Rayssa Fatima Tabaamrant
Rayssa Fatima Tabaamrant
Its music, its singing and especially its poem enticed a vast(huge) public in Morocco as in the foreigner, in Belgium, in France or in Netherlands. No home(house) chleuh which has one of its numerous albums (no more than quarantine in total). His(her,its) tapes are sold on average in three months to 160 000 copies. For more than fifteen years, it occurs in all national festivals devoted to amazigh art and in the rooms of Paris, Milan, Brussels or Amsterdam.
On the steps of Damsiri The reasons of such success? Tabaamrant is crossed(passed) master in art to play with poetries(worms), metaphors. With an additional feature? Ahmed Assid, researcher in IRCAM is categoric “ It differs, yes because she is poetess. The others are singers but who sing the poem of others. Therefore Tabamaarant is the only one today, I say definitely the only one, singer who is outright the author of his poems ”, what, not to doubt it, is wholly special.
Fatima Tabaamrant, it is not that this, it is also a woman endowed with a nonstandard, necessary courage to go has contrario of the habitual topics sung by other singers. Love, for instance. It proves it with these words " Imma amarg llzubb irzmi yanz " (“ lyric poem made tired me ”) ", Idda nit ayks lhimma islz in ” (“ it reduced the value of Chleuhs ”). His(her,its) topics of predilection? Youth unemployment, corruption, conservation of traditions but ariane's thread of its pieces is amazighe identity(similarity), as could make it the big poet, Mohamed Damsiri, at its time.
“ For her, the model that it followed, it is it (…). It was somebody who had a hired(initiated) and very strong policy(politics), who treated problems which they do not discuss ordinarily. He died in 1989 and it was almost the beginning for Tabaamrant. It's as if it took the intermediary of this poet ” definite Assid.
His(her,its) poems seem to be catharsis of suffering lived during the first twenty years of his(her,its) life. A painful childhood Born in Idem Naser, not far from Tiznit, in 1962, she saw(lived) first disordered years following the death of her mother, while she is only three years old. Shock which it will exorcise twenty three years later in a song: " Makm yaghme makm issalam " (“ Which you have, why do you cry? ”). Since then, it joined his(its) father and his nice mother.
In this new home it will accept(receive) only bullying and abuses. “ One day, I had refused to do daily jobs. The wife of my father then tied(attached) me feet in a rope and suspended(hung up) me in a tree, upside down, all day long until which I agree once again to work ”, she reminds bitterly. To get rid of the girl whom they consider bulky, his(its) father does not, in 1979, hesitate to give it in marriage to an older man than her.
It runs away at the end of month, comes back(returns) in its family but is once again rejected. These experiments will forge for ever its character and its determination to fight. The promising beginning They are in 1981. Luckily, Tabaamrant is received(welcomed) in Tiznit by a woman who entrusts it to a friend immediately inhabitant Inezgane (in 10 km of Agadir).
Even if it is in charge only of the maintenance of the home(house), the young woman, then 19-year-old, begins blooming especially that she passes of time to discuss with neighbouring dancers in a group. Clandestinely, in the bottom of her, she dreams to be singer. What it also hushes about up, it is its passion for poems: she writes it since the age of 13 years. The good destiny, not really loving with her heretofore, comes for time to knock in its door.
One of the dancers occurring habitually with the raïss Jamaâ Hamidi, sees herself forbidding by her husband to participate in a concert in Agadir. “ Why not the young person Fatima to replace it? ” one of the neighbours offers. Year 1983 marks its first steps on stage, the world which it will not leave any more consequently. In March, during the holiday of the throne, it interprets its own songs for the first time in front of a public, what she(it) had always refused to make because “ I was afraid that they steal from me my pieces ” she says by bursting to laugh.
By dint of persuasion, it ends up making point out. The big raïss Mohamed Belfkhikh decides to take it under the wing. In 1985, it records with him its first album in which they find five poems of his(her,its) composition as well as a piece written by him for her. Always accompanied with Belfkhikh, the raïssa that it became, follows(continues) its alternate way, on every album, of compositions of the raïss and his.
A star was born At the end of 1991, she tells herself that the time for her came gone without his(its) mentor. She encircles herself with a team and works for a studio. Amazighes associations are not in rest. In effect, according to Assid “ amazigh movement counts on the artists a lot because they have a broad(wide) public to get the message.
That's why they recorded him(her) audio cassette tapes, they put in him(her) information concerning history and civilization ”. Albums chain themselves, brilliantly, concerts also. In 1994, after a concert devoted to amazighe music in the prestigious Opera Garnier of Paris, the policemen see themselves made to accompany it to get outside it from places so much his(her,its) fans are numerous. The journalists will go even the interviewer up to his rise(climb) on the plane! Berbérophones likes words.
The raïssa ties(attaches) a big importance to the topics which it develops and in their formulation. So, to the liking of poetries(worms), it uses(employs) the awal amazigh, contrary to other raïss or raïssas which use(employ) the tachelhit of the daily only. She knows pertinemment that it is necessary to bring some change in the language to prolong it. “ Tabaamrant is aware that they need an a bit worked amazigh, it is not to speak it daily, it is necessary to go towards a standard language, that of the school and artistic production ”, adds the researcher of the IRCAM.
A been jealous raïssa Whether it is on stage or in the wings, entrusts Omar Ba Jdi, one of the players of banjo of his group, “ she differs. She respects our job(work) and listens to attentively contrary us to other raïss and raïssas with whom I worked before ”. It is worth him(her) quite a lot of jealousy notably on behalf of his(her) associates, as notes(notices) it Bouslam Okiya, player of outar and his fellow traveller for 13 years: “ The others do not think that a woman can be also gifted. They think that a man is behind all this.
However, during a music festival amazighe in 1993, they made low contour by hearing(understanding) its words. As for Tabaamrant, she would like them to fight to write better songs ”. Although it is in the peak of its art, for a long time, “ she(it) has so many things to say that her(its) career can last still of numerous years ” adds Omar. Is the younger generation of poets and amazighs poetesses ready to take over? “ Nobody at the moment is able of it because their words are dénuées of interest ” the player from outar concludes sadly.
Seemingly the interested, her, does not settle question and is ready to exercise its art as long as it will be needed. Bio express. 1962. Birth in the village of Idem Naser (south of Tiznit) 1980.
It leaves the family domicile 1983. First appearance on stage to interpret its own songs 1985. First album recorded with Mohamed Belkhikh 1996. Creation of its studio of personal recording(registration), in collaboration with her husband 2005.
Price of the best song amazighe of the year 2006http://fr.youtube.com/watch?v=xy1C_6OJ-ZE&feature=relate This may look like an album for ethno-musicologists with its erudite sleeve-notes, but the lady deserves a wider audience. Backed by a stomping band using hand drums, cymbals made from car-wheel rims, lutes and fiddles, she tears into this live set with a 15-minute track that constantly changes direction and ends up as a furious workout against a driving, insistent riff from her musicians. Exhilarating. Enjoy! Read more on Last.fm.
User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
show me more