YUBA

Tansa tunsîbt - Site Web officiel - Official Web Site
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Ilul Yuba gh Dcheira, yat tmedint mezzîyen illan gh tama n Agadir. Ghin nit agh izzri mezzîy nnes. Lligh n imqqur s imik, ittut zund kigan n ayt tmazirt ns s usurs amazdar n idels nnes, idels amazigh. Mkan af yusi afrak ar isiggil man tigharasin as rad yaws gh ussfrek ns, immagh f tussna tunsîbt s uggug ad amezwaru n tmagit tanamurt n Merruk. Issnti ar ittara amarg s tmazight afa d imel tayri ns i idels ad, urta iga azêmmazl ns izwarn gh ubaraz n uzawan.

Ifels mas iga uzawan yan imis isugren gh ubrid n tamaght, isnti ar ikkit idinanen n tgitart yawes gh tlalit n yat trabbut n umarg. Mqqar fellasn tqqen tenbâdt abrid n isuyas, ighi Yuba ad isker mennaw imddrzen gh kigan d temdinin n Merruk ississan anaw n umarg nnes ger tugget n imarayen n umarg amazigh. Azawan ns ard ittagwm gh idles ns azayku, gh usala ns idran, mac Yuba ihâbbl tarmiwin n wiyyâd, ihîyl i inmuggar d idlesan n umadâl. Snat tsffifin lli d idî Yuba ar mmalant tafssa ns f ad isflujju amarg issackid iwaliwn isnmili azawan.

Gh 2000, tasffift ns izwarn tawargit lli yura, iga s tiyyet, yirirt tssen agharas s ulawen ggutnin gh Merruk. Gh 2005 issufghd tis snat ngr Merruk d Uliman ig as Itran Azal nttat agh isatig imasn iqburn n darsn zund lutar, ahjhuj, amzâd (rribab), ganga, tallunt, tiqerqawin, nnaqus d wiyyâd. Asml Tudert ad imla yagh yan Yuba yadênin, Yuba izêdârn ad if tudert yadênin i imasn imazighn imzwura, amzâd ngh rribab lli ilan aghar yan udinan, iggammi ad lli an izri igran n Sus, igwdl f imzgan ur isslflidn i tamazight. Yuba imla rribab i willi t ur issen, tasffift igwran n Yuba tga tamghra ngr imassn n idels amazigh d imasn n umadâl. S tugga n mnnaw infran, amarg n umdyazn ngh aàzri ikkisd amarg amazigh n rways d win uhêwac gh tfulklurit d tatut isles as timlsit tamaynut igt d isli ngr izawann n wiyyâd.

Asml urt igi ikter s taghlaghat n tagnawit, amarg n tgnawit yusin tabrat urd tagnawit aghar i tgnawit, gh wanaw ad gh uzawan Yuba issimghur willi izzîdêrn i tissumga « isggurad ufgan tissumga, idîd assudn ufus d ays ntbndaq, d ays nttini sidi mqart ur igi ».

AF&KA

tamazight | français | English

Né à Dcheira, Yuba passe son enfance dans cette petite bourgade près d’Agadir (sud du Maroc). Touché par la position marginale de sa culture amazighe (berbère), il rejoint le mouvement de revendication identitaire pour contribuer, à sa manière, à la défense et à la promotion de cette culture millénaire. Yuba écrit alors des poèmes en amazigh pour signifier son attachement à son identité première, avant d’être tenté par la musique.

Convaincu de la place privilégiée de la musique dans le chemin de la lutte, Yuba commence à jouer de la guitare et fonde un groupe de musique. Malgré plusieurs interdictions par les autorités marocaines, il donne de nombreux concerts et il se fait ainsi connaître auprès d’un large public. Son style musical est inspiré de sa culture ancestrale, aux origines millénaires mais Yuba est prêt à toutes les expériences et à toutes les rencontres. Les deux albums autoproduits de Yuba illustrent son souci de la qualité, tant au niveau des arrangements que des paroles.

En 2000, son premier album, Tawargit (Rêve), a connu un succès prometteur au Maroc. Sorti en 2005, Itran Azal (Étoiles le jour), son deuxième album enregistré entre l’Allemagne et le Maroc, remet à l’honneur les instruments traditionnels : lotar, guembri, rribab (imzad), ganga, tallunt, tiqerqawin, naqus, etc. Le titre Tudert ad (cette vie) nous révèle le talent de rénovateur de Yuba. Le rribab, une vièle monocorde au timbre si particulier rappelant celui d’une flûte, est associée traditionnellement à la musique des rrways (troubadours du sud-ouest marocain). Dans tudert ad, Yuba réussit à marier cet instrument rustique à la modernité.

Le titre urt igi résonne de rythmes gnaoua. Assez rare dans la thématique nord-africaine pour être mentionné, urt igi rend un vibrant hommage à ces descendants d’esclaves : « Histoire qui rabaisse l’être humain, Qui a créé l’esclavage, Le baise-main et l’allégeance forcée, Qui oblige à appeler ‘Seigneur’ celui qui ne l’est pas ! »

tamazight | français | English

Yuba was born and raised in Dcheira, a small town near Agadir (Southern Morocco). He was greatly affected by the way in which his Amazigh (Berber) culture was slowly but surely being strangled and so joined the identity protest movement to try and contribute, in his own way, to the defence and protection of this thousand-year-old culture. So, before being drawn into the world of music, he wrote poems in Amazigh to signify his attachment to his primary identity.

Yuba began to play guitar and formed a group, as he was convinced that music was a way of fighting for what was right. He gave a number of concerts, in spite of being banned several times by the Moroccan authorities, and began to become more and more well-known. His musical style is based on his ancestral culture, but Yuba is open to all possibilities and combinations. He produced two albums on his own which illustrate the care taken by him in the quality of the arrangements and the lyrics.

In 2000, his first album, Tawargit (Dream) met with resounding success in Morocco. His second album, Itran Azal (Stars in the Daytime), was recorded both in Germany and Morocco and came out in 2005. Traditional instruments are used in this album, like the lotar, guembri, rribab (imzad), ganga, tallunt, tiqerqawin, naqus, etc. The track Tudert ad (This Life) shows us the way in which Yuba can breathe new life into old traditions. The rribab, a one-string hurdy-gurdy sounding somewhat like a flute, is traditionally associated with the music of the rrways (south-west Moroccan troubadours). In Tudert ad, Yuba succeeds in bringing this rustic instrument bang up to date.

The track Urt Igi resonates with gnawa rhythms. As it is quite rare in North Africa subject matter, it merits a mention here, as it pays a vibrant tribute to these descendants of slaves: “A history which grinds humans under its foot, Which created slavery, The tugging of the forelock and the forced alliance, Which forces us to call 'Lord' those who are not deserving.”