On the anniversary of the revolution, we’re sharing a new article by Leila Tayeb, “Our star: Amazigh music and the production of intimacy in 2011 Libya” out in the Journal of North African Studies, about the music of Libyan Amazigh singer Dania Ben Sasi during the events of the 2011 revolution.
The abstract is:
This article explores the production and circulation of Amazigh music among Libyans between 2011 and 2013. It takes as a focal point the performance archive of Serbian-Libyan Amazigh singer Dania Ben Sasi, whose Amazigh-language music found unprecedented fame in Libya in 2011. Through close readings of her initial musical recording of that year, interviews with Ben Sasi and listeners, analysis of performances onstage and in daily life, and drawing on ethnographic fieldwork undertaken in Libya, Serbia, and Tunisia, I present a brief history of a temporary moment of political possibility. I suggest that the formation of an intimate public around Amazigh music in Libya offered glimpses of an unfinished future in which popular practices of recognition could still be built.
The article appears to be freely accessible online at the above link.
Another PhD thesis by a Libyan student has come to our attention, this time in the field of musicology. It can be accessed online at the following link.
Abstract: “The goal of this thesis is to study in particular the repertoire of Tripolitanian traditional song at the core of the Libyan musical tradition with a method that brings to light both the melodic and rhythmic models which characterize this singing as well as the compositional structures which they exemplify. Specific attention is given to the evolution / acculturation of Tripolitanian traditional song.”
Two studies on a type of traditional Libyan music called nawba (النوبة) appeared in 2012. The first is by a Maltese academic who conducted fieldwork in Libya and interviewed many well-known musicians (such as Hassan al-Areibi حسن العريبي).
- Ciantar, Philip. 2012. The Ma’lūf in Contemporary Libya: An Arab Andalusian Musical Tradition. London: Ashgate.
More information can be found at the publisher’s site, including the table of contents and Preface. The title translates to “المعلوف في ليبيا المعاصرة: تقليد موسيقي عربي اندلسي”. From the publisher’s description:
“The musical tradition of Ma’luf is believed to have come to North Africa with Muslim and Jewish refugees escaping the Christian reconquista of Spain between the tenth and seventeenth centuries. Although this Arab Andalusian music tradition has been studied in other parts of the region, until now, the Libyan version has not received Western scholarly attention.
This book investigates the place of this orally-transmitted music tradition in contemporary Libyan life and culture. It investigates the people that make it and the institutions that nurture it as much as the tradition itself. Patronage, music making, discourse both about life and music, history, and ideology all unite in a music tradition which looks innocent from the outside but appears quite intriguing and intricate the more one explores it.”
The second is a PhD thesis by a Libyan student at the Free University, Berlin. Both a summary in English as well as the entire PDF (in German) are available. The thesis provides a wealth of detail and analysis of individual nawba melodies and lyrics (including sheet music), but remains unpublished as far as I can tell.
- El-Ageli, Muftah Ali. 2012. Die Andalusische Nauba in Libyen: Struktur und Aufführungspraxis. Ph.D. Thesis, Freie Universität Berlin.
The title translates to “The Andalusian Nawba in Libya: structure and performance practice” and “النوبة الاندلسية في ليبيا: هيكلها و ممارسة اداءها”.