Hasna El Becharia : pioneer of diwane music and desert rocker
From beginning to destiny
Born in 1950 in Béchar, a town in south-west Algeria, Hasna El Becharia grew up in a family that valued Gnaoua music and culture, a musical and spiritual tradition imported to Algeria by the descendants of African slaves. At an early age, she developed a passion for Diwane music, a traditional genre derived from Gnaoua practices, marked by its hypnotic rhythms and mystical chants.
Contrary to the social norms of her time, Hasna learned to play the guembri, a stringed instrument traditionally reserved for men. Defying the norms of her time, Hasna secretly learned to play this instrument, a decision that set her apart in a society where gender roles are strictly defined.
At the age of 15, she began performing in public at local religious ceremonies.
A little later, in the 1970s, she left Béchar for Algiers, seeking to expand her musical horizons and promote her unique style, a fusion of traditional diwane and rock. Indeed, it was in the Algerian capital that she began to build a reputation.
Her talent was quickly recognized, and she became one of the first women to perform in popular cafés, singing and playing the guembri alongside the men.
In 2001, her career took a decisive turn when she recorded her first album, Djazaïr Johara, which brought her international recognition. This album, which blends the hypnotic rhythms of Gnaoua music with rock and blues influences, marks the beginning of her reputation as a “desert rocker” - a legend is born.
Musical legacy
Hasna El Becharia has created a unique musical style that has become a bridge between ancient traditions and modern expression. Her music is a skilful blend of traditional diwane and modern rock, reflecting not only the richness of Algerian culture but also its openness to outside influences. With albums such as Djazaïr Johara in 2001 and Smaa Smaa in 2012, she has captivated a wide audience, reaching beyond the borders of Algeria to international listeners.
Through her music, Hasna also tried to deliver messages that were close to her heart. For example, by playing the guembri, a string instrument traditionally reserved for men, and incorporating elements of rock, she not only modernized the genre but also made it accessible to a wider, younger audience.
In doing so, Hasna sent a strong message that traditions can adapt while retaining their essence. Hasna also used her music to address themes of social justice and gender equality. Her songs were often about freedom, oppression and the fight for women's rights. As a woman, she was acutely aware that she had a special role to play in a predominantly male music scene, and that's why she sought to change that.
Recognition and icon
In 2017, Hasna was awarded the “Prix de la Francophonie” for her entire career, a testimony to her international influence and ability to transcend borders,
be they geographical or cultural. In this way, her work is a call to resistance and resilience, both a tribute to her cultural heritage and a declaration of love for modernity and renewal. Through her music, Hasna has not only left an indelible mark on the world of music, she has also blazed a trail for future generations of artists, especially women, in the Arab world and beyond. Indeed, she has always asserted her artistic independence and has never hesitated to speak out about her origins, beliefs and struggles. In 2004, after the release of her album “Algeria Blues”, she declared in an interview: “Music is my freedom. It's also my way of fighting against the injustices I've experienced as a woman”.
Sources :
https://www.telerama.fr/musique/mort-d-hasna-el-becharia-la-rockeuse-du-desert-7020277.php
https://fr.wikipedia.org/wiki/Musique_diwane
https://www.youtube.com/GnawaMusichttps://
