Preserving endangered Amazigh culture through music and community

TSAF: Abdellah, could you break down for us the sort of music that you perform with your group, Berber Diffusion?

Abdellah Rais: My music is a fusion of Amazigh pentatonic scales and the hypnotic rhythms of Gnawa traditional music. The Amazigh and Gnawa scales reflect the depth and spirituality of my heritage and provide the percussive backbone to my music. I integrate contemporary influences like jazz improvisation, electronic beats, or modern instruments in order to connect with modern audiences and create something that feels timeless, yet fresh. This combination allows me to honor my roots while ensuring the music resonates in today’s world.

TSAF: Can you explain a little more about Amazigh/Berber culture?

AR: The Amazigh are the Indigenous people of North Africa, they have a rich cultural heritage rooted in music, language, and storytelling. Unfortunately, Amazigh culture is under threat due to lack of representation. As someone deeply connected to my Berber/Amazigh roots, I feel it’s crucial to take proactive steps to promote and protect our traditions. Music is my way of preserving our identity and sharing our culture with the world.

TSAF: What is it about music and its performance that makes it a great tool for this?

AR: Music is a universal language. One that connects generations and crosses borders. That makes it one of the most effective ways to preserve endangered cultures. Performing traditional music not only keeps these sounds alive, but also fosters curiosity and pride in younger generations. It’s a way to tell our stories, keep our languages relevant, and ensure that the wisdom of our ancestors is not lost.

TSAF: As well as through performance Berber Diffusion reaches out to the wider community in other ways, can you speak about that a little?

AR: We run workshops and cultural programs that dive deeper into Amazigh heritage. These programs offer participants an immersive experience by teaching them about traditional music, rhythm, and the call and response format that’s so typical of certain forms of Amazigh/Berber music. By combining education with performance, we work to ensure these traditions are passed on while also fostering a wider, global appreciation of Berber/Amazigh culture.

TSAF: How hard has it been to build a network of Berber/Amazigh communities through your work?

AR: Building a network has been challenging as I live in London and there’s not a big Berber/Amazigh community here, but the rewards are immense. We get lots of appreciation and love for what we do. But our connections with Amazigh as well as non-Amazigh people and groups allows us to celebrate and protect our heritage. It’s about creating a global family where we support and inspire one another.

My journey has been full of challenges. I started learning music in the late 90s, when I was twelve years old and I am now trying to gain recognition for my work on an international level. Funding and resources have always been limited, but my passion for preserving Berber/Amazigh culture has kept me going. Each step along the way, whether it’s performing on stage or teaching a workshop, reinforces the importance of what we’re doing in my mind.

TSAF: Do you feel that your own efforts are part of a wider struggle in the art world, regarding representation?

AR: I think my own work in promoting Berber/Amazigh culture reflects a broader struggle in the art world, where marginalized voices often lack resources and visibility. It’s crucial that the arts become more open and accessible not just for my project, but for all underrepresented communities.

Art should be a platform where every story is valued and every culture has a chance to shine.