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 gathered for a performance by Moroccan maestro Amine Boudchart, the creator of the “La chorale, c’est vous” concept. 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 made his first appearance in Tunisia last year at the International Festival of Carthage, where he enjoyed a resounding success. In recent years, concerts that turn spectators into active participants have multiplied, each one achieving spectacular results. The format is a participatory experience: the audience joins in chorus on well‑known songs, essentially a giant karaoke. A dress code—often white—is suggested to reinforce the sense of unity among the crowd.
Tunisian versions of this concept already exist, such as Yalla nghanni and Kolna nghani, sometimes featuring guest singers of honor. Thus, Boudchart’s idea is not entirely novel. What sets his shows apart is the surprise element he delivers at every performance. For the Carthage audience, the promise was kept.
Beyond the covers that allowed him to explore a wide repertoire, the maestro introduced his own compositions. The concert opened with “Mosaïca.” For the Moroccan Hadhra segment, the crowd first applauded a whirling dervish who performed his ritual dance, spinning slowly with arms raised.
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 that could even be smelled from the stands.
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 public sang, marking transitions from one musical genre to another.
The artistic program was eclectic, catering to all tastes. The selection included Arab classics from Oum Kalthoum, Warda, Abdelhalim Hafiz, Fairouz, as well as “Je t’aime” by Lara Fabian and the Italian hit “Volare.”
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 particularly brightly that evening.
Tunisian Talents in the Spotlight
The maestro made a point of showcasing Tunisian musicians whose performances created memorable highlights that visibly enriched the concert.
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Outail Maaoui – the renowned violinist captured attention with his solos. Known for his own artistic project “Ombres d’Atlas,” he blends diverse Maghreb sounds through his playing and compositions, delivering a result that is both modern and authentic.
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Rim Belhedi – former director of the Regional Conservatory of La Manouba, delivered a striking solo on “Ana baachak” by Mayada Hennaoui, confirming her undeniable talent and passion with every movement.
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Montassar Jebali – added a special flavor by accompanying the Moroccan Hadhra piece with mezwed and zokra instruments. The Tunisian instrumental notes subtly fused with the traditional Moroccan music, highlighting the cultural proximity of the two countries.
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Ghalia Ben Halima – the 17‑year‑old lute virtuoso impressed the audience with astonishing technical skill. “She is still young, but she has a great future ahead of her,” Boudchart announced when introducing her.
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Ahmed Attafi – the Tunisian singer’s ascent to the stage was an emotional moment. Armed with a guitar that once belonged to the late Yasser Jradi (a gift from the instrument’s former owner), he performed “Dima dima,” a patriotic song that the crowd sang back in unison. Numerous tributes have been paid to Yasser Jradi since his passing; hearing a Moroccan artist honor him in a festive context was both pleasant and moving.
Redefining the Choir Experience
Boudchart’s sold‑out concert shattered the stereotype that such participatory shows require minimal effort and that making the audience sing is merely a cover for a lack of creativity. It was a vibrant, colorful spectacle that re‑imagined the pure choir format with new compositions, 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 refine their shows, innovate, and avoid becoming a bland copy of a single model.
Keywords: Amine Boudchart, Carthage Festival, participatory concert, Moroccan Hadhra, Tunisian musicians, Outail Maaoui, Rim Belhedi, Montassar Jebali, Ghalia Ben Halima, Ahmed Attafi, choir show, cultural fusion, live music Tunisia.
