{"id":5049,"date":"2025-07-15T16:19:51","date_gmt":"2025-07-15T15:19:51","guid":{"rendered":"https:\/\/www.ksarighnda.com\/?p=5049"},"modified":"2025-11-13T14:51:56","modified_gmt":"2025-11-13T13:51:56","slug":"5049-2","status":"publish","type":"post","link":"https:\/\/www.ksarighnda.com\/en\/5049-2\/","title":{"rendered":"GNAOUA"},"content":{"rendered":"

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Gnaoua (singular Gnaoui, also spelt Gnaua, Gnawa, Guenaua, etc.), refers to both a musical style from the Maghreb and the original members ofSub-Saharan Africa<\/a>mainly descendants ofslaves<\/a>gathered at the Maghreb<\/a> in mystical muslim brotherhoods<\/a> in which the trance<\/a> and the rites of possession<\/a> plays a very important role.<\/p>\n\n\n\n

The Gnaouas belong to the ethnic group of the Haratin<\/a>. They find their place in an area at the crossroads of the Berber peoples whose touaregs<\/a>the peoples ofSub-Saharan Africa<\/a>This is the first time that we have been able to compare the musical traditions of the French-speaking world with those of Islam, their religious traditions (brotherhoods, trances), their musical traditions and their instruments.<\/p>\n\n\n\n

Gnaoua music was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2019 by UNESCO<\/a>. This recognition highlights the importance of Gnaoua music, an essential part of our cultural heritage. Moroccan<\/a>particularly celebrated in the city Essaouira<\/a>where the famous Gnaoua Festival<\/a>. Every year, this event attracts thousands of visitors and musicians from all over the world, reinforcing the international scope of this tradition. Morocco<\/a>by registering this art form with UNESCO, has played a key role in preserving and promoting this rich cultural heritage.<\/p>\n\n\n\n

Origins<\/strong><\/h1>\n\n\n\n

Gnaoua music and rituals are thought to have originated in the cults ofadoration<\/a> (accepted and cultivated possession) Sahelians<\/a> readapted by the descendants of sub-Saharan slaves in Morocco. These practices had to undergo a metamorphosis and adopt theIslam<\/a> as a religion for survival.<\/p>\n\n\n\n

Since the end of the 19th century, the Gnaouae<\/sup> They have been identified as a popular religious brotherhood whose therapeutic practices are said to be the legacy of sub-Saharan mystical cults handed down by generations of sub-Saharan Muslims who settled in Morocco.<\/p>\n\n\n\n

Gnaoua music from Algeria.<\/h1>\n\n\n\n

Rituals similar to the Gnaoua of Morocco<\/a> also exist in Algeria (diwan<\/a> or Algerian gnawi), in Tunisia<\/a> (the stambali<\/a>) and Egypt<\/a> (the z\u0101r<\/a><\/em>). In easternAlgeria<\/a> mainly, they are called stambali<\/em>, benga<\/em>or bori haoussa<\/em>. They resemble each other on certain points (thus attesting to a common origin) and diverge on other points due to the specific paths that these groups will encounter in the host societies over the centuries. Visit Libya<\/a>this musical genre is thought to have existed in the Fezzan<\/a> under the name of stambali<\/a> also or makeli<\/a>.<\/p>\n\n\n\n

The certain similarities between the ritual practices of the Gnawa and those of the Maghrebian Sufi brotherhoods demonstrate a genuine spiritual kinship that rules out the theory of a syncretism in which an outside religion simply accommodated itself to a dominant religion. It is a question of the complex and gradual constitution of a community and a religious practice, over a long period, through \"diverse strata and similar contributions\". In answering the question of the origins of this community and its practices, it is more appropriate to speak here of a \"synthesis\", rather than a form of accommodation, miscegenation or \"blending\". syncretism<\/a>.<\/p>\n\n\n

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\"gnaoua\"<\/figure>\n<\/div>\n\n\n

Rituals<\/strong><\/h1>\n\n\n\n

The Gnaouas revolve around master musicians (ma\u00e2lmine<\/em>), instrument players (three-stringed lute guembri<\/a>iron rattlesnakes qarqabu<\/a>Drum tbal<\/a>), psychic therapists (chouwafate<\/em>), mediums and simple followers. Together they practise a syncretic rite of possession (called lila de derdeba<\/em>).<\/p>\n\n\n\n

The M'hella represents the equipment needed for the rituals. It is made up of karkabous, boulalas (whips for flogging), Tbal (drums), multicoloured outfits for the dances, in green, black, red, white and blue, each colour having its own typical dance, traditional knives, flags in the form of small pennants, a sword to symbolise the establishment of peace, Errouina (wheat flour), a bakhara carrying B'khor incense, Chouabid darts, a sebha rosary, a stick of wisdom, half a broom handle, a large wooden dish (gassa\u00e2), two razors and a traditional sheepskin carpet. In the same context, the M'hella of Megzawa is made up of small bells, hats, feathers, trumpets, small pieces of decorative mirror, ash and Daghnou, which consists of milk, vinegar, almonds and peanuts.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"BERBER<\/figure>","protected":false},"excerpt":{"rendered":"

Le Gnaoua (au singulier Gnaoui, transcrit aussi sous l’orthographe Gnaua, Gnawa, Guenaua, etc.), d\u00e9signe \u00e0 la fois un style musical du Maghreb et les membres d’origine d’Afrique subsaharienne, principalement des descendants d’esclaves, rassembl\u00e9s au Maghreb dans des confr\u00e9ries musulmanes mystiques dans lesquelles la transe et les rites de possession joue un r\u00f4le tr\u00e8s important. Les Gnaouas font partie du groupe ethnique des Haratin. Ils trouvent leur place dans un […]<\/p>\n","protected":false},"author":20,"featured_media":5050,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5049","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe"],"_links":{"self":[{"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/posts\/5049","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/comments?post=5049"}],"version-history":[{"count":6,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/posts\/5049\/revisions"}],"predecessor-version":[{"id":5711,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/posts\/5049\/revisions\/5711"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/media\/5050"}],"wp:attachment":[{"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/media?parent=5049"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/categories?post=5049"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ksarighnda.com\/en\/wp-json\/wp\/v2\/tags?post=5049"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}