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REVOLUTION: TESHUMARA AND TANEKRA 213mic humming called tabahohumt. 52 A famous singer of these early days of theTeshumara, was Lalla Badi, a young Kel Adagh tashamort woman. Her housein Tahaggart-shumara attracted many ishumar. She sang traditional songs, aswell as songs which related the life of the ishumar. These songs were taped oncassettes and copied for those who were not present.A new phenomenon in Tamasheq party culture was the introduction of theaggiwin. The aggiwin originally came from the Timbuktu area where they hadfor long been part of Tamasheq culture, but they were previously unknown inother areas of the Tamasheq world. Now, in the melting pot of migrant ishumarculture, they rapidly gained popularity. The aggiwin can best be compared tothe West African griots: musicians of caste origins who accompany themselveson a teherdent, a four-string lute, while they recite oral histories or sing familypraises to those who pay them to do so. They would be accompanied on drumsmade of upturned gourds in a syncopated 5/4 rhythm known as takamba. Therhythm and the music and dancing style of the same name are of Songhayorigins, but they became popular in the Tamasheq world since the late 1960s.The ishumar spent fortunes on these aggiwin at the takamba parties they staged,paying them to sing the praise of their exploits and travels. By the late 1970stheir activities were condemned as ‘anti-revolutionary’ by the politically activeishumar of the Tanekra movement, although takamba music remained highlypopular.In the late 1970s, a new musical genre came into existence: Al-guitara.Contrary to imzad and tindé, al-guitara is a primarily male genre developed byishumar in Libya and Algeria. 53 In these countries, but also in the Maliantroupes artistiques, the ishumar became familiar with guitars (from which thestyle derives it name), and rock music. The first to make al-guitara music werea few Kel Adagh men from the Irreguenaten tribe, notably Ibrahim ag Alkhabib,nicknamed Abaraybone. Abaraybone started his musical career playing a selfmadeinstrument out of a plastic jerrycan and some strings. He obtained his firstacoustic guitar in Tamanrasset from a Sahraoui man who played the revolutionarysongs of the POLISARIO. He was joined by other now famous artistssuch as Inteyedin, Keddu ag Osad, Mohamed ‘Japonais’ ag Itlal, Ghabdallah,Sweyloum and Abenneben. Together, these men formed a band called TaghreftTinariwen: ‘Reconstruct the Deserts’, which would later be shortened to Tinariwen.They were accompanied by women doing background vocals in a questionand answer lyrical poetry, while being accompanied on an improvisedjerrycan drum. Musical inspiration came from their former teachers in the troupesartistiques such as famous Kar Kar and Ali Farka Touré, the POLISARIO5253Dida, B. 2006: 43.Belalimat, N. 2003: 2008.