Extracts from "Memoirs" by Moulay Ahmed Hadj Benkrizi
YEAR 1980
From 26 June to 2 July, it was the turn of 6th Festival of Tlemcen who lives course our regular participation in a spree of fashion Rasd-Dil. But unlike last year, I personally found it appropriate to ensure the direction of the orchestra where we noticed for the first time the presence of a girl of twelve years , no taller than three apples, which was soon to talk about it in terms of highest praise.
It is the small Nadia Ould-Moussa whose vocal qualities are likely to simply move the most hardened souls, as was previously the case with other students such as Sid-Ali Benguendouz for example, or the late Omar Berber among others.
However, unfortunately having belatedly joined the Association, it was unreasonable to give him a solo as I dared to do in similar conditions, however, with Omar Berber at the Festival of 1974, and that because of age of the girl strongly early on the one hand, and secondly his total inexperience in a forum of this importance.
Nevertheless Mostaganem had discovered a rare bird : His first solo which was sorely lacking since its inception in 1967 . As for me, I finally wanted "my" joker that I would not miss not exhibit as soon as the new recruit will have acquired sufficient maturity in this hard job exciting.
Also, is it not surprising that the national daily "El-Mujahid" felt obliged to take this opportunity to publish the pen of the late Rabah Saadallah a monograph very informative and quite Details on the Nadi El-Hillel and the Shuyukh Mostaganem trying to go back in time as far as possible to achieve as much as possible the deepest roots of this ancient art in the region.
......... Constantine 1980
in the sky So we had to break the fast an hour before landing the aircraft, with a delicious "zlabia" Tlemcen courtesy of our friends and fellow travelers precisely the SLAM led by their master, the late Sheikh Mohamed Bouali If.
La Nouba Zidane was fully developed and forty three elements of the orchestra under my direction as usual, "s'éclatèrent literally in the spotlight and cameras Algerian television mobilized for the occasion .
be noted that this was the first time that training mostaganémoise presented itself with a number of musicians as high, and it was not displeasing to us, quite the contrary.
Thus, with the young Nadia Ould-Moussa, I could now count on the services of a second soloist, not to mention the poor Omar Berber course, three singers of value that can compete with the best amateur talent of the moment.
Finally with respect to all, it is clear that all musicians have outdone themselves in this huge orchestra dominated in particular by the very noticeable presence:
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On R'beb played by the small Faisal aged eleven years ago.
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Two cellos made by Mohamed Koroghlou and Djilali Benatia.
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And a piano with Abdelkader Ghlamallah.
On the other hand, less than a month later, a new cultural event was held at TNA Mahieddine Bachetarzi of Algiers in the month of August 1983. This time it's not a festival but it was the "Cultural Week of the city of Mostaganem" in Algiers and as such, Andalusian music should occupy a prominent place with El-Nadi Hillel Ettaqafi course. However, visibly stung by the unfortunate incident of the "tavern" of April passed, the organizers had decided to atone for their mistake by returning to the good habits and a real little restaurant called "The Cirta" which was so well seduce us with its standing, its service and its menu during the month of December 1982.
As for the program of the evening, I remember having opted for a lovely shindig in the mode Rasd "decorated with a magnificent" M'cedder "completely new entitled" Ya Badr El-Boudour " - (Oh, moon of moons!) - Beautifully played by the warm voice and compelling Early Nadia Ould-Moussa, whose age was not more than fifteen years. Who says better?
Once we had finished our performance, we were pleasantly surprised to be joined backstage by Master Sid Ahmed Serri among others, kindly came to congratulate and encourage young prodigies for their progress and seriousness of their work ; compliments that we went straight to the heart.
Instantly I saw the picture in thought that took place on the stage of film "The Coliseum" Mostaganem, one day in 1972 on the eve of the 3rd Festival of Algiers.
Also, true to its principles of courtesy and proper education, Master was in the vast corridors of TNA a kind word to address each student before entering the discussion: "It's the best job you can do. With all this youth, you're making an investment in the long term, in fifty years! "
Then addressing a more technical aspect, I personally congratulated for the careful choice of m'cedder sung by the little Nadia , not without asking me what source I could well take a piece so rare. Obviously, I made myself a duty and a pleasure to reveal that the vast majority of my repertoire was due to the overwhelming generosity of the Master Khaznadji, and m'cedder in question is no exception.
However, it should be noted that this kind gesture would be slightly altered by a small incident of no consequence to me it seems, to a misunderstanding fortunately without affecting the quality of our future friendly relations. What does this mean?
Addressing the little Nadia after his flawless interpretation of the famous m'cedder in question, the Patron of the prestigious''El-El-Djazairia Mossilia'' Algiers congratulated her warmly, adding a connoisseur, it represented for the moment, one of the most beautiful voices in Algeria. In short, a very personal appreciation, - (which I fully share the rest) - but, say it now without major impact on a practical level.
"Soloists Mutilation - The difficulty of being"
(By Cheryl Ouazani)
"From maalm Yamna Nadia Ould Moussa, much water has traveled through the wadis. But attitudes have changed?
Sid Ahmed Serri has many virtues. It is a remarkable musician, great performer, a muezzin of talent and is poised to become the best young talent déceleurs. Besides El-Mossilia owes something, if it is the place it occupies.
You will wonder why we talk when we are supposed to talk about women soloists. For the simple reason that mostaganémois according to testimony, following a solo singing Nadia Ould Moussa at the time with Nadi El-Hillel Mostaganem, Sid Ahmed was warmly welcomed by saying she had the best voice of Algeria. The eulogy can be considered exaggerated, but it is credible given the size of its author.
mostaganémoise Nadia is a young twenty years she studied biomedical university of Oran and stopped singing for a few years.
"I miss," she said. So why does she not resumed? The father vehemently denies being the cause and explains the situation very poorly.
She made her debut in Nadi, where she learned noubas nearly six out of twelve. Before his vocal abilities, some advised for the solo career.
She left Nadi and made a few appearances with El-Fen Wa nachat. The regional television station in Oran him make a recording, and it was when his voice begins to make itself known, paradoxically, she continues to sing. "There was no question that I become a professional, she says, with the approval of his father, school principal, and if I had rechanter, it would be at Nadi. At the same Nadi, it seems that we have misunderstood the fugue. But we are confident that the wisdom of Moulay Benkrizi prevail, if only for one talent is not wasted and missed a vocation.
Beyond Nadia's case, the problem of phobia arises professionalism. During the thirties to the fifties, the artist was considered a pariah. The singer was necessarily misguided. Yamna was driven by his father al-Mahdi. M'rah showed us a tetM, the only woman in male evenings. H'nifa had no ties with her parents. Fadéla kept through the eyes of her family because she had been the support material. What about in the late eighties?
For him, there was no question of monopolizing various interventions voice on a single interpreter, even if he has the best voice predispositions.
one hand, to the sensibilities and secondly, not to inflate the head of the student and make it a potential victim of professionalism. This is how a musician, a music lover speaks of a professional music practice.
However, it would be hasty to blame this reasoning, in view of the field in which bears the young singers. Producers who have nothing to do with art publishers who rely much more than they dislike.
bad for Faisal who grew up a lollipop in one hand and a R'beb in the other. Too bad for Nadia. Too bad for music.
Signed: Cherif Ouazani
(End quote).
Beyond the specific case of Early Nadia - ( doctor today, mother and president of an association of Andalusian music in Bordj Bou Arreridj, called [Ahbab Chikch Moulay Benkrizi] ) - analysis of this article by my friend Cheryl Ouazani, refers to that famous "tuning" of Sid-Ahmed Serri, who judged it appropriate to revisit statements held in 1983, writing in the same publication the following disclaimer:
"Reading the article by M. Cherif Ouazani the female soloists, the parudans No. 1127 of May 21, 1987, I was surprised that one of my interlocutors assigned me something that I've never voted for a young student and an association of Mostaganem, saying she had the best voice of Algeria. I do not think I could, given a single hearing, to issue such judgments of value.
far as I can remember, the woman was presented to me after a concert by the Nadi El-Hillel association Ettaqafi, during which she sang a song from those with the program. Her voice is nice but still lacking insurance, I simply welcomed him and verbally encouraged, as befits in such circumstances without issuing another assessment.
Believe me, Mr. Ouazani, my best feelings. "
Signed: Sid-Ahmed Serri
(End quote).
For my part, I readily acknowledge the excessiveness of such a ruling, as it is true that the tastes and colors of each are not discussed and may even vary from one person to another depending on a number of parameters used in all the arts community in particular.
However, this does not affect the objective qualities inherent presented at the time by this young student who really stood out with a boundless passion for everything related to Andalusian music not to mention natural gifts indisputable in this area.
Furthermore, it should be noted that the transfer of this student, at some point, the Nadi to nachat no way constituted an event itself insofar as such movements were common, obedient in fact, a cyclical and cyclical impulse generally recognized in all associations of the genre.
Thus, it may seem surprising to want to assimilate his departure to a "runaway" much less a disaster, since the objective, purpose and rationale of Nadi at the time that me personally at least, was based essentially on the motto:
Training.
Encore Training.
Training And always!
That said, it goes without saying that the "dual membership" Simultaneous two separate associations, and identical in nature, obviously raises the problem under the same conditions as for a student who is enrolled in two institutions different school, or an athlete committed to two sports associations engaged in a single discipline.
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Thus, a satisfactory solution in accordance with the wishes of the complainant, could be found easily in the direction of reinstatement to the fold, since his resignation effective from the second competing association.
As for playing music in a professional setting itself, I do not think that the doctrine of responsible Nadi at the time was at odds with the philosophy and mission of the association, and through Accordingly, with the statutes governing its activities still legal.
Indeed, as has been pointed out above, they articulated a policy of training all-out, focusing on the inviolable principle of strict amateurism in the best sense of the word.
However, this restrictive view purposely did not preclude the possibility for her to embrace elements of "individual", a career professional or semi-professionally outside Nadi, albeit lucrative, while continuing to activate parallel within it.
The best illustration is provided by a whole host of singers and musicians who, while attending courses assiduously by me at this structure, ensure trouble free entertainment festivals, weddings and concerts or public television.
Therefore, it is incorrect to refer to an alleged "phobia of professionalism," as he is rather a question of ethics is to give the Nadi stamp of strict school teaching and learning, away from any temptation to gain or profit that could lead to a confrontation with the highly humanistic ideas and the basic theories that inspired its venerable founding in 1967.
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It is in this spirit that must Suscribe very relevant statements from Dr Benkrizi that it is important to avoid a concentration of soloists on a single performer, regardless of their abilities in this area.
is, without doubt, our greatest satisfaction, and an immeasurable source of pride.
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