The phenomenon of singing groups completes half a century of creativity in the arms of Seuss

Half a century has passed since the emergence of a musical phenomenon that produced lyrical groups that knew how to emerge in the period after the independence of Morocco and the political and social tensions and migration to the cities and the fascination with the manifestations of urbanization and modernity. . It is the phenomenon of singing groups in Souss, especially those that characterized the sixties, seventies and eighties of the last century, which created a great musical wave in Souss, together with other forms of the Amazigh heritage such as Ajmak art, Hawash and Terusa. .

There are many Amazigh singing groups in Bsous, which emerged and triumphed on their way in a circumstance in which Morocco was experiencing a special political situation in which freedom of expression was restricted, and they expressed themselves in various forms and expressive tools such as theater, singing, writing, etc. Messages, meanings and connotations to Moroccan homes through these simple tools available at that time.

“Laqdam”, “Titar”, “Tauda”, “Osman”, “Iznzaren”, “Arshach”, “Lerach”, and many others, groups that filled the world and occupied the people, and are one of the groups of I sing that have been formed all the time and since the sixties of the last century. A starting point for the emergence of a series of artistic groups that became interested in Amazigh musical creativity and worked at the same time to develop and improve their performance in word, melody and performance.

Dr. Khaled Al-Ayoud, heritage researcher, told Hespress that the phenomenon of the groups that Morocco experienced in the early 1970s was part of a cultural process that Morocco experienced during that period, with all its interactions and contradictions, with all their violence and difficulties.

And he added: “In the context of addressing the first signs of the emergence of these singing groups, that is groups, we cannot read the seventies isolated from the political reading of reality and that period with all the pain and hopes that it entails , almost a decade after independence; An ambitious generation yearns for another Morocco in which they enjoy freedom and look for themselves, especially since the heyday of human movements associated with tourism, especially tourism of a special type, was experienced in the mid-1960s. youth tourism.

In this context, continues Al-Ayoud, “the south of Morocco will witness the influx of thousands of young people, of the so-called hippie movement, especially on the beaches of Mer El-Left, Tifnit, Sidi Rabat, Taghazout Tifna, Essaouira, where the presence of this generation is thick with new ideas and an appetite for life, with everything that makes sense of the word, and also with immersion in a new form of music.”

This music, and in that period, deviated from the ordinary and the usual, continues the speaker: “We no longer find young musicians who wear ties, elegant coats and ornate instruments, but young people who opt for other ways of dressing. , haircuts, etc”, and this will affect a new generation, and “Here we will talk about Susi’s singing groups”.

And the same researcher adds: “It is natural, then, that the influence of the Nass El-Ghiwane group is present, but the experience of the groups in Bsous began around 1972, with the same pattern, like the entire generation that founded the phenomenon. It was very influenced by the hippies, and here we know that the youth of the region spread a phenomenon among its ranks (Camping), especially in the Taghazout region, as a space for convergence and openness, as well as the access of young people to universities” .

At this stage, the waves began to imitate, as are the phenomena in various parts of the world, thus the first groups such as “Baqadam” and “Izenzaren” appeared, which is a continuation of the same group, and other groups appeared in Agadir. like “Titar”, and other names were founded and then disappeared or their names have changed, their sponsors have changed, or they have moved to other groups, according to Khaled Al-Awaid.

And the same researcher affirms that “1976 is the year in which self-imposed groups emerged that realized that they no longer sang just for fun and joy among a generation belonging to the same stage, thus Iznzarn, which separated from Iznzarn Al – Shaikh, then Arash, Ikidar, Riach Titar, and then Ait Al-Ati and Odaden later, who silently grouped and influenced all the way, and so we talk about the patron of Tzanzart who sat on the throne of this wave.

On the phenomenon of Tzanzart, Al-Awaid explained that many factors made him the top of the groups, including “the charismatic personality of Abdul-Hadi Izanzarn, who joined in singing in a special way. The strength of Abd al-Hadi as a voice it has very special characteristics”. , then skillful play; Everyone considers him the undisputed king of the banjo, and to this day, we also find the nature of the themes addressed by the Iznzaren group, such as (Emi Hanna), and then themes that observers consider to be of a political nature, while they are songs social, some of which are from ancient poets.

Researcher Khaled Al-Ayoud concluded his statements to Hespress by saying that “to speak of half a century is to speak of the continuation of the style and spirit of Tzanzart that prevailed and still exists until now, and therefore that a phenomenon or method of performance continues for fifty years, I consider it a great success, if we talk about the Moroccan song or the youth, or the generation of the seventies, the Casablanca and Sous groups stand out, which gave another dimension to the song, and even reached the international level. .”

The phenomenon of the lyrical groups, therefore, today constitutes part of the history of Moroccan art that deserves to be unearthed, documented and dated, as well as some international lyrical groups around which many documentaries and films were made; With the exception of a film about Nass El Ghiwane, the other groups remain absent in the way of film documentation, and the same goes for the writings that are still modest in exploring the depths of the phenomenon and highlighting its strength and what he added. to the cultural scene in general.