Abstract
This paper discusses a particular type of popular song performed in Tunisia, mizwid. It evolved as a result of migrant workers from rural areas moving to the capital, Tunis. Sales figures prove that it now has a huge following; some 80 per cent of the commercial recordings available on the Tunisian market are of mizwid. Despite this, mizwid enjoys a ‘bad reputation’ within Tunisian society. This article explores the phenomenon of this musical genre, which has been described as the Rap music of Tunisia, questioning why it is still considered by some to be taboo. There are a number of probable reasons why this may be the case, two of which—the history of the genre and the theme and content of the songs—will be examined here. Conclusions are drawn as to why mizwid is considered to be an art form of the marginalised. I end the discussion with an account of the state and status of mizwid today. This type of Tunisian song has now become more mainstream than many people would care to admit. From its initial status as a form of musical expression of the disenfranchised, it is fast becoming the music of Tunisian youth.
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