13th Accra African Games, Athletics at a top level ...
Under strict and competent supervision of the Confederation of African Athletics, which appointed a large team of technicians and top referees, the athletics competitions continued for the second day (19 march 2024) at the All-African Games in a crazy atmosphere with a packed stadium at the University of Accra.
The atmosphere was truly extraordinary, which pushed the athletes to even higher levels of performance, auguring an exceptional African participation in the next Olympic Games, even though we are only at the beginning of the season.
Fresh World Indoor champion Tsige Duguma of Ethiopia highlighted the second day of athletics competitions by winning the 800m in a world lead of 1:57.73. It is also her Personal Best. WL/PB. Uganda’s 2019 World champion Halimah Nakaayi finished second (1:58.59) and Vivian Chebet of Kenya third (2:00.27).
Cameroon’s Emmanuel Eseme confirmed his domination in the first round and semi finale and topped the 100m in 10.14 (-0.8) ahead of Usheoritse Isekiri of Nigeria (10.23) and Namibia’s Gilbert Hainuca (10.29).
As expected, Gina Bass of Gambia won the women’s sprint in 11.36 (-1.3).
Nigeria’s Chukwuebuka Enekwechi won the shot put with 21.06 over Egypt’s Mostafa Hassan (20.70).
Nibret Melak of Ethiopia topped the 10,000m (29:45.37),
Senegal’s Louis Francois Mendy the 110m hurdles in 13.61 (-1.1) ahead of Algeria’s Amine Bouanani 13.69.
Rose Yeboah of Ghana won the women high jump with an excellent 190.
South Africa’s Mirè Reinstorf topped the pole vault with a high-level performance of4m35 which is a new Games Record.
Ruth Usoro comes from Nigeria to win the gold in the triple jump with with 13.80 (1.1).
In this second day of competition, two titles went to Algeria by Zahra Tatar in the women’s hammer with 69m65 a new Games Record, and by Dhiae Boudoumi in the decathlon with 6943 points.
Nigeria (Emmanuel Ifeanyi Ojeli, Patience George, Sikiru Adeyemi, Omolara Ogunmakinju) dominated the mixed 4x400m relay in an early world lead of 3:13.26 ahead of Botswana (3:13.99 NR) and Kenya (3:18.03). Nigeria sets here a new African record.
Kenya’s 800m World champion Mary Moraa showed the fastest 400m semifinal time of 51.55.
Muzala Samukonga of Zambia was the best man (45.51) and Nigeria’s Tobi Amusan topped the 100m hurdles heats in 13.03 (-1.8).
To close the session we had fast men’s 4x100m times were achieved in heats by Ghana (38.67), Nigeria (38.70) and Liberia (38.86), Liberia’s women were also the fastest (43.73).
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Athletics puts the 13th All African Games in orbit...
Athletics got off to a flying start at the 13th All-Africa Games, and the Games took on a whole new dimension as the level of athletics in Africa is so much higher than in other sports. There will certainly be plenty of Olympic medallists among the participants in Paris next summer.
Despite the hot and humid weather in Accra at this time of year, the quality of the track and the perfect organisation of the competitions enabled promising performances to be achieved in almost all the events from the very first day of the qualifiers, with many Games records, continental records and even more national records.
First day results:
It start with an ethiopian win in the women 5.000m: U20 Medina Eisa won women 5000 m in 15:04.32 (third best ever time at Games) over teammates Birtukan Molla 15:05.32 PB and Melknat Wudu 15:07.04. Fourth best Kenyan steeple WR holder Beatrice Chepkoech 15:13.71.
In men steeple Samuel Firewu also from Ethiopia won the gold with a time of 8:24.30 ahead of Kenyans Amos Serem 8:25.77 and Simon Kiprop 8:26.19.
South African Victor Hogan dominated in discus with 62.56.
From prelims to note fastest 100 m men semifinal 10.15 (-0.1) by Cameroon´s Emmanuel Eseme.
In women 100 m semfinal Gina Bass from Gambia 11.35 (-0.8).
400 m first round had Cheikh Tidiane Diouf from Senegal as fastest with 45.64. Eritrean Fithawi Zaid clocked in 800 m prelims national record 1:45.90.
Senegal´s Louis Francois Mendy topped 110 m hurdles first round with 13.54 (-1.2). In women 400 m heats fastest Esther Joseph from Nigeria 51.81 with World champion over 800 m Mary Moraa winning her heat 52.18. World Indoor champion Tsige Duguma was the fastest in women 800 m opening round 2:02.08.
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Abdou Cherif, ignoré de son vivant, célébré à son décès...
Dans la série des textes que m'a transmis Si Jalil Benazzouz , je partage ici avec vous celui du virtuose Jbara.
Si vous ne le connaissez pas je vous invite à le découvrir en cliquant sur le lien que je partage ici au bas de l'article.
Si Jbara maitrise l'espagnol est c'est pour cela que l'article original ici bas est en espagnol. Je me suis proposé de le traduire en français.
Jbara est connu pour fusionner les rythmes gnaouis avec des inspirations de rocker convaincu et convaincant.
Certains voient en lui le Santana marocain et vont jusqu'à le nommer ainsi.
Figurez, d'après si Jalil que durant les 12 derniers mois, Jbara a passé beaucoup de temps avec Abdou pour travailler sur des chansons inédites qu'ils étaient sur le point de produire ensemble .
Malheureusement le sort en a voulu autrement. Si Jalil me dit que le grand artiste Jbara s'est promit de mener ce travail à terme et de le proposer au public marocain en hommage à son cher ami.
Ici bas en lien, je partage avec vous le lien de la chanson Qilouna de Jbara. Elle est vraiment en symbiose totale avec la réflexion de l'artiste.
Merci de savourer ce moment exquis.
Voici l'article tel que écrit par Jbara en Espagnol:
Yo desde la distancia he estado viendo videos, y los comentarios de la gente y me da para valorar un poco lo que ha y está pasando. Lo que más me dolió son la falta de respeto no solo al artista, sino al humano, había algún comentario en algún video de él actuando que decía, tengo 40 años y nunca había visto nada de él, como es posible que nos hayan privado de este gran artista. Y ahora esos medios que lo ignoraron o esas instituciones, se desagan en halagos a ese gran artista. Hipócritas y carroñeros. Y luego está ese público embrutecido por esos mismos medios de comunicacion y por esas instituciones que les embrutecen dando mierda como arte, y están en ese lugar en el que deberían mostrar al menos respeto, y graban su entierro y el dolor de una madre. desgraciadamente ese globalismo putrefacto ha entrado en la sociedad y la está destruyendo y nadie se da cuenta. Conclusion, vivimos en un mundo de mierda, donde los envidiosos se muestran como amigos dolientes, donde los medios muestran su verdadera cara de destructores de valores y donde el público ya no tiene respeto por nada ni nadie.
Una Reflection
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Traduction en Francais
J'ai regardé à distance les vidéos et les commentaires des gens, et cela me donne un aperçu de ce qui s'est passé et de ce qui se passe encore. Ce qui m'a le plus blessé, c'est le manque de respect non seulement pour l'artiste, mais aussi pour l'être humain. Dans une vidéo de lui en train de jouer, un commentaire disait : "J'ai 40 ans et je n'ai jamais rien vu de lui, comment est-il possible qu'ils nous aient privés de ce grand artiste ? Et maintenant, ces médias qui l'ont ignoré ou ces institutions se déchargent de leur fardeau en faisant l'éloge de ce grand artiste.
Hypocrites et charognards.
Et puis il y a ce public brutalisé par ces mêmes médias et par ces institutions qui les brutalisent en leur donnant de la merde en guise d'art, et ils sont à cet endroit où ils devraient au moins faire preuve de respect, et enregistrer son enterrement et la douleur d'une mère. Malheureusement ce globalisme pourri est entré dans la société et la détruit et personne ne s'en rend compte.
Conclusion, nous vivons dans un monde de merde, où les envieux sont montrés comme des amis éplorés, où les médias montrent leur vrai visage de destructeurs de valeurs et où le public n'a plus de respect pour rien ni personne.
Une réflexion
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"Abdou Cherif : Entre reconnaissance tardive et faux-semblants"
A la suite de la disparition subite du grand artiste devant l'éternel Abdou Cherif, j'avais instinctivement commis un article que j'avais titré: "Abdou Cherif est parti, emporté par sa voix vers les cieux.", article que j'ai publié en arabe, en français et en anglais. A ma grande surprise c'est la version anglaise qui a le plus été lue.
Immédiatement après la publication, j'ai reçu un message de Si Jalil Benazzouz que j'ai connu à travers un groupe Wattasap "Amis de SportPro Maroc". Si Jalil qui oeuvre dans la promotion et la vulgarisation du Golf, m'a fait savoir qu'il était ami très lié à feu Abdou Cherif; qu'il avait apprécié mon article et qu'il l'avait fait lire à d'autres amis du défunt qui l'avait également apprécié. Cela m'a comblé.
Si Jalil, dans le cadre de cette discussion, m'a fait transmettre des articles que justement des amis dont on parle ici ont écrit et qu'il souhaitait que je les publie dans Bluwr; ce que je fais avec le plus grand plaisir ici bas, exactement comme je les ai reçus.
En voici le premier que j'accompagne ici en lien plus bas de l'une des merveilles de notre regretté.
Je vous laisse l'apprécier.
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"Abdou Cherif : Entre reconnaissance tardive et faux-semblants"
Par Yassir BOUSSELAM
Dans un monde saturé de contenus multimédias, Abdou Cherif, artiste méconnu, a longtemps été relégué dans l'ombre, loin des projecteurs. Ce n'est que récemment que les médias et les institutions ont commencé à reconnaître son talent, offrant une reconnaissance tardive qui contraste cruellement avec l'indifférence passée.
Cependant, cette soudaine acclamation soulève des questions sur l'intégrité de l'industrie artistique et des médias. Elle met en lumière un déséquilibre flagrant entre la reconnaissance méritée et l'oubli injuste, alimenté par une culture de superficialité et d'hypocrisie.
Cette tendance à glorifier la médiocrité au détriment de la qualité est également observable dans le comportement du public, souvent conditionné par les médias à accepter un standard artistique minimaliste. Cette adhésion tacite à la médiocrité est choquante, surtout lorsqu'elle ignore les moments de deuil et de douleur les plus intimes.
De plus, le fait que de nombreuses personnes n'aient jamais entendu parler d'Abdou Cherif révèle l'influence néfaste des médias et de l'industrie artistique sur la propagation de la médiocrité. Cette ignorance souligne la nécessité de réformer le paysage médiatique et artistique pour promouvoir une appréciation authentique de la qualité artistique.
Dans un contexte où l'hypocrisie est monnaie courante, filmer la douleur privée d'une mère en deuil ou l'enterrement d'un être cher est profondément offensant. Cela témoigne d'un manque flagrant de respect pour l'intimité et la dignité humaine, alimenté par une quête de sensationnalisme et de notoriété à tout prix.
Il est indéniable que filmer une mère éplorée par la perte de son unique fils, dans son intimité brisée et sa détresse abyssale, sous couvert de solidarité, constitue une offense flagrante à la sacralité de la vie privée. La quête de notoriété ou de vues ne saurait justifier pareille intrusion dans la souffrance d'autrui. Révoltant est le spectacle de charognards se ruant dès qu'une victime trébuche, avides de profiter de la tragédie ou de captiver l'attention.
Filmer l'ultime repos du cercueil est une transgression patente de l'intimité, une violation du sanctuaire réservé à la famille et aux amis les plus intimes du défunt. Il est ironique de constater que ceux qui prétendent être des amis proches ou des admirateurs de l'artiste étaient souvent les premiers à le dédaigner et le
Il est également ironique de constater que ceux qui ignoraient et critiquaient Abdou Cherif de son vivant se précipitent maintenant pour lui rendre hommage. De même, les opportunistes qui rejetaient autrefois les artistes sont maintenant les premiers à les pleurer, révélant ainsi la fausseté et la superficialité de nombreuses interactions dans le monde de l'art.
Cette série de faux-semblants et d'injustices est déchirante, mais elle soulève également des questions cruciales sur l'état de l'industrie artistique et des médias contemporains. Reconnaître et remédier à ces problèmes est essentiel pour restaurer l'intégrité et le respect de l'art et des artistes dans notre société.
À bon entendeur !
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Mustapha Guiliz: The door ajar...
"In writing this book, I aspire to a more humane form of justice, one that ensures equality between citizens, but also the right to fulfil oneself."
This sentence, full of meaning and questions, is by Si Mustapha Guiliz. It is taken from the article that the newspaper "L'économiste" devoted on 3 January 2024 to the presentation of the book "les hommes de la nuit" published by Orion, whose founding president is none other than Si Abdelhak Najib.
The article is followed by an edifying interview with Si Mustapha Guiliz, the author of the book.
This is an author whom Bluwr readers and members have had the privilege of meeting and, above all, appreciating through his article "Education through values", which appeared in Bluwr few weeks ago.
Si Mustapha GUILIZ is a teacher and writer who has already written "Le Monde d'Brahim" and "Au pays des sources".
Contrary to the title of the book, which might suggest that the author is a dull, even embittered character, Si Mustapha is a pleasant person, with a youthful smile that is pleasant, fulfilled, indulgent and tender.
When you come into contact with him, you realise just how far removed he is from the subjects he covers. This detachment, which is both intelligent and not at all indifferent, allows him to go into the depths of things with the objectivity that is both necessary and required.
Having had an hour-long discussion with Si Mustapha one fine morning last November, I was able to gauge and appreciate his detachment and depth of philosophical analysis.
"The men in my book are men with a capital M, who have made the best of life in the dark," he says. In fact, for Si Mustapha, all men deserve a name with a capital M, and not just the characters in his inspired fiction.
In a world of injustice, he dreams of justice. In a world where women suffer, he dreams of ideal conditions for them all. In a world of abused power, he dreams of moderation and balanced power. In a world of despair, he dreams of fulfilment.
Is he an idealist from another planet, the one on which he sails to bring his characters to life?
He is the only one to know ...
In any case, this sentence "Through the writing of this book, I aspire to a more humane form of justice, one that aims to ensure equality between citizens, but also the right to fulfil oneself" fits his character perfectly. We need so many people like him to reveal our reality to us, but also to open the door to hope and to urge us to break it down.
I'm writing these lines to congratulate Si Mustapha, whose book is a perfect start to this new year of service to the community, and to express my pride in knowing him and publishing articles with him on Bluwr, in the hope of reading him again soon on the platform.
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Track and Field, the most representative sport on the African continent
4 months ago I published this article in French. Today, as I'm getting ready to leave for Accra for the All African Games, I thought it would be a good idea to republish it, this time in English. It's a reminder of the dynamism of African athletics and its place on the continent and the world stage. I am here using an old wording: instead of Athletics i used Track and Field as title...A kind of nostalgia of the old days.
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One of Africa's most dynamic sporting bodies is the Confederation of African Athletics. This dynamism is obviously the result of the fact that it manages the continent's most representative sport, but it also comes from its component parts, which are of course the national federations, of which the CAA is simply an offshoot. Its role is to encourage, channel and coordinate efforts to develop athletics on the continent.
Athletics is the sport that has won, is winning and will continue to win the most titles and glories for the continent for a long time to come. To this end, the CAA, under the leadership of its President Hamad Kalkaba Malboum, has made great efforts to develop the sport. It has succeeded in setting up an initial ten-year strategic plan, the objectives of which have almost all been achieved: in particular, revitalizing the most precarious national federations and developing youth sport by introducing regional and continental competitions for U18s. This plan was aimed at popularization and more quantitative aspects: number of countries and athletes taking part in African competitions, number of African countries and athletes taking part in world competitions.
The 2nd plan, launched in 2019, also covers a ten-year period and aims to consolidate and strengthen the gains made by moving a little closer to the quality of the activity as a whole, by reducing the disparities between members and regions. Aware of the importance of scientific aspects for the development of athletics, the CAA has based a large part of its strategy on collaboration with universities in each of its member countries: for the training of executives and for research and development in governance and management.
If Africa accounts for more than 35% of world athletics, it is because it also has close relations with the world body, which is done in perfect harmony. There are, of course, points of disagreement that the two parties are trying to overcome to ensure perfect complementarity. World Athletics has delegated a number of prerogatives to the CAA, including development. This policy of decentralization is working rather well, to the satisfaction of both parties.
The CAA's other major partner is ANOCA (Association of National Olympic and Sports Committees), with which we are in the process of establishing a close working relationship. ANOCA is the IOC's arm on the continent. This body, which has a major impact on sporting activity on the continent, particularly since it took over responsibility for the All-Africa Games, has entrusted the task of developing sport in Africa to M Hamad Kalkaba Malboum, President of the CAA. The athletics development model thus inspires all sports in Africa.
A great deal of cooperation has also been undertaken with the African Union, which is linked to the CAA by a very important agreement with multiple objectives.
Of course, the AAC will not succeed without collaboration with its members, their respective governments and the respective NOCs.
Funding remains the major challenge. It is difficult to put forward figures as it is impossible to compile all the money spent or invested in athletics. We have the involvement of local authorities, governments and the NOCs, as well as what is certainly a very significant contribution from individuals and civil society through associations and clubs. If today athletics is practiced in all 54 African countries and all of them take part in continental competitions, it is because this is accompanied by substantial budgets. But more is still needed.
Paradoxically, there are some countries, without naming them, that invest more than 10 million dollars a year in the running of their athletics federation and hundreds of millions in infrastructure. Others don't spend more than 20 or 30 thousand USD. This is understandable, given the GDP of some countries and the lack of interest shown by some governments in athletics, even though it is the most basic of sports.
Funding is made difficult in many countries by the weakness of the economic fabric, characterized by monopolies, low levels of consumption and the stranglehold of certain multinationals, which make no effort to promote local development and are far from supporting the development of young people through sport.
CAA has placed youth development at the heart of its strategy. It has made this its exclusive mission. It believes that the development of athletics on the continent must be centered on the athlete. Based on this philosophy, management training is a key lever. Young people need to be supervised by competent managers. As a result, it now has eight centers whose mission is to train managers as well as athletes. These are known as AADC: African Athletics Development Centers. And it's working so well that new centers are being planned. A center has just been launched in Abidjan in 2023 and another is about to be launched in Praia, Cape Verde, for Portuguese-speaking countries. This is how CAA, its partners and member federations are responding to the pressing need for development, by bringing its actions closer to the beneficiaries.
The CAA has also signed agreements with federations in "wealthy" African countries to ensure that their infrastructures and know-how benefit the "less wealthy". In particular, it has signed an agreement with the Royal Moroccan Federation and with those of Ethiopia and South Africa.
The CAA has also set up training units in more than one country. These are groups of talented youngsters who train under the guidance of qualified coaches appointed by the CAA. All financed by the CAA. The aim is to improve standards in the continent's least developed events and to help countries that are having difficulty setting up a good athlete training system.
The CAA believes that African athletes should have the opportunity to compete on the continent, and has thus ensured the continuity of a competition system that Covid has unfortunately disrupted. In addition to the African championships in three age categories in cross-country and athletics, the CAA organizes an African Tour of one-day meetings in three categories Gold, Silver and Bronze, in addition to the Diamond League in Rabat, the Kip Keino Classic in Nairobi and the Botswana Golden in Gaborone.
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Track and Field, the most representative sport on the African continent
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صوت عبدو الشريف الشجي يرفعه إلى السماوات
--كنت أقود سيارتي عائداً من فاس، عندما أعلنت القناة الإذاعية التي كانت ترافقني في مقصورة سيارتي، عن الاختفاء المفاجئ والمثير وغير المفهوم وغير المتوقع والسريع والمدمر والمحزن لعبدو الشريف.
لقد عشقت وأعشق وسأظل أعشق حتى نهاية أيامي هذا الفنان الموهوب الذي لم تسنح لي الفرصة لمقابلته ولكن التلفزيون واليوتيوب جعلني أكتشفه وأحبه فيما بعد.
أنا، الذي أعشق عبد الحليم حافظ والأغنية المصرية الجميلة، أجد فيه استمرارية للعصر الجميل؛ ذلك الذوق الموسيقي السامي؛ الذي تجاوز فيه مؤلفو الأغاني مثل الملحنين وقادة الأوركسترا وفناني الأداء أنفسهم ليقدموا للجمهور العربي، وليس فقط، أفضل الموسيقى. مستوحاة أحيانًا من فنون شعبية عميقة الجذور، وأحيانًا من نغمات موسيقية من أماكن أخرى، حتى أنها ذهبت إلى حد استكشاف رقصة التانغو الأرجنتينية، فقد أورثتنا تراثًا موسيقيًا فريدًا لا نقدر ثرائه بالكامل بعد.
عندما نستمع إلى عبده الشريف وهو يؤدي جبار أو حبيبها، نقع في زوبعة من السحر بصوته الآسر، القوي، الناعم، المعبّر. الصوت واضح وضوح الشمس والإلقاء واضح و مخارج الحروف صافية رقراقة. عبده يسمو بهذا النوع من الأغاني ليجعلك تنسى الأصل…
مفاجأة ذات مساء، في أولمبيا القاهرة، أعلن بلطف بلا شك أنه سيغامر بغناء لا بويم . كان شارل أزنافور سيحب هذه اللحظة كثيراً. لقد كان انتصارا.
ولم ينته الأمر ,عبده سيحاول المستحيل ولا أحد ملزم بالمستحيل، سيذهل، مفاجأة، في إحدى أمسيات الدار البيضاء، بإعادة النظر في أحد معايير الملحوم المغربي: قصيدة غيتة. من كان يظن أن هذا المخلص الأبي لعبد الحليم سيطرق في يوم من الأيام باب الحاج إدريس بن علي المالكي ويجعله يقف في قبره الذي يبلغ من العمر قرنين تقريبًا. أنا على قناعة أنه حيثما كان إدريس بن علي فقد يبتسم بارتياح. لم يسبق لأحد أن أدى غيتة مثل عبده الشريف، ولا حتى المعلم الكبير إدريس التولال
هذا هو الرجل الذي يتركنا اليوم إلى الأبد، يترك لنا صوته وابتسامته وأناقته وحساسيته وجرأته في الوقوف في قاعات الحفلات الكبيرة أخذا جمهوره في رحلة تتجاوز الزمن
عندما وصلت إلى المنزل، جلست في زاوية مضلمة، وأخذت هاتفي وبدأت أستمع إلى مقتطفات لا نهاية لها من اداءاته، وأقضي في خيالي المزيد من الوقت في بعض الأماكن التي كان فيها في ذروة فنه و الغاني التي زارها مثل "راحلة"، التي لحانها موسيقى مغربي أخر. : عبد السلام عامر وأداها صوت جميل آخر المغني الراحل محمد الحياني و هو كذلك غادرنا في وقت مبكر
هكذا شاءت الأقدار ان اترحم على الفقيد عبده الشريف والدعاء له والغفران و الرحمة
لقد ترددت قبل أن اختار أغنية من اداءه لاقدمها لكم فكلها كاملة وجميلة مثل بعضها البعض. وأخيرا قلت لنفسي لماذا لا أغنية
Charles Aznvour: la bohème
لديكم الرابط أسفله.
إنا لله وإنا إليه راجعون.
كذا قد نحيه بيننا في دفء وجداننا الابدي.رحمه الله.
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صوت عبدو الشريف الشجي يرفعه إلى السماوات
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Abdou Cherif left, carried by his voice towards the heavens.
I was driving back from Fez, when the radio channel which kept me company announced the sudden, dramatic, incomprehensible, unexpected, rapid, devastating and sad disappearance of Abdou Cherif.
I adored, I adore and will adore until the end of my days this virtuoso whom I never had the chance to meet but whom television and YouTube subsequently made me discover and love.
I, who adore Abdelhalim Hafed or Hafez and the beautiful Egyptian songs, find in him a certain continuity of the "belle époque"; that of the sublime musical drop; the one where lyricists like composers, conductors and performers surpassed themselves to offer the Arab public and not only the best of music.
Inspired sometimes by deeply rooted popular arts, sometimes by musical tunes from elsewhere, even going so far as to explore Argentina Tango, they have bequeathed us a unique musical heritage whose richness we do not yet fully appreciate.
Listening to Abdou Cherif performing Gabar or habibaha, we are caught in a whirlwind of magic by his captivating voice, strong, soft, expressive. The sound is crystal and the diction clear. Abdou sublimates this kind of song to make you forget the original…
And then big surprise, one evening, at the Olympia in Cairo, he doubtfully gently announced that he was going to venture into singing "La Boheme". Charles Aznavour would have loved this moment so much. It was a triumph.
And it's not over, Abdou will try the impossible and no one is bound to do the impossible, one evening in Casablanca he will amaze, surprise, by revisiting one of the standards of Moroccan Malhoum: Ghita. Who would have thought that one day this inveterate faithful of Abdelhalim would knock on the door of Lhaj Driss Benali Al malki and make him stand up in his two centuries old tomb. I am convinced that where he is, Driss Benali is smiling with satisfaction. No one has ever interpreted Ghita like Abdou Cherif, not even the great master Driss Toulali.
This is the man who leaves us today forever, leaving us his voice, his smile, his elegance, his sensitivity and his audacity to stand up in large concert halls and take his fans on a journey beyond time. .
When I arrived home, I stood in a corner, took my phone and started listening to endless extracts of his interpretations, spending more time on some where he had been at the height of his art, such as Rahila, composed by another of Moroccan music: Abdesalam Amer and performed by another beautiful voice that of the crooner Mohamed ElHayani. He also left early.
A way of the deceased Abdou Cherif from a distance and to pray for the peace of his soul.
I hesitated before offering you any of his interpretations: all of them are as perfect and beautiful as each other. Finally I said to myself why not Bohemia. You have a link down here.
We belong to God and to him we return.
Rest in peace Abdou.
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Abdou Cherif left, carried by his voice towards the heavens.
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