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Aita is considered one of the most important and unique arts in Morocco for centuries. It was employed during various stages in “resisting injustice and mobilizing people to revolt against it.”

Despite the “inferior view” that accompanied it, and which is largely attached to the “sheikha”, the Moroccan researcher in popular music, Nassim Haddad, calls for viewing it as “an aesthetic and immoral view.”

From his point of view , the popular Moroccan artist, famous for the performance of “Al-Aita”, Hajib Farhan, stresses the role of colonialism in attaching this inferior view to “sheiks”, who used to organize a poem enthusiastic for Moroccans to resist, stressing in the context the innocence of this art from some of the profanity attributed to him, Because all his topics were about “resistance”, “horse” and “agriculture”.

Haddad: Koyads contributed to preserving Aita

Many associate the “inferior view” of Aita with the stage of colonialism, but the Moroccan researcher in popular music, Nassim Haddad, who was speaking in a lecture on the subject of Aita, sees that this view accompanied the Aita from its beginnings, as a result of the “flourishing of the religious approach, analysis and prohibition, beyond that view The inferiority of art and culture in general “starting with the age of the Almoravids.

The Alawite era is considered one of the best eras in the history of this heritage, as Haddad asserts that this art witnessed a “prosperity” during the era of the Alawites, where “the Aita was sung by the sultans.”

One of the most prominent features of this heritage, according to the Moroccan researcher, is “using it to protest against injustice and mobilize people to revolt against it”, whether in the protection phase, as is the case with the blessing of Bahishia, which led the poem “The Courageous” to arm citizens against the colonizer, or before it at a stage that witnessed The emergence of the leadership, such as the leader Issa bin Omar, whose name was associated with Hadath Al-Ghayathiya or “Kharboucheh”, the poet of the Awlad Zeid tribe.

In this context, and in relation to the leadership stage, Haddad stressed that these people have a great advantage in preserving the “Aita”.

But why did Al-Aita remain a local art and did not reach the world?

This is the question that the Moroccan researcher tried to answer by presenting a set of problems in relation to this heritage, among them, the focus of Aita and its dependence mainly on poetic content, “contrary to what is popular in western music that is based on melodies.”

Hadadd stressed the need to “get rid of the moral judgments” and “differentiate between what is ethical – especially what is religious – and what is aesthetic artistic,” noting in particular to the “sheikha” in which “the art of Eita was reduced”, and which “is seen as an ethical view, No aesthetic “as he put it.

Hajib: There are no romantic poems in Aita

For his part, the popular Moroccan artist who was famous for the performance of “Al-Aita”, Hajib Farhan, returned this inferior view of the “sheikha” to the colonizer, where he said that the sheikhs were organizing poetry that motivates people to resist colonialism, which prompted the latter to work on “tarnishing their reputation” So that their word is not heard among people. ”

“The colonizer was the one who made the sheikha dance,” says Farhan, who pointed out that “most of the sheikhs were detained in the colonial period because they refused to sing to the French rulers.”

Farhan stressed the distinguished position that the “sheikha” had before colonialism, saying that it was “the intervention of the great dior”, pointing in turn to the great role that they played in resisting injustice and colonialism, as he stressed that “Kharboucheh, Bahishia, and Tayakeh were poets, organizers and activists.”

This Moroccan artist strongly denied the validity of what is said about the songs of Aita include “fallen” phrases, stressing that the poetry of Aita never included such phrases, and that this art deals with “resistance, injustice, horses, goodness and agriculture, so that there is no love poems in this art According to Farhan.