The Medej picks up a Moslem tradition of spiritual songs that are dedicated to the prophet Mohammed, praising him and referring to the most important facts of his life: his birth and childhood, how Allah chose him to be his prophet, the journey from Mecca to Medina.
Each Islamic territory has adapted these songs medjas to its social and cultural surroundings.
The Saharawi songs we present are interpreted in the mother tongue of the Saharawis, hassanía, and musically are led by the rules of the haul, with modes and rhythms perfectly organized like the concept that governs a concert or recital.
The poems as well as the music are antique and were kept alive until today by oral tradition.
The Medej generally is performed by night, like the night, leil of the lambs-feast or the night of Ramadan, (the night of the 27th), or the night between Thursday and Friday and also to celebrate the birth of Mohammed.
The session usually begins with slow and easy rhythms which later get ever more vivid until they reach an intense climax. The women’s agarits, (characteristic screams), the hand-clapping and the jaleos, just like the vibrations the men produce with their lips while shaking their heads, tberbir help to heat up the atmosphere and reinforce the tension.
The medja normally begins with a few instrumental notes that define the scale of the song and give way to a free vocal interpretation with melisms and arabesques which serve as an introduction.
The song itself starts with the first beat of the t’bal, which defines its rhythm and sets going its increasing intensity.
As the years went by, the Medej has become a traditional music the Saharawis use to play when they celebrate a wedding or the return of a friend or family member. The songs still maintain their spiritual character as the lyrics of this selection prove.
For the first time this kind of Saharawi songs has been recorded on an album. Not every musician and singer is able to perform Medej; a special technique is essential. On this album some of the best voices of the Saharawi exile take part, like Jeirana and Faknash, recognized as the greatest singers of Medej.And last but not least Mariem Hassan, with her extraordinary free introductions, so full of emotions.
The collection is quite complete as it presents musicians and singers of all four wilayas. It has been recorded during two live sessions, without previous rehearsals, so that in the intimacy of the studio the different styles and intonations, characteristic of each of the camps, could meet. With the use of tidinit, electric guitars, bass and even a new instrument, the mijairis, contributed by Nayim Alal, a variety of musical arrangements was guaranteed, only the flute (nefara) is missing.
Finally I’d like to express my hope that these recordings will help to learn more about a people that lives next to us and that because of historical vices is tied closely to Spain. - Manuel Domínguez.
Mariem Hassan, Nayim Alal and various artists