Widely regarded as one of the finest proponents of, or as she is at times called the Grande dame of Arab-Andalusian music, Lila Borsali has continued to build a cultural bridge between Europe and North Africa with her smooth, enchanting voice.
In a year-ending treat to Qatar’s music aficionados, Borsali will perform on Tuesday at 7pm at the Katara Opera House, her signature style of Andaloussi music at an Algerian music concert. The event is presented by Katara in co-operation with the Cultural Influence Algerian Agency and the Embassy of Algeria in Doha.
Borsali specialises in musical suites called Noubaat and a derivative called Hawzii, both forms of melodic poetry. Earlier in March, Nabila Ramdani wrote in Al Arabiya News, interesting bits from what the 38-year-old Borsali said at Fikra, the prestigious Algiers conference which was dedicated this year to the theme of success.
Borsali started off playing the mandolin and soon joined the prestigious Association Ahbab Cheikh Larbi Bensari, “then the renowned orchestra directed by Fawzi Kalfat and rapidly became a soloist.” Borsali elaborated at the talk, “Things moved quickly – I started touring, taking part in concerts and festivals, and recorded Nouba Zidene, my first album with Radio France. But in 1994, I had to leave Algeria and go to France because terrorists were trying to intimidate us.”
It was a group affiliated with the Armed Islamic Group (GIA) who issued the warning. Borsali said, “For my parents, my safety was paramount. My then fiancé, Salim, and his family were in Paris, so I left Algeria within 10 days and went to live with my future in-laws. Music then became a way for me to stand up to the violence in my home country. It enabled me to associate my country with something positive instead.”
Soon, Borsali immersed herself in music and became a founding member of the Association Andalus Airs and worked there as secretary-general and taught music for 16 years.
“I improved my singing techniques under the supervision of Abdelkrim Bensid. I switched from the mandolin to the traditional kouitra and came to meet masters of Andalusian music such as the late Amine Mesli and Yahia Ghoul. All this contributed to changing my relationship to music: before I thought it was something that comes naturally, that it’s in your blood, but in France I realised it was a way of forcefully asserting my identity. I wanted people to look beyond the violence and disharmony, and see the wonder of music originating in my beloved country, and particularly in Tlemcen,” said Borsali.
Tlemcen is steeped in Andalusian music, as the city was the capital of the Zayyanids dynasty during their rule from 1235 to 1556, points out Ramdani. They forged numerous alliances with Spanish nobles, ensuring a music history which was just as dynamic and varied as its political and social progression.
On this point of authenticity, Borsali said, “My music is not solely about mimicking traditional rhythms. I am interested in the lyrics, the oral transmission of music and how it reflects a country’s heritage. This led me to record ‘Ya Hmam’ (‘Oh, Lovebirds’) in the pure tradition of Hawzii from Tlemcen. Music allows me to express myself freely, to give my opinions and challenge the conservatism in our society.”