The Kabyle dances are expressions of culture that at the same time are figurative, ritual, propitiatory, therapeutic as well as playful. They are distinguished through different genres and each of them have a specific function and plays a well-defined role in the balance of individuals and to strengthen community friendliness.
They are practiced in ceremonial and particular circumstances of life in society, and on appropriate occasions (not only matrimonial feasts). And, like musical genres, each of them even has a distinctive name: Tigmarin, Tisekkwrin, dderza, tabrurezt, taqfafayt, aqellal, tizuraz, tazlalazt, taglilezt, tahulit, ajeddeb, ecc.
Too bad we lost all this today! We depreciate our secular traditions because they are stunned and flabbergasted without our knowledge. We utterly neglect the expressions that underpin our entity of identity and give it a stamp, a face. We miserably squander the immeasurable wealth of our cultural heritage in oblivion, we do not take care of it and we do not value it. In doing so, we are culturally flippant and socially improvident.
Dahman At Ali
]]>Congratulation for the valorous, women and men, who dedicate themselves to this noble mission.
The congress ends in joy, dance and good humor as it is customary for Kabyle
]]>By dint of perseverance, she was able to resume brilliantly several texts of famous singers. Telt iyam of Lounis Aït Menguellet, Ad zzi saâ of Slimane Azem, A ttir isahen of Mokrane Agawa, Lbaz of Ideflawen, Izriw yeghleb lehmali, the recovery of Sheikh el-haj M’hamed El-Anka by Lounès Matoub, master pieces with the tone of her voice that invites to travel. Stina also honors Kabyle singers such as Taos Amrouche, Hnifa, Cherifa and Nora in a song she composed herself.
The Finnish has thus enabled Kabyle music to expand its audience on a global scale. With classical arrangements on the piano, she reached an audience that, perhaps, has never heard of Kabyle music. Coming from a family of artists, Stina bathed since childhood in classical music partitions.
From her great-grandmother Ellen Malmberg, a great opera singer in the 19th century to her father, a member of the National Orchestra of Finland, and her uncle, composer of classical music during the 1940s and 1950s, all her family bathed for ages in music. Her brothers are members of a metal band.
It is therefore this fertile artistic milieu that facilitated the adoption of Kabyle music by Stina. The phonetics of her mother tongue, Finnish, had to help her too. We find, in fact, common sounds in Finnish and Kabyle. This is not the case with Latin languages for example. “I found some difficulties because there are no partitions available. I counted on the auditory memory, “said Stina, whom we met during her concert on Saturday in Montreal, at the invitation of the troupe Tilleli.
Her tour of Algeria during her participation in the European Cultural Festival in 2015 made her discover an audience that has already adopted the Finnish artist.
Stina, who has a two-year-old daughter named Dihya, is preparing her first album entirely in Kabyle. “I’m in full composition, I still have some pieces and some texts to finalize,” she says, before confessing to be eager for the project to succeed.
Yahia Arkat
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