Songs of the Matriarchs

Review of

Starry Nights in Western Sahara (Rounder Records, 2003)

Song of Umm Dalaila: The Story of the Saharawis (documentary film, 1996)
Beat of Distant Hearts (documentary film, 2000)

A bit of history: the documentary films
In 1992, documentary filmmaker Danielle Smith visited a refugee camp in SW Algeria where the Saharawis have been residing since 1975. Originally from Western Sahara, which borders Morocco on the south and Mauritania on the west and set near the Atlantic Ocean, this nomadic tribe of Berber and Arabic descent suffered under Spanish colonialism for 90 years. This 90-year rule ended after a rebellion by the Saharawis who formed the Polisario Front (nation) in mid 1970's. However, the Saharawis' victory was short lived and Spain struck an illegal deal, dividing up Western Sahara between Morocco, Mauritania and taking 35% of phosphate rights for itself. This led the Moroccan government to invade Western Sahara while imprisoning, murdering and displacing thousands of Saharawis. The Polisario moved to the center of the Western Sahara where they set up camp, only to be bombed with cluster bombs and napalm with military aid from the US and France. 170,000 Saharawis fled to Algeria and currently 200,000 Saharawis reside in four refugee camps or tent cities in SW Algeria. They are divided from their families by a 2,400 km-long "Berlin Wall" (built by Morocco, a country that currently illegally occupies Western Sahara).

A 16-year war raged on between Morocco and the Polisario Front until a cease-fire in 1992 when the United Nations passed a referendum in favor of the Saharawis. However, the Moroccan government has posed various obstacles and the UN has not been able to carry out a resolution that would allow the Saharawis to return to their homeland as liberated people. Danielle Smith documents the history and political plight of the Polisario in two documentaries, Song of Umm Dalaila: The Story of the Saharawis (1996) and Beat of Distant Hearts (2000). And while the stories captured in her films appear tragic to most eyes, a silver lining does exist beyond the black clouds of oppression and suffering.

Similarities between Saharawis and Tuaregs
Similar to stories of other groups languishing in refugee camps, the Saharawis have used their time wisely. Similarities between the Saharawis and the Tuareg (Tamasheck) who endured persecution by the Malian government in the not too distant past can be detected here. Both nomadic groups created music and art from their struggles. The desert blues band Tinariwen who formed in a rebel camp (Libya) in 1982, employ electric guitars in their western inspired music and the Saharawis have also adopted electric guitar, bass and electric organ in their repertoire regarding liberation. And similar to the Tamasheck folkloric Ensemble Tartit, Saharawis women also sing in a call & response style, accompanied by hand claps and drums and on occasion bring in string instruments. While the groups sing in different languages and broach different subject matter, the Saharawis women vocalists and groups formed in refugee camps similar to Tartit who formed in a refugee camp in Mauritania. However, I realize that these similarities between the nomadic groups are superficial and an expert ethnomusicologist is better equipped to detect subtle differences than I am.

Other similarities between the two cultures are the strong roles that women perform in their respective societies, especially when it comes to education of the children. Unlike many Muslim societies, Tuareg and Saharawis women are permitted to divorce their husbands. While I am not knowledgeable about the exact role of Tuareg women, Smith reveals the role of Saharawis women in her two documentaries, with a greater emphasis in the Song of Umm Dalaila. Women are shown running schools, sanitation projects, organizing daycare, vocational training centers and schools (kindergarten through high school) in the camps. Under the Polisario, Saharawis women literacy level leapt from 1 to 90% and the women will continue to play a strong role in their communities after the Polisario nation returns to its homeland. However, most impressive, the Saharawis have set up gardens and other farming in the harsh desert climate where they reside proving their determination and resourcefulness once again.

Starry Nights in the Western Sahara
Poetry, music and painting reflect both the Saharawis political plight and celebration of their nation. The music is often folkloric with an emphasis on tradition and a nod to classical Arabic music. But in line with contemporary times, Saharawis musicians often back their vocalists (women) with electric guitars, bass and electric organ. After all, many of the youth had been sent away to study in Algeria and Latin American countries where they would have acquired modern influences. And older folk, such as the vocalist Umm Dalaila featured in both of Smith's documentaries had toured abroad with the group she joined upon arriving at the refugee camp. Obviously, this would also bring modern influences to Saharawis music.

The CD, Starry Nights in the Western Sahara, produced and recorded by Randy Barnwell with liner notes by Danielle Smith, provides a field recording sampling both traditional and contemporary songs that possess social-political messages. In the past, when women could only sing at weddings (Spanish colonialism) and songs revolved around lighter themes, today women sing in public and perform music to motivate members of their society to express their political dream of returning to their homeland as liberated people and as their own nation.

Starry Nights includes 11 tracks, featuring Umm Dalaila, Mariam Hassan and Umm Merkiya on lead vocals (although Dalaila and Hassan's names are not listed in the CD notes). Some of the songs feature lead vocals and a chorus engaging in call & response vocals with syncopated hand claps and bass sounding drums, a noted example is the track, Everyone Celebrate. An Old Man, Sweet Young Girl and Bani sample traditional fare. The Sahara Is Not For Sale, with guitar, flute and percussion and The People's Aspiration represent more contemporary sounding songs.

The first half of Oh, People Celebrate Your Independence features a traditional song sung in classical Arabic from the pre-Islamic era and the second half of the song, marks a political anthem. The traditional love song The Dream is sung in Hassaniya and the instrumental Wedding Song features percussion (drums and claps) with string instruments (although I can't tell you which string instruments appear on the track).

Conclusion
I would never condone the Moroccan king for invading Western Sahara or any nation bent on dominating other cultures, but I do see a silver lining created out of this horrendous situation. The Saharawis have managed to create a matriarchal-type situation that is based on cooperation and equality. They have included healthcare, education and the arts on their priority list and created a society where women play strong leadership roles. They have organized and rallied their newly formed nation (less than 30 years old, but a nation in exile) as preparation for returning to their rightful homeland and they are a people firmly rooted in solidarity.

Perhaps most of the world is ignoring their plight because many nations would rather keep singing the same song called world domination. However, if we truly want to live in a peaceful world, then it is time for us to return to a place of humility and learn a thing or two from nomadic, tribal and indigenous people. I believe that we will all be better off once we adopt a more humble stance and move from patriarchal domination to matriarchal cooperation. Of course only time will tell if the Polisario will stay grounded in a cooperative society once they return to their homeland. Similar to the artist in the film, (Beat of Distant Hearts) who draws a lizard in the sand, the winds of change could also erase even the most rooted society. In any case, nothing ever remains the same and we must all stay conscious if we choose to live in a more compassionate era. But for now, the Saharawis gives us a good example of a society with healthy priorities, if only permitted to return to the Western Sahara.

Lalla Aisha, Virtual Morocco - http://forums.virtual-morocco.net/showthread.php?t=191