Formed in 1982, in strikingly unusual circumstances for a musical ensemble, Tinariwen blend ancient musical traditions with radical contemporary politics. Despite severe natural and man-made hardships, young Kel Tamashek exiles continued performing the traditional music of their Tuareg forebears in the southern Sahara while simultaneously fighting against the government of Mali.
Forced to seek an alternative to starvation and repression in drought-stricken Mali, many of these young nomads hoped to attain a better life by striking up what proved to be an uneasy alliance with Libya. The hoped-for aid in their struggle with the Mali government failed to materialize, but in the meantime some of the rebels had evolved a form of music that kept alive the music of their forefathers while simultaneously communicating radical political messages. This music is known as tishoumaren, music of the ishumar (the unemployed). Usually performed by groups of 30 and more instrumentalists and singers, tishoumaren acknowledges contemporary western music, especially rock, as well as other music forms prevalent in the Middle East, while never losing touch with the original ancient form. In some instances, players not only adapt traditional forms but also substitute modern instruments for the traditional lutes, flutes and one-string violins. The electric guitar in particular has become popular, even though circumstances demand the availability of portable generators.
The name chosen by this band, Tinariwen, means empty places, thus maintaining a further link to the vast desert regions of the southern Sahara. The musicians include Said Ag Ayad, Alhassane Ag Touhami, Eyadou Ag Leche, Ibrahim Ag Alhabib, Abdallah Ag Lamida, Abdallah Ag Alhousseyni and Bassa Walet Abdoumou.
The music itself is spare and haunting, an aural reflection of those same open spaces. The lyrics of their songs, perhaps more accurately termed sung poetry, carry outspoken political thought that draws attention not only to repression in Mali, but also to the enforced exile of many and the continuing struggle for self-determination of the Tuareg nomads. Song structures are many and varied and include elemental call-and-response patterns as well as (to western ears) discordant notes that call to mind the blue notes favoured by western blues and jazz players overlaid upon a solid four-beat rhythmic foundation that is itself uncommon to the region although compatible with much western popular music.
Tinariwen's first recordings were to cassette, sales and even possession of which carried harsh penalties in Mali and Algeria. In the early 00s, availability of albums encouraged more widespread awareness of the music and its underlying political messages.
Nànnuflày
Tinariwen Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ibda nànnuflày
Nilmàd s-àddunya
Harkuk tàmmuttày
Ere-s tosed inta-ghas
Ila derhanàn-net
Harkuk osas
Legh amidi-nin
S-inta niflas
Hi isaswen ulh-in
Alwàqq d-intas
Ilkam e-timtar
Illegh dara-s
Tedjedit tàhona
Iday fàlla-s
There was a time
I lived fulfilled.
Life taught me that
It can often change.
The one you find in solitude
Is prisoner of egotistical desires.
I have a friend I can trust
Who quenches the thirst
That burns in my heart.
I walk in his footsteps
Pursuing memories built
On a dune that's always moving.
No sleepwalking,
Don't keep me apart
I'm through sleepwalking,
God be in my heart
No more sleepwalking,
Been asleep too long
No more sleepwalking,
Keep me with you god
The lyrics to Tinariwen's song Nànnuflày speak of a journey of self-discovery and the realization that life is unpredictable and ever-changing. The first stanza highlights the singer's realization that life can often change despite one's best efforts to hold onto a sense of stability and fulfillment. The second stanza speaks of the importance of true friendship and trust in helping one to overcome a sense of egotistical imprisonment that can arise in solitude. The third stanza describes the singer's pursuit of memories that are constantly shifting and changing, much like the desert dunes that serve as a metaphor for the impermanence of life.
The overall message of the song seems to be one of embracing change and uncertainty, while seeking solace and companionship in the face of life's challenges. The singer recognizes the need to let go of past patterns of behavior and embrace a new way of living that is grounded in trust, friendship, and a willingness to surrender to the unknown. The song's use of imagery and metaphor serves to amplify and reinforce the theme of impermanence, and suggests that acceptance and adaptability may be key to finding meaning and contentment in life.
Line by Line Meaning
Kàla t-illegh
There was a time
Ibda nànnuflày
I lived fulfilled
Nilmàd s-àddunya
Life taught me that
Harkuk tàmmuttày
It can often change
Ere-s tosed inta-ghas
The one you find in solitude
Ila derhanàn-net
Is prisoner of egotistical desires
Harkuk osas
I have a friend I can trust
Legh amidi-nin
Who quenches the thirst
S-inta niflas
That burns in my heart
Hi isaswen ulh-in
I walk in his footsteps
Alwàqq d-intas
Pursuing memories built
Ilkam e-timtar
On a dune that's always moving
Illegh dara-s
No sleepwalking
Tedjedit tàhona
Don't keep me apart
Iday fàlla-s
I'm through sleepwalking
No more sleepwalking
God be in my heart
Been asleep too long
No more sleepwalking
Keep me with you god
Keep me with you god
Writer(s): Mark Lanegan, Eyadou Ag Leche
Contributed by Kaelyn E. Suggest a correction in the comments below.
@mayrabel1
lyrics:
"There was a time
I lived fulfilled.
Life taught me that
It can often change.
The one you find in solitude
Is prisoner of egotistical desires.
I have a friend I can trust
Who quenches the thirst
That burns in my heart.
I walk in his footsteps
Pursuing memories built
On a dune that's always moving.
No sleepwalking, don't keep me apart
I'm through sleepwalking, god be in my heart
No more sleepwalking, been asleep too long
No more sleepwalking, keep me with you go"
@CdaliXenZia
LYRICS : Nannuflay "fullfield" talk about "pursuing memories built on a dune that's always moving."
Kàla t-illegh
Ibda nànnuflày
Nilmàd s-àddunya
Harkuk tàmmuttày
Chorus
Ere-s tosed inta-ghas
Ila derhanàn-net
Harkuk osas
Chorus
Legh amidi-nin
S-inta niflas
Hi isaswen ulh-in
Alwàqq d-intas
Chorus
Ilkam e-timtar
Illegh dara-s
Tedjedit tàhona
Iday fàlla-s
Chorus
There was a time
I lived fulfilled.
Life taught me that
It can often change.
The one you find in solitude
Is prisoner of egotistical desires.
I have a friend I can trust
Who quenches the thirst
That burns in my heart.
I walk in his footsteps
Pursuing memories built
On a dune that’s always moving.
no sleepwalking,
don’t keep me apart
I’m through sleepwalking,
god be in my heart
no more sleepwalking,
been asleep too long
no more sleepwalking,
keep me with you god
@atefkhelili..8135
"There was a time
I lived fulfilled.
Life taught me that
It can often change.
The one you find in solitude
Is prisoner of egotistical desires.
I have a friend I can trust
Who quenches the thirst
That burns in my heart.
I walk in his footsteps
Pursuing memories built
On a dune that's always moving.
No sleepwalking, don't keep me apart
I'm through sleepwalking, god be in my heart
No more sleepwalking, been asleep too long
No more sleepwalking, keep me with you god"
@darkstar844able
I always got the feeling from their stuff that it's the desert that actually writes the songs and they play them
@dr.2335
Great comment
@znati
I think you need a doctor XD
@grahamnorris7315
Nice thought. I love the desert. I'm drawn to desert landscapes,flora, fauna,peoples, and indeed, music. You can hear the desert here.
@kukulkan1717
love this thought
@TheLifescasualty
Music is and it comes through us. For sure.
I like the idea of the desert having a say.
@ThatsWhenItkickedin
Awesome animation . love from Texas to Algeria and all of North Africa.
@mortadhaben1195
Same to you from constantine-algeria
@rassulzamel6876
Linda Kloss thank you 🙏 love back to Texas
@manawa3832
@Semper Fortis They are not Malians nor Algerians. They are Touaregs; natives to the Sahara of Algeria.