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Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in Algerian London. (Unpublished Doctoral thesis, City, University of London) City Research Online Original citation: Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in Algerian London. (Unpublished Doctoral thesis, City, University of London) Permanent City Research Online URL: http://openaccess.city.ac.uk/17031/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. Bledi Cockneys: Music, Identity and Mediation in Algerian London Stephen Wilford PhD Department of Music School of Arts and Social Sciences City University London November 2016 City, University of London Northampton Square London EC1V 0HB United Kingdom T +44 (0)20 7040 5060 THE FOLLOWING PARTS OF THIS THESIS HAVE BEEN REDACTED FOR COPYRIGHT AND DATA PROTECTION REASONS: Photographs: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 3.2, 3.4, 3.5, 3.6, 3.7, 3.8, 5.2, 5.4, 5.5, 5.6, 5.8, 5.9, 5.12 Promotional materials: 3.1, 3.3, 4.8, 4.9 Facebook posts: 4.4, 4.6, 4.7, 5.10, 5.11, 5.13 Article: 4.1 Video stills: 4.3, 5.7 www.city.ac.uk Academic excellence for business and the professions Table of Contents Acknowledgements Declaration Abstract Chapter 1 1 1.1 Introduction 1 1.2 Research Methodologies, Issues, and Challenges 4 1.3 Algerian History and Politics 23 1.4 The Musics of Algeria 28 1.5 Extant Literature on Algerian Musics 36 1.6 Algerian London 42 Chapter 2: Performing Algerian Musics and Identities 53 2.1 Performing Music and Performing Identity 63 2.2 Sites of Algerian Musical Performance 67 2.3 Staging Algerian Music 77 2.4 Communicating Algerian Identities through 91 Musical Performance 2.5 Conclusions 102 Chapter 3: Three Public Performances of Algerian Musics 107 3.1 Theories 108 3.2 Glocalisation 111 3.3 Slobin’s Tripartite Model 114 3.4 The World Stage 117 3.5 Hamidou 119 3.6 The Barbican Centre 126 3.7 El Gusto Orchestra of Algiers 128 3.8 Rachid Taha and Souad Massi 142 3.9 Conclusions 154 Chapter 4: Music and Mediation 161 4.1 Theories of Music, Media and Mediation 161 4.2 Algerian Musicking, the Internet, and Social Media 168 4.3 Algerian Radio in London 181 4.4 Algerian Music and Auto-Exoticism 198 4.5 Conclusions 212 Chapter 5: Andalus Music in London 216 5.1 The Origins of Andalus Music 216 5.2 The Ṭab‘ and Nūba in Andalus Music 218 5.3 Andalusi Music in Contemporary Algerian Society 221 5.4 The Al-Andalus Caravan 224 5.5 The Andalusi Musical Association 228 5.6 Heritage and Tradition in Andalus Music 232 5.7 Teaching and Learning Andalus 240 5.8 Performing Andalus 250 5.9 The Al-Andalus Caravan and Social Media 255 5.10 Conclusions 263 Chapter 6: Conclusions 268 6.1 The Social Function of Algerian Music 271 6.2 The Construction and Performance of Identities 273 through Musicking 6.3 Public Displays of London Algerianness through 278 Music 6.4 Concluding Remarks 280 Glossary of terms 285 References 288 List of Illustrations 2.1: Algerian chaabi musicians performing at Rostomia café, 75 London, March 2012 2.2: Al Andalus Caravan performing at Culturama’s ‘International 83 Women’s’ Day’ event 2.3: Abdelkader Saadoun and band performing at the EBRD. 97 2.4: Seddick Zebiri and the Seeds of Creation performing at the 100 London Mela 2012. 2.5: Cheb Nacim, holding Algerian flag, on stage at the London 101 Mela 2012 2.6: Algerians, proudly displaying an Algerian flag, in front of the 101 Eid stage at the London Mela 2012, during Cheb Nacim’s performance. 3.1: The flyer and poster for the Hamidou event, produced by concert 120 organiser Rachida Lamri, and distributed exclusively online. 3.2: An audience member records Hamidou’s performance on their 123 mobile phone. 3.3: The covers of the El Gusto Orchestra’s two recent, commercially 131 released albums. 3.4: Members of the El Gusto Orchestra in discussion during the 135 pre-concert talk. 3.5: Philippe Darmon and Mohamed Touzan performing 137 ‘Duo Rabbin/Muezzin’. Mohamed Ferkioui dancing on the front of the Barbican’s stage. 3.6: Souad Massi on stage at the Barbican. 149 3.7: Rachid Taha performing at the Barbican. 150 3.8: Rachid Taha on stage at the Barbican. 152 4.1: An interview article with Rachida Lamri in Algerian newspaper 175 El Watan. 4.2: Publicity for upcoming events, and links to videos of previous 177 performances, posted by Abdelkader Saadoun on his Facebook page. 4.3: The Papers in the video for their song Guerrizla Pt. II, with brothers 178 Yazid and Massyl 4.4: Djamel’s original post on Facebook, in March 2011, introducing 185 Rihet Bladi. 4.5: An online advert for Rihet Bladi from 2012, posted on Facebook by 190 Djamel. 4.6: A post on Facebook, in which Djamel explains the ways in which 194 listeners are able to access the station via the Internet. 4.7: A promotional post by Yazid Fentazi for an upcoming event in 202 December 2013. 4.8: Images used to promote forthcoming events by raï singer 205 Abdelkader Saadoun. 4.9: Online adverts promoting events by Cheb Nacim. 210 5.1: A private concert of Andalusi music in Algiers in 1889. 222 5.2: A picture of the Al-Andalus Caravan, taken outside their rehearsal 226 room in Pimlico London in 2011. 5.3: Two images of Tewfik’s rebāb, purchased during a visit to Algeria. 235 5.4: Tewfik leading one of the Caravan’s beginners’ classes. 242 5.5: During one of the beginners’ classes. The text on the music stand 244 (in Arabic script) contains the lyrics of the piece being taught. 5.6: A rehearsal of the association’s main ensemble, in March 2013, with 245 Tewfik playing the rebāb. 5.7: Video clips of the Caravan’s performance at Putney Methodist 248 Church, with comments from friends and family. 5.8: The Caravan performing at a concert at Putney Methodist church in 250 July 2012. 5.9: Tewfik during the Caravan’s performance at the Algerian Cultural 254 Festival in October 2012. 5.10: One of Tewfik’s posts on the association’s Facebook wall. 256 5.11: A video clip posted on the Caravan’s Facebook wall, which Tewfik 257 suggests offers an excellent source for learning and istikhbar. 5.12: Sid Ahmed Serri, a renowned performer of Andalusi music, whose 259 teachings strongly influence the Caravan. 5.13: A video of Algerian singer Meriem Abed, posted on the 261 association’s Facebook wall. Acknowledgements I would like to thank a number of people for the support that they have given me throughout my doctoral studies, and for the contributions that they have made to this thesis. Firstly, I would like to thank all of the Algerian friends that I have made whilst conducting this research, and whose stories appear throughout the following pages. I have been shown incredible hospitality, and the large quantities of strong black coffee and Algerian cuisine that I have been lucky enough to consume have undoubtedly been a contributing factor to the completion of my work. The time that my Algerian friends have made for me, and their patience in speaking to me about music, can never be fully repaid, but I am eternally grateful to them all. In particular I would like to thank Tewfik Ouagueni and Rachida Lamri, who are not only fantastic musicians, but have been incredibly supportive of my research. I have been very fortunate to see them both perform on a number of occasions, and they have opened my ears to many new musics and musicians. I would like to thank my many friends at Goldsmiths, University of London. It was there that I first encountered the strange but wonderful world of ethnomusicology, and without the support of the academic staff that taught me during my Masters degree, I would never have been prepared for the exciting (but arduous) task of undertaking doctoral research. In particular I am grateful to Dr Barley Norton and Professor John Baily for their on-going support and interest in my work and my career. They have been both fantastic teachers and inspiring colleagues. I would also like to thank the many staff members that I have worked with in various offices throughout Goldsmiths during my studies. They have been extremely supportive and understanding when I have disappeared to the library during lunchtimes, or have had to turn down a trip to the pub after work in order to focus on my research.
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