Bledi Cockneys: music, identity and mediation in Algerian London

319 Pages·2017·7.65 MB·English

by  Neil Stewart

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Citation: Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in
Algerian London. (Unpublished Doctoral thesis, City, University of London)
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Bledi Cockneys:
Music, Identity and
Mediation in Algerian
London

Stephen Wilford

PhD
Department of Music
School of Arts and Social Sciences
City University London

November 2016
City, University of London
Northampton Square
London
EC1V 0HB
United Kingdom

T [phone]

THE FOLLOWING PARTS OF THIS THESIS HAVE BEEN REDACTED
FOR COPYRIGHT AND DATA PROTECTION REASONS:

Photographs: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 3.2, 3.4, 3.5, 3.6, 3.7, 3.8, 5.2,
5.4, 5.5, 5.6, 5.8, 5.9, 5.12

Promotional materials: 3.1, 3.3, 4.8, 4.9

Facebook posts: 4.4, 4.6, 4.7, 5.10, 5.11, 5.13

Article: 4.1

Video stills: 4.3, 5.7

www.city.ac.uk Academic excellence for business and the professions
Table of Contents

Acknowledgements

Declaration

Abstract

Chapter 1 1
1.1 Introduction 1
1.2 Research Methodologies, Issues, and Challenges 4
1.3 Algerian History and Politics 23
1.4 The Musics of Algeria 28
1.5 Extant Literature on Algerian Musics 36
1.6 Algerian London 42

Chapter 2: Performing Algerian Musics and Identities 53
2.1 Performing Music and Performing Identity 63
2.2 Sites of Algerian Musical Performance 67
2.3 Staging Algerian Music 77
2.4 Communicating Algerian Identities through 91
Musical Performance
2.5 Conclusions 102

Chapter 3: Three Public Performances of Algerian Musics 107
3.1 Theories 108
3.2 Glocalisation 111
3.3 Slobin’s Tripartite Model 114
3.4 The World Stage 117
3.5 Hamidou 119
3.6 The Barbican Centre 126
3.7 El Gusto Orchestra of Algiers 128
3.8 Rachid Taha and Souad Massi 142
3.9 Conclusions 154

Chapter 4: Music and Mediation 161
4.1 Theories of Music, Media and Mediation 161
4.2 Algerian Musicking, the Internet, and Social Media 168
4.3 Algerian Radio in London 181
4.4 Algerian Music and Auto-Exoticism 198
4.5 Conclusions 212
Chapter 5: Andalus Music in London 216
5.1 The Origins of Andalus Music 216
5.2 The Ṭab‘ and Nūba in Andalus Music 218
5.3 Andalusi Music in Contemporary Algerian Society 221
5.4 The Al-Andalus Caravan 224
5.5 The Andalusi Musical Association 228
5.6 Heritage and Tradition in Andalus Music 232
5.7 Teaching and Learning Andalus 240
5.8 Performing Andalus 250
5.9 The Al-Andalus Caravan and Social Media 255
5.10 Conclusions 263

Chapter 6: Conclusions 268
6.1 The Social Function of Algerian Music 271
6.2 The Construction and Performance of Identities 273
through Musicking
6.3 Public Displays of London Algerianness through 278
Music
6.4 Concluding Remarks 280

Glossary of terms 285

References 288

List of Illustrations

2.1: Algerian chaabi musicians performing at Rostomia café, 75
London, March 2012

2.2: Al Andalus Caravan performing at Culturama’s ‘International 83
Women’s’ Day’ event

2.3: Abdelkader Saadoun and band performing at the EBRD. 97

2.4: Seddick Zebiri and the Seeds of Creation performing at the 100
London Mela 2012.

2.5: Cheb Nacim, holding Algerian flag, on stage at the London 101
Mela 2012

2.6: Algerians, proudly displaying an Algerian flag, in front of the 101
Eid stage at the London Mela 2012, during Cheb Nacim’s performance.
3.1: The flyer and poster for the Hamidou event, produced by concert 120
organiser Rachida Lamri, and distributed exclusively online.

3.2: An audience member records Hamidou’s performance on their 123
mobile phone.

3.3: The covers of the El Gusto Orchestra’s two recent, commercially 131
released albums.

3.4: Members of the El Gusto Orchestra in discussion during the 135
pre-concert talk.

3.5: Philippe Darmon and Mohamed Touzan performing 137
‘Duo Rabbin/Muezzin’. Mohamed Ferkioui dancing on the front of
the Barbican’s stage.

3.6: Souad Massi on stage at the Barbican. 149

3.7: Rachid Taha performing at the Barbican. 150

3.8: Rachid Taha on stage at the Barbican. 152

4.1: An interview article with Rachida Lamri in Algerian newspaper 175
El Watan.

4.2: Publicity for upcoming events, and links to videos of previous 177
performances, posted by Abdelkader Saadoun on his Facebook page.

4.3: The Papers in the video for their song Guerrizla Pt. II, with brothers 178
Yazid and Massyl

4.4: Djamel’s original post on Facebook, in March 2011, introducing 185
Rihet Bladi.

4.5: An online advert for Rihet Bladi from 2012, posted on Facebook by 190
Djamel.

4.6: A post on Facebook, in which Djamel explains the ways in which 194
listeners are able to access the station via the Internet.

4.7: A promotional post by Yazid Fentazi for an upcoming event in 202
December 2013.

4.8: Images used to promote forthcoming events by raï singer 205
Abdelkader Saadoun.

4.9: Online adverts promoting events by Cheb Nacim. 210
5.1: A private concert of Andalusi music in Algiers in 1889. 222

5.2: A picture of the Al-Andalus Caravan, taken outside their rehearsal 226
room in Pimlico London in 2011.

5.3: Two images of Tewfik’s rebāb, purchased during a visit to Algeria. 235

5.4: Tewfik leading one of the Caravan’s beginners’ classes. 242

5.5: During one of the beginners’ classes. The text on the music stand 244
(in Arabic script) contains the lyrics of the piece being taught.

5.6: A rehearsal of the association’s main ensemble, in March 2013, with 245
Tewfik playing the rebāb.

5.7: Video clips of the Caravan’s performance at Putney Methodist 248
Church, with comments from friends and family.

5.8: The Caravan performing at a concert at Putney Methodist church in 250
July 2012.

5.9: Tewfik during the Caravan’s performance at the Algerian Cultural 254
Festival in October 2012.

5.10: One of Tewfik’s posts on the association’s Facebook wall. 256

5.11: A video clip posted on the Caravan’s Facebook wall, which Tewfik 257
suggests offers an excellent source for learning and istikhbar.

5.12: Sid Ahmed Serri, a renowned performer of Andalusi music, whose 259
teachings strongly influence the Caravan.

5.13: A video of Algerian singer Meriem Abed, posted on the 261
association’s Facebook wall.
Acknowledgements

I would like to thank a number of people for the support that they have given me
throughout my doctoral studies, and for the contributions that they have made to
this thesis.

Firstly, I would like to thank all of the Algerian friends that I have made whilst
conducting this research, and whose stories appear throughout the following
pages. I have been shown incredible hospitality, and the large quantities of
strong black coffee and Algerian cuisine that I have been lucky enough to
consume have undoubtedly been a contributing factor to the completion of my
work. The time that my Algerian friends have made for me, and their patience in
speaking to me about music, can never be fully repaid, but I am eternally
grateful to them all.

In particular I would like to thank Tewfik Ouagueni and Rachida Lamri, who are
not only fantastic musicians, but have been incredibly supportive of my
research. I have been very fortunate to see them both perform on a number of
occasions, and they have opened my ears to many new musics and musicians.

I would like to thank my many friends at Goldsmiths, University of London. It
was there that I first encountered the strange but wonderful world of
ethnomusicology, and without the support of the academic staff that taught me
during my Masters degree, I would never have been prepared for the exciting
(but arduous) task of undertaking doctoral research. In particular I am grateful to
Dr Barley Norton and Professor John Baily for their on-going support and
interest in my work and my career. They have been both fantastic teachers and
inspiring colleagues. I would also like to thank the many staff members that I
have worked with in various offices throughout Goldsmiths during my studies.
They have been extremely supportive and understanding when I have
disappeared to the library during lunchtimes, or have had to turn down a trip to
the pub after work in order to focus on my research.

I would like to thank City University London and the AHRC for the support they
have given me during my doctoral studies, and for providing me with the funding
that has enabled me to complete my research. Both staff and students at the
university have contributed so much to my work through their constructive and
informative feedback, in lectures, seminars, and more informal settings. I would
also like to thank the administrative staff that have made my time as a student
much easier than it might have been, and have tirelessly responded to my
confused emails.

I must thank Dr Laudan Nooshin, who has provided incredible guidance and
friendship throughout my time at City. She has supported and encouraged my
work, and given me the confidence to disseminate my research through
numerous seminars and conferences. She has also given me my first taste of
teaching in a university, and for that I am extremely grateful.
I am forever indebted to my supervisor, Professor Stephen Cottrell. He taught
the first ethnomusicology lecture that I attended at Goldsmiths, and has been a
tireless supporter of mine ever since (including encouraging me to apply to
undertake my PhD at City University London). His calm but clear guidance
throughout my studies has provided the perfect combination of direction and
encouragement, and he has remained calm during tutorials as I have rambled
on about my work. The completion of this thesis owes so much to his invaluable
support.

Finally I thank my family, without whom none of this would have been possible.
My parents, in particular, have provided unwavering emotional (and financial)
support, and have always shown an interest in my studies. I can never thank
them enough for all that they have done for me throughout my life. Thank you to
Robert and William for hospitality, laughs and bottles of red wine. And to my
partner Rosie, whose love and encouragement has done more than anyone to
offer support throughout this project. During a particularly difficult time in our
lives, she has provided me with inspiration and motivation, and has constantly
reminded me of my passion for music and scholarship. I can never thank her
enough for all that she has done for me.
Declaration

I hereby declare that the work presented in this thesis is my own and that all
sources have been properly acknowledged.

I grant powers of discretion to the University Librarian to allow this thesis to be
copied in whole or in part without further reference to myself. This permission
covers only single copies made for study purposes, subject to normal conditions
of acknowledgement.

Stephen Wilford
London, November 2016