![]() Ce faisant, ils opèrent une négociation identitaire continuelle, qui leur permet de s'inscrire à la fois dans un héritage culturel et social très spécifique tout en investissant des territoires nouveaux. Loin de déplorer une hypothétique perte d'authenticité due à leur migration, les Gnawa bruxellois redéfinissent leurs pratiques musicales et leurs modalités de fonctionnement, adaptant celles-ci à leur nouvel espace de résidence. On observe des changements dans les modes d’apprentissage, l’apparition de la mixité tant dans la pratique musicale profane que rituelle, mais aussi la diversification des contextes de jeu, qui pousse les musiciens gnawa à s’approprier d’autres styles musicaux marocains dans lesquels ils n’hésitent pas à puiser de l’inspiration pour leur répertoire gnawa, théoriquement fermé à l’intégration d’éléments extérieurs. Plus encore, la comparaison avec la situation dans d'autres diasporas permet de supposer que la situation bruxelloise présente un caractère unique. Les Gnawa, appartenant à une communauté originaire du Maroc, ont intégré à leurs pratiques des éléments nouveaux dont l’adoption pourrait s’expliquer par leur relocalisation à l’étranger. ![]() (English below) Cet article étudie les pratiques musicales gnawa à Bruxelles par le biais de l’ethnomusicologie. She is currently working for Muziek-publique, an association which promotes traditional world music in Brussels. Hélène Sechehaye has a master's degree in musicology from Université Libre de Bruxelles, and is beginning a doctoral thesis on the Gnawa in Brussels in co-supervision between Université Libre de Bruxelles and Université Jean Monnet de Saint-Etienne (France). In so doing, they continually reshape their identity, which allows them to be part of a very specific cultural and social heritage while exploring new territories. Far from deploring a hypothetical loss of authenticity due to their migration, the Gnawa in Brussels have redefined their musical practices and their methods of operation, by adapting them to their new place of residence. ![]() This has prompted Gnawa musicians to learn other Moroccan musical styles, which they use as inspiration for their Gnawa repertoire, in theory closed to the integration of outside elements. There have been changes in the methods of learning this musical practice, women now mix with men not only in secular but also ritual musical practice, and there has been a diversification of performance contexts. Furthermore, the comparison with the situation in other cities allows us to assume that the situation in Brussels has a unique character. The Gnawa belong to a community originating in Morocco, and have integrated new elements into their practices, which could be explained by their reloca-tion abroad. This article examines the Gnawa musical practices in Brussels through an ethnomusicological approach. rough confrontation of the acoustical analysis and the information found in literature with the musicians’ experience, this paper tries to nd the reasons of this obsolescence. e sersera was used before and it is still made and carried by musicians, but nowadays it is barely employed either in Morocco or in Belgium. Taking it into consideration will provide a new approach leading to better understanding of many facets of the instrument, including its cultural value. However, it seems important for us to include the sersera in the analysis of the status, meaning and roles of the guembri timbre. It has been o en noticed, or brie y described (Baldassarre 1999), but never analyzed in detail. is device, called the sersera, is mostly audible during solo moments. Upon arrival of the spirit, the guembri, as the adept, becomes possessed.” e guembri is equipped with a de- tachable idiophone consisting of metal loops or rings xed around the edges of a metal sheet, inserted into the neck. ![]() 52), “the guembri attracts the mluk (supernatural entities summoned in gnawa ceremonies) by sounding their musical identities, e ectively sounding their names (.), (as well as) calling on the adept (.). In Gnawa music, the three-stringed lute called guembri plays a central role. ![]()
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