{"id":1475,"date":"2020-10-07T18:26:34","date_gmt":"2020-10-07T18:26:34","guid":{"rendered":"https:\/\/jazairhope.org\/?p=1475"},"modified":"2020-10-11T17:58:24","modified_gmt":"2020-10-11T17:58:24","slug":"shabi-tradition-the-music-of-dahmane-el-harrachi-and-algerois-identity","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/en\/shabi-tradition-the-music-of-dahmane-el-harrachi-and-algerois-identity\/","title":{"rendered":"Sha\u2018b\u012b &#038; Tradition :The Music of Dahmane El Harrachi and Alg\u00e9rois Identity"},"content":{"rendered":"<div class=\"post-hero__author-names\">Sabrina Amrane\u00a0 <time class=\"post-hero__date\" datetime=\"2020-10-01\">Oct 01, 2020<\/time><\/div>\n<p>&nbsp;<\/p>\n<p><span class=\"firstcharacter\">A<\/span>lgerian sha\u2018b\u012b (or commonly recognized by its French transliteration\u00a0<em>chaabi<\/em>) is a music genre that came to be in the capital city of Algiers. Dahmane El Harrachi, one of the more prominent household names among sha\u2018b\u012b artists, was the original singer of \u201cYa Rayah,\u201d recorded in the late 1960s and then later catapulted worldwide by Rachid Taha\u2019s cover of the song in 1993. Dahmane El Harrachi\u2019s discography has profoundly contributed to a historic collection of authentic sha\u2018b\u012b melodies, many of which are at the core of what it means to be\u00a0<em>Alg\u00e9rois<\/em>. While music is understood to be universal in essence, its genres represent a phylogenetic tree of separate identities. Deconstructing identity and its relation to music requires a close look at local historical, cultural, and social fabrics.<\/p>\n<p>According to Social Identity Theory (SIT), having a strong affinity for a music genre shows characteristics of group membership. Sha\u2018b\u012b connoisseurs in Algiers call themselves\u00a0<em>dhawaqun<\/em>, or people of taste. There are two kinds of sha\u2018b\u012b:\u00a0<em>sha\u2018b\u012b mal\u1e25\u016bn<\/em>, a more traditional style in quarter-tones with extended, narrative-like performances sung by a single person \u201cinterspersed with vociferous choral sections involving the ensemble,\u201d as Tony Langlois describes it in his thesis, and\u00a0<em>sha\u2018b\u012b \u2018asri<\/em>, a derivative of shorter length pieces (\u2018asri meaning contemporary).<sup class=\"footnote-ref\"><a id=\"fnref1\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn1\">[1]<\/a><\/sup>\u00a0The latter\u2019s appeal to a wider audience perhaps speaks to the very meaning of sha\u2018b\u012b (\u2018popular\u2019). The name was coined by Safir El Boudali while introducing Hajj Muhammad El \u2018Anqa, known today as the father of sha\u2018b\u012b, in a radio program.<\/p>\n<p>It should be said, however, that in respect to modernity, sha\u2018b\u012b remains very distinct from\u00a0<em>ra\u00ef<\/em>, a music genre born in Oran. While ra\u00ef is known for its studio sound, sha\u2018b\u012b is traditionally set against an orchestral backdrop, with violins and mandolins (small plucked chordophones) swelling and falling to a piano melody. Sha\u2018b\u012b borrows from an Andalusian repertoire, and like Tlemceni\u00a0<em>\u1e25awz\u012b<\/em>, among many other genres, employs a poetic register of Algerian Arabic. J\u00fcrgen Elsner describes mal\u1e25\u016bn as \u201cformally related to the qa\u1e63\u012bda [short narrative poetry] in its strophic structure and equal rhymes over several lines and half-lines of verse.\u201d<sup class=\"footnote-ref\"><a id=\"fnref2\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn2\">[2]<\/a><\/sup>\u00a0Sha\u2018b\u012b also drew from numerous other musical sources, including\u00a0<em>amd\u0101\u1e25<\/em>\u00a0(religious songs that praise All\u0101h and the Prophet Muhammad \ufdfa), Egyptian\u00a0<em>sharq\u012b<\/em>\u00a0and jazz. Even old school ra\u00ef drew its textual origins from mal\u1e25\u016bn, but it has since then taken a very different trajectory.<\/p>\n<p>If sha\u2018b\u012b and ra\u00ef were to be compared in a venn diagram, the middle oval signifying overlapping qualities would make reference to a corpus \u201cof very close musical genres which are hard to differentiate on the unique basis of musical criteria\u201d that Nadir Marouf calls\u00a0<em>n\u016bba<\/em>.<sup class=\"footnote-ref\"><a id=\"fnref3\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn3\">[3]<\/a><\/sup>\u00a0It also includes for instance *gharn\u0101t\u012b,\u00a0<em>\u2018ar\u016bb\u012b<\/em>,\u00a0<em>hawf\u012b<\/em>, &amp;c. The outer edge circles from which we extract differences would not only enlighten us on subtle technical distinctions between the two genres, but the separate identities these two genres evoke. Ra\u00ef has a relationship with cultural syncretism that directly mirrors Oran\u2019s position in Algerian history. Historically, Oran provided different polities access to a major port, making it primarily important for trade. Under French colonialism, it saw the most foreign settlers, and it wasn\u2019t until independence that thousands of Algerians from surrounding milieux came to populate it.<\/p>\n<p>The Casbah of Algiers, the cradle of sha\u2018b\u012b, has a much longer history with indigenous families and the social tides they\u2019ve undergone. One has great difficulty seeing the common denominator between old school ra\u00ef and contemporary ra\u00ef, which is perhaps a sign that Oran\u2019s musical landscape has always been subject to radical influence.<\/p>\n<p>While the split between the classical rendition of Andalusi music, preferred by the bourgeois inhabitants of Algiers, and the more popular way of performing such music, preferred by lower classes of newcomers to poor quarters of the city occurred in the 1930s, it does not take a trained ear to realize they belong to the same gene pool. The split between sha\u2018b\u012b mal\u1e25\u016bn and sha\u2018b\u012b \u2018asri didn\u2019t officially take place until the 1970s. In the 1960s, during this transitional period, populist connotations became more pronounced \u201cwith a new generation of contemporary song texts known as chansonnettes, including those recorded by El Harrachi.\u201d<sup class=\"footnote-ref\"><a id=\"fnref4\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn4\">[4]<\/a><\/sup>\u00a0By the time sha\u2018b\u012b \u2018asri came to a boil, the album Ya Rayah was released. Some even consider that El Harrachi defined sha\u2018b\u012b \u2018asri.<\/p>\n<p>Besides shorter sections in sha\u2018b\u012b \u2018asri, the introduction of new instruments like the Spanish guitar, banjo, and synthesizer has led to changes in the overall profile of the sound. While sha\u2018b\u012b \u2018asri emerged as a more accessible form of sha\u2018b\u012b in this way, it still retained its allegiance to many traditional instruments (<em>\u2018\u016bd<\/em>,\u00a0<em>darb\u016bka<\/em>,\u00a0<em>q\u0101n\u016bn<\/em>, &amp;c.) and messages of moral significance. Dahmane El Harrachi\u2019s music expressed contextual grievances of exile and nostalgia, sentiments that struck a chord in a particular generation, but it also preserved a timeless quality by lamenting about loss, love, friendship, and betrayal in general. From mournful vocals to uplifting rhythms, Dahmane El Harrachi nearly perfected the wide range of sounds sha\u2018b\u012b generously offers. While his lyrical genius was appreciated by all, and the scope of his reach certainly went beyond the capital (\u201cHow Do I Forget The Good Country\u201d or \u201c<em>Kifash Nnsa Bled al-Khir<\/em>\u201d\u2014itself an ode to Algeria as a whole), the sha\u2018b\u012b canon is inherently tied to its local roots, the same way\u00a0<em>ma\u2018l\u016bf<\/em>\u00a0is attached to Constantine by an umbilical cord.<\/p>\n<p>Even Ruud wrote that, when we listen to a piece of music, \u201cwe make various associational moves relating or analogising the musical item\u201d to a particular visual or verbal imagery.<sup class=\"footnote-ref\"><a id=\"fnref5\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn5\">[5]<\/a><\/sup>\u00a0While Andalusian music was historically for the elites, sha\u2018b\u012b was made by and for the working class. Though, it is not uncommon for\u00a0<em>shuyukh<\/em>\u00a0(plural of\u00a0<em>shaykh<\/em>, a title given to masters of sha\u2018b\u012b) to dabble in the genre\u2019s Andalusian ancestor, sometimes blurring the lines between class distinctions, and providing evidence for the shared Arabo-Andalusian heritage of both traditions.<\/p>\n<p>While Dahmane reached the peak of his career after independence, sha\u2018b\u012b music during the battle of Algiers represented a \u201cdangerous Arabic-language auditory culture that had thus far escaped French surveillance,\u201d Stephen Wilford writes. The evolution of sha\u2018b\u012b cannot be divorced from its socio-political and cultural history whose cocoon is the Casbah. In \u201cYa Rayah,\u201d for example, Wilford points out that \u201cEl Harrachi\u2019s lyrics implore those leaving the\u00a0<em>bled<\/em>\u00a0[home country] to reconsider their decision.\u201d<sup class=\"footnote-ref\"><a id=\"fnref6\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn6\">[6]<\/a><\/sup>\u00a0One ought to know a bit about Dahmane\u2019s bibliography to fully understand the semantic content (the primacy of text is emphasized by sha\u2018b\u012b lovers), but clues are left in timbre, inflection, and subtle metaphors. Dhawaqun will tell you that there are virtuosos who master the mand\u016bl\u2014the music\u201a but have not mastered the poetry.<\/p>\n<p>Born Abderrahmane Amrani, and raised in no other than El Harrach, where he earned his stage name, Dahmane moved to France at the age of 23 and entertained other Algerian migrants in Maghrebi caf\u00e9s. This was very on brand for sha\u2018b\u012b\u2014Mustapha Harzoune suggests that this kind of space to perform the genre in itself characterizes Algiers and forms its soundscape. He goes as far to say Algiers would not be Algiers without sha\u2018b\u012b. A documentary done on the sha\u2018b\u012b orchestra group El Gusto\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=7dPVxqe4LMQ\">demonstrates<\/a>\u00a0just how much sha\u2018b\u012b is integral to the Alg\u00e9rois identity. It was impossible to pass by Algiers\u2019 most famous caf\u00e9s without stopping for some coffee and paying tribute to sha\u2018b\u012b legends. After many wars, this practice has become more of a sonic memory. The caf\u00e9 in Algiers and cabaret in Oran will evidently produce different genres as houses of music.<\/p>\n<p>Many of the migrants in France who desperately wished to be repatriated were from the Algiers region. Dahmane El Harrachi became the face of \u201cimmigration sha\u2018b\u012b.\u201d Christopher Crandall writes, \u201cThe insistence that El Harrachi\u2019s voice telegraphs the experience of immigration suggests something about the capacity of the voice to communicate the uniqueness of its host.\u201d<sup class=\"footnote-ref\"><a id=\"fnref7\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn7\">[7]<\/a><\/sup>\u00a0Paris, while a temporary cell, was not a wet nurse for El Harrachi\u2019s contribution to oral patrimony. Rachid Taha, on the other hand, chose to venture into new musical terrain by espousing different styles. El Harrachi was loyal to sha\u2018b\u012b in its natural state, understanding it as a vehicle for tradition.<\/p>\n<p>Dahmane also, in the words of Tullia Magrini, perfected the Algerian notion of\u00a0<em>me\u1e25na<\/em>, \u201ca polysemic concept operating a rather explosive alliance in the experiences of pain and pleasure. The root MHN in Arabic evokes the idea of filling something up until it cracks and overflows.\u201d<sup class=\"footnote-ref\"><a id=\"fnref8\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn8\">[8]<\/a><\/sup>\u00a0This idea speaks directly to what Thomas Turino saw as the next challenge in music theory, developing one \u201cin relation to what is usually called \u2018emotion\u2019\u2014our inadequate gloss for that mammoth realm of human experience that falls outside language-based thinking and communication.\u201d<sup class=\"footnote-ref\"><a id=\"fnref9\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn9\">[9]<\/a><\/sup><\/p>\n<p>After the introductory phrase in \u201cYa Rayah\u201d ends, one of the \u016bd players, Abdelmajid Meskoud, himself known for the song\u00a0<em>Jaz\u0101ir al-&#8216;\u0101sima<\/em>\u00a0(\u201cAlgiers the capital\u201d), \u201csettles into the vocal melody with El Harrachi\u2019s haunting words to the young Algerian emigrant, \u2018Oh, traveler, where are you going?\u2019,\u201d writes Christopher Orr.<sup class=\"footnote-ref\"><a id=\"fnref10\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn10\">[10]<\/a><\/sup>\u00a0In this song, El Harrachi is disconnected from the world around him, yet the tug on each word he sings traps listeners in an imaginative and auditory conception of home\u2014and, more precisely, forces the children of Algiers like himself to think about how they feel leaving their city. We learn that Algiers pulls them back with great magnetic force.<\/p>\n<p>Turino expounds, \u201cWhen given indices are tied to the affective foundations of one&#8217;s personal or communal life-home, family, childhood, a lover, war experiences\u2014they have special potential for creating direct emotional effects because they are often unreflexively apprehended as &#8220;real&#8221; or &#8220;true&#8221; parts of the experiences signified.\u201d Each shaykh has unique qualities, vocal utterances and subject matter for instance, that are marks of authenticity for informed listeners. Adriana Cavarero is quoted that, \u201cIn contrast to the logocentric philosophical tradition of voice as mere carrier of signifying speech, she proposes that the voice \u2018communicates first and foremost. . . the acoustic, empirical, material relationality of singular voices.\u2019\u201d<sup class=\"footnote-ref\"><a id=\"fnref11\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn11\">[11]<\/a><\/sup>\u00a0The grain in El Harrachi\u2019s voice is a synecdoche of the migrant and laborer whose bifurcated existence leaves one\u2019s thoughts in Algiers. Using anthropologist Steven Feld\u2019s explanation, there is a reflective move listeners of sha\u2018b\u012b act on\u2014relating the music to personal and social conditions, intrinsic to identity formation; and an evaluative move\u2014placing this music on a high scale of value precisely because it calls upon that identity.<\/p>\n<p>The first stage of displacement that influenced sha\u2018b\u012b wasn\u2019t from Algeria to France, it was rural townsfolk spilling into the suburbs of Algiers in the late 1850s. Dahmane El Harrachi became the voice of a second stage of displacement, one that didn\u2019t involve a short boat ride along the coast, sailing from Azzeffoun to the port of Algiers, or a train ticket from Biskra to the bustling\u00a0<em>Bahja<\/em>\u00a0(joy), one of the capital\u2019s many nicknames. It instead meant crossing the Mediterranean sea and landing in the slums.<\/p>\n<p>According to Bachir Hajj Ali, the development of sha\u2018b\u012b can be traced back much earlier. He claims that it began to take root when the Regency of Algiers was succumbing to French power. Sabrina Zerar and Bouteldja Riche write, \u201cFollowing the lead of Hajj Ali, Rachid Mokhtari argues that the French occupation of Algeria in 1830 led among other things to the dispossession of the Turkish elite of its \u2018singing palaces\u2019. . . With the Turkish patrons\u2019 departure, the classical Andalusi music ended up in front of materially and culturally impoverished popular audiences in cafes and workshops of the disfigured city of Algiers.\u201d Furthermore, the zorna, a wind instrument in North Africa and other parts of the world, \u201cused to be played on a kind of oboe by military bands in the Turkish garrisons\u201d so it seems apparent that a popular genre of music was already deeply entrenched in Algiers\u2019 musical tradition.<sup class=\"footnote-ref\"><a id=\"fnref12\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn12\">[12]<\/a><\/sup>\u00a0El \u2018Anqa\u2019s many preludes dedicated to zorna supports this idea of an old sha\u2018b\u012b continuum. The Casbah was a crucial nesting place for the genre to arrive where it is today.<\/p>\n<p>One social function of music is strengthening a sense of community. French citizens of Algerian descent whose parents or grandparents moved forty, fifty, or sixty years ago feel incredibly moved by Ya Rayah. SIT becomes salient in these intergroup contexts. Taha\u2019s take at Ya Rayah may be representative of these children whose relationship to the diasporic condition is very different.<\/p>\n<p>Social identity corresponds to a subgroup of society, or in this case sometimes even meta-society. Surprisingly, there has been a lack of serious academic interest in sha\u2018b\u012b, perhaps due to the fact that it stands at a blind corner between classical music and modern ra\u00ef, the latter being popularized in the West by singers like Cheb Khaled and Cheb Mami. Algeria\u2019s music culture has in many ways been reduced to a ra\u00ef\/sha\u2018b\u012b dichotomy of sorts, pitting two of the nation\u2019s biggest cities against each other in healthy competition. While they do deserve credit for being materially and culturally successful, this not only ignores the diverse musical palette that exists in Algeria, but it also removes the crucial local context that blows life into these genres, instead merely pushing them forward as distinguishable features of the country\u2019s personality. These two locales constitute a general public (the superculture), but only give the local identities a superficial appreciation, and of course at the same time, make brush-stroke assumptions about the entire country\u2019s relationship to these two genres.<\/p>\n<p>Turino writes, \u201cThe crucial link between identity formation and arts like music lies in the specific semiotic character of these activities which make them particularly effective and direct ways of knowing.\u201d<sup class=\"footnote-ref\"><a id=\"fnref13\" href=\"https:\/\/www.athwart.org\/shabi-and-tradition-dahmane-el-harrachi\/#fn13\">[13]<\/a><\/sup>\u00a0<em>Diwan<\/em>\u00a0(also known as\u00a0<em>gnawa<\/em>), mostly played in Bechar, was also pioneered by a working class and alluded to Islam (diwan meaning the gathering of followers of a\u00a0<em>tariqa<\/em>\u00a0or religious order). Diwan, on the other hand, was associated with a ceremony enacted by descendants of enslaved peoples. There is a specific political discourse at play that takes into consideration a history of slavery in the region. The two \u2018working class\u2019 identities are starkly different once examined, and thus give entirely new meaning to the functionality of the music. These indices are signs of identity dependent on commonality. Meaning can vary from listener to listener, but always within limitation. Most songs are written or memorized with fixed presumptions about the listener\u2019s \u2018insider\u2019 status. This is simply because music is created with a particular audience in mind. Diwan, at least for carriers of its tradition, has much more artistic, even spiritual weight in Bechar than would sha\u2018b\u012b, despite the penetration of a centralized superculture.<\/p>\n<p>To use Charles Sanders Peirce\u2019s semiotic theory of music, sha\u2018b\u012b is the \u201cdicent\u201d to the Alg\u00e9rois community. That is, it is a \u201csign\u201d understood to represent its \u201cobject.\u201d The abstraction aside, musical forms often correspond to a projection of local history and social experience. As iconic as it is, Dahmane El Harrachi\u2019s music doesn\u2019t stop at Ya Rayah, \u201cWhite Algiers\u201d (<em>Bahja al-baydha<\/em>), as only one example, is equally integral to this archive of recordings that testify to an intense love for the capital. El Harrachi\u2019s position in the sha\u2018b\u012b pantheon is in many ways that of a director of a successful film. The script follows a storyline that is sometimes contextual and other times far from tied to the restrains of time, but always one rooted in a stubborn yet sincere Alg\u00e9rois identity.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sabrina Amrane\u00a0 Oct 01, 2020 &nbsp; Algerian sha\u2018b\u012b (or commonly recognized by its French transliteration\u00a0chaabi) is a music genre that came to&hellip;<\/p>\n","protected":false},"author":1,"featured_media":1476,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[15,10,4,14],"tags":[],"class_list":["post-1475","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-algeria","category-art","category-featured-articles","category-historyheritage"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sha\u2018b\u012b &amp; 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