[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-157763-en":3,"doc-seo-157763-105":30,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},157763,962084925502,"Emma Mercer","https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8",2,"Literature","Dinehewanna","Dinehewanna is a sung dedication and refrain rendered in Tamasheq with an English translation. The text centers on Fatimata Barka addressing Lalla Tidikka and confronting Kiya Xubunju, whose actions are described as piercing the heart and digging a deep well of cement inside it. Repeated vows and refrains convey commitment regardless of barriers, evoking travel between places in Niger while describing leaving the city and raising dust. Themes of betrayal, longing, and enduring devotion unfold through call-and-response style verses.","Fatimata Barka  \nDinehewanna  \nTranscribed and translated to French by: Amina Mohamed  \nTranslated to English by: Brian Nowak  \nRefrain : Dinehewanna, dinehewanna Əkneɣ təhult-in Lalla Tədəkka. [x2]  \nIssenaɣ ɣas-in wər əleɣ təgiyye, Kiya Xubunju təkša takoba. [x2] Ta s iwǎt əwəl-in, təkna tawala. [x2] Dinehewanna [x3]  \nKiya Xubunju təgəɣ igi. [x2]  \nIɣaz dəɣ-i anu, anu n əɣarus, Anu n aɣarus igan səmənti,[x2] Kiya Xubunju əhedaɣak tanaya. [x2] Ijwar ki oseɣ s iyaḍ gabatǎn,[x2]  \nƏnjar d iga amɣar maraw saleṭan,[x2]  \nƏs bindiga-net meɣ išaɣerǎn,[x2] Ubaru* ahe, tahe Tamasna. [x2]  \nAd nagu Taranza meɣ Tinzawatǎn.  \n[x2]  \nNeway əmhajur nosaɣ-tu əd tamara. Dinehewanna, dinehewanna [x2]  \nI have prepared my dedication, me Lalla Tidikka.  \nI know that I have no witness, The sword has hurt me, Xubunju.  \nYou have hit my heart with a piercing sword.  \nXubunju you have hurt me.  \nYou have dug a well deep in my heart, A deep ciment well,  \nI swear to you Xubunju.  \nI will be coming to see you no matter what the circumstances,  \nEven if father builds up all of the barriersin the world,  \nWith his weapon or by any other means,  \nI am in Oubari,* you are in Tamesna.  \n*Oubari-Libyan town.  \nWe will pass by Taranza or Tinzawaten.  \nWe are taking off with a bull attached to the car.  \nNiger - Tamasheq  \nAfrican Language Materials Archive – The Language of African Music  \nFatimata Barka Dinehewanna  \nKiya Xubunju ijwar ki oseɣ edǎg tahe.  \n[x2]  \nYəqqan s esassar yəffud wər əšwa.  \n[x2]  \nNəddəgdag albab təbdâd tamara. [x2]  \nAd nəmbəɣ aɣrəm inkar akoyya. [x2] Agin saleṭan tənkâr taboqqa. [x2]  \nWa dogga ešikəl iɣil Tədəkka,[x2]  \nAd ogga inokəs wa dəɣ obar. [x2]  \nAwen tiləqqe wər ge Tədəkka,[x2]  \nAwen tiləqqe ta din oyya. [x2] Dinehewanna, dinehewanna [x3] Kiya Xubunju iga dəɣ-igi. [x2] As irmaṣ əwəl-in iɣaz dəɣ anu,[x2] Anu n aɣarus igan səmənti,[x2] Wa das wər əlkem. [x2] Dinehewanna, dinehewanna [x4] Refrain-Ehemmila, xammilila [x2] Wər ge tənn-amǎt, xammilala, Ax wan tulamen, xammilala,  \nƏnta a isadaren, xammilala,  \nSoon I will rejoin you wherever you are.  \nChained with iron, he is thirsty but doesn’t know how to quench his thirst.  \nWe have dug out the door and our car is ready.  \nWe leave the city beneath the deliquants.  \nWe are going to fire rounds and raise up dust everywhere.  \nWhen he sees our team he will think that it’s Tidikka,  \nThen he will see for himself that it is the woman that he had betrayed.  \nThis one here is the poor woman not Tidikka,  \nIt’s the poor woman that you have abandoned.  \nOh Xubunju you really got me.  \nYou have taken my heart and dug a well, A deep well of ciment,  \nThat will neve cover itself up.  \nYou told yourself, That camel’s milk,  \nThat’s what fattens one up,  \n2  \nNiger - Tamasheq  \nAfrican Language Materials Archive – The Language of African Music  \nFatimata Barka Dinehewanna  \nXammilala [x2]  \nWər ge tənnamǎt, xammilala, Ax ən tulamen, xammilala,Ənta a yəsadaren.  \nXammilala [x4]  \nYou have said,  \nThat camel’s milk,  \nThat’s what fattens one up,  \n3  \nNiger - Tamasheq  \nAfrican Language Materials Archive – The Language of African Music","cbCaingfLDOg31Ek","https://ap.wps.com/l/cbCaingfLDOg31Ek","pdf",75347,1,3,"English","en",105,"# Dinehewanna\n## Refrain and dedication\n## Address to Lalla Tidikka and Kiya Xubunju\n## Vows, journey imagery, and closing lines","[{\"question\":\"Who is being addressed in Dinehewanna, and what relationship is implied?\",\"answer\":\"The lyrics address Lalla Tidikka in a dedication while repeatedly speaking to Xubunju, who is portrayed as having hurt and harmed the speaker’s heart.\"},{\"question\":\"What imagery is used to describe the pain inflicted by Xubunju?\",\"answer\":\"The text uses a piercing sword and a deep, cement well inside the heart to express lasting injury and emotional depth.\"},{\"question\":\"How does the refrain structure the song’s meaning?\",\"answer\":\"The refrain repeats “Dinehewanna, dinehewanna” and related lines, reinforcing vows and the ongoing promise to rejoin the person wherever they are.\"}]","Dinehewanna | PDF",1787988518,5,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":85,"head_meta":87,"extra_data":89,"updated_unix":28},"dinehewanna","",{"@graph":36,"@context":84},[37,52,67],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,47,49],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":11},"https://docshare.wps.com/document/","Document",{"item":48,"name":12,"@type":43,"position":21},"https://docshare.wps.com/document/literature/",{"item":50,"name":13,"@type":43,"position":51},"https://docshare.wps.com/document/dinehewanna/157763/",4,{"url":50,"name":13,"@type":53,"author":54,"headline":13,"publisher":56,"fileFormat":59,"inLanguage":23,"description":14,"dateModified":60,"datePublished":61,"encodingFormat":59,"isAccessibleForFree":62,"interactionStatistic":63},"DigitalDocument",{"name":9,"@type":55},"Person",{"url":41,"name":57,"@type":58},"DocShare","Organization","application/pdf","2026-09-06","2026-08-29",true,{"@type":64,"interactionType":65,"userInteractionCount":20},"InteractionCounter",{"@type":66},"ViewAction",{"@type":68,"mainEntity":69},"FAQPage",[70,76,80],{"name":71,"@type":72,"acceptedAnswer":73},"Who is being addressed in Dinehewanna, and what relationship is implied?","Question",{"text":74,"@type":75},"The lyrics address Lalla Tidikka in a dedication while repeatedly speaking to Xubunju, who is portrayed as having hurt and harmed the speaker’s heart.","Answer",{"name":77,"@type":72,"acceptedAnswer":78},"What imagery is used to describe the pain inflicted by Xubunju?",{"text":79,"@type":75},"The text uses a piercing sword and a deep, cement well inside the heart to express lasting injury and emotional depth.",{"name":81,"@type":72,"acceptedAnswer":82},"How does the refrain structure the song’s meaning?",{"text":83,"@type":75},"The refrain repeats “Dinehewanna, dinehewanna” and related lines, reinforcing vows and the ongoing promise to rejoin the person wherever they are.","https://schema.org",{"og:url":50,"og:type":86,"og:title":13,"og:site_name":57,"og:description":14},"article",{"robots":88,"canonical":50},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":91},[92,96,99,103,107,112,117,122,127,130,134],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":93,"show_sort_weight":94,"slug":95},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":97,"slug":98},80,"literature",{"id":51,"doc_module":4,"doc_module_name":46,"category_name":100,"show_sort_weight":101,"slug":102},"Exam",70,"exam",{"id":29,"doc_module":4,"doc_module_name":46,"category_name":104,"show_sort_weight":105,"slug":106},"Comic",60,"comic",{"id":108,"doc_module":4,"doc_module_name":46,"category_name":109,"show_sort_weight":110,"slug":111},6,"Technology",50,"technology",{"id":113,"doc_module":4,"doc_module_name":46,"category_name":114,"show_sort_weight":115,"slug":116},7,"Healthcare",40,"healthcare",{"id":118,"doc_module":4,"doc_module_name":46,"category_name":119,"show_sort_weight":120,"slug":121},8,"Research & Report",30,"research-report",{"id":123,"doc_module":4,"doc_module_name":46,"category_name":124,"show_sort_weight":125,"slug":126},9,"Religion & Spirituality",20,"religion-spirituality",{"id":125,"doc_module":4,"doc_module_name":46,"category_name":128,"show_sort_weight":125,"slug":129},"World Cup","world-cup",{"id":131,"doc_module":4,"doc_module_name":46,"category_name":132,"show_sort_weight":131,"slug":133},10,"Lifestyle","lifestyle",{"id":135,"doc_module":4,"doc_module_name":46,"category_name":136,"show_sort_weight":29,"slug":137},19,"General","general"]