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Gnawa [Gnaoua] Collection mp3

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Gnawa Music

In a Gnawa song, one phrase or a few lines are repeated over and over throughout a particular song though the song may
last a long time. In fact, a song may last several hours non-stop. The norm, though, is that what seems to the
unintiniated to be one long song is actually a series of chants, which has to do with describing the various spirits (in
Arabic mlouk (sing. melk)), so what seems to be a 20 minute piece may be a whole series of pieces, a suite for Sidi
Moussa, Sidi Hamou, Sidi Mimoun or the others. But because they are suited for adepts in a state of trance, they go on
and on, and have the effect, that they provoke trance from different angles.

The melodic language of the stringed instrument is closely related to their vocal music and to their speech patterns, as
is the case in much African music. It is a language that emphasizes on the tonic and fifth, with quavering pitch-play,
especially pitch-flattening, around the third, the fifth, and sometimes the seventh. This is the language of the
blues.





krakebs or Qraqab

Gnawa music is characterized by instrumentation. The large heavy iron castanets known as qraqab (or krakebs large iron
castanets; Ar. ?????) and a three -string lute known commonly as a hajhuj (or gimbri) are central to Gnawa
music.(Schuyler, 2008) The rhythms of the Gnawa, like their instrumentations are distinctive. Particularly Gnawa is
characterized by interplay between triple and duple meters. The “big bass drums” mentioned by Schuyler are
not typically featured in a more traditional setting. (Schaefer, 2005)

Gnawa have venerable stringed-instrument traditions involving both bowed lutes like the gogo and plucked lutes like the
gimbri (Ar. ?????; also called hajhuj, Ar. ????? or "sentir" Ar. ?????), a three-stringed bass instrument. The
Gnawa also use large drums called tbel (Ar. ??? ) in their ritual music. The Gnawa hajhuj has strong historical and
musical links to West African lutes like the Hausa halam, a direct ancestor of the banjo.

Gnawa hajhuj players use a technique which 19th century American minstrel banjo instruction manuals identify as
"brushless drop-thumb frailing". The "brushless" part means the fingers do not brush several strings
at once to make chords. Instead, the thumb drops repeatedly in a hypnotically rhythmic pattern against the
freely-vibrating bass string producing a throbbing drone, while the first two or three fingers of the same (right) hand
pick out, often percussive patterns in a drum-like, almost telegraphic manner.



In this Torrent: 

 Mostly Gnawa  music, with a few other west African selections.  All album art and almost all liner notes are present.
mp3 bit rate ranges from 128-320, CBR and VBR.

Artist – Albums:

10eme Festival Gnaoua Et Musique Du Monde D'Essaouira, 2007

Altaf Gnawa Group – Gnawa, Music from Morocco

El Maallem Mahmoud Gania - Gnawa Essaouira

Gbaya Music • Songs For Reflection

Genawa Boys - Pigeons du Sable, Gnawa Chants from Morocco

Gnawa Bambara - Sidi Mimoun

Gnawa Home Songs

Gnawa Night Spirit Masters

Hassan Hakmoun  - 	Gift of the Gnawa

				Hasan Hakmoun - Life Around The World

				The Fire Within_ Gnawa Music Of Morocco

				The Gift

Maalem Si Mohamed Chaouqi - Les Gnawa Du Maroc - Ouled El Abdi

Mahmoud Guenya – Aicha

Maleem Abdelah Ghania - Invocation_ Gnawa Music Of Essaouira

Mali - Ce?re?monies rituelles des Dogon

Mali - Musique Bambara du Baninko

Mustapha Baqbou - Gnawa Trance Music of Morocco

Nass Marrakech -	Bouderbala

			Sabil 'a Salaam

Songs & Rhythms of Morocco

The Splendid Master Gnawa Musicians Of Morocco & Randy Weston

Tyour Gnawa Avec Lamallam Abdesslam Alikane – Loujba

World of Gnawa



Please promote and support Gnawa music by buying albums.

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More about Gnawa:

Rituals

Gnawas perform a complex liturgy, called lila or derdeba. The ceremony recreates the first sacrifice and the genesis of
the universe by the evocation of the seven main manifestations of the divine demiurgic activity. It calls the seven
saints and supernatural entities (mluk, Arabic: ????) represented by seven colors, as a prismatic decomposition of the
original light/energy. The derdeba is jointly animated by a maâlem (master musician) at the head of his troop and
by moqadma or shuwafa (clairvoyante) who is in charge of the accessories and clothing necessary to the ritual.

During the ceremony, the clairvoyante determines the accessories and clothing as it becomes ritually necessary.
Meanwhile, the maâlem, using the guembri and by burning incense, calls the saints and the supernatural entities to
present themselves in order to take possession of the followers, who devote themselves to ecstatic dancing.

Inside the brotherhood, each group (zriba; Arabic: ?????) gets together with an initiatory moqadma (Arabic: ?????), the
priestess that leads the ecstatic dance called the jedba (Arabic: ????), and with the maâlem, who is accompanied
by several players of krakebs.

Preceded by an animal sacrifice that assures the presence of the spirits, the all-night ritual begins with an opening
that consecrates the space, the aâda ("habit" or traditional norm; Arabic: ????), during which the
musicians perform a swirling acrobatic dance, playing the krakebs.

The mluk (sing. melk) are abstract entities that gather a number of similar jinn (genie spirits). The participants enter
a trance state (jedba) in which they may perform spectacular dances. By means of these dances, participants negotiate
their relationships with the mluk either placating them if they have been offended or strengthening an existing
relationship. The mluk are evoked by seven musical patterns, seven melodic and rhythmic cells, who set up the seven
suites that form the repertoire of dance and music of the Gnawa ritual. During these seven suites, seven different types
of incense are burned and the dancers are covered by veils of seven different colours.

Each one of the seven families of mluk is populated by many "characters" identifiable by the music and by the
footsteps of the dance. Each melk is accompanied by its specific colour, incense, rhythm and dance. These entities,
treated like "presences" (called hadra, Arabic: ????) that the consciousness meets in ecstatic space and time,
are related to mental complexes, human characters, and behaviors. The aim of the ritual is to reintegrate and to balance
the main powers of the human body, made by the same energy that supports the perceptible phenomena and divine creative
activity.

Later, the guembri opens the treq ("path," Arabic: ????), the strictly encoded sequence of the ritual
repertoire of music, dances, colors and incenses, that guide in the ecstatic trip across the realms of the seven mluk,
until the renaissance in the common world, at the first lights of dawn.

Almost all Moroccan brotherhoods, such as the Issawa or the Hamadsha, relate their spiritual authority to a saint. The
ceremonies begin by reciting that saint's written works or spiritual prescriptions (hizb, Arabic: ???) in Arabic. In
this way, they assert their role as the spiritual descendants of the founder, giving themselves the authority to perform
the ritual. Gnawa, whose ancestors were neither literate nor native speakers of Arabic, begin the lila by bringing back,
through song and dance their origins, the experiences of their slave ancestors, and ultimately redemption.



Gnawa

From Wikipedia, the free encyclopedia



For the article about music, refer to Gnawa music





Gnawas circa 1920s

Gnawa or Gnaoua (Arabic alphabet: ?????) refers to an ethnic group and a Sufi religious order in Morocco, in part
descended from former slaves from Sub-Saharan Africa or black Africans who migrated in caravans with the trans-Saharan
trade, or a combination of both.



Etymology

The name appears to originate from the Saharan Berber dialect word aguinaw (or agenaou) (Arabic: ?????), meaning
"black (men)". This word in turn is possibly derived from the name of a city significant in the 11th century,
in what is now western Mali, called Gana, in Arabic Ghana or Jenna and in Portuguese and later French Guinea or
Jenné.



History

The Gnawa population is generally believed to originate from the Sahelian region of West and Central Africa, which had
long and extensive trading and political ties with the Maghreb and Algeria specifically, including gold and slave
trades.

Popular history particularly credits the Moroccan Sultan Ahmed Al Mansour Ad-Dahbi's conquest in 1591 of part of the
Songhai Empire, in particular Timbuktu, with bringing large numbers of captives and slaves back across the Sahara to
form the Gnawa. However, the slave and gold trade with sub-Saharan African states had existed for centuries prior to
al-Mansur's conquest, and it is unlikely the Gnawa community was in fact formed from one invasion but rather over
centuries.

While adopting Islam, Gnawa continued to celebrate ritual possession during rituals where they are devoted to the
practice of the dances of possession and fright. This rite of possession is called Jedba (Arabic: ????), and proceeds
the night (laila, Arabic: ????) that is animated jointly by a master musician (maâlem, Arabic: ????) accompanied
by his troupe. Gnawa music mixes classical Islamic Sufism with pre-Islamic African traditions, whether local or
sub-Saharan.

Many modern Western scholars see parallels between African American music such as the blues, that is rooted in Black
American slave songs, and Gnawa music as well as Sufi tariqa. This influence also resonates from other spiritual
sub-Saharan black groups such as the Bori in Nigeria, the Stambouli in Tunisia, the Sambani in Libya, the Bilali in
Algeria and those outside Africa such as the Voodoo religion or the Candomble in Brazil. These similarities in the
artistic and scriptural representations are seen by such scholars as reflecting a shared experience of many African
diasporic groups.



Gnawa and music

Main article: Gnawa music

The term Gnawa musicians generally refers to people who also practice healing rituals, with apparent ties to pre-Islamic
African animism rites. In Moroccan popular culture, Gnawas, through their ceremonies, are considered to be experts in
the magical treatment of scorpion stings and psychic disorders. They heal diseases by the use of colors, condensed
cultural imagery, perfumes and fright.

Gnawas play deeply hypnotic trance music, marked by low-toned, rhythmic sintir melodies, call-and-response singing, hand
clapping and cymbals called krakeb (plural of karkaba). Gnawa ceremonies use music and dance to evoke ancestral saints
who can drive out evil, cure psychological ills, or remedy scorpion stings.

Gnawa music has won an international profile and appeal. Many Western musicians including Bill Laswell, Randy Weston,
Adam Rudolph, Robert Plant and Jimmy Page, have drawn on and collaborated with Gnawa musicians. Some traditionalists
regard modern collaborations as a mixed blessing, leaving or modifying sacred traditions for more explicitly commercial
goals. International recording artists such as Hassan Hakmoun have introduced Gnawa music and dance to Western audiences
through their recordings and concert performances.

The centre for Gnawa music is Essaouira in the South of Morocco where the Gnaoua World Music Festival is held annually.
The Gnawa of Marrakesh hold their annual festival at the sanctuary of Moulay Brahim in the Atlas Mountains.

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