If we dive into the past of each square meter of Tunisia, we can find a different heritage, but once assembled together; we discover a north to south, east to west complementary ancestry of a deeply linked culture. Such tightly bound link was perfectly illustrated in the junction of the inherited remade song Yamma, with a video clip which illustrates the wedding rituals of the Jelwa Sfaxia.
What if the making of a video clip for the remade song, becomes itself an illustration of an immaterial heritage, in addition to the inherited song’s one? We will answer this question through this article, by dissecting the case of Yamma song, remade by the singer Chahrazed Hlel, which is complementarily specified by being inherited in the Hchichina village, in addition to a traditional aura through the illustration of the Tunisian time-honoured marriage rituals.