Khaled and the myth of rai | The Middle East Channel - 0 views
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music Algeria France culture politics culturalauthoritarianism rai
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it was not the opposition of "fundamentalists" that kept rai music (not just Khaled's) off of Algerian state radio. It was rather the Algerian (secular) regime's cultural policies. The state promoted classical Arabic culture and language and denied Algeria's multi-cultural nature. Expressive culture in Arabic dialect or Berber was therefore mostly excluded from the state-controlled media. Rai is sung in the distinctive colloquial Arabic of Wahran, which is not only very different from "classical" or literary Arabic but is also full of borrowings from Spanish, French and Berber. This official national-cultural politics, which was particularly severe during the regime of Houari Boumediene (1965-1978), began to loosen during Chadly Benjadid's regime (1979-1992). In his 1998 autobiography, "Derrière la sourire," Khaled recounts how he managed to break the official embargo in the early 1980s. He was invited to appear on a television show in Algiers, which he knew couldn't be censored because it was to be broadcast live. Khaled was warned ahead of time: no vulgarities, no sex. So he sang three songs: the first, about the Prophet Muhammad; the second, a "poetic" song, one that was artistically acceptable; and the third, about alcohol and women.
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Khaled, and other rai stars, came to play at this festival due to the efforts of the "liberal" wing of the Algerian regime -- and particularly to Lieutenant-Colonel Hosni Snoussi, director of the state-supported arts and culture organization, Office Riadh el Feth in Algiers, who had taken Cheb Khaled under his wing. The regime's liberal wing became interested in promoting rai in the wake of a spate of unrest that erupted during the early 1980s. Most notably, the 1980 riots in Tizi Ouzou, Kabylia (the "Berber Spring"); the 1985 riots in Algiers, which broke out following rumors that housing being built for the poor would be allocated to state bureaucrats; and the 1986 student riots in Constantine that resulted in the deaths of four protesters and spread to other cities. Young Algerians played a leading role in all these protests. The liberal wing of the regime determined that, to deter further unrest, the state should focus on promoting the interests of youth and on developing the market economy. Rai was very popular with Algerian youth, and so the "liberals" determined that promoting it was to be an important element of these reform efforts. It was changes in state policy toward rai, pushed by Snoussi, that got Khaled and other rai stars onto the stage in Algiers in 1985.
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Khaled opened his set at Bobigny with a religious song, "Sallou 'ala al-Nabi" (Blessings on the Prophet). This is also how he typically opened concerts in Algeria. This is important to underscore because standard accounts of rai music (like Eyre's) typically give the impression that there is a kind of inherent antagonism between rai artists and Islam.
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Because rai was a badge of cultural pride for young Beurs, the French state determined that its interests lay in promoting North African Arab culture in France, rather than being an antagonist. Not just Khaled, but an array of top Algerian rai artists performed at Bobigny in 1986. Clearly the tab for transporting and putting up these stars was an expensive proposition for the French government. Moreover, because Khaled had been avoiding his military service, Col. Snoussi had to intervene with the Algerian military authorities in order to secure him a passport to travel to France.
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That liberal elements of the Algerian state played a major role in initiating and underwriting the process whereby rai music became known around the world, and whereby Khaled became the world's best-known Arab singer, deserves to be much more widely known. (Government sponsorship and subsidies for rai came to an end, after the bloody riots of October 1988 and the state's launching of a movement toward reform and democratization.) It is remarkable success story, with significant political and cultural implications, in both France and Algeria. Col. Snoussi and his liberal associates deserve credit, as do key French actors like Martin Meissonier and Jack Lang.
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Khaled met some criticism after recording the John Lennon song "Imagine" with Israeli artist Noa (for the European release of his 1999 album Kenza) and after performing the song with Noa at a "peace" concert called "Time for Life" in Rome in May, 2002. Khaled subsequently toured the Middle East with Palestinian-American 'ud and violin maestro Simon Shaheen and Egyptian shaabi singer Hakim. In Lebanon and Jordan he encountered campaigns to boycott his concert, on the grounds that he had engaged in "normalization" with Israel by performing with an Israeli artist and in the presence of Israeli Foreign Minister Shimon Peres. Khaled responded that Palestinian singer Nabil Khouri had also performed at the concert and that Yasir Arafat's adviser Mohammed Rashid was in attendance. The Lebanon and Jordan concerts were well-attended, despite the protests. Khaled also recorded with the Algerian Jewish pianist Maurice El Medioni on his 2004 album Ya-Rayi, but I'm not aware that any criticism was leveled against him for working with Medioni or with U.S. musicians
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It makes more sense to speak of Khaled as a European artist who has done much to promote Arab culture in the West, rather than to frame him as an Algerian artist, the thrust of whose work is against Islamic intolerance.