Before the Silence: Libyan Music in the 1960's and 1970's
In the 1970's, when Muammar Qaddafi took control of Libya, the music died (sorry Buddy Holly, this post is not about you). Qadaffi's oppressive and stringently anti-Western regime attacked any form of dissidence, and this included art and music styles deemed "deviant." For decades, the only music in Libya was the traditional tribal styles espoused by the government, and even those were, in many ways, stifled.
Prior to this takeover, however, music thrived.
Described as "the golden age of Libyan music," the 1960's played host to all forms of artistic and musical expression. Particularly prominent during this time period were the political dissidents and revolutionaries. Two main genres of Libyan music emerged during this time, and both were followed almost-religiously by the young and disaffected.
Among the first to emerge during this time period was Merskawi music. Featuring conventional music and lyrics, combined with the traditional rhythms of Libyan tribal music, these singers used mainstream melodies and chords to express the hardships they face in their day-to-day life. Not only was this genre frequented by the youth rebellion, but it also gained a following among the elites of Libya, who would pay for private gathering and concerts, in which party-goers would partake in (illegal) stashes of moonshine and hashish, as the music played.
The 1960's also marked the first showing of Western-influenced music in the country. Two artists come to mind when thinking of Western-inspired Libyan music: Ahmed Fakroun and Nasser al-Madawi. Fakroun, with his Europop and French rock-inspired beats, needs no introduction. Al-Mazdawi, a native from Tripoli, combined traditional rhythms associated with Berber music styles with Western rock styles. These two, as well as pioneering the beginning of cultural mixing through music, also were prototypes of Arab Jeer music, later popularized in Egypt and Lebanon in the 1980's.
Along with the growth of revolutionary singers, women also began finding their voice during this time period. Some of the more famous female singers coming from the 1960's and 70's are Abeer and Tunis Meftah. These two broke away from the traditional folkloric wedding style of music, while still showing that women are the experts when it comes to song and dance. Moreover, their more conventional style and lyrics (staying away from anything too suggestive) left them open to far greater news and television coverage.
Read more about Nasser al-Mazdawi: https://musicbrainz.org/artist/21b29083-f659-4543-b087-3ed71cd24dd2?va=1&all=1
Hear Tunis Meftah's music on YouTube: https://www.youtube.com/channel/UCIhFhrAP1z0ptDqb5zRrIxQ
Prior to this takeover, however, music thrived.
Described as "the golden age of Libyan music," the 1960's played host to all forms of artistic and musical expression. Particularly prominent during this time period were the political dissidents and revolutionaries. Two main genres of Libyan music emerged during this time, and both were followed almost-religiously by the young and disaffected.
Among the first to emerge during this time period was Merskawi music. Featuring conventional music and lyrics, combined with the traditional rhythms of Libyan tribal music, these singers used mainstream melodies and chords to express the hardships they face in their day-to-day life. Not only was this genre frequented by the youth rebellion, but it also gained a following among the elites of Libya, who would pay for private gathering and concerts, in which party-goers would partake in (illegal) stashes of moonshine and hashish, as the music played.
The 1960's also marked the first showing of Western-influenced music in the country. Two artists come to mind when thinking of Western-inspired Libyan music: Ahmed Fakroun and Nasser al-Madawi. Fakroun, with his Europop and French rock-inspired beats, needs no introduction. Al-Mazdawi, a native from Tripoli, combined traditional rhythms associated with Berber music styles with Western rock styles. These two, as well as pioneering the beginning of cultural mixing through music, also were prototypes of Arab Jeer music, later popularized in Egypt and Lebanon in the 1980's.
Along with the growth of revolutionary singers, women also began finding their voice during this time period. Some of the more famous female singers coming from the 1960's and 70's are Abeer and Tunis Meftah. These two broke away from the traditional folkloric wedding style of music, while still showing that women are the experts when it comes to song and dance. Moreover, their more conventional style and lyrics (staying away from anything too suggestive) left them open to far greater news and television coverage.
Read more about Nasser al-Mazdawi: https://musicbrainz.org/artist/21b29083-f659-4543-b087-3ed71cd24dd2?va=1&all=1
Hear Tunis Meftah's music on YouTube: https://www.youtube.com/channel/UCIhFhrAP1z0ptDqb5zRrIxQ
This is so interesting because it really shows how music is used as an important form of expression in cultures! In America, we have so many different genres and to become popular, most songs follow a common topic or theme. So, the of stifling music in order to keep power in a region shows how much music means in Eastern cultures. In countries such as Libya or Algeria, music is used during revolutions as a form of peaceful opposition. It's an integral part, especially considering rai music in Algeria was created for the sole purpose of speaking against French colonization before it evolved. I would love to learn more about the specific political topics addressed by the female singers and how the country reacted to them. Thanks for all the great information!
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