الفلكلور النسوي: الحلقة: طقوس مسرحية ضمن حركية إعادة الإنتاج

Abstract EN

Our discourse initiates an examination of the women's folklore in the western Algeria as an art and musical heritage that is in the process of reproducing itself in the midst of various social changes.

its resistance to everything that is modern (intruder) has made it cling to its distinctive mark in a tug-of-war between what is controlling (fixed by identity), and what is controlled by (intruder elements) in its constituent elements, as well as the influence of the contract that is built in the world of art, that is, between the artist and the other social actors.

this contract inevitably affects the process of reproduction, in its soft handling of the elements that make it up.

the ritual and the sacred in the chanting circles of this folklore are two important elements to understand its social representations.

the rituals in the said circles are linked in the form and the content to the sacred, since they are derived from the personality of “al-Walli al-Sallih”.

they are trying to create a process of transition from negative rituals to positive rituals, in order to preserve the legitimacy of their acceptance by the conservative local community.

by talking about rituals, we clarify the extent to which the view of "Goffman.

E, Schechner.

R" and the approach of "Leiris.

M" is realized in the fact that the ritual is a primary theatre that creates a scene of daily life full of certain social representations.

as an example of this, we present in our article the ritual of "Saadan", and lastly, moving to the role of the musicians in the ritual circles.