TATA'S DISTINCTIVE FEATURES

 The inhabitants of the region adhering to their cultural values are most adhering to, and this can be extrapolated by adhering to:

Common language :

There are two homogeneous languages in the region:
 
First:
Amazigh language: It is the dominant language of communication and dealing with more than 80% of the population of the region.

 Second:
Arabic.

  

The mainstream arts

They are more diverse and the population continues to be loyal to it - either Arab, Amazigh or African 

Amazigh arts 

• It can be processed through artistic expression varieties:

Expression of the word:

 

Poetry is the most prominent art in this area and is called the region "Tanadamt" in relation to the word "systems" in Arabic, while his old name is "Urar" or "Tamdiazt" and performs poetry orally singing "Talagat" in several arts. 

Expression Movement or Dance: 

 

 It is called "ashtah" or "amusu" and from it a model called "Tigarewen" and is performed by special costume and through the arts we will see.

Voice Expression:

 

It is called "Talagat" or "Laga" and may have derived the word from mockery, but the old name is "Anya" and this type of expression differs from art to art. 

 Expression of rhythm:

 

It uses several machines, including the Talont, the Kanka, the Tekkerqawin, the Anakna and the Aawad or Taganimt in West Bani. The rhythms vary according to the field arts.

• It can also be processed through the Assaise Arts : 

  • The art of Ahnakar

     

    

  and meet the types of expression that we have seen and performed in all weddings and has his poetic poetic and rhythms of his own.
    As for the voices artists are still creative while the old movements began to fade to be replaced by new movements by acculturation,
    This model is spread in the Tata, Batacamot, Tata, Jasafen and Aqa regions, and this art may be paved with another art, "Erizi", which is a special link to Asayis or the village that hosts the artists.

  • The art of Darst

     

  His poetry is a single weight and is usually performed in Tata on Tuesday as a gift from the bridegroom to the bride, and is characterized by long, hot poetry dialogues that come in the form of contradictions and confrontations between the greatest poets. This art has other forms in the west of Bani (Aqa and Tamanart) and in the region of Al-Fayaja. 

  • Art of Isemgan

     

    
  It is an art of African origin and has its own poetic tones and tones. It used to be in the African language "Tacnaute". It was gradually replaced by the Amazigh language and its most important instruments were "Tabl", "Tara" and "Kbakbe"
  He is still performing in the village of Tuzunin in Aqa and the village of Yami Nettlat in Al-Faja'a .

  • Art of Akwal

  
  And played by girls and women with the help of men's choir and has four varieties in the territory of Tata:  
  The model of Isafen and the West Bani model is not different from the previous ones except in the costume, the Takmut and Tata model and the Asketi model, which is spread in the Fijay Mountains. These models are similar in sounds and weights and often vary in rhythms and movements.

  • Art of Tazarart

     

    
  It is a poetry dialogue between women and men, in which the two interlocutors often rely on the preserved poetry and have its own sounds, tones and weights, but many of its practitioners today use other weights of the arts and perform weddings and intimate events as "Oded".

  • The Art of Tamaoosht

  It is a nighttime poetry dialogue held by two groups of men and women with its own ears and tones. The performance of this art has become extinct since the 1980s in the region. 

   

   Arabic Arts

  Amazigh art is similar to the expression tools except that the Arabs of the children of Jalal and Daublal do not use the hoopla and the censor and one of the most important Arab arts known in the region :

  • The art of  Lherma

   

  

  It is performed in three stages:
  Stage "and" stage "tension" interspersed stage "Nahim", which is the end of the dialogue of poetry and the owner of the dance and during which girls progress to perform a light dance among the men standing in a row in front of the crowd.

  • The art of  Rokba

     

   Begins a compass "Talawla" enticement, in which women participate in performing with men a private dance in private and may be punctuated by a dialogue of poetic poetry in the stages of position and tension and characterized by the children of Jalal.

  • Art of Drum

     

   It is a night poetry dialogue conducted by two groups of men and women, in which poets cast long poems and is very similar to the art of Tamaoosht except that it is characterized by rhythm drum and its ears, and tones 

  • Art of Painting

     

   It is a lyrical dialogue performed by men in a room or courtyard whose poetry is religiously felt and has its own weight. 

  • The art of Shamra

   

  Performed by the daublalien, in which the men sing a special poetry, and they are glued to their passengers with the rhythm of applause and dancers dancing with their hands and heads 

  • Art of the Hawari

  It is similar in its form and its tools to the art of Ahwash, but its poetry is from the Arab Zajal, and it is still performed in the village of Anghrif in Tata, but with reserved poems only.