Abdessadek Chekara, une vie consacrée à la musique Al-Ala

Publié le 21 Juin 2008


En parlant de vétérans et ténors, on ne peut occulter le nom de Abdessadek Chekara dont les recherches et le travail accomplis à ce niveau-là ne sont plus à démontrer, tant le rayonnement de son œuvre a touché de lointaines contrées.

Soucieux de l’originalité de la musique andalouse et de la sauvegarde de ses racines, Chekkara avait quelque peu critiqué la démarche de certains jeunes chanteurs qui cherchent à étendre le chant à d’autres mélodies qui, a priori, n’ont aucun lien avec les origines de cette musique. Il a tout à fait raison dans le sens où il faut éviter les dérapages sous peine de dénaturer un patrimoine cher aux Marocains et aux Maghrébins en général.

Abdessadek Chekara (né en 1931 à Tétouan - décédé le 31 octobre 1998) fut une personnalité musicale marocaine qui a consacré sa vie à la transmission de la mémoire du patrimone musical populaire de son pays. Il s'est rendu célère pour son titre inspiré du soufisme marocain  Ana Manî Fîyâche qui sera repris par de nombreux interprètes pour ne citer qu' Abderrahim Souiri et le rabbin Haïm Look. Il fut un grand auteur-compositeur, non seulement pour le nord du Maroc et la région de Tanger-Tétouan, mais pour tout le pays. Il est également l'auteur de Bent Bladi, interprété même sous forme de rap par OneVoiz.

 

Avec ses baraouil, ses hadra, taktouka et autres genres musicaux et littéraires puisés dans de vieux poèmes que des familles algériennes avaient diffusées au début du siècle dans la cité de Tétouan.

Il avait  commencé son itinéraire artistique dés son jeune âge, obtint une sérieuse réputation  pour ses interprétations originales des Noubas et du répertoire de l'Ecole de Tétouan.

Abdessadek Chekara était un violoniste virtuose dans la pure tradition de la musique arabo-andalouse.

L'œuvre du chanteur a une place particulière sur la scène artistique qui avait su incruster de de bellle mélodies aux anciennes chansons populaires de la ville qui l'a vu naître. 



Parmi ses chansons

  • Allah Ihdik Ya Ghzali
  • Ana Fi Aarak
  • Ya Bent Bladi
  • Ya Ouldi Ya Hbibi
  • Alach Katibki
  • Al Maoulouaa
  • Miaadak Jani Al Aoual
  • Moulay Abdeslam
  • Nar Al Kalb Diali
  • Ana Manî Fîyâche


Sources des photos

Front.jpg

Rédigé par Mario Scolas

Publié dans #Musique arabo-andalouse

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<br /> The Tetuan Conservatory of Music was directed by Mohammed L'arbi Temsamani for many years until his death in 2002. The director is now Mohammed Amin Akrami, who is also head of the Tetuan<br /> Conservatory Ensemble that carries on the name of Abdessadeq Chekara.<br /> Noureddine Chekara, Abdessadeeq's son, has also been very instrumental in carrying on the family name. Noureddine played with his father Abdessadeq Cheqara in the ensemble since he was a young<br /> child, being the youngest member of the ensemble. He teaches violin (kamanja) and singing at the Tetuan Conservatory of Music since 1983. His innovative work in preserving and developing the<br /> Andalusian legacy continues with fellow Tetuani, Tarik Banzi of Al-Andalus Ensemble, or Radio Tarifa.<br /> In 1940, along with other artists, he petitioned Si Ahmed Belbachir Haskouri, chief of the kalifa's cabinet, Secretary General of the government and Head of the palace who had the monarch's seal in<br /> his hand, in the name of the Kalifa Mulay Hassan Ben Mahdi for a conservatorium for Morocco’s Andalusian musical heritage. Acting on his own initiave as usual, Belbachir founded the requested<br /> conservatorium as the Hasani Conservatory of the Moroccan Music; this opened the first door for further development of Andalusian music in Morocco.<br /> <br /> <br />
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<br /> Abdessadeq Cheqara was born in Tetuan, Morocco, a city noted for its Andalusian influences. His father, Abdessalam Cheqara, was a famed singer and musician in Tetuan, while his mother, Assoudia<br /> Alharrak, was descended of a family of poets, musicians and philosophers.<br /> From a young age, Cheqara was drawn to music and poetry, being influenced by his father, who gave him his first oud. Cheqara was also influenced by the Zawia Al-Harraqiya sufi movement, which<br /> practises devotion to Allah through the performance of Andalusian music. Many of the songs are also about beautiful Andalusia, beautiful women and good wine, remindful of the Al-Andalus period. By<br /> the age of fourteen, Cheqara already performed in a band, meeting Abdessalam Allouch, who taught him malhoun (the Arabic art of sung poetry).<br /> Cheqara sang Andalusian and traditional Moroccan folksongs in mawawil (improvised solo), inshad (solo) styles, and his band was famous for their live instrumental improvisation (taqsim). Many of<br /> his songs were based on poetry and folklore passed through families in Tetuan.<br /> In the 1940s, Cheqara travelled extensively in Morocco, performing with noted Moroccan musicians.In 1940, along with other artosts, he petitioned Spanish Morocco's Kalifa, Hassan Ben Mahdi, for a<br /> conservatorium for Morocco’s Andalusian musical heritage. The conservatorium was founded as the Hasani Conservatory of the Moroccan Music. After several name and location changes, the National<br /> Conservatory of Music and Dance was opened by King Muhammad V on May 26, 1957.<br /> Also in 1957, Cheqara – along with several friends – founded the Tétouan Conservatory Orchestra, to conserve and perform the music of Tetuan and Morocco. Later, Cheqara founded the Cheqara<br /> Orchestra of Tétuan.<br /> Cheqara did much to popularize Andalusian music. Prior to the advent of Abdessadeq, Andalusian music was largely an elite music for Andalusians alone. Abdessadeq had a popular modern image and<br /> recorded with flamenco ensembles. In this way, he helped to create the image that Andalusian music was "hip."<br /> Much of the Andalusian popular songs or Cha'abi (Sha'abi) are believed to have been appropriated from female Andalusian musicians of Tetuan such as Hajja Shili and Hajja Shahaba. Because of sexism,<br /> they were not permitted to record or perform if any males were present and are henceforth not well known. Reportedly Abdessadeq Chekara used to sit with Hajja Cha'haba and Hajja Shili and learn the<br /> women's songs, only to go on to record them. Many of the popular Andalusian songs (such as Ben't Bladi) are written from a women's perspective.<br /> Abdessadeq died on October 31, 1998, after a prolonged illness.<br /> <br /> <br />
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