Hammou Oulyazid 
Hammu Oulyazid : "Under the Ramadan associational activities, the section of Amazigh Khemisset AZETA network has organized a meeting debate around the Amazigh poetry through the model Hammu OULYAZID. To this literary event, Mr. ALI KHADAOUI was the guest of choice to respond to this topic dear to him, the artistic career of the great master Hammu OULYAZID: man and his work. The two men, though not belonging to the same generation, had traveled two routes that s 'intersect in many places. The first, no longer is a great ANAZUR, poet, lyricist and singer, and when the second is a fine scholar, an anthropologist by training and passionate crazy beautiful verses of the first Chanters, INCHADEN? These masters of the art of verbal sparring, the poetic genre that was the exclusivity and uniqueness in the oral tradition in IMAZIGHEN. Hammu OULYAZID is from AIN LOUH, a small town made famous by its mega spectacle of seeing the annual festival of Ahidous, while Mr KHADAOUI he was born in the small town of AJDIR, near the capital of IZAYAN and AJDIR this place today is a symbol of the breath of ameliorative Amazighness. These are two men and two experienced bunk, deeply rooted in the collective imagination of the people of the Middle Atlas, the region the cradle of the "flame Berber. It is both heart-pounding, idealized universe and forming a huge natural amphitheater that is home to "nooks and crannies" of a magical beauty and a source of creative inspiration, namely, sites and landscapes enabling the man to live his full freedom and absolute naturalism: the cedar, AARI, WIWAN, IGLMAM, IGHBULA, Assif-N-UMRBIA ... and countless wild stunts. And that's where INCHADEN (first professional minstrels semi_) and IMDYAZEN (troubadours full time) go to retrieve their raw poetic material. In this regard, the example of the famous poet of Aghbala, TAWAGRALT N-AIT Sukhmani and illustrious maestro MOHA OUL HOUCINE Achiban says a lot. So is the image decet state osmosis Man / nature that the poet had composed his unforgettable Hammu ISSFRA? White water runoff from a poetic inexhaustible. Contrary to unfounded judgments which reduced the art of poetry to the simple function AMAZIGH dedivertissement, enjoyment and leisure bottom, this art form is the mirror shattered and suffering "injury from oblivion" dominating and oppressing the human condition of this eternal wandering what AMAZIGH be, and what kind of tamawayt is the most obvious illustration. Then marked up the finer particles of his poetic imagination with the footprints of the great master Hammu OULYAZID and its predecessors, ALI KHADAOUI was, no, greedy to share his sincere admiration for the poet whose work kept conquer a wider audience. And it is with a big heart and generous he told told the career of this exceptional AMDYAZ, whose life coincided with an era marked by crossing and the feats of strength IMAZIGHEN against the colonial army. And narrative as a cover to these historical events, the art of composing was TIMDYAZIN work and support of aid and support, even a reference extra battlefields where the warriors draw courage and endurance. In this context, many poems have been woven autourdes famous battles fought by the MOHA Ouhammou Azzai. In addition to its commitment alongside the resistance army, a whole bunch of TAYFARIN, of Izlan of TIMAWAYIN TINDYAZIN and never stopped until today to celebrate "AMARG" and "Baddad", both expressions the sincerity of love IMAZIGHEN. What remains very eloquent at this meeting with Mr KHADAOUI is the rigor of the researcher matched by the spontaneity of the poet he is, since he himself endowed with a unerring ability of memorizing and reciting, whereupon an infinity of Izlan and ISSFRA have sprung from his mouth in an extraordinary fluidity, pieces of this almost unprecedented oral literature that could be lost forever, hence the idea adopted by the researcher who has given the task to collect and list all the poetic genres, inheritance funds, that globalized, homogenized and standardizes all the Amazigh, because he considered that chair poetic as the only remedy treatment that can renew the breath of vitality in the body of the convalescent Amazighity this body traumatized by the impact of attacks due to electroshock ideological policies. On the one hand, while a furious shouting voice choir for a real hunt AMAZIGH or a horde of monsters politicos who alergicophobes the Amazigh, shouting aggressively at his face for that imazighen constantly demand more justice and greater right to recognition Constitutional their identitélinguistico-cultural. OR, the last of these was that monstrous screams of the sacred holy commander of caste Istiqlal. On the other hand, a fringe of so-called Amazigh activists who were subjected for decades, a process of disidentification sociocultural programmed as to break with the symbolic and emotional affiliation to their mother language, culture, they are the last nostalgic ideology faded, victims left exposed, without any immunization, address harmful agents démagogènes germ carriers of phagocytic arabobâatisme. They are all in a handful adherents of Marxism-Leninism in its arabobaâtiste wrong version. While not being recognized around the beautiful and TIMDYAZIN ISSFRA of Hammu ul Yazid, they were the first to leave, prematurely, from the meeting because, on intoxicated, demagogic, imported by doctrines, they felt disoriented . So apart from this single false note in speaking of the ample artistic career "crafts ISSFRA" that was Hammu oulyazid ALI Khadaoui has focused his lens, he managed to shake the pathos of an audience eager to the magic word and the alchemy of the verb Tamazight. The involvement of MR. Ali Khadaoui comes to his timely, as it did indeed make sure that awaken consciences and our attachment to ancestral heritage is reinforced. As a balance, the meeting around the life and work of Hammu OULYAZID is a real dive to the bottom "of Issafen GHBANIN (deep rivers) not the way Michael Pyron, but rather how a native son whose existence is rooted deep in the ground on which socio-cultural poetics that seed has blossomed, a tireless researcher who invests emotion and intellect to restore legacy ancestral, and this by compiling all of Izlan of TIMDYAZIN TAMAWAYIN and dispersed here and there, such as outbursts of collective memory. Fortunately voices still alive, like those of Rouicha of Meghni of Chrifa and Hadda Ouakki to, mention that these four symbolic names, continue to breathe life and soul into the inexhaustible repertoire of early TAMDYAZT
music Algeria Morocco Amazigh Atlas
