Moroccan Hassani Poetry with Guedra at Expo 2020 Dubai
السيدة حشري حساني
HASSANI POETRY - MOROCCO
Moroccan music is characterized by its great diversity from one region to another. It includes Arabic music genres, such as chaâbi and aita in the Atlantic plains (Doukkala-Abda, Chaouia-Ouardigha, Rehamna), melhoun in the Andalusi cities (Meknes, Fes, Salé, Tetouan, Oujda...), and Hassani in the Moroccan Sahara. There is also Amazigh music such as the Rif reggada, the ahidus of the Middle Atlas and the Souss ahwash. In the South there is also deqqa Marrakshia and gnawa. In addition, young people synthesize the Moroccan spirit with influences from around the world (blues, rock, metal, reggae, Moroccan rap, etc.).
Hassani poetry is considered to be an integral part of popular poetry. Its differentia specifica lies in the fact that it is fraught with poetic meters that are measured by vowel articulation, ones which differ from each other in the way their syntactical constituents are made: ‘nasb’ (putting a noun in the accusative; or a verb in the subjunctive; ‘ghafd’ (putting a word in the genitive, for example); ‘raf’a’ (the pronunciation of a final word with a u) and ‘sukun’ (the vowellessness of a medial consonant). Some of these poetic meters, be it noted, are obsolete now.
Hassani poetry remained as such for long period of time, following which a new phase began to emerge where poetry came to a higher stage of maturity. In fact, at this stage, poets began to limit the rhyme scheme to whatever consonants are in harmony with the musical rhythm of the poem as a whole. Another characteristic came into being which places greater importance on the equivalence of lines, and the fact that they be measured against each other as evenly as possible, any addition or diminution being out of place. In this way, the rhyme scheme began to be firmly stabilized and therein appeared what is known as ‘alhumr’ and ‘al’qrab,’ which will remain as the foundation of any poetic meter or rhyme scheme in Hassani poetry.
Secondly, the emergence of music represented a novel impetus for the advancement of Hassani poetry towards a more sophisticated phase, as poets were somehow compelled to accompany their lyrics with musical rhythm. A situation such as this stipulated that any type of poetry that is not in one way or another spiced up by a musical rhythm became, purely and simply, unacceptable. Thus, music started to shape up poetry itself. It in fact helped in forging, so to say, poetic meter in Hassani poetry along the lines of commonly accepted meter in Arabic poetry at large.
More particularly, there emerged into being the idea that each phase had its specific rhythm and musicality, even its own specific poetry, all of which could not be used under other different circumstances. At this particular point, ‘attal’a’ was added to the overall structure of a poem, not to mention the fact that consonance increased from one instance into eight ones. It is worth mentioning here that the poetry in vogue in the previous phases was still recognized. Its different meters were all compiled into one sole meter which was known as the all-encompassing meter. There existed in fact a number of other meterical patterns such as ‘arrasm’, ‘al massaar’i,’ ‘al’asir,’ ‘ashtan,’ ‘azmoul,’ ‘atrous,’ and ‘al wakidi,’ to name but a few. However, the development that occurred in the area of popular poetry led in general to dispensing with a number of these metrical patterns, and to preserving only the ones that are more familiar now.
MOROCCAN DANCE AND FOLKLORE - GUEDRA
Guedra represents several aspects of a form of dance which is particular to Southern Morocco, Mauritania and Algeria.
The primary meaning of Guedra is cooking pot, when this pot is covered with a stretched leather skin to create a drum, the drum is also known as Guedra. When the drummer plays a beat representing a heartbeat using the transformed pot, this beat is also called Guedra. The form of movements made by the dancers responding to that beat, at all times whilst the dancer is on their knees is called Guedra. The dancer is also called Guedra.
For the most part the dancers are covered by a piece of fine fabric whilst performing, but beneath this veil they are heavily adorned, with henna, jewels and headpieces.
The dance is generally performed in Nomadic tents, and as such the women remain on their knees for much of the performance.
Courtesy: www.sahara-culture.com/Western-Sahara/Poetry
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Expo 2020 Entry Fee:
50 AED for February & March month pass
Entry Free for Kids and youth (6-17 years)
Senior citizen (60+ years) & Students
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Opening Times
Sat-Wed: 10AM - 12MN
Thu-Fri: 10AM - 02AM
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Location: Morocco Pavilion
🎥 20 Feb 2022 🕒 1PM - 9PM
🌡 22 °C / 71 °F
Gadget: iPhone 12 Pro Max
Editing: Final Cut Pro
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email: connect@nowhereblow.com
18 сен 2024
