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Nass El Ghiwane Omarraconte Sayed Être un « Ghiwane » c'est d’abord une coutume ancestrale qui permet à des gens reconnus pour leur NASS probité et leur faculté de décrire avec simplicité le quotidien de la vie et les maux des gens, à travers EL GHIWANE les mots et la gestuelle. Ces chantres et troubadours transmettaient, de douar en douar, leur sagesse grâce aux seuls moyens en leur possession : le théâtre sous forme de la halqa et la chanson. [Khalid Benslimane, Le Hal ou la transe cabalistique du phénomène « El Ghiwane »] SENSO UNICO ÉDITIONS Préface Martin Scorsese Festival du Film de Marrakech Back in the early 80s, I more or less stumbled on a documentary called Trances, by a Moroccan filmmaker Catherine Deneuve, Martin Scorsese et Omar Sayed named Ahmed El Maanouni, about the band Nass El Ghiwane. I had never heard of the film or the band. au Festival de Marrakech, en décembre 2005. I was immediately mesmerized by both. “ Les Rolling StonesThe musicde opened up al’Afrique whole universe for me. It seemed absolutely modern ” and ancient at the same time. And its effect on Moroccan audiences, beautifully documented in the film, was fascinating. Nass El Ghiwane had the kind of direct connection with their listeners that you saw at certain rock concerts in the west, but it ran deeper than that. As I watched the film, it seemed to me that the band was actually singing their still newly independent nation, their people – their beliefs, their sufferings, their prayers. Of course, that’s exactly what they were doing. Their profound connection to their audiences and their willingness to address taboo subjects made them controversial figures. Nass El Ghiwane began in the late 60s, and like many musicians around the world at the time, they went back to their roots, to Berber rhythms, Melhoun sung poetry, Gnawa dances. I think one of the band members © BRAHIM TAOUGAR © BRAHIM described Nass El Ghiwane’s extended compositions and improvisations as their own version of soul music. Au début des années 80, je suis pour ainsi dire tombé sur un documentaire appelé Transes, sur le groupe Nass el Ghiwane, et réalisé I was fascinated to see that they used mostly traditional instruments – the bendir, the derbouka, the daadou, par un metteur en scène marocain, Ahmed El Maanouni. Je n’avais jamais entendu parler du film ni du groupe auparavant. J’ai été hypnotisé sur le champ par les deux. the guembri, and, most intriguing of all, a fretless banjo employed as a variation on a western lute. There was La musique m’ouvrait un univers entier. Elle paraissait tout à fait moderne et ancienne en même temps. Et son effet sur le public nothing electric, no synthesizers or guitars, but their sound was just as big as a lot of the lavishly produced marocain, admirablement documenté dans le film, était fascinant. Nass el Ghiwane possédait cette sorte de lien direct avec son public qu’on percevait lors de certains concerts en Occident, mais il y avait quelque chose de bien plus profond. En regardant le film, rock music of the same era. j’eus l’impression que, réellement, le groupe chantait sa nation indépendante depuis peu, ses gens — leurs croyances, leurs souffrances, Over the years, as I’ve come to know and love the nation of Morocco, I’ve gone deeper into the soul music leurs prières. Et, bien entendu, c’est exactement ce qu’il faisait. Son lien profond avec le public et sa volonté d’aborder des thèmes tabous faisaient de ses membres des figures controversées. of Nass El Ghiwane. It’s opened my ears and eyes, inspired me, moved me, and transported me. It’s deepened Les Nass el Ghiwane apparurent à la fin des années 60 et, comme beaucoup de musiciens dans le monde, ces années-là, my sense of the mystery of being alive. ils retournaient à leurs racines, aux rythmes berbères, aux poèmes chantés du melhoun, aux danses gnaoua. Je crois que l’un des membres du groupe a décrit les longues compositions et les improvisations des Nass el Ghiwane comme leur propre version de la musique soul. J’étais fasciné par le fait qu’ils utilisaient essentiellement des instruments traditionnels — le It’s difficult to think of a higher compliment. bendir, la derbouka, le daâdou, le guembri et, le plus curieux de tous, un banjo sans frettes dont ils se servaient comme une variante Martin Scorsese du luth occidental. New York, 29th December 2010 Rien d’électrique, pas de synthétiseur ni de guitare, pourtant leur son était aussi puissant qu’une grande partie de la musique rock abondamment produite dans la même période. Au fil des ans, j’ai appris à connaître et à aimer la nation du Maroc, je me suis plongé dans la musique soul des Nass el Ghiwane. Elle m’a ouvert les oreilles et les yeux, m’a inspiré, m’a ému et m’a transporté. Elle a rendu plus intense ma perception du mystère d’être vivant. Il m’est difficile d’imaginer un plus grand compliment. Martin Scorsese New York, le 29 décembre 2010 Rencontres Les futurs Ghiwane nouent des liens, pour la plupart d’entre eux, à l’adolescence. Voisins, ils sont tous déjà attirés par la musique et le théâtre, plus passionnés par les activités artistiques dispensées par la Maison des Jeunes de leur quartier, Dar Chabab, que par l’école, qu’ils délaisseront assez tôt. Il n’y a jamais rien eu de réfléchi. Nass el Ghiwane, ça a toujours été… le désordre, les choses se sont faites toutes seules ! Ce sont la sincérité et les expériences qu’on a vécues qui comptent. Nous n’avons jamais appris à jouer, nous ne sommes pas allés au conservatoire, nous avons appris sur le tas, grâce à ce que nous entendions : des proverbes, des citations, les chansons pour l’indépendance, même pour celle de l’Algérie… LNous étions voisins, quatre maisons séparaient ma maison de celle de Boujmiî, et nos parents se connaissaient. Derrière chez nous, habitait Allal. Larbi Batma habitait en face du cinéma Saâda, à deux cents mètres de Derb Moulay Cherif. J’ai quitté l’école en 1961 et je vagabondais tout le temps, je ne tenais pas en place, j’arpentais tout le Hay, ici un jour, là le lendemain. Sur la route de Rabat, chez un ami coiffeur, Hassan, il y avait toujours de la musique, on chantait. C’est là que j’ai rencontré Larbi Batma. Larbi chantait aussi. En rentrant le soir ensemble, on fredonnait, il chantait des chansons à lui, pas celles d’autres chanteurs. C’était en 1962, à peu près. Boujmiî, mon ami d’enfance, chantait aussi. Boujmiî et Larbi ne se connaissaient pas, mais je m’étais mis en tête que, même s’ils avaient deux natures différentes, il fallait qu’ils se rencontrent, qu’il y avait quelque chose, comme un pôle positif et un pôle négatif. J’en ai parlé à Boujmiî, je lui ai dit que j’avais rencontré un garçon qui chantait, qui chantait avec une voix grave, solide, très forte. Je me rappelle lui avoir dit : « Toi, tu chantes dans les aigües, et avec lui ça peut donner quelque chose de bien. » Il a répondu : « On verra plus tard, plus tard ». J’en ai aussi parlé à Larbi, mais je n’ai pas réussi à les faire se rencontrer à ce moment-là. Et où ont-ils fini par se rencontrer ? Chez Tayeb Saddiki ! Pas avant, jamais ! J’étais heureux quand ils se sont enfin rencontrés ! Quand tous les deux chantaient, moi, j’étais au milieu, je chantais aussi, mais la base c’était eux, Larbi et Boujmiî. 49 sa br a o ua c hat il a (sabra et c hatila) Ô monde dans lequel une récompense est donnée à l’assassin ! En ton sein, le traitement humiliant est prédominant. De chaque passé, on peut tirer des enseignements. La vie en ton sein est empreinte de chagrins. Tels des océans, les larmes des enfants se répandent. Leurs âmes ont rejoint le Seigneur Après avoir vécu et péri dans l’obscurité, ô monde ! En ton sein, les apprentis apprennent leur métier de coiffeur En s’exerçant, sans rasoir ni eau, sur la tête d’orphelins. Et tant de choses ont été dites et redites, ô monde ! Le monde s’est tu, L’ennemi a opéré à sa guise. Le monde s’est tu, Les sionistes ont opéré à leur guise. À Sabra et Chatila, C’est le grand carnage. Des enfants, des vieillards et des femmes ont été massacrés. SABRA OUA CHATILA Extrait de Kalam el Ghiwane Édition UEM, Casablanca 2007. ALLAL YAÂLA Traduction en français de Moustapha Image du film Transes. ©OHRA. El Haffaoui. 186 187 GRAFFITI de Abdellatif Kalamour et Kadem Aouina ; Festival de musique de Vic, Espagne, 2009. Photo A. Kalamour, avec sa permission. LARBI BATMA Années 80. Photo ©Fouad Zerreï. « Vendredi, l’Olympia émettait un Il y parle de la drogue, parce que beaucoup de ses patients sont victimes de ses tempo marocain. Des hommes, des effets néfastes. femmes, des jeunes et de moins jeunes, Nous le connaissons depuis trente ans. Il s’est occupé de nous tous. Ah ! Les venus de Paris et de banlieue, artistes... s’empressaient bien sagement pour Tous les 5 ans, nous participons à un grand spectacle au profit de son service à accéder à la salle mythique qui s’est l’hôpital. Le professeur Moussaoui est aussi un fervent défenseur de darija. remplie d’un public où des femmes voilées côtoyaient de belles minettes, Cet album est le troisième depuis que Larbi n’est plus là, puisqu’il y a eu aussi cheveux au vent et jeans serré.
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