Depuis l’Antiquité, la perception de l’artiste est une vision singulière de l'univers des formes ; que l’&oelig;uvre soit écrite ou orale.    Notre objectif s’inscrit dans cette perspective. Ayant pour corpus des extraits de chants poétiques marocains faisant partie du Melhoun, nous voulons prouver que le cheikh (poète) du Melhoun, malgré qu’il n’ait pas reçu une formation académique, est un porte-parole et un instituteur. Grâce à sa fantaisie verbale nourrie de rythmes, de jeux sonores, d’images poétiques et de références socioculturelles, il propose une vision à la fois réelle et fictive du milieu dans lequel il vit. En conséquence, sa poésie est liée à son vécu, à sa mémoire collective et à sa capacité inventive, où le langage est plus important que la langue. Ceci ne peut que représenter une partie du patrimoine immatériel car elle a trois pouvoirs importants : littéraire, historique et socioculturel.  Abstract Since Antiquity, the artist's perception has not been a "view" of the world but rather a "vision" of the universe of forms; whether the work is written or oral, a donation, or theoretical writing. Our goal is manifested in this perspective; we want to demonstrate that an artist is not named as such just because he is literate. Having as a corpus from Moroccan poetic songs that are part of the melhoun, we want to prove that the sheikh (poet) of Melhoun, despite not having received any academic training, is a spokes person and a teacher. His verbal fantasy nourished by rhythms, sound games, poetic images and socio-cultural references, offers a vision real and fictitious at the same time of the environment in which he lives. As a result, his poetry is related to his traditions, his experiences, to his collective memory and to his inventive capacity where the traditionnal language is more important than classical language and which represent a part of the intangible heritage that must be recognized and protected, because, it has three important powers: literary, historical and socio-cultural.