Homages to Foreign Artists: A New Trend in Tunisian Music
The Tunisian music scene has recently witnessed a surge in concerts dedicated to foreign artists, raising questions about the value of this trend and its impact on the country's cultural identity.
A Phenomenon that Sparks Debate
Three concerts, scheduled to take place at the Tunis Municipal Theater, have sparked a debate about the significance of this trend. "Hier encore" by Rafik Gharbi, "Sinfonica" by Jihed Jbara, and "Abba Symphonia" by the Carthage Symphony Orchestra, conducted by Hafedh Makni, are just a few examples of the many concerts dedicated to foreign artists.
These concerts, which often feature sold-out shows and attract a diverse audience of music lovers, have become a staple of the Tunisian music scene. However, they also raise questions about why there are so many homages to foreign artists, rather than to Tunisian music legends.
Different Projects, Same Spirit
Rafik Gharbi, Jihed Jbara, and Hafedh Makni are three artists who have embarked on this trend, each with their own unique approach. Gharbi's "Hier encore" is a tribute to Charles Aznavour, while Jbara's "Sinfonica" revisits the repertoires of Aznavour, Brel, Dalida, and Édith Piaf. Makni's "Abba Symphonia" is a symphonic tribute to the music of ABBA.
These artists are not only paying homage to foreign artists but also exploring different themes and styles in their concerts. Gharbi's next project, "Gigi et la Môme," will be dedicated to Dalida and Édith Piaf, while Makni has previously dedicated concerts to the works of Dalida and classical composers like Mozart and Beethoven.
Between Commercial Success and Identity Questioning
The success of these concerts is undeniable, with tickets selling out quickly and attracting a diverse audience of music lovers. However, this phenomenon also raises questions about the identity of Tunisian music and culture.
Rafik Gharbi believes that these concerts are a way to assume the cultural influences that have shaped his career as a pianist and composer, while celebrating Tunisia's openness to music from around the world. Hafedh Makni sees these concerts as a way to introduce a wider audience to orchestral music, making it more accessible and captivating.
Nostalgia and Cultural Exchange
Nostalgia is also a driving force behind this trend, as many fans of this repertoire have grown up with French music and see these concerts as a return to the music of their youth.
However, it is worth noting that homages to Tunisian and Arab artists are not lacking. The Journées du Tarab at the Palais Ennejma Ezzahra, for example, have recently celebrated Tunisian artists like Mayada Hennaoui, Oulaya, and Naâma.
Are Reprises a Substitute for Creation?
The proliferation of concerts dedicated to foreign artists has led to questions about whether this trend is a substitute for creativity. Are Tunisian artists lacking in innovation, relying on reprises instead of creating new music?
Rafik Gharbi regrets that when he presents his own compositions, the audience seems uninterested in discovery. To overcome this challenge, he inserts some of his own compositions into his tribute concerts.
Other Tunisian artists who sing in Arabic share this concern, struggling to impose their creations and often forced to reprise classics at the request of producers or the audience themselves.
Conclusion
In conclusion, the concerts dedicated to foreign artists have found their loyal audience and seem to be contributing to the country's cultural opening, without threatening the creativity of artists or the attachment of Tunisians to their musical roots.
The Tunisian music scene is diverse and eclectic, with a mix of traditional and modern styles, and these concerts are just one aspect of this rich cultural landscape. As the country continues to evolve and grow, it will be interesting to see how this trend develops and what new musical talents emerge.
