A Multidimensional Show Brimming with Creativity, Featuring Moroccan Artists and Top‑Level Tunisian Musicians
La Presse – After the final curtain of the International Festival of Carthage, a series of concerts continues to light up the ancient amphitheatre, organized by friendly societies and private entities. On the evening of 28 August, the audience was treated to a performance by Moroccan maestro Amine Boudchart, the creator of the “La chorale, c’est vous” concept. Far more than a simple sing‑along, it was a multifaceted show rich in creativity, carried by Moroccan artists and high‑caliber Tunisian musicians.
Singing Together – But in a New Way
Boudchart first appeared in Tunisia last year at the International Festival of Carthage, where his show was a resounding success. In recent years, concerts that turn spectators into active participants have multiplied, each one achieving spectacular acclaim. The format is a participatory experience: the crowd joins in chorus on well‑known songs, essentially a giant karaoke. Attendees are often encouraged to dress in white, reinforcing a sense of unity among the audience.
Similar Tunisian versions of the concept exist—Yalla nghanni, Kolna nghani—sometimes featuring guest singers of honor. Thus, Boudchart’s idea is no longer unique. What sets his show apart is the surprise element he delivers at every performance. For the Carthage crowd, the promise was kept.
Beyond the familiar covers that let him traverse a wide repertoire, the maestro introduced his own compositions. The concert opened with “Mosaïca.” For the Moroccan Hadhra segment, the audience first applauded a whirling dervish performing his ritual dance, arms raised and spinning for an extended period.
After this choreography, embodying the spirituality and trance of Sufi tradition, the stage was taken over by performers in traditional costumes brandishing flags, while dancers offered a captivating routine surrounded by the subtle scent of floating candles—an aroma that lingered even in the seats.
The audience then surged to the rhythm of “La Bamba,” another Boudchart original, elevated by a lively choreography and the polished performance of Moroccan singer‑guitarist Adel Santos. The maestro’s pieces were interspersed between moments when the crowd sang, marking transitions from one musical genre to another.
An Eclectic Artistic Menu
The program catered to every taste, mixing Arab classics—Oum Kalthoum, Warda, Abdelhalim Hafiz, Fairouz—with Lara Fabian’s “Je t’aime,” the Italian hit “Volare,” and more. Tunisian music occupied a central place, with medleys of Saliha, Mohamed Jamoussi, Lotfi Bouchnak and others. Although Boudchart was accompanied by his own troupe, Tunisian artists shone brightly throughout the evening.
Tunisian Talents in the Spotlight
Boudchart made a point of showcasing Tunisian musicians whose performances added decisive highlights to the concert:
| Artist | Instrument / Role | Notable Contribution |
|---|---|---|
| Outail Maaoui | Violin | Solo passages that captured attention; known for the project “Ombres d’Atlas,” blending diverse Maghreb sounds with modernity and authenticity. |
| Rim Belhedi | Violin | Former director of the Regional Conservatory of La Manouba; her solo on “Ana baachak” (Mayada Hennaoui) reaffirmed her undeniable talent and passion. |
| Montassar Jebali | Mezwed & Zokra | Accompanied the Moroccan Hadhra piece; Tunisian instrumental notes fused subtly with traditional Moroccan music, highlighting cultural proximity. |
| Ghalia Ben Halima (17) | Luth (oud) | Delivered an impressively virtuosic performance; Boudchart praised her bright future. |
| Ahmed Attafi | Guitar & Vocals | Took the stage with a guitar that once belonged to the late Yasser Jradi (gifted to him). He sang the patriotic anthem “Dima dima,” which the crowd echoed in unison—a moving tribute that resonated deeply. |
The homage to Yasser Jradi, who passed away recently, was especially poignant coming from a Moroccan artist in a festive setting, creating a surprise that was both pleasant and emotionally stirring.
Redefining the Choir Experience
Boudchart’s sold‑out concert shattered the stereotype that such participatory shows are low‑effort affairs that hide a lack of creativity. Instead, it was a vibrant, colorful spectacle that re‑imagined the pure choir format with fresh compositions, inventive covers, singing, and dance.
Even though the Moroccan maestro does not perform frequently in Tunisia, his visit could inspire local artists who have adopted the same concept to elevate their productions, innovate, and avoid becoming a bland copy of a single model.
Keywords: Amine Boudchart, Carthage Festival, participatory concert, Moroccan‑Tunisian musical collaboration, Hadhra, Mezwed, Zokra, oud virtuoso, cultural fusion, live performance review.
