Représentations symboliques et imaginaires de la femme dans l’oeuvre de Djamel Allam

Résumé

“Any cultural manifestation can be seen as a communication process” and song is part of it, because it reproduces the ideology, politics and culture of a given society. Kabyle song (or sung poetry) has been considered from the very beginning as a reflection of Amazigh (Kabyle) society, because “it is the type of expression best placed to evoke, inform, inform and better retranslate collective sensitivity.” The singer who conveys these poems has the status of “aḥeddad n wawal” (the blacksmith of speech and language), the holder of virtuous knowledge, of a neat and clean language like a young man who was able to having access to “taqbaylit” or the genius of speech which gives him the right to express himself in “tajmaεt” (the traditional djamaa). The Kabyle singer has always known how to reproduce the collective (common) memory, the opinion and the culture of his society. Djamel Allam is one of those who brought together modernity and tradition.

Agzul
Tizlit taqbaylit (neɣ tamedyezt yettwacnan), tella, seg tazwara-ines d lemri n tmetti tamaziɣt (taqbaylit). Imi d nettat i d tanfalit i d-yettmeslayen, i d-yettakken isalli, i d-yemmalen, daɣen, i d-yessuɣulen akken iwata iḥulfan n ugraw neɣ n tmetti. Acennay yesεa azal n “uḥeddad n wawal”, n umussnaw yessnen ad yemmeslay, ad yefren awal. Yettwaḥsab am yilemẓi-nni yessnen taqbaylit akked yilugan n tmetti ara t-yerren d argaz, ad yekcem tajmaεt, yerna ad d-yefk awal-is deg-s.
Djamel Allam d yiwen seg yicennayen iqbayliyen i yesdduklen ansay d watrar: yejmeε ger uẓawan atrar d yisentalen n tmedyazt taqburt. Imi netta d win yessnen, akken ilaq, idles aqbayli (azzayri s umata) d yidles abeṛrani (ladɣa idles aṛumi). D aya i aɣ-yeǧǧan ad nefren axeddim-a ɣef tmedyazt (tizlit) n Djamel Allam. Nerra-d ɣef usteqsi-agi: Amek i d-yessugen, ucennay-a, tameṭṭut deg tezlatin-is? D acu-tt (-tent) tgensest (tgensas) n tmeṭṭut deg yisefra-ines?