Later she composed famous and popular Mauritanian songs like "Hailala" and "Koumba bay bay".
Dimi Mint Abba was born Loula Bint Siddaty Ould Abba in 1958 into a low-caste ("iggawin") family specializing in the griot tradition.
Dimi's parents were both musicians (her father had been asked to compose the Mauritanian national anthem), and she began playing at an early age. Her professional career began in 1976, when she sang on the radio and then competed, the following year, in the Umm Kulthum Contest in Tunis. Her winning song "Sawt Elfan" ("Art's Plume") has the refrain "Art's Plume is a balsam, a weapon and a guide enlightening the spirit of men", which can be interpreted to mean that artists play a more important role than warriors in society.
She died in June, 2011, in Casablanca, Morocco following a stage accident in Aioun ten days earlier when she was singing for Sahrawi public.
She died of a cerebral hemorrhage.Her death was described as "a national loss" by Mohamed Ould Abdel Aziz, the President of Mauritania.
Although the music of her neighbours (Mali, Senegal, Algeria and Morocco) are becoming better known outside Africa, the modern & traditional music which is popular today in Mauritania remains comparatively little known. The dominant people in Mauritania (with a population of 3 million) are the Moors, descendants of Hassan Berber tribes who conquered the area. The desert republic is the crossroad of Africa and its musical repertoire has been formed over centuries of contact with a wide variety of African & Arab cultures (Berber, Arab, Sudanese, Bambara, Tuareg, Wolof, Peul) to produce in Moorish music a passionate, expressive singing style over complex rhythms.
Moorish music has in turn influenced the music of other countries; the impassioned singing and refined hand-clapping has been a powerful influence on Flamenco music and the late Malian guitarist Ali Farka Touré points to Moorish music, and the music of Dimi Mint in particular, as an influence. The highly evolved structure of Moorish music (governed by specific musical theory), the instruments, its complex rhythms and expressive vocal techniques are each uniquely Mauritanian.
Moorish musicians are know as iggawin and their special knowledge of music is handed down through the generation, iggawin families acting as musical conservatories. Dimi & Khalifa are from the two respected centuries-old artistic families and they began to learn music at the age of eight or nine. Girls are taught by their mothers; first to dance & play the percussion instruments, the tbal & tambourine before learning musical theory and the ardin, a fourteen string relative of Kora. Dimi’s special musical gift was recognized early; at age of sixteen she was featured with her mother on national radio and the following year she was chosen to represent Mauritania at the Oum Kalsoum festival in Tunisia.
Boys learn musical theory and the tidnit, a lute similar to Wolof halam & Malian ngoni, from their fathers. The tidnit is at the top of the hierarchy of Moorish instruments & it is essential in guiding the music within its theoretical principals.
Khalifa’s father is one of Mauritania’s great tidnit players and Khalifa was aged twelve he decided to leave school (already literate in French, Arabic & Hassaniya) to sing his fathers songs. He is now a renowned composer & singer himself.
All iggawins, both men & women, sing but vocal techniques are not subject of such strict tuition but are learnt by listening to others. Improvisation in encouraged in all aspects of Moorish music but especially in singing and the Moorish vocal art has reached an extremely high level of skill and virtuosity.
The fundamental principles governing the Moorish musical system have remained unchanged since at least the 18th century and they are studied by all musicians from the beginning of their musical education. The system is complex and I have neither space nor am I qualified to fully discuss it here; but it is important to mention the three ‘way’ which are at the heart of the system.
Moorish music is divided into three ‘ways’ which roughly correspond to three ‘modes’: the ‘black way’ the ‘white way’ the ‘spotted way’. Once a musician has decided in which of these ‘ways’ he will begin a performance he must then respect a succession of five sub-modes, which must be completed before he can move on to other ‘way’. Each ‘way’ or sub-mode chosen, once completed, gives certain options to the players as to which mode he can use as he continues to play. Although only iggawin are fully conversant with these rules (and they have to reach a high level of understanding before they are considered ready or qualified to perform) most Mauritanians followers of music can detect a player’s error or a slip from his tradition. Despite the seeming rigidity of this system artists are encouraged to make creative innovations always looking to add something to the tradition without departing from it.
Over the last century, and especially since the 1940’s, there has been a massive change in Mauritanian life from a Bedouin way of existence towards an urban lifestyle which in Nouakchott has resulted in growing fusion of local musical styles. The role of musicians is also changing and iggawins are now looked upon as creative artists rather then past singers. Khalifa & Dimi are part of a group of musicians concentrated in Nouakchott who are introducing other instruments to play Mauritanian music. Amongst the instruments which have recently been adopted by iggawins are the electric guitar which plays the part of tidnit, electric bass, synthesizer and synth drums.
Khalifa & Dimi were involved in a project with instruments from throughout the Arab world such as oud and qnun to play Mauritanian music. Khalifa said: “This group must rehearse continuously because it is seeking out everything that is new in music and it seeks to be innovative and it seeks to have a coherent direction.”
As with other Muslim societies, poetry is a very important aspect of Mauritanian culture and most Moors can recite at length their favorite pieces. Poetry is considered as important as music and the two are inseparable. Classical Arab poetry in praise of Prophet and Arabic love poetry as well as Hassaniya poetry and the compositions passed down through the generations are being added to by younger poets who write of contemporary issues. Moorish Music From Mauritania also include songs in celebration of Mauritanian independence day and a song for Nelson Mandela.
Art's Plume
Khalifa Ould Eide & Dimi Mint Abba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
إنها عالم الحقائق يحيا بين خفق الرؤى وذوب الخيال
بين خفق الرؤى وذوب الخيال واقتحام المعنى عيوب المحال
والاماني المجنحات سكارى سابحات في مركب الآمال
ريشة الفن بلسم وسلاح ودليل يضيء وعي الرجال
نهض الوتر واليراع وقالا كلمات بيض الحروف صقال
هل الهٰذا الوجود معني إذا لم يتفهم هويتي ومجالي؟
وأناشيد مزهري تتغنى من صدي أنتي وفرحة بالي
كنت حلما معللا بالأماني همسات تجوب درب الكلال
تارة ابصر الحياة واخرى ألبس الصمت في ضمير الليالي
وأنا اليوم فتية صاحبوا من وحيه كل غال
هللي موريتانيا ما ذاك إلآ ومضة من سراجك المتلالي
هللي يا بلاد ما نحن إلآ قطرة من معينك المتسلسل
وابشري صفقي لوثبة نبع ظل يسقي مواكب الأجيال
حاول الغرب ذات يوم عن مجاريه عبر هذه الرمال
وانبرى يمضغ السدود ويجري لا يبالي بشأنه لا يبالي
ريشة الفن بلسم وسلاح ودليل يضيء وعي الرجال
وتسامى أصالة وشموخا في رحاب الخلود ثر النوال
همسة ترفع المعارف جسرا ذهبيا يرقى بهٰذي المعالي
ريشة الفن بلسم وسلاح ودليل يضيء وعي الرجال
The song "Art's Plume" by Khalifa Ould Eide & Dimi Mint Abba is an ode to the power of art, praising it as a balm, a weapon, and a guide that illuminates the minds of men. The opening line states that the feather of art is a remedy and a weapon, and a guiding light that enlightens men's minds. It is a world of truth that lives between the heartbeat of visions and the dissolution of fantasy. The following lines describe the power of art to penetrate the flaws of reality and to inspire heavenly aspirations that swim in the boat of hope.
The song urges us to understand the power of art rather than ignore it. The verses also reveal features of the singer's journey of self-discovery, his struggles of understanding and accepting himself, and trying to find his place in the world as a creative artist. He asks if existence means anything if one does not understand one's identity and potential. He reveals his dreams of whispering aspirations that roam the path of weariness, but he also acknowledges that silence is a way to experience life, especially during long nights.
In sum, the song elevates the power of art as a source of meaning, knowledge, guidance, and inspiration that enriches human life and offers a way to transcend ordinary experiences.
Line by Line Meaning
ريشة الفن بلسم وسلاح ودليل يضيء وعي الرجال
The brush of art is both a balm and a weapon, and it guides and enlightens the consciousness of men.
إنها عالم الحقائق يحيا بين خفق الرؤى وذوب الخيال
It is a world of truth that lives between the beat of visions and the melting of imagination.
بين خفق الرؤى وذوب الخيال واقتحام المعنى عيوب المحال
Between the beat of visions and the melting of imagination, meaning invades the shortcomings of reality.
والاماني المجنحات سكارى سابحات في مركب الآمال
And the soaring hopes are drunkenly swimming in the boat of aspirations.
نهض الوتر واليراع وقالا كلمات بيض الحروف صقال
The ud and lyre rose up and spoke words of pure letters, like a goldsmith's handiwork.
هل الهٰذا الوجود معني إذا لم يتفهم هويتي ومجالي؟
Is this existence meaningful if it does not understand my identity and my domain?
وأناشيد مزهري تتغنى من صدي أنتي وفرحة بالي
And my flower-like songs sing of you, my echo, and my happiness.
كنت حلما معللا بالأماني همسات تجوب درب الكلال
I was a dream supported by hopes, whispers wandering the path of weariness.
تارة ابصر الحياة واخرى ألبس الصمت في ضمير الليالي
Sometimes I see life, and other times I wear silence in the heart of nights.
وأنا اليوم فتية صاحبوا من وحيه كل غال
And today I am a youth who has created all precious things from his inspiration.
هللي موريتانيا ما ذاك إلآ ومضة من سراجك المتلالي
Hail to you, Mauritania! What is that but a glimpse from your shining lamp?
هللي يا بلاد ما نحن إلآ قطرة من معينك المتسلسل
Hail to you, oh land! What are we but a drop from your flowing wellspring?
وابشري صفقي لوثبة نبع ظل يسقي مواكب الأجيال
And rejoice, my companion, for the leap of a fountain that shades and waters the processions of generations.
حاول الغرب ذات يوم عن مجاريه عبر هذه الرمال
The West once tried to break free from its channels by crossing these sands.
وانبرى يمضغ السدود ويجري لا يبالي بشأنه لا يبالي
And it tore down obstacles and ran on, not caring about anything, not caring.
وتسامى أصالة وشموخا في رحاب الخلود ثر النوال
And in the expanse of immortality, authenticity and pride soar, a treasure of success.
همسة ترفع المعارف جسرا ذهبيا يرقى بهٰذي المعالي
A whisper that raises knowledge, a golden bridge that elevates these excellences.
ريشة الفن بلسم وسلاح ودليل يضيء وعي الرجال
The brush of art is both a balm and a weapon, and it guides and enlightens the consciousness of men.
Writer(s): Dimi Mint Abba, Khalifa Ould Eide
Contributed by Lucy B. Suggest a correction in the comments below.
@youyatubetak7624
"Arts plume is a balsam,
a weapon and a guide
enlightening the spirit of men.
Indeed, it is the world of truth
living between the flickerings of visions,
the fold of the imagination,
and the eyes of the impossible,
Winged songs in rapture
float aboard a vessel of hopes"
@luisfernandorojasramirez1478
Rîšat̨ uf-fanna balsamuñ wa-silâxuñ
Wa-dalîluñ yusçîʼu wa-cy al-rrajâli
Ìnnahâ câlim ux-xaqâʼiqi yaxyâ
Bayna xʻafq irr-rruʼấ waðûb ixʻ-xʻayâli
Bayna xʻafq irr-rruʼấ waðûb ixʻ-xʻayâli
Waq-qtixâm im-macná cuyûn am-muxâli
Wa-àmânî im-mujannaxâtu sukârá
Sâbixâtuñ fî markab i-âmâli
Rîšat̨ uf-fanna balsamuñ wa-silâxuñ
Wa-dalîluñ yusçîʼu wa-cy al-rrajâli
Nahadç aw-witru way-yarâcu waqâlâ
Kalimâtuñ bîdç ax-xurûfi sçiqâli
"Hal lihâðâ aw-wujûdi macnáñ ìðâ lam
Yatafahham hûwwîyyatî wa-majâlî?"
Wa-ànâšîdu mizharî tatarʻanấ
Min sçadá ànnatî wa-farxat̨i bâlî
Rîšat̨ uf-fanna balsamuñ wa-silâxuñ
Wa-dalîluñ yusçîʼu wa-cy al-rrajâli
Kuntu xulmâñ mucallalâñ bầ-ầmânî
Hamasâtiñ tajûbu darb ak-kalâli
Târat̨añ àbsçur ux-xayât̨a wa-ùxʻrá
Àlbas usçsç-sçsçamta fî dçamîr ill-llayâlî
Wa-ànâ ay-yawma fityat̨uñ sçâxabûwâ af-fanna
Wa-nâlûwâ min waxyihi kalla rʻâli
Hallalî mawrîtâniyâ mâ ðâka ìlâ
Wamdçat̨uñ min sirâjik im-mutalâbî
Hallalî yâ bilâdu mâ naxnu ìllâ
Qutçrat̨uñ min macîbik im-mutasalsili
Wab-bširî sçaffiqî liwaþbat̨i nabcuñ
Ðçalla yasqî mawâkib a-àjyâli
Xâwal arʻ-rʻarbu xabsahu ðâta yawmiñ
Can majârîhi cabra hâðih al-rramâli
Wa-nbará yamdçarʻ uss-ssudûda wayajrî
Lâ yubâlî bišaʻnihi lâ yubâlî
Rîšat̨ uf-fanna balsamuñ wa-silâxuñ
Wa-dalîluñ yusçîʼu wa-cy al-rrajâli
Wa-tasâmá àsçâlat̨añ wa-šumûxʻâñ
Fî rixâb ixʻ-xʻulûdi þarr an-nawâli
Hamsat̨añ tarfac um-macârifi jas...
...râñ ðahabîyyâñ yarfá (b)hâðî im-macâlî
Rîšat̨ uf-fanna balsamuñ wa-silâxuñ
Wa-dalîluñ yusçîʼu wa-cy al-rrajâli
@bahranibh
ريـشـة الـفـن بلـسـم وســـلاح
ودليـل يضـيـئ وعــي الـرجـال
إنـهـا عـالـم الحـقـائـق يـحـيـا
بيـن خفـق الـرؤى وذوب الخـيـال
بيـن خفـق الـرؤى وذوب الخـيـال
وإقتحـام المـنـى عـيـون المـحـال
والأغـانـي المجنـحـات سـكـارى
سابحـات فــي مـوكـب الأمــال
ريـشـة الـفـن بلـسـم وســـلاح
ودليـل يضـيـئ وعــي الـرجـال
إنـهـا عـالـم الحـقـائـق يـحـيـا
بيـن خفـق الـرؤى وذوب الخـيـال
نـهـض الوتر والـيـراع وقــالا
كلمـات بيـض الحـروف الصقـال :
هل لهذا الوجود لهذا الوجود معنى إذا لم
يتـفـهـم هـويـتـي ومـجـالـي؟
وأنـاشـيـد مـزمــري تـتـغـذى
مـن صـدى أنتـي وفرحـة بالـي؟
ريـشـة الـفـن بلـسـم وســـلاح
ودليـل يضـيـئ وعــي الـرجـال
إنـهـا عـالـم الحـقـائـق يـحـيـا
بيـن خفـق الـرؤى وذوب الخـيـال
كـنـت حلـمـا معـلـلا بالأمـانـي
همـسـات تـجـوب درب الـكـلال
تــارة أبـصـر الحـيـاة أخــرى
وأبصر الصمت فـي ضميـر الليالـي
أنـا اليـوم صرخـة تركـب الــريـ
ـح جـوادا نعلـو مـتـون الجـبـال
وأنــا الـيـوم مشـعـل عـبـقـري
يـزرع النـور فـي جبيـن الــزوال
وأنـا اليـوم فتيـة صاحـبـو الــفـ
ـن ونالـو مـن وحيـه كـل غــال
ورحـيـق الجـمـال بـيـن يديـهـم
مشـرب للنفـوس صـافـي الــزلال
يتـعـاطـون بـــرده وشــــذاه
فــي كــؤوس ظلالـهـا كـالآلـي
نحتـوهـا مــن كـوكـب قـمـري
فـي سمـاء الفنـون صعـب المنـال
يتجلـى فـي الشعـر جـدول سحـر
ضفـتـاه مــن روعــة وجــلال
قزحـي الأنـفـاس يحـمـل فيـضـا
أبـديــا يـهـتــز كـالـشــلال
وتـــراه رســمــا ونـقـشــا
نمنمـتـه يــد البـهـا والـكـمـال
مثـل مايـبـدع السـحـاب إذا مــا
عانـق الأرض بعـد قطـع الـوصـال
بـالـنـدى والـغـصـون هــونــا
وحلـى الـورود والضيـا والـظـلال
هللـي مورتـان مـاذاك إلا ومـضـة
مـــن سـراجــك الـمـتـلالـي
هلـلـي يــا بــلاد مـانـحـن إلا
قـطـرة مــن معيـنـك السلـسـال
وأبـشـري صفـقـي لوثـبـة نـبـع
ظـل يسـقـي مـواكـب الأجـيـال
حـاول الغـرب حبـسـه ذات يــوم
عـن مجاريـه عبـر هـذي الـرمـال
وأنبـرى يمضـغ السـدود ويـجـري
لايـبـالـي بشـأنـهـا لا يـبـالـي
وتسـامـى أصـالــة وشـمـوخـا
فـي رحـاب الخلـود ثــر نــوال
نهضـة ترفـع المـعـارف جـسـرا
ذهبـيـا يـرقـى بـهـا للمـعـالـي
فكرها عزمها مـن الجمـود وضـرب
لـنـوايـا المستـعـمـر المـحـتـال
فتعالـي أقلامـنـا نسـبـر الـعـصـ
ـر ودنيـا الألـوان دنـيـا المـقـال
@ghublade8828
من الجزائر 🇩🇿🇲🇷
@100point1percent
one of the best songs in the world....
@EnesHardal
one of the best voices
@MohamedTichity
😊
@lebouremien
On est en 2019 et je viens de découvrir cette magnifique chanson. Superbe.
@youyatubetak7624
"Arts plume is a balsam,
a weapon and a guide
enlightening the spirit of men.
Indeed, it is the world of truth
living between the flickerings of visions,
the fold of the imagination,
and the eyes of the impossible,
Winged songs in rapture
float aboard a vessel of hopes"
@TheMujerpez
Un placer inmeso para todos los sentidos.
@a43thuglife27
اغاني صحراء غربية تعحبني كثيرا
@AhmedHassan-ed6il
هاذي موريتانيا مش صحراء الغربية
@cutenessanimals2909
Wooooooooowwww ❤❤❤