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Florida State University Libraries Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 Come, Ask My Heart: Voice, Meaning, and Affect among Algerian Sha'Bi Musicians in PCharisrtoipsher C. (Christopher Crandall) Orr Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “COME, ASK MY HEART”: VOICE, MEANING, AND AFFECT AMONG ALGERIAN SHA‘BI MUSICIANS IN PARIS By CHRISTOPHER C. ORR A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Christopher C. Orr defended this dissertation on March 29, 2019. The members of the supervisory committee were: Margaret Jackson Professor Directing Dissertation Adam Gaiser University Representative Frank Gunderson Committee Member Michael B. Bakan Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS This project would not have been possible without the support of many different people in my life who have encouraged me, mentored me, or contributed to this study. I am deeply grateful to the members of this committee for their mentorship and guidance throughout my doctoral program. Thank you to Frank Gunderson and Michael Bakan for helping me to develop as a scholar, for challenging me and for inspiring me to pursue my goals and research interests. I am appreciative of Adam Gaiser for the opportunity to participate in his courses in the Department of Religion. His teaching enriched my graduate studies at FSU, and his valuable insights have helped shape the present project these past several years. I am deeply grateful to my advisor, Margaret Jackson, for her encouragement and dedication to my graduate education. Her perspicacity and guidance have pushed me to new and creative ways of thinking, and her example as a scholar has inspired me to pursue meaningful, humanistic research. My time at Florida State has certainly been one of intellectual rigor and personal growth thanks to each of you. I owe a sincere debt of gratitude to the musicians, fans, and friends who have contributed to this study. Without their gracious collaboration this dissertation would not have been possible, and I dedicate this work to them with the humble anticipation that it will be received as a valuable, scholarly contribution to a musical practice they hold deeply meaningful to their lives, and which has become an important part of my own. A warm and heartfelt thank you to Yacine, Lyes, Samira, Mohammed, Mhenni, Oussama, Krimo, Aziz, Mohamed, Issa, Reda, Sallahadine, and Mahfoude. I am privileged to have not only worked with all of you on a professional level, but to have gained valued lifelong friends. I am grateful to Saad Eddine Elandaloussi and the Andalusi association, El Andaloussia de Paris, for the opportunity to participate in making music during my time in Paris. Thank you as well to the Association Les Beaux Arts d’Alger for graciously welcoming me into their family during my time in Algiers, and to their director, Hadi Boukoura, for his valuable insights at the final stages of this project. This study was funded by the Chateaubriand HHS Fellowship from the Embassy of France in the United States. I am grateful for their financial support, which provided me with the opportunity to live and conduct research in Paris. In addition, the fellowship offered me the chance to network and collaborate with French scholars. I am appreciative of the Centre de iii recherche en ethnomusicologie (CNRS-CREM) for their valuable feedback and suggestions during my research in Paris. A special thank you to Dr. Jean Lambert, Dr. Nicholas Prévôt, and Dr. Victor A. Stoichita for their insights and guidance. Lastly, I would like to express my gratitude to my family and friends who have supported me throughout this journey. I am deeply appreciative of my friends Kyle, Peter, and my community of support at Four Oaks Community Church. Thank to my high school music teacher, Lynn Stover, for sparking an interest in North African music and for inspiring me to pursue a career in ethnomusicology. Thank you most of all to my family for your love and support through thick and thin. Finally, thank you to my wonderful wife, Ashley, for your unceasing love and encouragement and for sharing in this adventure with me. iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii Note on Transliteration ................................................................................................................ viii Abstract .......................................................................................................................................... ix 1. INTRODUCTION ......................................................................................................................1 Focus and Thematic Overview of the Study ...............................................................................3 The Sha‘bī Shaykh as Embodied Moral Authority ................................................................4 Vocality and Collective Emotional Experience .....................................................................8 Sha‘bī as (Trans)national Heritage .......................................................................................12 Review of the Literature............................................................................................................12 North African Musical Practices ..........................................................................................13 Francophone Postcolonial Scholarship ................................................................................15 Performance and Community in Diaspora ...........................................................................17 Embodied Emotional Experience .........................................................................................19 Vocality ................................................................................................................................20 Discourse as Performance ....................................................................................................22 Nostalgia, Memory, and Place .............................................................................................22 Overview of Chapters ...............................................................................................................23 2. THE ‘PLACES’ OF SHA‘BĪ: LEGACIES OF THE MIGRANT CAFÉS ...............................26 Finding Sha‘bī: Intimacy and the Importance of Venue ...........................................................27 Finding Sha‘bī: Le Shwa des artistes I ......................................................................................28 Algerians on Display: Colonial Bodies and Public Space in the Metropole.............................30 Creation of a Settler Colony and the Rise of Labor Migration .................................................33 Finding Sha‘bī: Le Shwa des artistes II ....................................................................................35 Sha‘bī Music in Exile: the Algerian Café Scene in Paris .........................................................36 Paris’s Oriental Cabarets ...........................................................................................................38 The War of Independence and Postcolonial Transformations ..................................................39 The Beur Cultural Movement ...................................................................................................42 Finding Sha‘bī: Le Shwa des artistes III ...................................................................................47 “Deserting the Cafés” and the Rise in Institutional Support .....................................................48 3. THE GRAIN OF THE VOICE AND THE SINGER’S MORAL AUTHORITY IN SHA‘BĪ PERFORMANCE ..........................................................................................................................52 Moho’s Studio ...........................................................................................................................52 Dahmane El Harrachi and the Timbre of Immigration .............................................................56 Sufism, Text, and Moral Authority of the Voice ......................................................................62 v 4. POPULAR POETIC TRADITIONS AND THE DEVELOPMENT OF SHA‘BĪ MUSIC ......76 Abdelkader Chaou at the CCA ..................................................................................................76 The Andalusi Poetic Heritage ...................................................................................................80 Malḥūn and Genres of Colloquial Sung Poetry ........................................................................82 The Andalusi Associative Movement and the Invention of Sha‘bī ..........................................85 M’hamed El Hadj El Anka ........................................................................................................87 Women in Sha‘bī Music............................................................................................................92 “The Magic of Sha‘bī”:
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