{"id":68125,"date":"2023-05-09T19:57:04","date_gmt":"2023-05-09T19:57:04","guid":{"rendered":""},"modified":"2023-05-09T19:57:04","modified_gmt":"2023-05-09T19:57:04","slug":"flifla-chamia-moute-habiba-messika-disque-gramophone-1930","status":"publish","type":"post","link":"https:\/\/harissa.com\/news-wp\/flifla-chamia-moute-habiba-messika-disque-gramophone-1930\/","title":{"rendered":"Flifla Chamia : Moute Habiba Messika (Disque Gramophone, 1930)"},"content":{"rendered":"<p>Flifla Chamia : Moute Habiba Messika (Disque Gramophone, 1930)<\/p>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">\n<p>Pendant l&rsquo;entre-deux-guerres, il y a eu un quasi-consensus sur le fait que Flifla Chamia \u00e9tait la plus grande danseuse de sa g\u00e9n\u00e9ration. Les brillantes performances de l&rsquo;artiste juive tunisienne, tant en Tunisie qu&rsquo;en Alg\u00e9rie, ont \u00e9t\u00e9 largement couvertes par la presse de l&rsquo;\u00e9poque.<\/p>\n<p>Sa renomm\u00e9e lui vaut m\u00eame d&rsquo;\u00eatre mentionn\u00e9e dans la litt\u00e9rature de l&rsquo;\u00e9poque, notamment dans l&rsquo;ouvrage de Vitalis Danon, \u201cNinette of Sin Street\u201d (1937), soit \u00ab Ninette de la rue du p\u00e9ch\u00e9 \u00bb, r\u00e9cemment publi\u00e9 en anglais avec une introduction de Lia Brozgal et Sarah Abrevaya Stein. En 1937, Flifla Chamia peut \u00e9galement pr\u00e9tendre \u00e0 l&rsquo;\u00e9cran tunisien. Cette ann\u00e9e-l\u00e0, elle joue dans Le Fou de Kairouan, le premier film parlant tunisien et une r\u00e9f\u00e9rence du cin\u00e9ma nord-africain. (Le Fou de Kairouan a \u00e9t\u00e9 perdu apr\u00e8s 1939 et retrouv\u00e9 en 1989 gr\u00e2ce au travail du chercheur tunisien Hichem Ben Ammar.)<\/p>\n<p>\n<audio controls=\"\" preload=\"auto\"><source src=\"https:\/\/harissa.com\/images\/Flifla.mp3\" type=\"audio\/mpeg\" \/>Votre navigateur n&rsquo;est pas compatible avec le Tag Audio.<\/audio>\n<\/p>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Mais Flifla \u00e9tait aussi une chanteuse accomplie. En fait, la quasi-totalit\u00e9 de sa famille l&rsquo;\u00e9tait. Sa s\u0153ur Bahia Chamia a enregistr\u00e9 pour Path\u00e9, tout comme sa ni\u00e8ce Ratiba Chamia, qui a \u00e9galement pr\u00eat\u00e9 sa voix aux labels Baidaphon et Rsaissi. La fille de Flifla \u00e9tait la c\u00e9l\u00e8bre artiste du milieu du si\u00e8cle dernier, Hana Rached.<\/div>\n<\/div>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Malgr\u00e9 son succ\u00e8s, les disques de Flifla, comme ses archives, sont difficiles \u00e0 trouver. Ceci est d&rsquo;autant plus surprenant que l&rsquo;un de ses disques, \u00ab\u00a0Moute Habiba Messika\u00a0\u00bb, produit pour Gramophone en d\u00e9cembre 1930, a largement circul\u00e9 dans le Maghreb. Ce disque, pr\u00e9sent\u00e9 ici et qui se traduit par \u00a0\u00bb la mort de Habiba Messika \u00ab\u00a0, \u00e9tait l&rsquo;un des nombreux disques de ce type \u00e0 l&rsquo;\u00e9poque. En effet, au lendemain de l&rsquo;assassinat de la superstar de vingt-sept ans, une avalanche de po\u00e8mes arabes, de chants fun\u00e8bres jud\u00e9o-arabes imprim\u00e9s et d&rsquo;enregistrements commerciaux ont exprim\u00e9 la douleur nationale qui a accompagn\u00e9 la mort de Messika. Ce chagrin, palpable et atroce sur l&rsquo;enregistrement de Flifla, dans lequel elle exhorte les gens \u00e0 \u00ab\u00a0\u00e9couter\u00a0\u00bb les circonstances \u00e9tranges (ghriba) et sans pr\u00e9c\u00e9dent (\u00e2jiba) qui ont frapp\u00e9 (Habiba), r\u00e9sonne encore quelque quatre-vingt-dix ans plus tard.<\/div>\n<\/div>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Ici deux d\u00e9tails \u00e9mergent et doivent \u00eatre mentionn\u00e9s: Premi\u00e8rement, la chanson de Flifla est racont\u00e9e du point de vue de Habiba Messika elle-m\u00eame. Ainsi, par exemple, dans sa troisi\u00e8me ligne, Flifla chante \u00ab\u00a0Elli jara li ana Habiba\u00a0\u00bb (\u00ab\u00a0Ce qui m&rsquo;est arriv\u00e9, moi Habiba\u00a0\u00bb) &#8211; ce qui rend cet enregistrement encore plus d\u00e9chirant. Deuxi\u00e8mement, il semble que Flifla s&rsquo;inspire directement d&rsquo;une complainte (qina) \u00e9crite (et probablement enregistr\u00e9e) par le chanteur et \u2018hazzan (cantor) tunisien Acher Mizrahi, n\u00e9 en Palestine. Ces paroles sont reproduites ci-dessous. (Les sources de ce texte sont les petits-enfants de Mizrahi, Yaacov Assal et Acher Mizrahi.)<\/div>\n<\/div>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Quina ala Hbiba Msika par Acher Mizrahi :<\/div>\n<\/div>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">\u201cYa ness essmeou el ghriba<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Eli gara li ana Hbiba<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Zit men el khedma farhana<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Tkhelt el farchi nassanna<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Tkel aliya ouahad rhadar<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Rma aliya el nar<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Ma tkelouch el denia nassiana<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Tkel aliya ouahad rhadar<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Rma aliya el nar<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Ma tkhelouch el denia nassiana<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Eli ameli ma khalitouch<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">I kamel el shar\u201d<\/div>\n<\/div>\n<div style=\"margin:0.5em 0px 0px;white-space:pre-wrap;font-family:inherit\">\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Traductions et adaptation par A. Bichiou.<\/div>\n<div dir=\"auto\" style=\"font-family:inherit;text-align:start\">Sources Gramophone et Jewish Journal.<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Flifla Chamia : Moute Habiba Messika (Disque Gramophone, 1930) Pendant l&rsquo;entre-deux-guerres, il y a eu un quasi-consensus sur le fait que Flifla Chamia \u00e9tait la plus grande danseuse de sa g\u00e9n\u00e9ration. Les brillantes performances de l&rsquo;artiste juive tunisienne, tant en Tunisie qu&rsquo;en Alg\u00e9rie, ont \u00e9t\u00e9 largement couvertes par la presse de l&rsquo;\u00e9poque. Sa renomm\u00e9e lui&hellip;&nbsp;<\/p>\n","protected":false},"author":1,"featured_media":68126,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[500],"tags":[],"class_list":["post-68125","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-multimedia"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Flifla Chamia : Moute Habiba Messika (Disque Gramophone, 1930) | HARISSA.COM<\/title>\n<meta name=\"description\" content=\"Flifla Chamia : Moute Habiba Messika (Disque Gramophone, 1930) 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