Posts Tagged ‘North Africa’
It took a little while to post (and it will move to Afropop.org’s front page later this week) but here is my review of Watcha Clan at the finale of the 2010 Jewish Music Festival in San Francisco. And be sure to check out the links to Charming Hostess, the opening band that was truly astounding.
Never judge a band by a single performance. The first time I saw the Marseilles-based Watcha Clan was in July 2009 at a small club in San Francisco and the performance fell flat. The songs lacked the moments of unpredictability that worked so well onDiaspora Hi-Fi, the arrangements felt hackneyed and stale. I left feeling Watcha Clan was just another electronic band that created interesting studio work but was out of its element live (check out my interview with Lado Clem of Watcha Clan on Afropop.org in 2009). I’m here to report that this is one of those times when I’m happy to be wrong. I saw Watcha Clan again on Sunday July 18, 2010 in a very different setting and they killed.
Watcha Clan, headlining the finale of the 25th edition of the Jewish Music Festival in San Francisco, turned in an exciting musical performance where, surprisingly, everything clicked. The staid, buttoned-down performance space of the Yerba Buena Center for the Arts (YBCA) is not an ideal setting for a “world & bass” band. YBCA books some interesting and innovative musical acts (just take a look at a fascinating installation by Oakland’s musical iconoclasts Charming Hostess) but it feels like what it is: a room tacked onto a museum. The lines of folding chairs set up in the room (for the rest…)
In 2002, I spent the year researching the emergence of an alternative music movement in Morocco. Made up of a collection of genres that lie on the periphery of mainstream culture — hip-hop, electronica, rock/metal, fusion — alternative music had yet to break through. 2002 was its year on the cusp. In 2003, it would make its move to center stage and, within a few years, hip-hop and fusion bands would become major players in Moroccan pop culture.
My dissertation, French Fries in the Tagine: Re-imagining Moroccan Popular Music (UCLA, Department of Ethnomusicology, 2006), which focused on fusion, examined this change in the musical playing field, how it happened and what it meant. I’m posting this link to share the work and ask for feedback. I’m currently writing a book on Moroccan alternative music that will hopefully bring this fascinating story to a wider audience.
All the best,
Jeffrey Callen, Ph.D.
Now for a little music:
Review: Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace, by Deborah Kapchan (Middle Eastern Studies Association Bulletin)
This review was published in the Winter 2008/2009 edition of the Middle Eastern Studies Association Bulletin
Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace, by Deborah Kapchan. 325 pages, 19 b/w illus., endnotes, bibliography, index. Middleton, CT: Wesleyan University Press, 2007. $75.00 (unjacketed cloth) ISBN 0-8195-6851-1, $27.95 (paper) ISBN 0-8195-6852-X.
reviewed by Jeffrey Callen
The ritual practice of the Gnawa, a Moroccan Islamic order formed by descendants of slaves from sub-Saharan Africa, centers on the performance of healing rituals (lilat; sing. lila). During a lila, afflicted individuals enter into trance and communicate with and placate spirits that are causing disturbances of their physical or psychological well-being. Lilat and the experience of trance have been the predominant focus of scholarly attention on the Gnawa, most notably from Francophone scholars (most notably Viviana Pâcques and Bertrand Hell). Traveling Spirit Masters, the first English language book of scholarship on the Gnawa, extends that focus to examine the ways in which trance and the Gnawa themselves have become commodities in the international marketplace. In the “Introduction”, Kapchan asserts that Traveling Spirit Masters is not a book about the Gnawa but an exploration of the “power of trance, the way it circulates globally, and its relation to music and gendered subjectivity” (1). To fulfill the broad scope of this goal, the book is divided into two sections: “The Culture of Possession” (Chapters 1-5) and “Possessing Culture” (Chapters 6-11). The first section, set in Morocco, explores the ritual practice of the Gnawa with particular focus on the role and involvement of women, both as individuals who seek relief through trance, and as overseers of the rituals (mqaddemat, pl.). The second section, set in France and Morocco, examines the movement of the Gnawa and their musical practice into the global marketplace. (for the entire review click here)
The exoticizing of the non-Western other in World Music is a continuing phenomenon — freely used in marketing and eagerly accepted by most fans. “Music of resistance” is one sub-category of that phenomenon. In a recent preview of a San Francisco concert by Tinariwen, I avoided emphasizing their music as born out of resistance (it’s only part of the back story) but the headline my editor wrote included “rebel music” as a descriptor (see: It’s only rock ‘n’ roll — also links to two other recent pieces on Tinariwen).
Today (February 20, 2010), the Touareg website Temoust posted an enlightening interview with sociologist Denis-Constant Martin of the Cité de la musique museum in Paris. Martin discusses the “musics of resistance” phenomenon. Must reading for World Music fans.
Musique touaregue de résistance : La marchandisation des sons (reposted from the Cité de la musique website: )
“Un mythe, voire une mystique de la résistance s’instaure à partir de discours tenus sur la musique qui ne correspondent pas nécessairement à ce que l’analyse musicale pourrait elle-même déceler.”(“A myth or a mystique of resistance is established from discourses about music that does not necessarily correspond to what music analysis itself could detect.”)
Desert Rock — Tinariwen brings rebel music out of the Southern Sahara
A slow Hendrix blues riff, deep, rough and insistent, slashes through the aural space. Broken down and repeated, the opening riff is joined by the offbeat upstrokes of a second, trebly electric guitar establishing a shuffle counterpoint. A fast rap barely breaks through the sound of the guitars, becoming louder when it morphs into a sung chorus with backing vocals (three, maybe four words). About four minutes in, the guitars drop out and the song is stripped down: a fast rap over a loopy funk bass line, accompanied by handclaps and soft percussion. The offbeat guitar upstrokes return joined by an arpeggiated riff on a second guitar, then a lead guitar. The vocals become secondary as the guitars propel the song to its ending and the opening riff returns. While the description could fit a performance of an up-and-coming indie band at the Noise Pop festival later this month, (to read more click here for the East Bay Express article)
In 2002, I spent a year in Morocco researching the emerging alternative music scene in Casablanca. Most of my attention went to the creation of a new genre of Moroccan music that soon carried the label “fusion.” Heavily influenced by French fusion bands, such as Gnawa Diffusion, Moroccan fusion blended Moroccan genres (cha’abi, gnawa, houari…) with rock, rap, salsa (and other international–mostly Black Atlantic–genres). Fusion also built upon earlier musical blendings. One of the roots of fusion was the music of the ’70s, which included the folk revival that included bands such as Nass el Ghiwane. Less remembered were solo urban artists, such as Abderrahim Askouri, described to me as a “musician’s musician” from Hay Mohammadi in Casablanca who influenced Nass el Ghiwane and other folk revival artists and also Khaled who spent a couple of years refining his chops in the clubs of Casa before returning to Oran and becoming a rai superstar.
Record producer Maurice El Baz played me some Askouri tracks but despite an evening searching cassette shops in popular quartiers of Casa, I never obtained my own copy of Askouri’s work. I just stumbled upon a posting by Abdel Halim El Hachimi on his Tales of Bradistan on Abderrahim Askouri and had to pass it on. Now, I got to get a copy of the cd Abdel so luckily found. A final note Abderrahim Askouri’s nephew Younes Askouri is a very talented singer-songwriter working in Casa today, a member of the 21st century fusion scene (YouTube clip below).