“Spring of Songs” is a new Amazigh edition
The Moroccan artist and writer Noureddine Amad, with the support of WAY CONSEIL, published a collection of songs, under the title “Spring of Songs.” His songs were written in the Amazigh language. The author joins the works of other writers and creators interested in children’s literature written in Amazigh, even though they are few of them. Thus, the publication is an addition that enhances The Amazigh literary and artistic scene.
General description of the office
The collection consists of eighty pages of medium size, divided into a dedication and a word of thanks to the writer, and an introduction by Omar Ait Saeed, followed by songs, numbering forty songs, whose titles are as follows: Spring - Summer, Winter, Autumn, Rain, Water, Learning is My Right, My Country, Children. The world, the tree, the night, the cicada and the ant, the school road, the flowers in bloom, the farmer, plow, the wedding in the school, the ant and the cockroach, my grandfather, the stork, the eye of love, a gift to my mother, I have my freedom, the step, we came to the fields, I love my country, the message of the ancients , Born was born, Swing, Numbers, I call today, Be bees, not flies, Scarecrow, My reed (home), To sleep, The message, We are all equal, Life is beautiful, My teacher, Work.
Attractive titles that indicate diversity and attempt to cover the child’s educational needs through poetic creativity based on rhythm that facilitates memorization, embodiment, and diagnosis. These titles can be classified according to the following areas:
Environmental field.
Field of learning.
sphere of life.
Heritage field.
The field of connection to the homeland and homeland.
The field of narrating through poetry a story from which lessons can be taken.
Time domain: seasons, night...
With these data, the Bureau brings together various aspects that target educational programs for children.
Introduction to the book
In it, the Moroccan creator, who is fond of children’s literature and a researcher in his field, Omar Ait Said, pointed out many things, including his consideration of the song as an embrace of history, heritage, and language, and the singers and authors of poetry are the ones who did everything in their creative energy to preserve the Amazigh language so that it could take root so that the years would not erase it, as happened to many. Of languages.
Debt Title: Spring of Songs
There is no doubt that the title has its importance in various literary and dramatic works. There is no poem, novel, film, or play without a title. So where does the importance of the title appear in relation to the creative work? How do we receive creations without a title? Is it possible to distinguish between creations without relying on titles that separate them? Many questions are asked regarding the title and its purpose. When it comes to plastic paintings, we are faced with an exception and a specificity, as many plastic works confront us with their vocabulary, far from the titles of sharing with you and them some of the keys to their implications. Before delving into talking about the painting with or without a title, we think it would be better to mention some of the benefits of the title for creative works:
It serves as the open gateway to communication with the creative process. It confronts you in the book, newspaper, magazine, film, etc., as if it takes your hand to wander within the expanse of this or that creative work.
It attracts the consumer to accept the creative product with the desire and curiosity of the seeker for the truth of the content of this title, and thus it sometimes becomes a trap, especially when it is a hint that motivates us to dive into creations that are below the level and value of its significance, so it remains only false advertising.
It is mostly an element that summarizes the data of the creative product. It helps in receiving and exploring the depths of the creative composition.
It draws attention to the essence of creative work and its main axis, and at the same time it calls for vision and scrutiny of the content of what a text, painting, film, poem, etc. has been created for.
It pushes you to engage in a struggle with the data and ideas of creative work. (See my article in Al-Quds Al-Arabi, dated September 10, 2016 AD).
The title of the Diwan is an additional compound that refers to matters including:
The songs have something that distinguishes them in terms of their connection to the seasons of the year. The reference to the spring of the songs suggests that these songs have an autumn, summer, and winter as well, as if they were a living organism that adapts to the fluctuations of time throughout each year.
The songs expected to be included in the collection relate to what delights the heart and awakens feelings of happiness in the embrace of life.
The fact that all the songs are related to childhood as the spring of man.
The songs included in the collection sing of data surrounding the child’s life and daily concerns.
We find it a good title, although we see that if it had changed the order of its additional composition, so that it comes “Spring Chants,” it would have been much better.
Cover plate
The cover of the Diwan is topped with a blue color that gradually expands to end in green with various shades and a transparent aspect that shows flowers that suggest spring, in harmony with the title that was chosen for the Diwan. In the middle of this cover is a painting in which Nashwa, a dreamy child, appears as she is on a swing hanging from a rope knotted in the branch of an old, withered tree.. The painting came with a background distributed On its surface, the color of the clouds is transparent, topped with dots of various colors that resemble flowers, stars, or butterflies that appear in the spring.
The painting has many connections to the content of the collection and its educational dimensions.
A passing tour through the Diwan’s songs:
The songs included in the collection are songs that the artist Nour El-Din composed and taught to children by presenting them in many workshops. They were written in the form in which they were sung and sung, which makes it easy for educators and teachers to present them to their students without putting in much effort.
Spring Song, p. 15
The sun has risen
, sending its rays,
the birds are singing,
hello, spring.
Spring has come
, it has brought greenery.
The eye is full
of water . The albumen
is the joy of fish
and flowers .
This is a wedding of colors.
Let us clap, let us clap.
How beautiful are the days
Our hands are up..
The anthem in the form in which it appears in the anthem - which we have edited a little due to the requirements of translation from Amazigh into Arabic - makes you recall the situations performed by the teacher and the target audience of the anthem, as it includes the command to clap and raise the hands upward... as if the author of the anthem was writing his anthems in a way similar to a scenario. .
Children of the World, p. 25
Children of the world are the flower of hope
Children of the world are the pride of nations
We are the children
We want our rights
we want freedom
For every human being
We, children of the world, want peace
We want harmony everywhere
Come on, call, go up to heaven
Visit all countries, listen to him, man
This is a message from all children
With friendliness and brotherhood we live in peace.
The anthem was written in the Amazigh language, and at the same time it is sung in Arabic and French. This is a new feature in the children’s anthem, in that it is performed in more than one language at the same time.
And make children cry out for peace and security in the world.
Stork p. 45
The stork drank from the spring. It
flew in the sky.
It landed on a balcony in my town.
The stork flew away. It came gathering
wood, reeds, and hay.
The stork returned to my town
with its beak working
Little by little, it built its nest.
An anthem that enhances the child’s closeness to the beauty and magnificence of the creatures present in the environment, and makes him love and respect them, and realize their value as beings who support us in our circles and contribute to maintaining the environmental balance.
in conclusion
The collection is full of songs that will enhance the culture and affairs of the Moroccan child in various aspects of his life. He will undoubtedly learn, through these songs, the Amazigh language, which is considered the mother tongue of most Moroccan children. Every single anthem or one included in a collection of poems should be praised by its author for serving the rich Amazigh culture, its language, its customs, and the level of its people’s outlook on the world.
Source: websites