Algeria from within

by R. V. C. Bodley

The flute is usually accompanied by the tam-tam or the derbouca, which is played very softly. Moreover, the accompaniment to the song is more often only heard between each verse, while during the singing it is just a faint drone with a distinct time-beating, and sometimes no music at all.

The religious chants, which are not, as might be supposed, sung in the mosques but at the shrines of saints or in private houses, have usually no accompaniment except the tam-tam. These chants consist of either hymns in praise of some saint or marabout, or else in long passages of the Koran telling one of our well-known Bible stories. At first sight it would seem that such music without any sort of instrument would be singularly dull, but when one hears the singer bending over his tam-tam, pouring out a volume of sound, keeping a wonderful time with his hands, one is carried away by the rhythm.

At the end of each verse or group of verses there is usually a chorus in praise of Allah or of Mohammed, which is taken up by the audience.

The performers in the cases of the dance-music and the ballad-singing are professionals who either earn their living by playing nightly in the local cafés or by wandering about the country earning their supper as they go. Some of them are poets, and will extemporize songs about the host or about his mistress.

There are also mandolinists and violinists, but these are usually found among private individuals who perform for their own amusement or for that of their friends. They play the same sort of music, both religious and otherwise, and if one has a friend who owns a mandolin a very pleasant evening may be passed with delightful music. It is much gayer, and there are some airs which could almost be used for modern dancing.

The violinists are disappointing from the European standpoint. The player does not place the instrument to his shoulder, but holds it upright on his knee and draws the bow across the strings rather after the fashion of a man with a double bass, emitting a somewhat corresponding sound.

At first Arab music seems all the same, and the unaccustomed listener can not differentiate between the melodies, but little by little the ear becoming accustomed, he can tell at once if the air is from Oran or from Algiers, from the mountains of the Tell or from the far South; and the beat of the religious chant is unmistakable.

There are occasionally companies of musicians who travel around with a variety of instruments and singers, male and female, and dancers. There are also those who sing only the Koran, and serious marabouts almost always have their private musicians. One also sees troupes of actors, usually Tunisians, who give small plays interspersed with music and dancing. The performance goes on for hours and hours, and the audience sits spellbound without uttering a sound of approval or disapproval. Occasionally a comic scene provokes laughter, but generally speaking a dramatic performance is carried through in absolute silence.

The dancing is as varied as the music. It is usually carried out by women, who start learning at a very youthful age. The danse du ventre, which is essentially of the North, or of Turkish origin, is decidedly ugly. It is, however, much appreciated and takes endless practise to learn.

The dance of the Ouled Naïls, on which is based most of the other dances, is very picturesque, and the movements of the hands, like the wings of a hunting hawk, and the feet, are a delight to watch.