The participants: Hanane Bissohne

Rachida Boufous

EL Hassan Bouaz

Rwayis as an Art within Amazigh Music in Sous

1. Objectives of the research:

a. Introducing Amazigh music and culture.

b. Defining the term Ttirroyssa for being an important part of Tachelhit

music.

c. Studying some of the themes that are included in the songs.

2. Research questions:

a. what obstacles do rwais face?

b. How does tirroysa differ from the rest of tachelhit music? (This should be
part of defining Tirroyssa)

c. Does the singer’s status appear in his songs?

3. Research methodologies:

To answer the proposed research questions, we are going to utilize the

qualitative approach. We will focus on observation ??? to develop an initial
understanding about the topic. For collecting data, we will rely on secondary
data, taking advantage of previous works like books, articles and interviews.

- Previous books, articles, studies = Review of the lit.

- Collecting your data should be through Listening to songs, write down

lyrics, translate what should be translated, and analyze the lyrics thematically…

4. Significance of the research

The importance of this study lies in making this style of music known and
understandable. Since there is no much works that discussed the position of
rwais in Sous and their ways of singing. Therefore, providing such information
in English would be helpful. Considering this art as an ancient one with origins
and history.

5. Literature review:

Many recent studies focused on Tirroysa considering it an important part

of Amazigh music and poetry .It is an art that helped singers (rwaiss) delivering
their voice, feelings and needs, to the community. In addition, they used it to
show and prove their identity (Chafii, 2015) .There are some differences
between the other types of Amazigh music in south of Morocco and
tirroysa .they differ in tools that are used, the number of singers and if there is
any participation of women (schuyler, 1979).

It is important to consider how Imazighen used the pronoun and grammar

in their poems (Amarg). Most of the time they replace the pronoun “I” with
“we” and “me” for “us” in order to express the difficulty of their status .
(Almasude, 2016). Researchers have also conducted various studies on the
reasons that brought amarg to what it is now. One of these reasons is the
transition from the oral stage to the literary writing. Ancient singers learnt how
to sing only by listening to other singers, where most of their work was in some
kind of small festivals (inmouggarn). But thanks to the efforts made by indamn
(poets) and those who were interested in this field, nowadays we have songs,
albums and stories (Aourir, 2017). Is it possible that they simply don’t have as
much access to the tools that would make them able to keep their art vivid?
Rwais are known to perform in small groups in their regions or even outside the
country some times. That’s what helped to develop this art and make the
Amazigh culture known due to the themes that are included in the songs. The
majority of these themes are describing the situation of rais, whether if it’s
emotional or social (Schuyler, 1979).

6. Table of contents: (tentative outline = table of contents)

Part One: Theoretical and Conceptual Framework

Chapter 1: a background of Amazigh music.

a. Amazigh music and its types.

b. Tiroyssa as a kind of music.
 c. Some themes that are discussed by Rwais in their songs.

Part Two: Analytical Framework (Analysis)

Chapter 2: Migration in Raiss L’haj Balaid’s song “Amoudo N Bariz”.

a. Biography of L’haj Balaid as an icon of this art.

b. Translation of the song. (no need as a section)
c. The meanings of the song. (set the headings on a thematic basis) Ex.
Migration and Memory in Belaid’s ‘ Amuudu n Bariz’ (The Journey of
Paris) etc…

Chapter 3: Migration in Raiss Omar wahrouch’s song “Amoudo n Bariz” .

a. Biography of Omar Wahrouch. (should be at the begining of the

section before analysis of songs)
b. Translation of “Amoudo N Bariz”. (no need as a heading)
c. Meanings of the song. (same as above)