Music, identity and politics in the last colony of Africa
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Music, identity and politics in the last
colony of Africa
Author(s): Katriona Holmes
Date first Published: May, 2015
Type: Research supported by the Ellie Maxwell Travel Bursary for the Clore Leadership
Programme Fellowship
Note: The paper presents the views of the author, and these do not necessarily reflect the
views of the Clore Leadership Programme or its constituent partners.
Published Under: Creative Commons
Music, identity and politics in the last colony of Africa is licensed under a Creative Commons Attribution-
NonCommercial-NoDerivatives 4.0 International License. Your use of the Clore Leadership Programme
archive indicates your acceptance of the Terms & Conditions of Use of this particular License, available
under Creative Commons.
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phoned every day. I sat in the consulate for several hours. I paid to change my flight
four times. I was about to give up on my trip when my visa finally came through ten
days later. No apologies, no explanation and certainly no compensation. The waiting
and uncertainty were apt for the visit that I was to take.
The Sahawari refugee camps, near Tindouf in Algeria, have existed for 40 years, since the
majority of Sahawari people fled there from the Western Sahara. The Western Sahara had
been a Spanish colony and the Spanish speaking, previously nomadic, Sahawari people had
been ready for self-determination as their European colonisers left, only to have the kingdom
of Morocco brutally take over in 1975 instead.
I was trying to get to the camps to find out more about the El Shaheed El Wali band. One of
the most well-known Sahawari music groups, the El Wali band was created as the Sahawari
Arab Democratic Republic (SADR) was formed by the state in exile in 1975.
Sahawari music is desert music, bluesy, with strong Spanish influenced guitar riffs,
traditional instrumentation, the tbal drum and primarily female vocalists singing raw,
emotional and fierce poetry of loss, exile and resistance. ‘Music is our identity’ I was told by
the Sahawari diplomatic representatives in London.
Backed by the music charity Sandblast Arts, who work with Sahawari musicians on an
international stage, I was armed with a list of over twenty key musicians, dancers and poets
that made up the El Wali band. I was to investigate what part music played in Sahawari
identity and resistance. I had big questions about the band immediately after the exile, during
the years of war, after the ceasefire and today.
After they fled the Western Sahara, the Sahawari were at war with Morocco. In 1991, a
ceasefire was agreed by both sides on condition that the Saharwari get a referendum on self-
determination. Up until this time, for 16 years, almost all of the men were away fighting. As
a result, the camps were largely built by women. Women still hold a strong and equal status
in the camps, including many Ministerial positions. Women also made up most of the
members of the El Wali band.
I discovered that the El Wali band functioned more like a collective. Members were selected
from their schools by the Sahawari state, trained up and sent to perform across the world.
I
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Musicians we spoke to had travelled to several countries on every continent, including
comprehensive touring across Europe. This mainly took place during the 80s and 90s. The
touring seemed to have dried up by the 2000s.
Those that we interviewed stated that they did not want money. ‘We are happy to be
interviewed. We only want you to take our story out there and tell people about how we are
suffering.’ Some asked me why the international community were not doing anything about
it. I had to reply ‘because no one knows about it.’
And it’s true, no one knows about it. Most of those I told about the trip had never heard of
Sahawari people, a Spanish colony and certainly not a Moroccan occupation. Sahawari
music has reached these shores, but has not yet achieved the acclaim that Malian Tuareg
music has, for example.
Why does anyone need to know about it? On the 40th anniversary of the occupation, after 24
years of waiting for the promised referendum, it feels as though it is reaching breaking point.
The governing Polisario’s aim is to reach their goals peacefully and diplomatically, without
any recourse to violence. However the young are sick of it. A 20,000 strong peaceful
protest in the occupied Western Sahara in 2010, dubbed by Noam Chomsky as the true
beginning of the Arab Spring, was violently dismantled by the Moroccans, with no press
allowed. Many people, especially the young, are calling for a return to arms as their only
option.
The El Shaheed El Wali band still exists, but not as it once did. Members are aging and
rarely perform these days. New songs have not been written. Many of the original members
live abroad in Spain. The absolute solidarity expressed by the band is still strong. Yet, as the
waiting draws on, many have lost faith that the current approach will ever produce the
promised referendum. With no jobs or infrastructure in the camps, numerous accounts of
human rights abuses in the occupied Western Sahara, a strong national identity yet little sign
of political traction, what might give? How long can an entire people wait in uncertainty,
with no apologies, no explanation and certainly no compensation. What will be the new
songs? I am afraid of what they might sing.