This reality is a world of fear, oppression and torture [tawda gh will ugharas fear in the paths , izîtti wuzzal iron bars , ur nemmut ur nsul neither alive nor dead The following instruments take part in the accompaniment in dance and song both secular, and sacred. Rachid Taha – Zoom Berbers are a solid majority of Morocco’s population, but are nevertheless politically marginalized [ citation needed ]. They were performing during tthe years known as « years of lead » les annees du plomb , during which there was social injustice and no freedom of expression. In contrast to many of the region’s peoples, among the Tuareg, music is mostly the domain of women, especially the imzhad, a string instrument like a violin. Cheb Kader Tirogo Live

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Ahwash texts emphasize the submission of the individual to the community. This instrument is used mostly as a signaling instrument to send out messages to large masses. Instruments typically include the rebab, a one-stringed fiddle, the lotar lute, hand drums, and a bell. Cheb Kader – Masmoumat El Galb 1. Puis il a évoqué deux actualités le Cheb Kader – Matgouloulich sta3kal 3.

Bienvenue sur la chaîne Sawt Maarif Officiel! Abonnez-vous à la chaîne içi: They were performing during tthe years known as « years of lead » les annees du plombduring which there was social injustice and no freedom of expression.

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This song is called « Dunit » meaning « life » and is basically about life’s ups and downs. This album was released around and it is probably their third, and first time they incorporated a new instrument Guembri aka sentir, sort of a bass guitar.

Thanks a lot our friend nbenhaga for all the info on Izanzaren! Nga butfala nnuda nili gh ugharas kullu mad ilan awwrz ar fllati ttakln lhaq izenzaen uqqariD ig fllas ismkan wanna yad igan izm gin fllasn tidaf.

Izenzaren : paroles de Izenzaren , textes de musique chleuh

À travers leurs chansons, les membres du groupe se veulent porte parole de la culture amazighe. Enle groupe se produit pour la première fois à la télévision marocaine, s’ensuit une tournée qui le mènera à Paris sur la scène de l’Olympia un an plus tard et une participation au premier festival de la chanson maghrébine en Aujourd’hui, Izenzaren continue d’animer des festivals et rencontres culturels au Maroc et à l’étranger.

L’un de ses piliers et fondateurs le percussionniste Hassan Bofertal, décède le 12 juin In the field of Amazigh Berber music, the experience of the group Izenzarn presents certain characteristics. The emergence of this group occurred in the general context of the social changes in the post-colonial Morocco.

The emigration rural migration in the Moroccan sociological terminology became an irreversible phenomenon.

The rural society settles in the town and is confronted at the same time with the violent process of integration and assimilation and with the social problems resulting from the arbitrary management of country by the makhzenian Mafia.

This situation requires the invention of new forms of poetico-musical expressions or the adaptation of the old forms to express at the same time the nostalgia of the origins and the anger towards the abusive policies. Mixing modern and traditional instruments, these groups interpret songs, inspired by the ancestral tradition or expressing the current sensibilities of a generation coming from the first wave of the tablx emigrants.

Founded at the end of the Sixties by a group of young people from newly urbanized families, Izenzaaren is among the first Amazigh groups to modernize and radicalize the Amazigh song. After tribulations under different names, a first album is recorded in the year Thus starts the first season of the group, characterized by love tala such as: Wad ittemuddun travelerWa zzin Oh!

Immi Henna My gracious mother In the beginning of the Eighties, Izenzarn embraces more protesting themes: The protest in Izenzarn’s songs is characterized by the challenge of the dominant speeches: Iggut lebrîh idrus may sellan igh islêh Plenty of speeches And yet Nobody tabka to the reason and the harsh description of the reality: Nettghwi zun d teghwi tmmurghi gh igenwan ikk d lhif akal We are like grasshoppers taken between the skies and the dry grounds.

This reality is a world of fear, oppression and torture [tawda gh will ugharas fear in the pathsizîtti wuzzal iron izenzaarenur nemmut ur nsul neither alive nor dead After a disagreement, the group had split.

Two groups dispute the name: Izenzarn Iggut Abdelhadi and Izenzarn Shamkh. But, it is the first one that imposed itself due to the emblematic image of its main singer, Iggut Abdelhadi. Chanson des années folles: Hippisme, patte d’eph et insouciance.