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Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.

La fabrication de l'authenticité.
L'authenticité est une construction sociale, comme le révèlent particulièrement bien le processus de développement, à ses débuts, de produits culturels commerciaux tels que la country music et le phénomène d'amnésie qui l'accompagne. Au milieu des années 20, les producteurs américains de l'industrie du spectacle ont découvert une demande de musique "rétro", mais leurs préjugés idéologiques et esthétiques de citadins modernes les ont empêchés de comprendre rapidement cette demande. Les industriels moralistes de l'époque, dont le constructeur automobile Henry Ford, ont encouragé la renaissance d'une version saine et réglementée de la musique et de la danse "rétro", qui a été largement rejetée par la population. Il fallut 20 ans de tâtonnements et d'ajustements pour que les artistes et les producteurs de radio, de disques et de cinéma parviennent à fabriquer les deux personnages, le "hillbilly" et le "cow boy chantant", incarnant l'authentique aux yeux du public d'amateurs de l'époque.

La "world music" représente aujourd'hui un des secteurs les plus florissants de l'industrie de la musique, et la France joue un rôle de tremplin vers les marchés internationaux du spectacle et du disque pour de nombreux artistes , issus pour bon nombre d'entre eux des diasporas de l'Afrique francophone. Ceux-ci servent d'ambassadeurs de la musique française à l'étranger ce qui peut sembler paradoxal au vu de la condition imposée aux étrangers, musiciens ou non, sur le territoire français.
L 'engouement du public pour les musiques du monde aura-t-il le pouvoir de transformer les vieilles mentalités protectionnistes ? Il n 'est pas interdit d'en rêver ; en se laissant porter par les musiques d'ailleurs...

Article en ligne sur le site de la Maison René Ginouvès, Laboratoire d'ethnologie et de sociologie comparative UMR 7535 http://www.mae.u-paris10.fr/ateliers/pdf/Fourmaux9-18.pdf ; Looking trough the uses of bodies on stage(making up, adornment, choregraphy) in parisian music-hall revues in the 1990th (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), an interpretation of these shows is suggested in terms of ostentatious expense, industrial production and consumption (anonimity, standardisation, uniformity), and also ideological and political values from the Third Republic (national identity stereotypes), when revue borned. ; A partir de l'examen de la mise en scène des corps des danseuses(maquillage, ornementation, chorégraphie), dans les revues de plusieurs music-halls parisiens (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), durant les années 1990, une interprétation de ces spectacles est proposée en termes de dépense ostentatoire, de production et de consommation industrielle (anonymat, démultiplication, uniformisation), mais aussi de valeurs idéologiques et politiques issues de la Troisième République (stéréotypes identitaires nationaux notamment), période d'émergence et de développement de ce type de spectacle.

Article en ligne sur le site de la Maison René Ginouvès, Laboratoire d'ethnologie et de sociologie comparative UMR 7535 http://www.mae.u-paris10.fr/ateliers/pdf/Fourmaux9-18.pdf ; Looking trough the uses of bodies on stage(making up, adornment, choregraphy) in parisian music-hall revues in the 1990th (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), an interpretation of these shows is suggested in terms of ostentatious expense, industrial production and consumption (anonimity, standardisation, uniformity), and also ideological and political values from the Third Republic (national identity stereotypes), when revue borned. ; A partir de l'examen de la mise en scène des corps des danseuses(maquillage, ornementation, chorégraphie), dans les revues de plusieurs music-halls parisiens (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), durant les années 1990, une interprétation de ces spectacles est proposée en termes de dépense ostentatoire, de production et de consommation industrielle (anonymat, démultiplication, uniformisation), mais aussi de valeurs idéologiques et politiques issues de la Troisième République (stéréotypes identitaires nationaux notamment), période d'émergence et de développement de ce type de spectacle.

Article en ligne sur le site de la Maison René Ginouvès, Laboratoire d'ethnologie et de sociologie comparative UMR 7535 http://www.mae.u-paris10.fr/ateliers/pdf/Fourmaux9-18.pdf ; Looking trough the uses of bodies on stage(making up, adornment, choregraphy) in parisian music-hall revues in the 1990th (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), an interpretation of these shows is suggested in terms of ostentatious expense, industrial production and consumption (anonimity, standardisation, uniformity), and also ideological and political values from the Third Republic (national identity stereotypes), when revue borned. ; A partir de l'examen de la mise en scène des corps des danseuses(maquillage, ornementation, chorégraphie), dans les revues de plusieurs music-halls parisiens (Folies Bergère, Paradis Latin, Moulin Rouge, Lido), durant les années 1990, une interprétation de ces spectacles est proposée en termes de dépense ostentatoire, de production et de consommation industrielle (anonymat, démultiplication, uniformisation), mais aussi de valeurs idéologiques et politiques issues de la Troisième République (stéréotypes identitaires nationaux notamment), période d'émergence et de développement de ce type de spectacle.