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EFFET L OO P SUR... Le Rebetiko

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EFFET L OO P SUR... Le Rebetiko EFFET L OO P SUR... Le Rebetiko (Au Pirée, marché de poisson - 1937 - Photo : X.D.R) « Je suis dans la brume sans éclaircie, Mes larmes coulent comme de la pluie. Tels qu’on est partis, demain on mangera, mon ami, Moi le pain en taule, et toi les pissenlits. » (Extrait d’une chanson de V. Tsitsanis « Je paye les yeux » - 1949 (Traduction : M. Volkovitch) BLABLA etit Lexique à l’usage de ce cocktail musical explosif composé de bourgeois déchus chassés de Smyrne et de mauvais garçons issus de l’hypocosmos (bas-fonds) du P Pirée : Rébétiko (pl. rébétika) : Το ρεμπέτικο ou chant rébétique : Ρεμπέτικο τραγούδι (rébétiko tragoudi ). Le rébète ou Rebetis (pl. Rebetès) : ο Ρεμπέτης (pl. οι Ρεμπέτες) : musicien, chanteur de rébétiko, se dit plus volontiers un « mangkas », μάγκας (pl. mangkès, μάγκες), décliné au féminin : la Rebetissa (η ρεμπέτισσα), au féminin pluriel les rebetisses (οι ρεμπέτισσες) et mangkissa (μάγκισσα). L’origine du mot est obscure. En grec moderne, « rébète » signifie rêveur, voyou, roublard, vif et en argot, mener une vie de vagabond, errer. (Cf. la racine « reb » du grec ancien : rembo, ρέμβω = tourner, errer çà et là, avoir l’esprit inquiet, planer).1 Signalons aussi qu’en turc ancien, rembet fait allusion à ce qui relève des gouttières, des bas-fonds… « LA GRANDE CATASTROPHE » e rébétiko est le genre majeur de la musique populaire grecque contemporaine. Il est le fruit d’une période tragique de l’histoire de cette communauté. Au même titre que le tango, le blues, le fado il s’agit d’une musique urbaine issue des milieux populaires pauvres qui traduit Lla difficulté de l’existence, les incertitudes politiques et le désenchantement. Il évoque également les amours malheureuses, le monde des tavernes et des bordels, la faim et la drogue. Provenant en partie de la musique traditionnelle démotique2, le rebétiko associe d’autres styles issus des musiques urbaines grecques, qui sont aussi des rythmiques de danse (zeimbekiko, hassapiko, tsifteteli, khassaposerviko…) Tout commence vers le milieu du XIXème siècle lorsque la Grèce devenue indépendante depuis 1830, entre dans l’ère de l’urbanisation. Les faubourgs des villes accueillent des populations pauvres, aux activités plus ou moins frauduleuses. Ces démunis et autres hors-la-loi, appelés mangès, se retrouvent autour d’une musique populaire urbaine qui décrit leur mode de vie, le monde de la prison surtout et dont l’un des styles les plus importants est le Piraïotiko, du nom de la ville du Pirée. Au début du XXème siècle, la Grèce va rencontrer une série de bouleversements politiques majeurs. Depuis l’indépendance du pays, les gouvernants n’ont de cesse de vouloir récupérer les territoires voisins où vivent une grande majorité de Grecs (Macédoine, Epire, Thrace, Thessalie…). La politique extérieure est en effet régie par ce qui est appelé le « grand hellénisme ». Komboloï grec (Photo : X.©) 1 In Dictionnaire grec-français A. Bailly, p.1715 - Hachette, 1950/1989 et l’ouvrage d’Eleni Cohen « Rébètiko, un chant grec », p.11-12 2 La musique démotique englobe les musiques traditionnelles rurales. 2 Cet objectif va traverser tous les conflits du début du siècle dernier, des guerres balkaniques (1912-1913) à la 1ère Guerre Mondiale, en passant par le conflit gréco-turc qui se durcit au lendemain de l’armistice. Malgré des accords conclus entre la Grèce et les Alliés sur une partie des territoires convoités, le conflit se poursuit militairement avec la jeune République Turque de M. Kemal. Ceci aboutit à la fameuse tragédie d’octobre 1922 lorsque la souveraineté de la Turquie sur l’Asie Mineure est entérinée. Cet événement entraîne le départ forcé de la communauté grecque qui y est établie depuis 3000 ans. Les grandes cités comme Smyrne (l’actuelle Izmir, habitée alors par 60% de Grecs) et Constantinople (l’actuelle Istanbul) sont particulièrement touchées par cet exil. Dans ces villes cosmopolites, et à l’instar des autres groupes ethniques, la communauté hellène avait conservé sa culture et créé au fil du temps un style musical propre, précurseur du futur rébétiko, appelé smyrneïko, qui emprunte également des éléments aux communautés voisines (turque, italienne, arménienne, slave, juive, tsigane, albanaise etc.). Ce style est joué dans des cafés à l’ambiance orientale, similaires à ceux qui se trouvent dans les grandes villes grecques. Les Grecs vont s’expatrier en Amérique, en Europe de l’Ouest ou en Russie3. Mais un million et demi de ces réfugiés vont retourner dans leur patrie d’origine. Or, la plupart de ces Grecs d’Orient ne partagent pas la même culture hellène que les Grecs autochtones. Par ailleurs, la Grèce qui connaît un essor urbain conséquent depuis la fin du 19ème siècle, doublé d’instabilités politiques et économiques, n’est pas en mesure d’accueillir convenablement tous ses compatriotes4. Du côté des réfugiés, la situation est particulièrement difficile. Beaucoup d’entre eux, originaires du sous-prolétariat mais aussi de la bourgeoisie, vont grossir les rangs de la classe ouvrière naissante. Bien souvent, ils se retrouvent au chômage ou doivent accepter des travaux subalternes. Certains d’entre eux rejoignent le milieu de la contrebande, du trafic de drogues, d’autres survivent de rapines. Quoiqu’il en soit, ils subissent rejets et discriminations de la part des autochtones. La majorité d’entre eux s’installe dans les grandes villes de la Grèce (Athènes, Le Pirée qui triple son nombre d’habitants en quelques mois, Salonique, Patras…). Leurs points de chute sont les faubourgs et les ports, où ces nouveaux arrivants côtoient le sous-prolétariat local. Ce contexte de crise politique et ce creuset social urbain vont modeler un style musical propre à exprimer l’exclusion, les souffrances du quotidien, tout ce qui est réuni dans le kaïmos5. « Aman, Aman... » Vassilis Tsitsanis (Photo : X.D.R) Le « blues grec » interprété par les rébètes, va adroitement mêler la musique des marginaux originaires d’Anatolie à celle pratiquée par les mauvais garçons des quartiers pauvres du Pirée et d’Athènes : le rébétiko est né. 3 Au même moment, la communauté turque vivant dans le Nord de la Grèce est contrainte de retourner en Turquie. 4 Une partie des réfugiés est installée sur les plages et même dans des loges de théâtre… Cf. Georges Contogeorgis, « Histoire de la Grèce » - Collection Nations d’Europe, Hatier 1992, p.395). 5 Mot grec difficilement traduisible exprimant la nostalgie, la douleur, le vague à l’âme… 3 « AVEC LE VIOLON ET LE SANDOURI LES DIABLES DANSERONT… »6 ette chanson des rues va fleurir dans les cafés des bas-fonds des cités. Les déracinés les fréquentent assidûment pour se délester un temps des misères de la vie, en buvant de l’alcool, en fumant du haschich au son des rébétika. CDeux types de cafés sont les principaux repaires du rébétiko. Le café aman, à l’atmosphère très orientale, se développe près du port du Pirée; il est le lieu de prédilection des exilés de tout poil. Il offre à son public un répertoire plus cosmopolite que ne le font la plupart des autres cafés dans lesquels on entend une musique d’influence plutôt européenne. Les chants qui s’y pratiquent, appelés amani (sing. amané) favorisant l’improvisation, sont scandés par le mot intraduisible aman. Le second antre du rébétiko est le téké (ou dounia). À l’origine, il s’agit du nom du lieu où officient les derviches turcs. Ce terme, dans la bouche des rébètes, finit par désigner une taverne, accueillant des musiciens chaque soir. Une estrade est installée ainsi qu’une petite piste de danse. Elle permet au public de consommer librement du haschich, vendu sur place. Les rébètes investissent ces endroits et peuvent y rencontrer à loisir leurs homologues pour jouer, chanter et danser toute la nuit. Dans ces lieux où se retrouve une faune bigarrée, leur répertoire va rapidement s’enrichir de nouvelles influences. Les instruments utilisés témoignent du mixage culturel et du carrefour musical qu’est le rébétiko. On y entend le violon, le outi (oud grec), le sandouri (instrument à cordes frappées muni d’un cadre en bois rectangulaire qui ressemble au dulcimer), la lyre, le kanoun (sorte de cithare, tenu horizontalement sur les genoux), le baglama (instrument à cordes d’origine byzantine proche du bouzouki, et déjà pratiqué en Asie Mineure) et le tsoura (intermédiaire entre le baglama et le bouzouki). Plus tard, la guitare et l’accordéon intégreront cet ensemble. Mais l’instrument roi du mankgas est incontestablement le bouzouki. Cet instrument à cordes pincées de la famille du luth, est joué avec un plectre. Il possédait traditionnellement trois paires de cordes avant que n’apparaisse le bouzouki tétracorde (à quatre doubles cordes). Il demeure l’instrument de musique emblématique du rébétiko. À leurs côtés, interviennent souvent un tambourin (touberleki) et des castagnettes en métal (zilias) qui rythment le chant et sont principalement utilisés par les femmes. © David Prudhomme / Futuropolis - 2011 6 In Chanson « Chez Thomas » tirée du film « Rébétiko » de K. Ferris (p : K. Ferris / m : S. Xarhakos ; traduction : F. Kafetzopolou) 4 L’improvisation instrumentale joue un très grand rôle dans la musique rébétique notamment dans les introductions (taxims) qui ne subsistent malheureusement guère lors des enregistrements. La danse est également essentielle et se pratique avant tout pour soi comme le précise J. Lacarrière7. Une des plus prisées est le zeimbekiko, dont la chorégraphie protéiforme doit beaucoup elle aussi, à l’improvisation. Elle est censée illustrer toutes les facettes de l’existence, des plus tristes aux plus gaies. Il existe aussi d’autres rythmes de danse, le hassapiko et le tsiftétéli pratiqué plutôt par les femmes. L’usage des drogues, l’ouzo et le retsina favorisent l’exécution de nouveaux jeux chorégraphiques et d’ornementations vocales surtout lorsque la mastoura (l’ivresse) est atteinte… L’auditoire peut participer comme bon lui semble et les chansons sont souvent ponctuées de mots, d’interjections appelées tsakismata.
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