Mauritania My Beloved Country (Nikhtar An Kulelawtan Awtani Mauritan)
Dimi Mint Abba (Arabic: ديمي منت آبا ; 25 December 1958 – 4 June 2011) w… Read Full Bio ↴Dimi Mint Abba (Arabic: ديمي منت آبا ; 25 December 1958 – 4 June 2011) was one of Mauritania's most famous musicians. Her first international release was on the World Circuit record label, following a recommendation from Ali Farka Touré. On this album, she was accompanied by her husband Khalifa Ould Eide and her two daughters.
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.
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.
Mauritania My Beloved Country
Khalifa Ould Eide & Dimi Mint Abba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
نختير عن كل اوطان آوطان مورتان
مورتان نبقيه و ل مسقط رأس ڤيه
ولا ؼسب لخاطيه اڤ ڤترت مهرجان
لخلا ؼ اتم عليه الآ ڤ حنين ؼران
نختير عن كل اوطان آوطان مورتان
و ل وساه نبقيه بيه عزت لوطان
من لمان ا توجيه الأجيال صبيال
نختير عن كل اوطان آوطان مورتان
بداوت وطن تور ڤيه بن
للحيات ا جن ما تور ڤ لبلدان
و ب ذاک تفاصن عن مجموع لعربان
نختير عن كل اوطان آوطان مورتان
ڤ لبادي تجبر ابواع من لحيوان
ايبل و غبم و بؼر تطلص من مرحان
نختير عن كل اوطان آوطان مورتان
مورتان نبقيه و ل مسقط رأس ڤيه
ولا ؼسب لخاطيه اڤ ڤترت مهرجان
لخلا ؼ اتم عليه الآ ڤ حنين ؼران
نختير عن كل اوطان آوطان مورتان
و ل وساه نبقيه بيه عزت لوطان
من لمان ا توجيه الأجيال صبيال
نختير عن كل اوطان آوطان مورتان
للحيات ا جن ما تور ڤ لبلدان
و ب ذاک تفاصن عن مجموع لعربان
نختير عن كل اوطان آوطان مورتان
ڤ لبادي تجبر ابواع من لحيوان
ايبل و غبم و بؼر تطلص من مرحان
نختير عن كل اوطان آوطان مورتان
The song Mauritania My Beloved Country is a tribute to the country of Mauritania and its culture. The lyrics express a deep love and attachment to the land, people, and animals that inhabit it. The song begins by stating that out of all the countries in the world, Mauritania is the one that is chosen, and that it will always be treasured and held close to the heart. It then goes on to praise the beauty and uniqueness of the country and its rich cultural heritage.
The song also touches on the importance of passing down the traditions and values of the country to the younger generations, expressing a sense of responsibility to guide and teach them. Furthermore, the lyrics pay tribute to the various animals that inhabit the land, including camels, goats, and sheep, highlighting the importance of their role in the country’s culture and economy. Overall, the song celebrates the richness and beauty of Mauritania and the pride its people have in their country.
Line by Line Meaning
نختير عن كل اوطان آوطان مورتان
We choose Mauritania over all other nations.
مورتان نبقيه و ل مسقط رأس ڤيه
Mauritania is where we stay, regardless of our birthplace.
ولا ؼسب لخاطيه اڤ ڤترت مهرجان
There is no room for the straying of our foolishness in the celebration of our heritage.
لخلا ؼ اتم عليه الآ ڤ حنين ؼران
To keep a deep longing for it continuously in our hearts.
و ل وساه نبقيه بيه عزت لوطان
We also stay with its proud dignity.
من لمان ا توجيه الأجيال صبيال
From what is directed to the coming generations.
بداوت وطن تور ڤيه بن
The beginning of a homeland lies in it.
للحيات ا جن ما تور ڤ لبلدان
It is the essence of life and the soul of the country.
و ب ذاک تفاصن عن مجموع لعربان
It distinguishes itself from the whole of the Arab world.
ڤ لبادي تجبر ابواع من لحيوان
In its deserts, it conquers the most stubborn of animals.
ايبل و غبم و بؼر تطلص من مرحان
Elephants, gazelles, and antelopes roam its landscapes and find solace.
نختير عن كل اوطان آوطان مورتان
We choose Mauritania over all other nations.
Writer(s): Dimi Mint Abba, Khalifa Ould Eide
Contributed by Eliana W. Suggest a correction in the comments below.
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