Nasse El ghiwane cannot be confined to the people who formed this mythical group. The practice of the ghiwane is an ancestral custom that conferred on people known for their probity and modesty the ability to describe through song and speech the daily life, problems and hindrances of their fellow men. These troubadours, from douars to douars, transmitted their knowledge through poetry, song and theatrical play. Considered revolutionary or a social phenomenon, the mythical band that American director Martin Scorsese described as the Rolling Stones of Africa continues to produce after almost 30 years. The group continues to move both nostalgic and a sizeable segment of the youth. Dignity, humility, raw talent. History of a myth.

At the beginning of the 60s, a neighborhood of Casablanca, Hay Mohammadi, a Mecca of Moroccan resistance, will give birth to five boys who will revolutionize the Moroccan artistic field. Omar Sayed and Boujemâa - called Boujemiî- lived in Derb Moulay Cherif, Larbi Batma was from the kariane Jdid, and this cultural and affective proximity was the cement of this group. They began their career in the youth house of Hay not far from the Essaâda café that Larbi Batma evokes as the stronghold of the formation in his autobiography "arrahil". They then join the troupe of Tayeb Saddiki and introduce in his dramatic repertoire of songs such as the mythical "qittati Essaghira".

The idea of creating a group germinated in the mind of Larbi Batma and Boujemiî during a theatrical tour in France in a will to perpetuate what their ancestors have transmitted from generation to generation. The first show took place in Casablanca in the Nautilus restaurant in Ain Diab. But the consecration will take place at the Mohammed V theater in Rabat in 1971. The spectators were delighted, because they were carried away by the rhythm and excited by the texts that touched them directly. Everyone felt this symbolic opposition between two kinds of songs: one conventional and static, the other militant and promising. The new songs of Nass El Ghiwane were entitled: "Çiniya", "Ya bani l insân", "Ahl el hal". By its unusual approach, the group Nass El Ghiwane was immediately part of a reaction movement against the "âsriya song" which languished in endless complaints of love and bored by its relatively fixed character, and set out to create a vehement tone in perfect osmosis with the new texts.