Andalusi Arabic in the context of "Zajal"

Maghrebi Arabic, often known as ad-Dārija to differentiate it from Literary Arabic, is a vernacular Arabic dialect continuum spoken in the Maghreb. It includes the Moroccan, Algerian, Tunisian, Libyan, Hassaniya and Saharan Arabic dialects.

Maghrebi Arabic has a predominantly Semitic and Arabic vocabulary, although it contains a significant number of Berber loanwords, which represent 2–3% of the vocabulary of Libyan Arabic, 8–9% of Algerian and Tunisian Arabic, and 10–15% of Moroccan Arabic. Maghrebi Arabic was formerly spoken in Al-Andalus and Sicily until the 17th and 13th centuries, respectively, in the extinct forms of Andalusi Arabic and Siculo-Arabic. The Maltese language is believed to have its source in a language spoken in Muslim Sicily that ultimately originates from Tunisia, as it contains some typical Maghrebi Arabic areal characteristics.

Andalusi Romance, also called Mozarabic, refers to the varieties of Ibero-Romance that were spoken in Al-Andalus, the parts of the medieval Iberian Peninsula under Islamic control. Romance, or vernacular Late Latin, was the common tongue for the great majority of the Iberian population at the time of the Umayyad conquest in the early eighth century, but over the following centuries, it was gradually superseded by Andalusi Arabic as the main spoken language in the Muslim-controlled south. At the same time, as the northern Christian kingdoms pushed south into Al-Andalus, their respective Romance varieties (especially Castilian) gained ground at the expense of Andalusi Romance as well as Arabic. The final extinction of the former may be estimated to 1300 AD.

The medieval Ibero-Romance varieties were broadly similar (with Castilian standing out as an outlier). Andalusi Romance was distinguished from the others not by its linguistic features primarily, but rather by virtue of being written in the Arabic script. What is known or hypothesized about the particular linguistic features of Andalusi Romance is based on relatively sparse evidence, of which the kharjas, or closing lines of an Andalusi muwaššaḥ poem, are the most important.

Barrio (Spanish pronunciation: [ˈbarjo]; lit. 'quarter, neighborhood') is generally defined as each area of a city delimited by functional (e.g., residential, commercial, industrial, etc.), social, architectural or morphological features. In Spain, in most of Latin America, and in the Philippines, the term may also be used to officially denote a division of a municipality. The word barrio is an Arabism, as it is derived from the Arabic word barriyy (بري; 'wild, exterior').

Algerian Arabic (Arabic: الدارجة الجزائرية, romanized: ad-dārija al-jazāʾiriyya), natively known as Dziria, Darja or Derja, is a variety of Arabic spoken in Algeria. It belongs to the Maghrebi Arabic dialect continuum and is mostly intelligible with the Tunisian and Moroccan dialects. Darja (الدارجة) means 'everyday/colloquial dialect'.

Like other varieties of Maghrebi Arabic, Algerian Arabic has a mostly Semitic vocabulary. It contains Berber, Punic, and African Romance influences and has some loanwords from French, Andalusi Arabic, Ottoman Turkish and Spanish. Berber loanwords represent 8% to 9% of its vocabulary.

A kharja or kharjah (Arabic: خرجة, romanized: kharjah, lit. 'exit' [ˈxardʒa]; Spanish: jarcha [ˈxaɾtʃa]; Portuguese: carja [ˈkaɾʒɐ]; also known as a markaz مَرْكَز 'center'), is the final couple of abyāt, or verses, of a muwaššaḥ (مُوَشَّح 'girdle'), a poem or song of the strophic lyric genre from al-Andalus. The kharja can be in a language that is different from the body; a muwaššaḥ in literary Arabic might have a kharja in vernacular Andalusi Arabic or in a mix of Arabic and Andalusi Romance, while a muwaššaḥ in Hebrew might contain a kharja in Arabic, Romance, Hebrew, or a mix.

The muwashshah typically consists of five strophes of four to six lines, alternating with five or six refrains (qufl); each refrain has the same rhyme and metre, whereas each stanza has only the same metre. The kharja appears often to have been composed independently of the muwashshah in which it is found.

Muwashshah (Arabic: مُوَشَّح muwaššaḥ 'girdled'; plural مُوَشَّحَات muwaššaḥāt; also تَوْشِيْح tawšīḥ 'girdling,' pl. تَوَاشِيْح tawāšīḥ) is a strophic poetic form that developed in al-Andalus in the late 10th and early 11th centuries. The muwaššaḥ, embodying the Iberian rhyme revolution, was the major Andalusi innovation in Arabic poetry, and it was sung and performed musically. The muwaššaḥ features a complex rhyme and metrical scheme usually containing five aghṣān (أَغْصَان 'branches'; sing. غُصْن ghuṣn), with uniform rhyme within each strophe, interspersed with asmāṭ (أَسْمَاط 'threads for stringing pearls'; sing. سِمْط simṭ) with common rhyme throughout the song, as well as a terminal kharja (خَرْجَة 'exit'), the song's final simṭ, which could be in a different language. Sephardic poets also composed muwaššaḥāt in Hebrew, sometimes as contrafacta imitating the rhyme and metrical scheme of a particular poem in Hebrew or in Arabic. This poetic imitation, called muʿāraḍa (مُعَارَضَة 'contrafaction'), is a tradition in Arabic poetry.

The kharja, or the markaz (مَـْركَز 'center') of the muwaššaḥ, its final verses, can be in a language that is different from the body; a muwaššaḥ in literary Arabic might have a kharja in vernacular Andalusi Arabic or in a mix of Arabic and Andalusi Romance, while a muwaššaḥ in Hebrew might contain a kharja in Arabic, Romance, Hebrew, or a mix.