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For Khaled specifically mentioned that they both need cure from this pain of love and that they need to love and dance in life. Here is the video of the song “C’est la vie”:Īs observed, this love pain was soon followed by the sentence that represents the cure, which is love and dance in life. The whole lyrics and its English translation will be provided at the end of this post. The English translation – as I translated – will be provided afterwards:Īnd he explained to me what was happening to meĪnd affirms to me that she is a Christian
![cheb khaled c est la vie lyrics cheb khaled c est la vie lyrics](https://cdnh.c3dt.com/preview/3547821-com.appssagha.apss13.jpg)
The lyrics quoted below, quoted in Arabic, focus on Khaled’s speech to the foreign beloved in the song. To explain, toward the middle of the song, Khaled sings in Greater Maghreb Arabic to express his painful love relationship with this particular foreign lady. Khaled’s song appeals to a universal audience because of the French sentence “C’est la vie” that was used in the song to point out to his foreign beloved who does not even share his religious belief. If particularly addressing the reason behind the utility of the French language in the title of the song “C’est la vie”, I may assume that French language was used to make the song more accessible to an international audience. In his song, Khaled, sings in Arabic – as spoken in the Greater Maghreb – with a mixture of French language. It was soon considered one of his hit singles. I will take his song “C’est la vie” as a starting point in my analysis. My analysis will start with a song by the Algerian singer Khaled, who is one of the greatest stars in world music. But my purpose in drawing on Maryse Condé is to showcase the use of both French and English in achieving a worldwide level of fame.Ī point worthy of mention, I am going to focus especially on the titles of the songs, for I am affirming that they are one of the main reasons that drive the songs into an international hit chart. I will refer back to Condé’s ideas in analyzing the songs I have chosen to focus on here. One of the ways to achieve this is to combine one of the dominant languages along with the native language in the work. Condé also urges authors – through the use any of the dominant languages – to promote their own native languages. She talks about the use of the English language to reach a worldwide audience. Maryse Condé in her article “Créolité without the Creole Language?” (1998) argues in favor of disassociating literature from politics.
![cheb khaled c est la vie lyrics cheb khaled c est la vie lyrics](https://images.genius.com/e85c779a344abfe5afec34eeaa67df20.512x512x1.jpg)
But first, I will mention the work I am drawing on by Maryse Condé in which she argues in favor of using languages other than native language in order to achieve international fame. We will see through the songs, musicians – from the Greater Maghreb – utilizing languages of the previous colonizers in order to earn fame all over the universe. European presence in Morocco and Algeria survived this period of decolonization, especially through language. In contrast, Morocco was under French and Spanish rule for a combined 44 years, from 1912-1956. In Algeria, the duration of the colonial presence marked the longest among the Greater Maghreb countries, lasting for 132 years from its initial colonization by France in 1830 to its independence in 1962. I will limit this overview to only two countries, Morocco and Algeria, for the rest of the countries are not as relevant to this discussion.īy the beginning of the First World War in 1914, the countries of the Greater Maghreb had fallen under European control. In this blog, I am going to view how these foreign elements have been exploited by those singers – from the Greater Maghreb – to make their songs more appealing to an international audience.īefore I start with my own interpretation of the two songs I am discussing in this paper, I will first begin with a brief overview of the countries in Greater Maghreb in regards of their contacts with Europe. Such foreign elements are seen through the language used by those artists or musicians in their communications with their love partners in the songs. This hierarchical classification has led a number of musicians from North Africa, or the Greater Maghreb, to incorporate foreign elements in their music in order to gain international recognition. The tension between the colonizer and the colonized created levels of superiority of the former and inferiority of the latter.