned for more from Reigal…