Et malheur à celui qui pense,
Et malheur à celui qui danse.—HK
Kaddour Hadadi is the leader of a popular-music group with social-revendication themes, including the masterpiece "Danser Encore" which challenges the covid restrictions. One of his interesting input in the genre is some sort of Célinian transmutation of the narrative style that brings in some elements of spoken, popular language, especially from immigration, alongside an otherwise highly crafted and poetic text. Examples include the main line, and the title itself, of "Danser encore":
Nous on veut continuer à danser encore
which is the type of pleonasm that one would correct in a child's phrasing but that here acquires the dimension of something between an anadiplosis and a polyptoton. This other example, that better illustrates the link to immigration, is from "Merci":
Si tout le monde il dit merci, ça irait mieux la France
where the text is given some foreign, specifically Arabic, touch, that would normally be comical or pathetic as betraying some faulty command of the language from poorly integrated people, but that here is rehabilitated to some potent, authentic, direct formulation whose urgency and importance of the ordering, forces the narrator to deliver in this authentic, pure, expressive form. The correct version, "si tout le monde disait merci, la France irait mieux" (or "ça irait mieux en France"), has lost all its impact and trivialises the song. Finally, this time an exacerbated version with «Tout' mon vie, j'ai travaillé» (which one should probably write "j'ai travailler") with some créol accent from Réunion, that has the full text declinated in this way, so much as to be regarded as written in a different dialect.
This a selection of favourite creations from this artist and his band:
This is the group's masterpiece, that enticed spontaneous public popular interpretations—a crowning achievement for artists of the revolutionary caliber—and which also received considerable worldwide attention.
In March (2021), Elena released an original version of "Danser Encore" with her own (non-literal) but faithful translation of the text and performing an adaptation of the music so that she could sing the text with homemade means (all with the keyboard). Elena's style when translating a song is—how it should be—to retain the meaning, spirit, beauty of the original by moulding it to the new language which becomes the receptacle of the artistic expression. This precludes a literal translation that almost always spoils both the work and the meaning. Here is a comparison of her with the original lyrics:
We made a video-clip to publish it on YouTube with symbolic passages of iconic movies from the universal and collective memory, which tell the tale of people's urge for freedom as expressed through dancing:
The extracts have been carefully selected and crafted to match the text... see if you see us winking at you through well-known cinematic sequences.