The Royal Moroccan Academy honors the founder of “Granati Samaa”, the late Ahmed Bero

In front of a fully filled hall at the Academy of the Kingdom of Morocco, the Academy, today, Thursday in Rabat, paid tribute to the Granadian musicologist Ahmed Biro, and discussed his founding of the art of “Granati music,” and his rich artistic career spanning seven decades, before his departure last May of 2024, in his second year after ninety.

The Kingdom Academy also presented, with the participation of prominent academic and artistic figures, Ahmed Bero’s latest book, which it issued under the title: “The Addition: Fragments of Noble Prophetic Praise to the Collection of Briefings in the Melodies of Granada in the Rabatian Narration.”

Flag of the authentic Grenada heritage

Abdeljalil Lahjamri, Permanent Secretary of the Academy of the Kingdom of Morocco, said that Ahmed Biro is “one of the figures of authentic Granadan art and heritage,” and this day comes “in recognition of his great works; He is a musician and researcher who specialized in Gharnati tarab, studying under great Moroccan musicians, such as: Ahmed Bennani, Al-Hussein Belmaki Al-Hajjam, Al-Faqih Al-Subaie, Al-Mustafa Al-Maroufi, Abdel Salam Benyoussef, and others.

He continued to Hajmari: “Ahmed Biro left behind a reference book on the styles and rhythms of Granada music, entitled: ‘Encompassing the Melodies of Granada: Granada’s Nubian Poetry with the Rabat Narration’, which he published in 2013, after he spent nearly thirty years writing it, collecting, researching, reviewing and classifying it.”

The Permanent Secretary of the Academy recalled “luminous imprints” left by the deceased, which in essence reflect “an authentic Moroccan school of rhythm and chanting,” which is part of the features of “a cultural and musical heritage that is considered one of the aspects of the common history that linked Morocco with Andalusia, and these are aspects that are still present today and we notice them.” In the arts of architecture, cooking, clothing, family names, and other things.”

The same speaker stated that the celebration of the memory of Peru comes within the context of the academy’s approach, which aims to develop artistic creativity by caring for the arts and Moroccan heritage in all its aspects and expressions, which is what the “Academic Institute of Arts” was established to achieve, which was entrusted with the task of developing creativity and caring for the arts and Moroccan artistic heritage in all its ways. Its forms, and the diversity of its components, for preservation, evaluation, and definition.

While recalling the various themes of the poems of the Granadan tarab, which enrich the lyrical scene and embody the “authenticity of Andalusian culture”; from love, elegy, wisdom, asceticism, and description of nature, Abdeljalil Lahjmri added that the dominant character of this tarab is “a clear touch of melancholy tones, in its expression of feelings of loss, grief, and the recollection of beautiful memories from the past, igniting feelings of longing and nostalgia for people and places whose essence is a longing for Granada and its captivating charm.” He stressed that collecting, verifying, and documenting the Granadan musical heritage is “an important cultural task”; to preserve its richness for future generations, noting that “great efforts have been made over the years to collect, document, and document Granadan musical pieces by specialists.”

The Secretary of the Kingdom’s Academy called for “encouraging research and study of this heritage” because it is “an urgent necessity” to preserve it, while noting the Academy’s involvement, through the Academic Institute of Arts and the “Andalusian Chair,” in “researching the shared cultural heritage between Morocco and Spain, because we cannot talk about the dialogue of civilizations without remembering the pioneering edifice they have woven in politics and culture.”

The speaker also pointed out the necessity of artistic education for the rising generations in order to “instill a love for this heritage” in their souls, preserve it from extinction, support the manufacture of Andalusian musical instruments, and workshops to develop the skills of young musicians in Granadan art and Andalusian art in general, which requires the combined efforts of cultural institutions, artists, intellectuals, and the public. It is also the responsibility of future generations to learn about this authentic art and contribute to its preservation.

He mentioned to Hajmari the work of the Academy, through the Academic Institute of Arts, to issue “The Addendum,” Ahmed Piro’s latest book, and to work on “producing it in the best way for researchers and scholars,” because of the “fertile material” it provides due to what his poems represent of “the genius of Andalusian poets and the splendor of their creativity.” In addition to its commitment to “meter and rhyme, which gives it a charming musical tone and verbal harmony that increases its beauty and splendor.”

Then the Secretary of the Academy of the Kingdom of Morocco concluded his speech, calling for collective action in order to “continue to care for this authentic art, to ensure its continuity for future generations, as it is an art that originated in Andalusia during the Middle Ages, and developed over the centuries to remain carrying a distinctive and immortal Moroccan tone.”

Ahmed Bero Foundation for Granada Music

In a speech to the family of the deceased Ahmed Biru, his son Mohammed Biru thanked King Mohammed VI for his “noble gesture with a telegram of condolence.” It had “a good impact on all of our hearts. It alleviated the sadness and made us feel that we were not alone in the face of the great loss.” He also thanked the Academy of the Kingdom of Morocco for the message of condolences and condolences sent by its Permanent Secretary, and the initiative to organize the memorial ceremony in recognition of the efforts of the deceased, and “his valuable contribution to preserving Granada music in the Kingdom and its development.

Muhammad Biru informed his father of the copy of his last book that was printed by the Kingdom Academy (the addition) before his death, and to correct it, as this was “a source of pleasure, joy, and pride in the midst of his suffering with illness.”

The spokesman announced “the establishment of the Ahmed Beirut Foundation for Gharnati Tarab.” “To preserve his school of Gharnatic Tarab in Rabat, establish a school dedicated to Gharnatic Tarab in Rabat, create a school dedicated to Gharnatic Tarab in Rabat, and create a musical band bearing his name, and collect all recordings of Gharnatic Tarab in Rabat, and new recordings of it.” He urged the responsible and civil cultural and artistic institutions, led by the Ministry of Culture, to Support this institution to “perpetuate and preserve the Granada School of Rabat.”

The same speaker then said: “The deceased was an exceptional, peaceful man, who united and did not divide, who loved his country and its noble values, taking the world of Granada music as a vehicle for that (…) a father who was distinguished by his compassionate, gentle, tender, firm and responsible personality (…) a teacher and educator who was keen on sound, authentic education in harmony with Moroccan society and its authentic values, based on modesty, respect for the family and the environment in which we live, and simplicity.” He added: “In terms of trade, he was distinguished by positive communication, and his store was a school for real life, with the art of communicating with people with all respect, and providing excellent service regardless of the social value of the customer, as well as honest advice and fear of God.”

As for the art aspect of his personality, he devoted most of his life to it, and “he loved it and delved into it, and it became a way of life for him.” The witness continued: “How lucky we were to hear his unique voice, as he recited what his sharp memory had memorized of Andalusian poetry, with coordinated rhythmic compositions. He was a great lover of classical music, skilled in the songs of Abdel Wahhab, Umm Kulthum and others, and he began his path by memorizing the Qur’an and interpretation at the hands of his sheikh, Othman Gorio. In the corner of Sidi Kacem in Rabat, he remained keen on reciting the Qur’an until the end of his life. It was Joriot who discovered his voice, then studied and memorized the crafts at the hands of Ahmed Bennani, Al-Hussein Hajam, and the late Hamidou Al-Shafi’i, and after them he took upon himself the responsibility of preserving this heritage.”

Then the speaker added: “Since the sixties of the twentieth century, he has sought to record the oral heritage that he took in its original form and rules from his sheikhs, and he wrote down and published as he was able, in three books that took him many years of his life, and were issued successively by the Rabat Al Fath Association, the Maghreb Arab Press Agency, and the Academy of the Kingdom of Morocco.”

Peru became pregnant, according to the witness; “The importance of preserving this heritage and standing against all attempts to distort it intentionally or negligently; He exerted his utmost effort in research and teaching, unconditionally, and throughout his artistic career he continued to acknowledge the thanks of his teachers and sheikhs, and his house remained wide open as a corner for everyone who wanted to learn Gharnatian singing, by giving without expecting anything in return. It was an implementation of his father’s advice (…) while overcoming difficulties and challenges. It increased, silently, courageously, and courteously, as he continued to work silently with sincerity and dedication (…) which made him a role model for achieving dreams, no matter how difficult they are, if we believe in them.”