By Jonathan GlasserFull Article: onlinelibrary.wiley.com/doi/10.1111/amet.12166/full
) A musical performance marking the centenary of the birth of Cheikh Abdelkrim Dali, a leading 20th-century Tlemcani performer of Andalusi repertoire, at the Hôtel El Djazaïr, Algiers, Algeria, November 16, 2014. The ensemble features members of Association La Cordoba d’Alger, Association Dar El Gharnatia of Koléa, and the Orchestre de Karim Boughazi of Tlemcen. Photo: Fazilet Diff. For North African devotees of Andalusi music, the story of the repertoire’s origins in al-Andalus (medieval Muslim Spain) and its post-1492 transfer to the Maghreb is a central part of the practice. The Andalusi origin narrative, with its attunement to current needs and projection of present onto past, echoes key aspects of Bronislaw Malinowski’s “charter myth” hypothesis. Yet ethnographic investigation in Morocco and Algeria suggests that origin narrative goes beyond instrumental need and projection. Drawing on five case studies, I consider the feedback between origin narrative and the practice that it comments on and emerges from. I offer a rereading of Malinowski’s charter myth hypothesis that emphasizes the dynamic, varied, and temporally extended nature of the relationship between practice and commentary on practice.