The enthusiasm for this kind of celebration was so great among a group of patrons Mostaganémois more "fans" than others and unable to resist for too long longing to enjoy their favorite music, took the welcome initiative to organize during the year 1950 , a grand gala hosted by the prestigious El-Mossilia " Algiers in full force.
The show took place in the salons of "Grand Hotel" downtown and among the orchestra, we noticed the presence of illustrious names such as Mohammed and two brothers Abderrezak Fakhardji , Abderrahmane BELHOCINE, Sid Ahmed Serri, Mustapha KECHKOUL and many other famous musicians all also each other.
The participation fee for this event arts and culture was set at an entry fee of one thousand francs and the evening was a huge success with the local population to the number of which could not however notice me, and for good reason.
I must stress that it was not envy that I was missing, but again, this time, this kind of shows I was not at all accessible because of the precariousness of my economic and financial situation.
It took me until the year 1952 to see the passing of Sid Ahmed Serri at the wedding of one of my cousins, the late H'mida BENGUETTAT now disappeared.
It was the first time the disciple and eventual successor of the Master Abderrezak Fakhardji occurred in the Cité de la Salamandre And I remember he was joined that day by two eminent musicians whose names Abdelghani Belkaid, violin virtuoso and the late Mohamed Mazouni the mandola.
can say that the "final exam" of that which the connoisseurs already nicknamed the "Nightingale" was a total success if we judge by the many invitations to which he answered from this Mostaganem date.
I also explained how the Andalusian music left me, during the first years of my adolescence, rather indifferent then I felt strongly attracted by the "Chaabi" and the song "Asri (Modern) and even" Cherqi (Eastern) the passion of our nationalistic impulses tended to propel the rank model.
However one of the most trivial event would provoke in me a dramatic metamorphosis that I can not explain yet. More than that. It was actually an incredible phenomenon whose effects were expected to take time with an immeasurable dimension coupled with an intrinsic value to the exponential power.
Master Lumber unintended result of this mutation was also much more likely to inculcate and spread the music learned in academies and other specialized associations with his great skills and a masterly command of this magnificent art.
He is Professor Abderrahmane BELHOCINE who was responsible to lead in this year 1951 the marriage of one of my childhood friends, former classmates at the Lycée René Basset, Hamid Benkritly.
I must admit that initially the prospect of an evening not enchanted me Andalusian little more than Sheikh, notwithstanding his undoubted class in the hierarchy of masters in the style "Sana" did not have a reputation as a nightingale. But my duty compelled me to attend because of the strong friendly relations that bound me to groom. So it was almost out of duty and courtesy that I'm committed to - (in my heart) - just an "act of presence" purely formal.
Fortunately! I praise God for giving me inspiration in making this decision, as it is true that this evening have me marked so that's all my fate in the cultural field who had to switch to my knowledge and that ... in the space of a hot summer night.
Thus, between nine o'clock and six o'clock in the morning, we had the right to a magical escape where dreams and reality coexisted in a misty atmosphere, extending to infinity until to coincide with the morning mist and dew of dawn almost unreal. An aurora which exhaled a thousand scents imperceptible echo the distant call of the muezzin who was in a clear sky studded with thousands of lights blazing up the skies evoking a surreal scene emerged from the depths of nothingness.
(Photo cons: Tbit or evening wedding)
This type of organization was to spare the audience the annoyance generated by the dead time between two or two noubas qacidas written for example, that the course of the evening was to take place in " non-stop "by the two Sheikhs taking turns to turn. Thus the overall structure of the evening program Was not difficult to guess. No need to be a genius on the subject to imagine the distribution of musical styles between the two groups involved.
For Abdelkader El-Oujdi, Haouz and Moghrabi had no secrets so well that he had no trouble seducing eager assistance of beauty, quick to enter into communion with the artist in a masterful interpretation of the unforgettable "El Kau" that would not disavow its author, the famous poet Moroccan Mohamed Bouazza. As the Master Belhocine, what about his performance very "Andalusian"? His mission was to transport us gently to the kingdom of the Umayyads to show us around Cordoba with its lush ranches, to Grenada and its hanging gardens, whose beauty and splendor are engraved forever in the Andalusian Nuba.
For my part, I must confess that I am indebted to him for making me discover what is among astronomers nothing less than the dark side of the moon. In other words, a world very current and omnipresent but not yet accessible to the average person without an introduction to the "thing" like the one gave us that night, Sheikh Belhocine.
is somehow a separate world reserved for an elite whose membership or user selection does not obey any known ethical rule. Are admitted only those in possession of "Sesame" or that luck and chance have put on the path of the caliber of teachers and peers Belhocine. Thus, a whole night long, it was a succession of Nuba all more beautiful than others.
I flew for almost one discovery by becoming aware of the immensity inexhaustible repertoire of a rich and varied and whose beauty is only the visible part of the iceberg. I was literally enthralled or spellbound by a kind of magnetic fluid close to hypnosis while remaining in control of my lucidity, however, for keeping an unforgettable moments of ecstasy that I had to live for the first time in my existence.
In any case, my gratitude to him who was behind that passion - (because it is one) - for this art music has no boundaries. The feeling I experienced that day is like nothing less than a "thunderbolt" that marks you for the rest of your life. Especially since that night would soon be followed by a second equally memorable to the wedding of another childhood friend and neighbor in the person of Belahouel BERBER who would become my brother four years later when it comes my turn to get married, a May 26, 1956.
But we're still in 1952, and that day Sheikh Abderrahman Belhocine was framed again by Hajj Mustafa SIKA mandolin and a musician of Algiers If Abdelkader BEREZOUG who happened to be in Mostaganem, on vacation with his family. However I have to tell the truth for the sake of accurately report true facts, as in 1951, the two companions were not very helpful for the Maestro had to rely only on his talent and his great ability to not disappoint her many fans. And there also all music lovers at the event did not have to regret it. It was therefore, by the magic of words and instrument an unforgettable night which completely transform me into the cult born into this music for a real veneration for an ancient art that I felt overwhelm me to the depths of my being.
On this occasion, I remember an anecdote tasty that I can not help you deliver. During a break between the Master Nuba, and emboldened by the scant knowledge on the subject that I acquired through my portable radio, I managed to overcome my shyness to ask tactfully and Sheikh courtesy, kindly interpret a famous M'cedder "Zidane entitled" Tahia bikoum Koulou Ardin Tenzilouna Biha "attributed to Sufi poet Sidi Boumedienne Choaïb El Ishbili.
This is a very difficult piece of music, and of course, my request was worded in such specific terms, that is to say exactly supported all specific references and related technical, using the appropriate terms of "M'cedder Zidane" and the title of the poem so. However, it is clear that my request was not alone on the carpet.
She even lost among a dozen other guests all made by middle-aged and especially more knowledgeable than me. You must remember that we are in 1952 and I'm only twenty years ago. Therefore, it should steep himself in the context of the period during which the Andalusian music fans were not many and the few "fans" who were interested were mostly from what one could classify in the category of "third age".
Also, everyone was waiting for more events. And indeed, after a few minutes of well deserved rest, the master resumed his place before the microphones, and guests to support their requests aloud to influence the decision of the individual. As for me, I was careful of my side to add my voice to the uproar surrounding it was more an aside I had made my wish to Sheikh few moments before taking advantage of an opportunity at the same time he returned to his seat.
his left hand, he took his alto he granted with a mechanical gesture, and smiling, he looked expressionless and distant on assistance as if searching for some hidden inspiration hand. Silence fell immediately and we only heard whispers here and there stealthy among those who came to formulate their queries; of speculation on the next shindig that would be initiated from one minute to another.
I was careful as everyone when a menu sharp detail caught my attention: I noticed in fact that the ring finger of the left hand of the Lord rested on the grade of "D" of the instrument. The D is neither more nor less than the tonic mode Zidane. I then realized that I had just won the game. And indeed, the maestro began a sublime Istikhbar M'cedder that followed Zidane I had ordered with deference. But the story does not end there.
few days later, when we currencies between friends on the wonderful night of a thousand and one nights we had to live, I was naturally led to talk of the famous motion and suites when she received a close friend of Sheikh suddenly addressed me very kindly, saying: "It is you the mysterious young man that the Sheikh had noticed during the evening and he keeps talking in terms of highest praise ..."
However
or I could check several years later he still remembered the "young gentleman," particularly during the years 1957, 1968 until 198O. Moreover we shall return to this point.
For now, I just want to digress for a moment to explain some points raised in this story:
I was careful to note above that for the two benefits that I attended in 1951 and 1952 was accompanied by Mustapha BELHOCINE SIKA and Belahouel BELADJINE among others.
As such It should be noted that there is a secret that the Pearl of Dahra conceals a significant number of talented musicians and it is easy to imagine that the Master had thus spoiled for choice to make support. The question that arises now is why these two instruments rather than others. Is that this choice was, it seems, dictated by considerations of competence and ability as it is true that the Andalusian Nuba particular requires specific knowledge that is essential to have studied in advance, unlike the style chaabi freer and less rigorous anyway.
It so happens that these two musicians have had the chance to know and go from the years 1946 If the late Habib BENTRIA . So who is this gentleman?
Born in 1902 in Mostaganem, this self-taught since 1930 was an avid Andalusian music "Sana" School of Algiers for the sake of expediency, as has been described above. Then he joined an early age "Circle Crescent" which became one of the leaders until 1946 to date which he had to cease all activity for health reasons.
left on photo , the toddler six years is the Author
(Benkrizi Moulay) holding a "tar" on hand, nearly
his father Hadj Belahouel to mandolin and Sheikh Hajj
Ghali Ould El-Bey violin.
Right Mohamed Benchougrani banjo and left
Bouziane Reguieg on mandolin
From this point of view, we can say that if BENTRIA Habib is a pioneer in that it is the first to have tried to implement art and Ziryab Ibn Badja in Mostaganem. And if the results are not commensurate with his ambition and effort, merit is still not diminished because he has had at least the advantage of preparing a generation of young fans ready for any sacrifice with at their head, a man of the caliber of Hajj Bouzidi BENSLIMANE whose role in the promotion of Andalusian music in the region will be crucial as will be demonstrated below.
In 1950, off at the age of forty-eight years If BENTRIA Habib, leaving behind her broth culture more favorable than the following generations will build on the early years of Independence.
For my part, I must say how great is my regret at not having known this wonderful man, so generous. But I bless his soul for the work of thorough preparation he imposed upon himself during his short and painful existence in anticipation of the future. Very near future where it was written one day, I personally would have a role, however modest it may be. Because it is a fact: All that I felt indifference in the forties five Andalusian music was a distant childhood memory. It has definitely given way to a passion after a lightning strike indelible fascinating heritage that has not finished, so far, to me its secrets and reveal mysteries.
And so I was led without really want, to a cult for the Andalusian music, but deny it for the world the kind "Moghrabi" called "Chaabi" I still fond as to the earliest days of my adolescence.
However the famous story of how Zidane recounted above would cause a long and respectful friendship with Professor BELHOCINE I found five years later in Algiers, where I was on work placement during the months of May and June 1957 at the initiative of my tax administration. Under what conditions?
One day I was strolling peacefully side of the street Michelet, as chance would have me meet an old friend Mostaganémois, Bouali KARA-Mostefa who had settled in Algiers, with all its family, for several years. He was sound technician to ... Radio Algiers in Arabic at that time located at ground Floor of the immense building of the General Government Street Berthezene. Of course he was delighted to see me and even offered me to visit him at his workplace, which I accepted without hesitation. An appointment was made for the following Sunday when he was just on duty all day up to eighteen hours.
So after lunch taken in haste this Sunday, the restaurant PTT behind the main post office, I rushed to half past twelve at checkpoint the entrance of the studios, asking to see Mr. KARA; which contacted by intercom, responded immediately to the police on duty they could let me enter.
He was busy preparing for the broadcast "live" in concert every Sunday from thirteen to fourteen hours a classic big band under the direction of Master Abderrezak Fakhardji surrounded by all the luminaries that were in the capital Sanâa music.
Among them there were, of course, If I saw that Abderrahmane BELHOCINE since the console is where I was, through the glass partition with the studios issue. Big smiles and greetings discrete while waiting to return to after the broadcast "live". I must admit I have no recollection of the Nuba in the program this Sunday, but I only know that the singer interprets the day was Youcef KHODJA. What a true delight!
soon ended the show, Sheikh promptly left the studio and came to greet me very friendly, asking for news of more knowledge of Mostaganem, while evoking a lot of memories. I was even surprised to see great performances of his memory as he remembered perfectly still that famous story of how Zidane one evening in 1952.
It was the first time he gave me to attend a concert broadcast live by Radio. There will be many more throughout the two months since my last stay in the capital. Especially since I had just been introduced by one of my old colleagues and friends of Mostaganem in one of his cousins, named after Mr. El-Boudali SAFIR, Artistic Director at Radio Algiers.
Moreover, as luck would have me knowledge of another sound technician at Radio in the person of Shahid Ali Maach who recognized the restaurant one day my father for having met years earlier in Tiaret, his hometown. May God receive his soul with his great mercy!
Here are the doors of Radio-Alger me now wide open and I can assure you that I was not going to deprive myself to go there as often as my schedule permitted me. The occasion was given to me and enjoy your fill by attending many concerts birthright of all kinds music, ranging account our cultural heritage: Andalusian, chaabi, Asri-modern Kabyle Bédoui and whose studios were contiguous to the Arabic channel, on the same floor.
So we were in 1957. I was married for a year and my eldest son Sidi Mohammed Fodil was aged just three months. The infamous "Battle of Algiers" claims brought by General Massu and BIGEARD raged and took the Algerian capital in an embrace of steel and fire impossible to imagine. I was even in spite of myself, watched helplessly from punitive actions by publicly held racist "Blackfoot" under the benevolent gaze more than the occupation army bogged down in its mission of "pacification," and I can assure you that more than once, I've had my hello to my fair complexion and my facies can be misleading.
Moreover, the degree that I had somehow managed to win in the month of June 1954 still allowed me to introduce myself to successfully contest Controller Various contributions from the year 1955.
Also, this very valuable asset, I could even afford the luxury of denying the benefit of the so-called "promotion Lacoste" which was to give from 1957 to the "French Muslims" certain advantages such that access to higher ranks to those they held in the administration. I must admit that this is for me, until now, a pattern of self-pride to me to proclaim loudly that for my administrative career from beginning to end, I am indebted no favor anyone. Nothing on the French government during the colonial period. Nothing either to the Algerian Administration from 1962 until the date of my retirement as of January 31, 1992.
On this point, I emphasize that it is conclusively established that all the posts and grades that I occupied during my long administrative career between 1954 and 1992 were acquired by competition officials. Supporting evidence and documents in my possession. Duly noted!
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