By Taha Mebtoul and Morgan Hekking

Rabat – Morocco celebrates today the 51st anniversary of the recovery of the southern city of Sidi Ifni and the completion of Morocco’s territorial integrity.

On June 30, 1969, Spanish occupation forces left the city of Sidi Ifni, 169 kilometers south of Agadir, pursuant to the Fez Agreement of January 4, 1969.

The Moroccan High Commission for Former Resistants and Former Members of the Liberation Army marked the occasion by saying the commemoration of this historical event represents pride for all Moroccans, for its symbolic historical value.

This event brings back the epic of national combat, the value of resistance and global mobilization, and the solid attachment of the Moroccan people to their nation, from the Sahara to the North of the country, according to the commission.

The commission also praised the tribes of Ait Baamrane for the “high militant spirit” they showed in the fight against foreign occupation, highlighting the value of the battles for territorial integrity and religious sanctity.

The Ait Baamrane tribes are located in the province of Sidi Ifni, surrounded by Tiznit from the North and Guelmim from the South. These tribes contributed to the Moroccan resistance against the occupation by providing the northern provinces with weapons and ammunition. 

Sidi Ifni played a major role in strengthening guerilla organizations and was a stronghold for the training and formation of the liberation army.

The liberation of Sidi Ifni marked a significant step in Morocco’s decolonization process in Western Sahara, following the recovery of all territories that were under the French Protectorate in 1956.

Read also: Facts about Western Sahara Conflict that You Should Know

Spain’s occupation of Morocco’s south

Morocco first raised the question of Spain’s occupation of Morocco’s southern provinces — including Sidi Ifni and Western Sahara — at the Trusteeship Council of the United Nations in 1957.

The recovery process in Western Sahara ultimately went through several steps, including the recovery of Tarfaya and Tan-Tan in 1958 following the Ifni War.

The Ifni War started in October 1957 between the Moroccan Liberation Army and colonialist Spain, backed by French troops, and ended in June 1958, resulting in 8,000 fatalities among Moroccans.

Following the Ifni War, Morocco went on to target Sidi Ifni, 400 kilometers north of Tarfaya, with backing from the UN Security Council.

On December 14, 1960, the United Nations General Assembly adopted Resolution 1514 on the non-self-governing territories. The resolution called on Spain to take the steps necessary to end its presence in southern Morocco.

The following year, when Mauritania became a full-fledged member of the United Nations, Morocco took the opportunity to further raise the question of Spanish occupation in the South.

UN Resolution 2027, issued on December 16, 1965, urged Spain to take the necessary measures to liberate the Ifni territory, as well as the rest of Western Sahara. The General Assembly urged Spain to adhere to the provisions of Resolutions 1514 and 1541 and end its presence in southern Morocco. 

During this period, the UN body never dissociated Western Sahara from Sidi Ifni or supported a referendum of self-determination to determine the fate of the territory. 

Up until June 1966, all the relevant UN resolutions included Sidi Ifni and Western Sahara in the same package. That year, however, Morocco acquiesced to Spanish demands to dissociate the territory of Sidi Ifni from its quest for sovereignty over Western Sahara. 

Spain did not consider the territory of Sidi Ifni to be of strategic importance and signed the Fez Agreement with Morocco on January 4, 1969. Pursuant to the agreement, Spain returned Sidi Ifni to Morocco in June 1969.

Read also: Western Sahara: History and the Algerian Fallacy

A new chapter in the Western Sahara question

After years of shouldering Spain’s aggressive diplomatic campaign against Morocco’s territorial integrity, King Hassan II, with the support of France and the United States, launched the historic Green March in November 1975. The march gathered over 350,000 Moroccans from all over the country, protesting against the Spanish colonization of Western Sahara.

The Green March led to the signing of the Madrid Pact on November 14 of the same year, marking the end of the Spanish military presence in Western Sahara.

Liberation from Spain’s colonial claws in the South, however, did not resolve Morocco’s territorial woes. 

Years before Spain agreed to pull out of southern Morocco, Madrid sent delegations from Western Sahara to attend the deliberations of the United Nations Special Decolonization Committee in New York. During the deliberations, the delegations espoused their attachment to Spain’s presence in Morocco’s south, giving fodder to Spain’s artificial movement that sought to preserve its interests in the territory.

This move was the first step leading to the creation of the Polisario Front in 1973, the year the separatist movement began claiming to be the representative of the Sahrawi people and demanding their independence. 

Polisario blossomed with the financial support of Algeria and Libya and eventually garnered the sympathy of the Spanish public, allowing it to wage a war against Morocco over Western Sahara just after the signing of the 1975 Madrid Pact. 

Although confrontations between the two sides ended in 1991, Morocco is still striving to secure full sovereignty over its ancestral homeland in the Sahara, a stark reminder of the havoc inflicted upon the country and the greater Maghreb region by decades of colonization.

Read also: Retracing the Steps of Morocco’s Iconic Green March

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Rabat – Morocco is making noteworthy investments in the arts by allocating new funding and implementing resources and programs to support artists and mitigate the impact that COVID-19 has had on production and work. 

On July 30, minister of culture, youth, and sports, Othmane El Ferdaous, shared Morocco’s new projects and the allocations of endowments that will benefit those working across the publishing and book sector, the cinematographic industry, and visual and performing arts. 

In total, the country plans to distribute approximately MAD 50 million (€510 000)  to leverage the active cultural and artistic associations. 

Books and publishing sector

El Ferdaous announced that the publishing and book sector will receive significant attention and support. Authors, editors, and other associated professionals will benefit from new programs intended to increase interest in reading and the availability of materials. 

“The sector support program concerns the acquisition of books from libraries and publishers for distribution to school and public libraries, the publication and edition of cultural magazines, whether in paper or electronic version, as well as raising awareness of the importance of reading,” he said.

The minister also noted that additional measures will be taken to support authors’ rights. He pointed out that the Moroccan Copyright Office (BMDA) is working to support member authors and other creators through specific funds and programming. 

Support for the publishing sector comes days after Morocco created an emergency plan to address the country’s media crisis. In an effort to secure the media sector and prevent it from collapse, El Ferdaous affirmed before the Committee on Education, Culture, and Communication in the House of Representatives on June 24 that exceptional measures need to be taken in order to overcome the insufficient conventional support the industry receives.

Supporting cinematography

The Ministry looked at the challenges faced by all professional technicians working in the field of cinematography and audiovisual production throughout the country’s lockdown. The government’s mandate to close cinemas and postpone film release dates caused many to suffer from unemployment and resulted in the cessation of 50 private production companies. 

In order to revitalize the industry, the Moroccan government is working in collaboration with the Moroccan Cinematographic Center to mitigate the ongoing impact on film artists. As a result, 51 Moroccan films are scheduled to be screened, maintenance in the film industry is underway, and there will be an acceleration of payments due to film companies. 

According to the latest statements, the support geared toward cinematography professionals will be inclusive of all in the industry, regardless of whether or not workers hold a professional identity card issued by the Moroccan Cinematographic Center, are registered with the National Social Security Fund, or work in the informal sector.  

Visual and performing arts 

The Minister also acknowledged the hardships faced by visual and performing artists in the wake of COVID-19. Visual art exhibitions will be financed with  MAD 2 million, while musical artists will receive  MAD 12 million. National theatrical tours will also benefit by receiving a larger sum of MAD 20 million.

In addition, the ministry has examined more than 4,000 applications for artists cards remotely and 2,000 new cards will be issued in the coming days. 

El Ferdaous affirmed that his ministry is collaborating with the Ministry of Economy, Finance, and Administration Reform to fulfill their commitments to artists and artistic projects for the previous year. While more than 80% of the required amounts have been paid, the ministries plan to settle the remaining amounts in order to boost the programs’ current financial status.

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Rabat – The National Library of the Kingdom of Morocco (BNRM) and the National Foundation of Museums (FNM) have signed a partnership agreement to accelerate the project of digitizing art collections created by Moroccan artists.

BNRM Director Mohamed El Ferrane and FNM Director Mehdi Qotbi signed the agreement during a ceremony chaired by Morocco’s Minister of Culture, Othman El Ferdaous, on Wednesday, July 1, in Rabat, said a statement from the national library.

According to the agreement, BNRM is set to accelerate the digitization of Moroccan artwork displayed in the different museums across the country.

Artwork made by Moroccan artists represents “an essential link in the chain of the national cultural scene,” the statement said.

During the COVID-19 period, after the national library closed its doors to visitors, the institution focused on modernizing and dematerializing its services through digitizing several Moroccan books, manuscripts, and magazines.

BNRM also updated its online database, allowing subscribers to access all the newly-digitized works.

The partnership agreement, initiated by the Ministry of Culture, builds on a previous agreement of the two cultural institutions to digitize Moroccan artwork.

The initiative aims to valorize the work of Moroccan artists, preserve national heritage, and modernize the art sector in the country.

BNRM is the largest library in Morocco. It was created in 1924 under the name “General Library” before it was renamed to its current title in 2003.

The library is the main destination for students and researchers interested in learning more about Morocco, its history, and its society, as it contains copies of every book or newspaper published in Morocco.

In recent years, BNRM launched a series of initiatives to make its services available remotely, notably through digitizing cultural works. The digitization process further accelerated during the COVID-19 pandemic.

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Rabat – Morocco’s Ministry of Culture, Youth and Sports and National Museums Foundation (FNM) are strengthening their partnership after signing three separate agreements to share and promote the cultural wealth of the country.

The first agreement regards the loan of 100 works by Moroccan artists from the unexposed collection held by the Department of Culture. A joint press release by the two collaborating organizations announced their plans to exhibit the works throughout the country and internationally.

Secondly, in order to enrich the FNM’s collections and assist artists impacted by the COVID-19 pandemic, MAD 2 million ($200,000) will be contributed toward a program of acquisition of works by Moroccan professional artists residing in Morocco.

The National Library of the Kingdom of Morocco (BNRM) will support the third agreement, which concerns the digitization of the FNM collections through high definition scanning.

As Morocco works to regain the country’s economic footing, following a prolonged lockdown as part of the state of emergency’s measures, leading stakeholders are launching multi-dimensional partnerships and new investments to alleviate financial burdens.

The latest agreements aim to restore Moroccan artists’ socio-economic position by featuring their unique contributions in both museums and virtual spaces.

Morocco’s Minister of Culture, Youth and Sports, Othman El Ferdaous and the President of the National Museums Foundation, Mehdi Qotbi officiated the signing of the three conventions in a ceremony on July 1. On June 30, El Ferdaous announced that the ministry would be investing MAD 50 million ($5.167 million) to leverage the country’s active cultural and artistic associations.

In addition to providing new funding to the visual and performing arts sector, Morocco is also working toward implementing programs and increasing financial support for cinematography and books and publishing.

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Syrian singer and songwriter Rasha Rizk is an influential musician on a continuous rise to fame. Releasing acoustic versions of her well-loved songs on Instagram during the pandemic, her page following recently surpassed 500,000. 

Rizk’s voice holds an irreplaceable place in the hearts of those who grew up in the early 2000s watching the cartoon channel SpaceToon. The echo of her angelic voice is easily recognizable in the Arab world, making her a fan-favorite and crowning her as a queen of young hearts.

Rizk has an extensive artistic background. As she mentioned in an interview on a talk show of France 24, there is footage of her singing at the age of two. Rizk has explored various genres of music including classical Arabic music, rock, jazz, opera, and cartoon music.

Snippets of Rasha Rizk’s early life

Rizk was born on March 5, 1976 in Damascus, Syria. She is the youngest of three children. Rizk developed a passion for singing from a very young age as she grew up in a musical household where her mother and siblings frequently sang. 

At the age of nine, she started her formal vocal training. At the age of 12, Rizk won the Pioneers Children’s Singing Competition in Syria. 

Upon graduating high school in 1994, Rizk studied French literature at Sorbonne University in France. In 2002, she graduated from the Higher Institute for Music in Damascus and began working there as an operatic singing professor. 

Rizk and Syrian composer and guitar player Ibrahim Sulaimani founded a rock/jazz band titled “Itar Shameh” in 1998. Rizk and Sulaimani got married in 2003 and have a daughter named Sarah. 

Read also: From Agadir to Asia: Moroccan Singers Took the Stage Across China

Rasha Rizk’s career as an iconic Arab cartoon singer 

Rasha Rizk began working with Venus Center, a Syrian dubbing company, in 1995. Venus Center was associated with the popular cartoon channel SpaceToon, which aired Arabic versions of Japanese anime cartoons. 

Rizk sang several iconic opening songs of Arabic versions of Japanese cartoons such as Detective Conan, Digimon Tamers, Remi, Nobody’s Girl, Romeo’s Blue Skies, and Hunter X Hunter. 

In addition to singing, Rizk dubbed the voice of several characters. Venus Center producers had noticed that she has great control over her voice and has the ability to change it drastically.

Rizk shaped the youth of the Arab world through her cartoon songs, which incorporated sophisticated and inspiring lyrics often written by the singer herself. 

In Morocco, many look up to her and cherish childhood memories where they would come home from school, watch anime on SpaceToon, and sing along to Rizk’s songs. The singer is often referred to as “the golden voice.” 

Rizk’s voice is often heavy with emotions when she sings cartoon songs, therefore appealing to the young audience, and to this day, Rizk’s cartoon songs are still highly popular.

‘Malak,’ Rasha Rizk’s latest album   

Shortly after the Syrian revolution started, Rizk moved to Egypt, then Lebanon, until she finally ended up in France. The singer decided to leave Syria in 2012 out of fear for her daughter’s safety. 

In 2017, Rizk released an album tackling the civil war in Syria and netizens have viewed the music video of its debut single “Sakru Shababik” over 4.9 million times on Youtube as of June 2020. 

“In this album, I’m addressing Syrians in Syria and all the refugees. I created this album as a duty and a tribute to the suffering Syrian people. I wanted to talk about the consequences of war on a human scale,” Rizk told OnOrient, a media outlet that highlights creativity and art in the Middle East and North Africa (MENA) region. 

“Although we talk about Syrians every day, they have become numbers of wounded and dead … yet behind these statistics, there are personal tragedies.” 

The album met with significant success and was eventually nominated for a Grammy in 2018, within the category of “Best World Music Album.” Rizk was also nominated for the Grammy award of “Best New Artist.” 

Rasha Rizk’s diverse musical creations continue to inspire millions of people all around the world. Through her cartoon songs, opera lessons, and rock and jazz pieces, the Syrian singer and songwriter continues to win the hearts of a widespread and adoring audience.   

Read also: Moroccan Singer Songwriter ASHA Rises in Global Fame

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Rabat – The 51st National Festival of Popular Arts is set to take place from October 27 to 31 in Marrakech, Morocco under the theme “Eternal Chants and Rhythms,” announced a press release from the organizers.

Moroccan NGO “Le Grand Atlas” is organizing the event in collaboration with Morocco’s Ministry of Culture, Youth, and Sports.

Initially scheduled for July 1-5, the festival was postponed due to the COVID-19 pandemic. Depending on the epidemiological situation in the country, the new date could be delayed further, the organizers assured.

For more than 50 years, the annual event has been promoting the popular arts of the various Moroccan regions. It is considered to be one of the most important events for preserving Morocco’s artistic heritage.

The El Badii Palace — a 16th-century monument built by the Saadi dynasty — is set to host a series of shows that would immerse spectators in the diversity of Moroccan arts and the country’s heritage.

The arts to be showcased in the festival include dance, singing, music, and theater, as well as other types of folkloric shows.

According to the Ministry of Culture, the event “plays an important role in the protection and sustainability of the kingdom’s popular arts.”

In 2019, the event, celebrating its 50th anniversary, attracted thousands of visitors, including Moroccans and foreign tourists, who experienced a taste of Moroccan culture and its richness.

This year, it remains to be seen how the COVID-19 pandemic would affect attendance at the festival, especially as Morocco’s international borders remain closed to foreign tourists for the time being.

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Rabat – The mention of pop art may conjure up images of Andy Warhol’s renowned Campbell soup cans or colorful illustrations of Marlyn Monroe. The art form which first emerged in the UK in the late 1950s was later popularized in the US by Warhol and Jasper Johns. In recent years, pop art has gained significant popularity in the Middle East and North Africa (MENA) region and Moroccan artists, including Sarah Addouh and Ilysse Nouhi, are making their own unique contributions to the contemporary style. 

It wasn’t until the early 2000s that pop art hit the contemporary art scene in the Middle East and North Africa. Since, the style has seen continuous growth and new adaptations. 

“Arabic pop art is a new way to reveal the strength of the Arab culture to the rest of the world and its ability to adapt to modern forms of art,” Addouh told Morocco World News.  

Defining pop art 

Often defined by its use of popular images extracted from advertisements, objects, or cultural icons, pop art is well known for challenging fine art forms and rendering techniques that isolate or combine materials in ways that transform commercial art into studio art. The art movement is closely related to consumer culture, frequently utilizing mass-produced products and labelings as inspiration for transforming global and local brands into ironic images or an expression of ideas. 

Many local artists draw inspiration from their cultural heritage by using renowned musicians, cultural icons, and vintage patterns as part of their work. Across the MENA region, pop art has featured Oum Kalthoum, Arabic calligraphy, Amazigh (Berber) face tattoos, tea and local cuisines, and Fes hats and other traditional garments. 

Some regional artists have played on Western consumer culture that has spread across the region by designing images that use popular brands such as Coca-Cola or McDonalds. Artists also use the style to send political messages or highlight specific moments in time. 

Moroccan artists Addouh and Nouhi both express pop art’s unique ability to transmit emotions and expressions of self and society through the multifaceted elements of pop art and its combination of various mediums. 

Read also: 6 Contemporary Moroccan Artists Who Break Bounds of Originality

Featuring Moroccan pop artist Sarah Addouh 

Sarah Addouh, a 27-year-old artist in Casablanca, believes that pop art offers more flexibility than traditional Moroccan art forms. “I have always loved pop art. I think it’s a timeless form of art that can relate facts about everyday life in a funny way. We can take elements from the past and make them futuristic and vice versa.” 

Addouh added, “It offers several possibilities of creation.” 

Addouh began experimenting with the art form during her first year of architecture studies when she bought her first camera. “I started taking street photography and then I began to work on it and mix elements from different pictures to create something new.” 

“There’s a lot of Moroccan pop artists nowadays and everyone has their own style and touch. I think that what makes my artworks unique is that I use photographs that I take myself in the street or old photos of my family, not random pictures from the internet, which make it more personal.”

Addouh considers all of her art to fall into the category of pop art. The artist describes her collages as “colorful” and “quirky,” molding together aspects of Moroccan social and historical references. 

Read also: Moroccan References Abound in Hassan Hajjaj’s Vanity Fair Spread

Featuring Moroccan pop artist Ilyesse Nouhi

Similarly, Ilyesse Nouhi, 26 and from Rabat, says his artistic inspiration comes from the rich culture of his country. 

“For me, it [pop art] is a way to express ourselves, our personality, our fear and love, our feelings in general, and also our sexuality. It may also express the environment where we live, and where we’ve grown,” said Ilyesse, who goes by the artist name of Iriessu. 

Nouhi began creating pop art in 2018 after a friend challenged him to experiment with the style. Frequently drawing in elements of Moroccan architecture, Amazigh culture, and calligraphy, Nouhi says he puts important aspects of Moroccan history in the spotlight through his work. 

As well, the artist pays tribute to the late Moroccan photographer Leila Alaoui by using her original photos as the foundation of some of his pieces. 

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Moroccan caftans are not only treasured traditional garments, but are also becoming high fashion pieces attracting the focus of high-end designers around the world. One such name is Salmane Zerouali, a Moroccan caftan designer at Pure Crystal in Dubai.  Born with a passion for traditional Moroccan clothing, he finds working on caftans is an opportunity to beautify and glorify the heritage of Morocco with creativity and pride.

In a typical setting, Moroccan women wear the traditional dresses, which come in various styles and colors, exclusively on special occasions such as weddings and eid celebrations. However, the world-renowned dress offers beauty so dazzling it also takes audiences’ breath at fashion shows across the globe. 

The history behind the caftan

The caftan is deeply rooted in Middle Eastern and North African history. Experts believe it originated in ancient Mesopotamia, and the name comes from the Persian word “Khaftan.” In the Ottoman empire, Sultans wore caftans in the form of robes or tunics with long, loose sleeves and decorative patterns.  

The caftan gained popularity throughout the Ottoman empire and variations of the robe became traditional attire in different parts of the region. Moroccans were not introduced to caftans until the 16th century, when historians believe the Saadi sultan Abd Al Malik presented the garment to the palace. 

The garment evolved into a traditional feminine dress, beautifully embroidered and decorated with jewelry and a matching belt around the waist. Therefore, caftans became a quintessential part of Moroccan culture, typically associated with festivities and symbolizing the epitome of elegance, class, and glamor in the country. 

The Moroccan caftan can be divided into four categories: Rbati, meknassi, chamali, and fassi, referring to the regions from which the specific styles originated.

Read also: Ivanka Trump Shines in Moroccan Kaftan at Royal Dinner

The modern Moroccan caftan     

The popularity of the Moroccan caftan has transcended borders and its beauty is recognized and appreciated all around the world. The dresses shine bright like stars in fashion shows worldwide and illuminate the scene around them. 

In London, Nadia Boutaleb, a Moroccan fashion designer shed light on caftans in the London Fashion Week of September 2017. Boutaleb decided to showcase the beauty of traditional Moroccan clothing in the United Kingdom and her collection did not fail to impress the audience.

Last year, Dubai hosted the 22nd “Caftan Du Maroc” fashion show. Also in 2019, fashion designer Naoual Miri showcased her collection in a fashion show in Montreal, Canada. 

An ever more popular garment, caftan shops are now present in countries that have sizable Moroccan populations such as Spain, France, and Belgium. However, it is in many ways different from other popular styles hitting the runways. 

“We cannot call it a designer piece, because a designer piece is linked to fashion that changes every six months. Here, we are talking of a traditional garment that is centuries old, yet it looks as new. It is not easy to reach this level of perfection,” said Dany Atrach, a French-Lebanese fashion designer at Caftan 2013 – A Marrakech Fashion Extravaganza.  

Salmane Zerouali: Turning a passion for caftans into a profession

Designing caftans is not only a business and a passion for Zerouali, it is a source of pride. “We, designers, are proud of traditional Moroccan clothing whether we operate in or outside of Morocco,” Zerouali told Morocco World News.

The designer explained that he began his career in the caftan industry at a young age, as part of a family business.

Decades later, he still respects caftans as a cultural treasure of Morocco, and recognizes that commercializing them in other countries comes with alterations to the traditional model of the dress. 

Zerouali emphasized this point by mentioning that “operating in Gulf cooperation Council (GCC) countries or in Europe is drastically different from operating in Morocco. For example, women from the Gulf tend to prefer certain colors and patterns over others, and European women tend to prefer versions of caftan that reveal more skin, etc.”

The adjustments made to satisfy the requirements of a range of customer demographics add to the richness of the caftan. These changes stem from the cultural preferences of different societies. 

Zerouali summed up his experience saying that “designing caftans is really enjoyable, although it can be labor-intensive and difficult at times.”

In addition to Zerouali, Meriem Belkhayat, Samira Haddouchi, and a number of other designers have found their way to international success, shaping and growing the caftan industry as a result.  

Read also: Stunning Moroccan Kaftans Capivate Crowds at Paris Fashion Show

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Each country has its own special wedding traditions and ceremonies, and Morocco is no exception. The traditional Moroccan wedding is full of fascinating customs and elaborate processes, from the henna party to the wedding food. Certainly, the most enchanting element is the wedding dresses a bride in Morocco will choose.

Everyone gets dressed up for Moroccan weddings. Female guests wear all sorts of beautiful caftans and takchitas (Moroccan dresses) of various colors, textures, shapes, and ornamentations. The male guests usually wear suits, and the wedding staff also wear kaftans and suits. The groom starts with a suit and often changes it for a “jabador,” and later for a Moroccan male djellaba.

Just like a wedding in any other country, the Moroccan bride is treated like a queen, and undoubtedly dresses the part. From the start of the wedding until the end of the night, the bride dons several different traditional Moroccan wedding dresses that represent different regions. The wardrobe choice tends to give special attention to the bride and the groom’s regions of origin.

Preparing the bride

The “neggafa” is the woman specialist the bride’s family hires to help with the wedding preparations. She carries out tasks such as helping the bride during the hammam day, a visit to the traditional bathhouse. She also helps with the pre-wedding henna party. On the wedding day itself, she does the bride’s hair and makeup, organizing the wedding dresses and accessorizing them with jewelry.

Coming in different colors, patterns, designs, and jewelry, there are seven traditional wedding dresses that a bride in Morocco wears during her big day.

The green and golden caftan

The bride usually wears the green and golden caftan on the henna day. This significant Moroccan pre-wedding tradition happens one or two days before the actual wedding.

The neggafa decorates the bride’s hands and feet with beautiful henna designs, believed to bring good luck. It is a party that both the bride and groom’s family attend. The neggafa or her assistants also decorate the hands of most girls attending with henna tattoos.

The green satin and silk caftan is hand-made with gorgeous beads and stones. It has long sleeves, rich golden embroidery, and is worn with a golden belt (mdama). It can also come in varied shapes and designs, depending on the bride’s personal style.

The white ‘takchita’

Guests at Moroccan weddings arrive early and gather at their respective tables. The groom enters with his family and they all wait for the bride. Her entrance is one of the most beautiful and fun moments of the wedding. 

The bride arrives in the “amaria,” carried by four or six men (negaffa assistants), wearing a beautiful white traditional “takchita.” The amaria is an elegant, often elaborate platform. The groom leads the party inside as the bride waves and the guests cheer and clap to the rhythm of the music.

The white takchita is a remodeled Moroccan caftan that is made up of two pieces minimum, and sometimes up to five pieces. The first part is the “tahtiya,” which is a long silky caftan. The second piece is the “fouqia” or “dfina,” which is an open satin dress that is often transparent and held in place with a wide golden belt.

The bride’s first, white wedding dress represents the purity of the future wife. The seamstress makes it with different white fabrics such as silk, tulle, satin, and other luxury materials. They also embroider the dress with different golden designs and patterns, either traditional or modern, depending on the bride’s taste.

Lebsa lfasiya (of Fez)

Lebsa lfasiya is the traditional dress from the Fez region, also called “ebsa lekbira” (the great outfit). Its large size and shape and accompanying elaborate jewelry characterize this type of wedding dress. It can be white, red, or green.

The traditional dress can be difficult for the bride to wear due to its heaviness and large number of components. Despite its challenges, Moroccan brides insist on wearing the dress for its beauty and history, while entering in the amariya.

Lebsa lfasiya is composed of several pieces. The Moroccan caftan pairs with a sort of bib around the neck. Several pieces of jewelry, such as a necklace of white and green pearls, sit atop the bib. The bride wears a white veil and attaches various decorations with pins. 

Atop the bride’s head is a large golden crown. Heavy green and gold fabric forms a skirt. The bride places this on her head, attaching it with pins to the white white veil. The gold and green piece falls over her shoulders and the front of her body.

Lebsa r’batia (of Rabat)

Lebsa r’batia is one of the most beautiful styles of caftans. It is characterized by the golden rabati embroidery style, in relation to the city of Rabat. Moroccan women have practiced this embroidery style for ages, and its forms vary across Moroccan cities.

The bride can choose to wear the elegant caftan in either blue or red. Sometimes, she may wear it in two pieces—a caftan and an open dress on top, held together by a golden belt (mdama).

The “mdama” for this dress is often made of silk or precious metals, such as gold, silver, or scarce copper. Precious stones such as rubies, emeralds, and pearls sometimes decorate it.

The ‘sahraouia’ (from the Moroccan Sahara)

The “sahraouia” is similar to the wedding dress worn by Mauritanian women.

The dress is composed of a “Mlehfa,” which is four meters wide and no more than 61 centimeters in length. Like many other wedding dresses in Morocco, it comes in numerous colors and designs. These colors and patterns recall attire that the typical Sahrawi woman wears wherever she goes. The dress is highlighted by splendid traditional accessories and jewelry.

The bride wears a tiara made of amber and seashells. She also wears a necklace of long pearls like a rosary and silver bracelets. Ornaments made of wood and animal horn, and metal fibulae linked by several chains, also accompany the dress. Rings decorated by primitive African influence are another unique accompaniment. And, of course, there are the “khlakhel”—ankle bracelets in guilloche metal that Sahrawi women love to wear.

The ‘Soussia’ (Amazigh dress)

The “Soussia” dress comes from the region of Souss and other Amazigh (Berber) regions, with different colors and traditional patterns. The dress can be different from one Amazigh tribe to another.

In the Souss region, women and girls wear clothes belonging to each tribe and village. This way, people of the region can distinguish the woman’s tribe by her clothing. This applies both to daily clothing or special occasion attire.

The wedding dress is characterized by different accompanying hairstyles. The opulence of the jewelry that decorates the whole outfit is also a unique feature. The pieces are usually made of stovepipe silver with enamel, amber, pearls, or shells and are often large and spectacular.

The bride wears a special caftan style and a white and silver crown called “Tawnza” on her head. She also dons silver bracelets called “Tanbalat” and “tanzite,” and Amazigh earrings called and “Takhersin.” Finally, she puts on a silver belt, and the Amazigh “cherbil” (shoes) called “Edokan.”

The ‘Chamalia’ (from the North)

The “chamalia” wedding dress comes from the North and is mainly composed of the chedda, a traditional outfit from Tangier. It is a traditional costume historically worn by female nobility in the northern coastal city.

The bride traditionally wears Chedda on her wedding day to represent purity and beauty. Like other wedding dresses in Morocco, It can also come in different styles, according to cities and families.

The dress consists of two superimposed majestic caftans that have colorful floral embroidery and is again belted by an “mdama.” A conical headdress made of scarves and jewelry embellish the attire. A browband, earrings, and a cascade of pearls and gold cover the entire chest, down to the waist.

Moroccan weddings are full of joy, diversity, and color. For Moroccan brides, these traditional costumes are a very important element of the special day. Most brides also like to dress in the Western white wedding dress by the end of the celebration. They do so while cutting the cake, in order to realize every little girl’s dream of feeling like a princess.

Sometimes Moroccan brides even add other countries’ traditional wedding dresses in their collection, such as traditional Indian or Chinese wedding dresses, depending on the bride’s personal desire.

The post Marrying Love and Fashion: Wedding Dresses in Morocco appeared first on Morocco World News.

Rabat – American Muslim singer Jennifer Grout, famous for her singing in Arabic, released a new composition titled “Allah” on Friday, July 17.

In her new piece of music, Grout plays the Oud and vocalizes “Allah,” the Arabic word for God, in various tones.

The mixing of her vocals and the Middle Eastern musical instrument resulted in a composition that more than 500 people on Facebook found worth sharing.

The music video, viewed more than 130,000 times, attracted more than 10,000 likes and nearly 1,000 comments as of Monday, July 20.

The video is Grout’s first online performance since she announced removing the hijab—the veil worn by many Muslim women.

In past years, the American singer has appeared wearing a hijab to appeal to her mainly Muslim audience.

Grout announced her decision to remove the veil on July 13 on Facebook, dividing her followers.

Under her new song, Grout wrote a comment saying, “Waiting for all the Salafis to leave my page,” hinting that she does not care about people’s criticism.

When announcing the decision, the American singer affirmed that she is a Muslim even when she leaves her hair uncovered.

Read also: American Singer Jennifer Grout: ‘I am a Muslim Even Without the Hijab’

The singer, known for her sensational Quran recitations, explained that social media enforced “unrealistic expectations” on her.

“I know I’m probably going to get a lot of unfollows, bad comments, and hate messages for this post. But I have made peace with that,” she wrote in her Facebook post.

Grout said she does not want to be a “Muslim role model” solely because of her Quran recitations and expressed her wish to share more passions with her community.

“I also feel the need to let my audience know and understand that the ability to recite does not define me… I have many other interests, for example I love to sing and write poetry, I love language, sports, dancing,” she wrote.

The controversial post attracted reactions from over 31,000 people and 4,300 comments.

Jennifer Grout became a sensation in the Arab world as a singer in 2013 when she auditioned for “Arabs Got Talent” and reached the finals.

After taking a break from singing, she made headlines in recent years thanks to her Quran recitations, earning the praise of hundreds of thousands of Muslims.

The American singer is married to a Moroccan man, with whom she used to sing in both Arabic and Tamazight. The couple live in the US and have one daughter named Qamar, the Arabic word for “moon.”

The post Singer Jennifer Grout Titles First Song After Hijab Removal ‘Allah’ appeared first on Morocco World News.

Rabat – History buffs, art enthusiasts, discoverers of culture, and avid learners in Morocco will soon be able to step away from their computer screens and books with the return of a more experiential approach to learning and entertainment. The National Museum Foundation is set to reopen Morocco’s museums on Monday, July 27.

Amid the COVID-19 pandemic, the soon to reopen Moroccan museums are curating more than just art and information. After more than four months of closures and under a continued nation-wide state of emergency, museums are also curating a safe space for visitors to enjoy exhibitions, while limiting the spread of COVID-19.

In a recent press release, the Foundation announced, “After several weeks of rethinking access to spaces and preparing a cultural program highlighting national collections, the museums are ready to welcome the public by offering them a secure museum experience.”

In accordance with the government’s recommendations and requirements, the reopening of museums will come with a number of public health and safety measures in place.

Morocco’s museums will limit the number of visitors admitted into their spaces by requiring advanced reservations over the phone.

Upon arrival, visitors will be required to undergo a temperature check and make use of the non-contact hydroalcoholic sanitizer dispensers available at all museum entrances. Other regulations include wearing a protective face mask, respecting social distancing measures, and following museum directional signs.

The Museum Foundation has also provided each center with information panels that offer clear instructions regarding expected behaviors and public health precautions. Museums have also updated regular cleaning protocols by increasing the frequency of cleaning spaces, surfaces, and electronic devices.

According to the press release, Morocco’s museums reopening on July 27 include Marrakech’s Dar El Bacha Confluence Museum, the Dar Si Said Weaving and Carpet Museum in Marrakech, the Tetouan Archaeological Museum, Rabat’s National Museum of Photography, the National Museum of Ceramics, and the Kasbah Museum of Cultures in Tangier.

On August 10, in line with the end of Morocco’s state of emergency, the Mohammed VI Museum of Modern and Contemporary Art in Rabat will open, along with the capital’s Museum of History and Civilizations.

The post Morocco’s Museums to Reopen Nationwide on July 27 appeared first on Morocco World News.

Rabat – Morocco celebrates Wednesday, July 22, the 99th anniversary of the epic Battle of Annual—a day that Spain remembers as the “Disaster of Annual.” 

The Battle of Annual was the first major clash of the Rif War from 1921 to 1926. The five-year conflict was one of many that colored the Spanish occupation of Morocco from 1912 to 1956. 

Rising tensions in the Rif

Leading up to the Battle of Annual, tensions had been high between the population of the Rif and the occupying Spanish power. 

Spain had long encroached on the territory but officially laid claim to Morocco’s north in 1912, a result of France accommodating Great Britain’s demand for a buffer zone between the French protectorate in Morocco and the British territory of Gibraltar. 

By virtue of the French-Spanish agreement of October 1904, France granted Spain spheres of influence in northern and southern Morocco. The territory included the enclaves of Melilla and Ceuta, which came under Spanish control in 1497 and 1580, respectively. 

Keen to reassert itself as a colonial power after the disastrous Spanish-American War in 1898, Spain accepted the territory. However, the largely mountainous, iron-rich region was home to the Riffian people, who had enjoyed a long history of autonomy under the Moroccan sultanate up until Spanish occupation. 

Spain spent six years attempting to pacify the Rif but only managed to assert its influence throughout three-quarters of the territory. In 1919, General Damaso Berenguer and General Manuel Fernandez Silvestre launched campaigns to occupy Chefchaouen and Al Hoceima’s strategic bay and subdue the Beni Urriaguel Rif group.  

Read also: Rif War: Spain Wants to ‘Heal Wounds’ of Gassing Moroccan Resistance

Mohamed Ben Abd el-Krim Al Khattabi and the Battle of Annual

Renowned Moroccan military leader Mohamed Ben Abd el-Krim Al Khattabi is remembered today as a national hero and anti-occupation icon for his role in the Battle of Annual. 

The Abd el-Krim family was influential in the Beni Urriaguel group and, until 1919, collaborated with Spanish authorities in Melilla. But upon learning of Spain’s true colonialist and expansionist intentions in Morocco and its campaign to “pacify” Beni Urriaguel, Mohamed Ben Abd el-Krim Al Khattabi rallied the local tribes against the invading forces. 

After five days of skirmishes, on July 22, 1921, Abd el-Krim led a 3,000-man force of Riffian Amazigh (Berber) tribes in an attack on Spain’s fortified frontline post in Annual (Anwal). 

Spanish General Fernandez Silvestre wielded an army of more than 20,000 troops. But despite being under-resourced, untrained, and vastly outnumbered, Abd el-Krim’s forces pushed Silvestre and his men to retreat.

Following the Battle of Annual, the Spanish army fled to its stronghold in Melilla while the Rif forces continued east, destroying Spanish forts and garrisons.

After a series of guerrilla attacks spanning several weeks, Spain lost all of the territories it had occupied in the mountainous Rif region since 1909. More than 13,000 Spanish troops died in the attacks, along with General Silvestre himself.    

Morocco’s heroic Riffian tribes inflicted on Spain one of the worst military disasters a colonial power has ever suffered and delivered Morocco’s National Liberation Movement one of its proudest victories. 

As Abd el-Krim and the Rif earned international admiration from other liberation movements, Spain, embarrassed by the loss, investigated the battle. A commission produced the Expediente Picasso report, exposing the colonial army’s poor military leadership, troop morale, training, frontline logistics, and equipment. 

Read also: The Rif War: Spain Haunted by Its Inglorious Occupation of Morocco

The legacy of Mohamed Ben Abd el-Krim Al Khattabi

After his victory at the Battle of Annual, Abd el-Krim worked to extend the liberation movement to the rest of the region.

Despite Spain forging an alliance with France to retake the Rif from 1921 to 1926, the Moroccan hero resisted the colonial powers’ coordinated offenses.

However, in May 1926, after enduring months of heavy attacks from 250,000 French and Spanish soldiers, Mohamed Ben Abd el-Krim Al Khattabi had little choice but to surrender. 

Scholars such as Sebastian Balfour and Maria Rosa de Madariaga have concluded that Spain used chemical weapons and toxic gas against the Riffians. This may have significantly influenced Abd el-Krim’s decision to surrender. 

The colonial forces occupying Morocco deported the hero to the island of La Reunion, where he lived until 1947. He managed to seek asylum in Egypt during a stopover in Port Said en route to southern France, where he was meant to remain in exile for the rest of his life. 

Mohamed Ben Abd el-Krim Al Khattabi died on February 6, 1963, but his legacy is immortalized around the world. Some scholars believe his guerrilla tactics during the Rif War influenced revolutionaries such as Ho Chi Minh, Mao Zedong, and Che Guevara, with some historical records claiming Guevara met Abd el-Krim in 1959 in Cairo. 

While Mohamed Ben Abd el-Krim Al Khattabi is undoubtedly a national hero and a symbol of Morocco’s resistance to colonial occupiers, the country only seems to recall his bravery on the anniversary of the Battle of Annual. 

With only one year until the centenary of the Battle of Annual, the people of Morocco should take the opportunity to better learn and understand the role of Mohamed Ben Abd el-Krim Al Khattabi in shaping the country as we know it today. 

Read also: Mohammed Ben Abdelkrim El Khattabi, the Forgotten Moroccan Hero

The post Morocco Celebrates 99th Anniversary of the Battle of Annual appeared first on Morocco World News.

Rabat – The Imilchil Wedding Festival is one of Morocco’s most widely-known Amazigh (Berber) traditions. The 500-year-old festival takes place every September near Imilchil, a small town in the Ait Haddidou region of the Atlas Mountains. 

The expansive festival site is situated near the tomb of Sidi Mohammed El Maghani, the Ait Haddidou people’s patron saint. The Ait Haddidou tribes believe that any marriage blessed by Maghani will be long and prosperous.

The site blossoms each festival season with traders from neighboring towns. As many as 30,000 people gather to sell their wares or scope out potential brides and grooms. 

A tent city quickly forms, playing temporary host to cafes, restaurants, smiths, and sellers of silks, dresses, carpets, dried fruits, and livestock. Music and folklore are also on full display. The site even houses the makeshift offices of marriage contract writers for the lucky couples who meet their ideal match. 

Most importantly, traditional Amazigh engagement ceremonies take place in a large square. However, because foreign tourists have now taken an interest in the Imilchil Wedding Festival, official marriages are kept private.   

Women who attend the festival looking for a potential life partner dress in traditional attire with their finest silver jewelry. The men who are available for marriage dress in all white, often with turbans. 

It remains to be seen if the ongoing COVID-19 pandemic will prompt local authorities to prohibit this year’s festival. 

Read also: Marrying Love and Fashion: Wedding Dresses in Morocco

The origins of the Imilchil Wedding Festival

The legend of the Imilchil Wedding Festival centers around the tale of two lovers from the Ait Hadiddou tribe. The lovers’ families were sworn enemies and forbade the pair from marrying. 

Some accounts of the story say the man and woman, wrought with grief, cried themselves to death. Their tears filled the two rivers in the region, now known as Isli (his) and Tislit (hers). 

Another version says the pair cried enough to form two lakes on opposite sides of a mountain and drowned themselves. 

In both versions of the story, the mountain symbolizes yet another tragedy: The separation of the lovers’ souls, even in death.  

The families’ guilt, the legend continues, inspired them to establish a day of marriage on the anniversary of the couple’s death. On this day, young members of the Ait Haddidou tribes are permitted to marry whomever they please, and so was born the Imilchil Wedding Festival. 

The post Morocco’s Imilchil Wedding Festival: A Treasured Amazigh Tradition appeared first on Morocco World News.

Rabat – Badr Allouche, a Moroccan Arabic teacher in Rabat, sketches Morocco’s cultural diversity, revealing his personal journey through his home country and inspiring others to activate their creative senses.  

Artists have long harnessed their creative skills as a way of seeing and sharing perspectives with the world. The unique representations of places and moments in time, captured through various art forms, establish reflexive memories and histories that outlive our individual existence. 

The sketchbook illustrations offer a glimpse into Allouche’s unique understanding of the places he’s been, his emotions, and the stories connected to his art. 

Drawing to inspire new perspectives and tolerance 

Originally from Tiflet, Allouche explains that his travels throughout Morocco have given him a deeper appreciation of his home country. His artistic documentations have offered him the opportunity to pay closer attention to his surroundings and connect with his Amazigh (Berber) roots. As well, he says he has gained a critical understanding of Morocco’s cultural diversity. 

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Allouche told Morocco World News that he hopes his illustrations will inspire a wave of tolerance toward Morocco’s cultural and scenic diversity and places. He cautions that people and places are easily misunderstood by those who have never had the opportunity to connect with them. Ideally, his sketches of Morocco might motivate others to travel and record their own unique experiences. 

“I want people to feel encouraged to visit the places and live the experiences that inspired me to draw these pictures — and to share their own stories about Morocco’s diversity. The more they know, the more they learn that they need to learn more.”

He adds that each person has their own ways of expressing their experiences and life worlds. “I’m not good at expressing myself in writing,” he said. “Some people can draw a perfect picture using words but I’m not that kind of person — so I draw. I can express a lot of those things via drawing.” 

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Allouche, 31, began drawing when he was six years old. 

Growing up, he developed his hobby by illustrating his favorite football players and creating a dictionary of world flags. As Allouche grew older, drawing became a way to capture moments he wished to share with friends and family in the absence of a camera. 

Now, with the option of photography through his phone’s camera, Allouche maintains his preference for pens, pencils, and paper. He believes time and energy dedicated to drawing elicits a personal narrative that creates a special bond between generations.

“My idea is to draw as many pictures of Morocco as possible – because when I have kids, I want them to see the country through my eyes, through these drawings. It could be a way for them to return to these places and explore their father’s land.” 

Allouche’s collection of sketches is not only a keepsake to inspire a deeper understanding of Morocco and preserve his own vision, but an opportunity to detox from the distractions of technology. Drawing urges a different sense of vision that requires a more attentive approach to experiencing something.

“I hope this encourages people to draw more. We’ve been so attached to the internet and social media and we need to go back and find ways to live our lives without them. Drawing, writing, handcrafts — whatever gets you going in creative ways.” 

Allouche’s creative talent preserves a piece of today’s Morocco and urges others to use their imagination to discover Morocco in coloring-book form. 

“I like to leave room for imagination. When you sketch in black and white, you can allow other people to fill in the blanks. When you put in colors you take away some of that. Sketching is not a perfect copy of what you’re drawing. It’s ambiguous enough for people to really imagine and see it through your eyes.” 

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Read also: Artists Sarah Addouh and Ilyesse Nouhi Feature Morocco in Pop Art Scene

The post In Pictures: Badr Allouche Sketches Morocco’s Cultural Diversity appeared first on Morocco World News.

Moroccan fashion is rapidly changing but remains authentic to the country’s feel, especially as young artists like Karim Chater, who is behind Style Beldi, seek to promote Morocco’s style by incorporating vintage Moroccan fashion with present-day trends. 

Morocco, just like other countries, has witnessed a major fashion evolution throughout the years. This encompasses a shift from traditional outfits to an adapted Western style.

Many iconic fashion designers all around the world take Morocco and its clothing style as inspiration for their modern-day collections. One such example is famous French designer Yves Saint Laurent.

 

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بختة @youssef_mascou

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 The evolution of Moroccan fashion

Before the 1950s, Moroccan clothing consisted of djellaba dress for both men and women. This is a long and loose garment with full sleeves. A hood called “qob” provides shade in the sun and keeps wearers warm in the cold.

Women also wore embroidered caftans with traditional jewelry. Men also wore an outfit called “gandora,” which is similar to the djellaba but has no hood nor full sleeves. Moroccan fashion also included “balgha,” a leather slipper available in many different shapes and colors.

After the years of colonization, Western style influenced obvious changes in Moroccan fashion. Moroccans, mostly the bourgeois, started wearing Western clothing such as suits, blouses, caps, and swimming suits.

Caftans have also developed throughout the years. Now the traditional dress can come in numerous styles, consist of several pieces, and is made with different fabrics in various colors. These tweaks and modifications in Moroccan traditional clothing illustrate the modernization of fashion in Morocco.

However, Moroccans have always remained loyal to their traditional clothing. Most only incorporate new elements to what they already wore to make new styles more fashionable while keeping the chic and elegant elements of traditional dress.

 

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 Vintage Moroccan fashion in the present day

Today’s generation dons the perfect example of traditional Moroccan fashion fused with modern clothing. Moroccans may strongly embrace Western fashion. Nonetheless, they successfully manage to link their vintage Moroccan fashion with the Western world’s trends and style.

If you go down a busy street today, you will see young Moroccans wearing all types of fashion deriving from a mix of Western and traditional clothing. For example, you will see a woman wearing a djellaba with an Yves Saint Laurent bag and Gucci glasses.

These young people are artists in their own way. They use their fashion sense everyday as a statement, a way of expressing their ideas and values to the world.

“An artist is the source of diversity and creativity, in my opinion, his role in our society is to show and promote our culture and lifestyle to the rest of the world in his own unique way,” said Karim Chater in an interview with Morocco World News.

Karim Chater is a passionate and determined 23-year-old Moroccan model and artist from Sidi Moumen, a northeastern suburb of Casablanca. The young artist regularly puts out fashion content on his Instagram page. He also showcases a unique blend of vintage Moroccan fashion in urban areas on his “Style Beldi” YouTube channel.

 

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A post shared by Chater Karim (@style_beldi) on Mar 20, 2019 at 3:04pm PDT

Karim Chater’s inspiration and work process

“What inspired me is the environment I live in, it’s traditional, cultural and original, also how my parents used to dress back in the 80s with the help of the unique vintage clothes sold in the thrift shops,” said Karim.

It takes Karim approximately two hours, including shopping and matching clothing pieces together, to curate a look and take professional pictures. The process of filming a video takes him one hour minimum and three hours maximum.

In his videos, Karim prefers not to use words so everyone can fully see his vision and understand the message he wants to convey. He also prefers to work on fashion documentary content that carries a meaningful message.

 

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A post shared by Chater Karim (@style_beldi) on Mar 16, 2020 at 5:49pm PDT

Karim finds inspiration in every hardworking, resilient person that has achieved their dreams and goals. He works hard to get where they are, or even further, while simultaneously enjoying the process of creating his art style and turning his creative ideas into reality.

Art plays a significant role in Karim’s life. It helped him discover who he is, who he wants to be, and what he wants to achieve in the future.

“It (art) gave me a purpose to live for and excitement to achieve my goals, every day I cannot stop thinking of my future and where I want to be and how I can get there, and that wasn’t the case before.” 

Karim considers himself fortunate for having his friends’ support and parents’ blessing, especially at the beginning of his art career. He believes that without their love and support, it would have been harder for him to continue pursuing his passion.

Drawing on local elements, the support of loved ones, and consistency

The artist often creates and films his content in a “karyane” (shanty town) called Karyane Rhamna. He considers it one the most inspirational places for his work. He is able to observe the culture, traditions, and lifestyle of the people who live there and apply observations to his art.

 

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“Our current neighborhood is a total blessing in my career, whenever I stand in my roof, look down and watch the lifestyle of its people, the hard work they must do to survive, the motivation and the determination its young have in order to change their humble circumstances and live a better life,” said Karim

“I get touched and it drives my emotions to come out, I translate them into art and hand it to the world. Without Karyane Rhamna, I don’t think I would have started Style Beldi.”

Karim Chater believes in determination and consistency. He wants young or new artists to know that consistency is key. He would like them to keep following their dream, doing what they love, without stopping.

“Even if your content isn’t the best, with consistency it cannot stay still, it will improve [one] day after another,” said Karim. “With it, you will find your own unique style which you will be known for and distinguished by.”

 

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Read also: Designer Anwar Bougroug on ‘Connection, Community, Craftsmanship’

The post Karim Chater Showcases Vintage Moroccan Fashion With ‘Style Beldi’ appeared first on Morocco World News.

Traditional Moroccan tapestry is one of Morocco’s most fascinating artisanal crafts. Colorful, hand-crafted rugs and carpets are available in all Moroccan traditional souks, captivating the curiosity of tourists.

Colors, patterns, and materials used to craft the carpets differ from one Moroccan region to another. In the Atlas Mountains, the art of Boucherouite — crafting carpets from pieces of excess fabric, wool, or leather — was passed down through many generations and survives to this day.

Fadwa Moussaif, a young eco-conscious Moroccan, saw in Boucherouite more than an art. She saw an opportunity to support women in the Atlas Mountains and a chance to promote sustainability in the fashion industry.

Fadwa created IDYR (“Life” in Tamazight [Berber]) — a social enterprise that rebrands and modernizes the art of Boucherouite while allowing women in the Atlas Mountains to make a profit from their talent. Women working with the company modernized their craft and began making clothing items and handbags, in addition to carpets.

In an interview with MWN, Fadwa reminisced about her path as an entrepreneur, from a disoriented student to a young businesswoman, passing by her selection for the Anzisha program for young African entrepreneurs.

Innate creativity

Born and raised in Casablanca, Fadwa developed an affinity for creative arts at a young age.

“In primary school, my friends and I loved drawing dresses and imaginary characters. I always drew the best dresses and accessories. My dream was to become a designer,” she recalled.

Science also sparked the young creative’s interest during her adolescence. As her high school graduation neared, Fadwa’s parents encouraged her to pursue studies in science and promised to support her when she decided to switch towards design.

“My parents, my sister, and my brother kept their promise,” she said, “They were my first investors, incubators, clients, counselors, and supporters when I decided to venture into entrepreneurship.”

Fadwa conceptualized her IDYR project idea while studying at Science and Technology School (FST) of Mohammedia, near Casablanca.

In a social entrepreneurship course, Fadwa had the assignment to develop a business plan for a fictional social enterprise. While researching for her assignment, the young student discovered that, in the 12 rural villages she visited, at least 50% of women knew how to craft carpets.

With her classmate and eventual business partner, Amal Kenzari, Fadwa found that out of all Moroccan women who learned how to confect tapestry, only 15% exploit their talent in generating income.

The student also discovered that Moroccan women artisans sell their products to retailers at very low prices. Merchants then make a significant profit by selling the products to tourists.

“These women only needed an opportunity to show their skills and to express themselves. They did not know how to promote their talents and generate income,” Fadwa explained.

Another alarming fact that Fadwa discovered is Morocco’s textile industry throws away 205,000 tons of fabric every year, and only 8% of the unwanted materials get recycled.

Environmental stewardship

The significant amount of uncontrolled waste triggered Fadwa’s desire to play a role in protecting the environment. Mixing the data on the art of tapestry and textile waste gave birth to the idea of IDYR.

Fadwa and Amal decided to recycle the unwanted fabric thrown away by Moroccan factories through the art of Boucherouite, simultaneously protecting the natural environment and valorizing the talents of Moroccan women in rural areas.

“I am realizing my childhood dream of supporting social and environmental causes. I always wanted to do something to sustainably help people in precarious situations, but I never knew how until I reached university,” Fadwa said.

According to Fadwa, IDYR aims to revive the art of Boucherouite, “a beautiful culture that overflows with values and history,” while fighting against unemployment.

“The art gives hope to artisans and young vulnerable girls,” she added.

Fadwa did not wait until finishing her studies to launch her ambitious project and did not expect her business to be as successful as it is today.

“I only began [the project] because I thought it will be nice. The idea of traveling alone, using public transportation, and meeting new people represented an adventure for me,” she recalled.

Fadwa’s original idea and ambitious spirit earned her several financing opportunities, notably from the Moroccan Center for Innovation and Social Entrepreneurship (MCISE).

The young student began her entrepreneurship adventure through trial and error. “We began working with the resources we had and selling our products to our relatives. Little by little, we were able to improve our products, expand our team, and learn how to network,” she said.

Anzisha Program

One of the phases that majorly shaped Fadwa as an entrepreneur and allowed her to take her business to the next level was her participation in the Anzisha Program. The program is a partnership between the African Leadership Academy in South Africa and the Mastercard Foundation. It seeks to increase the number of young entrepreneurs in Africa by identifying promising candidates and training them.

Fadwa had never heard about the Anzisha Program until her business partner Amal registered her name, without her knowledge. When she received an email congratulating her for being selected to take part in the program, she did not know what it was about.

Only after asking her friend Amal did Fadwa understand what the program was. “I decided to try my luck with the program for fun, and I was expecting regular training sessions like with all startup accelerators. My idea about Anzisha changed when I saw how the program’s team gets fully invested in the entrepreneur’s project,” she recalled.

According to Fadwa, her selection from a pool of 800 entrepreneurs boosted her confidence in herself and in her project’s potential.

Following her selection, Fadwa flew to South Africa to take part in the training program. After her return to Morocco, the support from Anzisha did not stop. The program’s team continued to follow up with Fadwa’s project, providing the Moroccan entrepreneur with guidance and counseling.

“I received both personal and professional guidance, which helped me a lot in my entrepreneurial path and improved the efficiency and productivity of the IDYR project,” Fadwa said.

Moroccan, global, ethical brand

Today, IDYR’s impact is visible in the rural villages where the company developed partnerships. The project has allowed many young girls who dropped out of school to shine as artisans and valorize their talents.

The company’s team includes 15 members and their products are not only available in Morocco, but also in France, Cyprus, and South Africa, among other countries. Soon, Fadwa plans to venture into more advanced e-commerce to promote the art of Boucherouite in more countries around the world.

“We learned that we need to take our time in building a strategy, and we are today determined to create a 100% made in Morocco ethical global brand,” Fadwa said.

IDYR products come in various shapes, sizes, and colors

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Fadwa wants to encourage young Moroccans who are hesitant about venturing into entrepreneurship, advising them to be innovative and creative and to “awake their inner passions.”

Hard work and perseverance are also a must for reaching goals, Fadwa stressed.

“In a more sensitive and ethical world, it is necessary to develop creative concepts that can answer global challenges,” she said.

“If you cannot think of a concept, think about the coming generations who will live on this same Earth, drink the same water, and breathe the same air. Let’s preserve them as much as we can,” Fadwa concluded.

The post IDYR: The Art of Moroccan Boucherouite Meets Eco-Consciousness appeared first on Morocco World News.

One of the best things about Eid Al Adha is my Moroccan mother-in-law’s mouthwatering, moist, and tender lamb mechoui. We usually enjoy it on the second day of Eid and, in my opinion, there is nothing better. This year, however, because of COVID-19 travel restrictions, I will not be able to make it to Essaouira for the feast, so I have had to learn how to cook steamed lamb mechoui like a Moroccan mum!

Honestly, this is one of my all-time favorite Moroccan dishes, and I do not take the challenge lightly. The disappointment of making a sub-par lamb mechoui for my son’s second Eid Al Adha would be very serious!

A quick three-way phone call with my mother-in-law in Essaouira and her sister in Casablanca, however, quickly allayed my fears — according to the two expert Moroccan mums, the process could not be simpler.

Apparently, all I needed was a pressure cooker and steamer basket and everything would be okay!

I have to admit, I have practiced the timings, spices, and water levels several times in order to make sure I get it right on the day. I think my British parents have just about had enough of tasting slight variations of the same steamed lamb mechoui recipe, but it is all worth it. We will have an Eid Al Adha feast, worthy of my Moroccan mum-in-law.

Time for a trip to the souk (do not forget your mask!):

This recipe does not need many ingredients but good quality meat is important. If you are, like me, in a rural village in southern England, a quick trip to the butchers and a perusal of grandma’s herb garden should do the trick. The ingredients are, obviously, easy to get hold off in Moroccan souks and supermarkets wherever your kitchen is.

2 kilograms of lamb on the bone (I usually ask the butcher to trim the fat)

3 tablespoons of smen (ghee-like butter) if you can get it or make it  — salted butter is a perfect alternative.

1 teaspoon of salt

1 teaspoon of ground black pepper

A generous bunch of rosemary (my mother-in-law uses parsley and coriander with a pinch of saffron but I prefer this English twist)

A bulb of garlic

3 large onions cut into quarters

More salt

Cumin for serving

Now it’s time to get cooking:

1. Pour 2-3 liters of water into your pressure cooker (I use a 6-liter pressure cooker so water levels will depend on size).
2. Add two tablespoons of cooking salt and bring to the boil (you can also use stock or bouillon for extra taste).
3. Meanwhile, rub the lamb in butter, salt, and pepper, and peel the garlic cloves.
4. Arrange the rosemary, garlic, and onions on the bottom of the steamer basket and place the meat on top.
5. Once the water is at the boil, cover tightly and leave to cook on a medium heat for 1 hour.
6. After one hour, carefully take off the lid and check the water levels. You may need to add a little more. Cover again, and leave on the heat for a further 45 minutes.
7. The meat should now be tender and falling off the bone. Serve on a large dish, with salt and cumin for dipping.

Now your steamed lamb mechoui is ready to devour! Enjoy.

Read also: How to Cook Like a Moroccan Mum: Lamb and Vegetable Couscous

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Rabat –  Moroccan artist Camelia Khadraoui illustrates a guide to Amazigh (Berber) women’s tattoo culture with digital art that depicts her grandmother’s knowledge and experience with the traditional and spiritual art form. 

“My first inspiration was my grandmother,” Khadraoui says. “As a tiny 3-year-old artist, I was so intrigued about what she had drawn on her face.”

Khadraoui can’t remember a time when she wasn’t drawing. “As a kid, I used to draw on walls and my parents had to paint the house ten times before I was 10 years old. Drawing has always been part of my life.” 

Fixated on the symbols tattooed onto her grandmother’s face, Khadraoui took it upon herself to take part in the age-old tradition.

“As I was drawing on walls, I was also drawing on my hands and face,” she says. 

Recently, the memories of her grandmother’s tattoos resurfaced and Khadraoui felt an urgent responsibility to understand, record, and share information about the dying art that triggered her career as an illustrator and freelance content creator. 

After spending years illustrating comics and jokes, Khadraoui discovered that her passion lies in sharing information about Morocco’s disappearing traditions and past. 

Camelia Khadraoui’s guide to the Amazigh tattoo, otherwise known as ‘loucham.’

Khadraoui’s creative endeavors and curiosity opened up a new opportunity to connect with her grandmother and learn from her. She says that while she collects her grandmother’s stories and documents the history of her inked skin, she has dug into other sources of information in order to create a more holistic understanding of the cultural practice and art. 

The guide is an ongoing collection of information in the form of colorful cartoon-like characters and decorative text. The illustrations explain the tradition which was once widely accepted, encouraged, and celebrated in Morocco. 

The 23-year-old artist underlines the critical need to document the tradition as the North African country’s last generation of women with Amazigh tattoos reaches old age. 

The symbols, made up of lines, dots, diamonds, and circles, once marked puberty, marriage, and social status. They also served to promise fertility and protection from bad spirits or define tribal affiliations and beauty. 

Although there is spiritual and cultural significance to Amazigh tattoos, many women say that the tattoos make them more attractive. 

Today’s elderly Moroccan women with tattoos are part of the last generation to take part in the tradition. 

Despite the historical and cultural significance of the Amazigh tattoo, it’s likely that Morocco’s next generation will rely on illustrations and pictures, such as those of Camelia Khadraoui, to imagine their ancestors’ traditions. Under the rise of Islam in Morocco and French colonialism, the practice has become stigmatized and is often even considered a sin. 

Although there is no verse in the Quran that explicitly forbids tattoos, the majority of Muslims believe that tattoos, or the modification of one’s natural body, is forbidden in Islam. 

Khadraoui told Morocco World News that the disappearance of her grandmother’s spiritual past and the Amazigh tradition is disappointing and one we must negotiate with. 

“Unfortunately, one has to be realistic. We live in a Muslim country and Islam forbids tattooing. It’s hard to convince people to have tattoos now.” 

“Those who already have some might not have a problem but reviving the tradition is too optimistic. Maybe for now, all we can do is honor the tradition and help people remember it and know more about it.” 

“The placement of Amazigh tattoos is often around opening on the face (holes),” writes Camelia Khadraoui.

Camelia Khadraoui illustrates surfaces of the body where women often get tattoos. These body parts are perceived as vulnerable and are protected by the symbolic markings. 

Camelia Khadraoui’s three-year-old aspiration to draw on her face still remains, and although she doesn’t have an Amazigh tattoo now, she hopes to have one soon. “I wish I could tattoo my face, but sadly I can’t.” 

Today, face tattoos in particular are deemed inappropriate by mainstream society’s standards. Khadraoui indicates that the tradition of permanently inking one’s face is the least likely to survive. Now, face tattoos tend to stain certain social and career opportunities.

However, the artist points to modern-day cultures surrounding tattoos and music cultures such as rap, where face tattoos are accepted and maintain meaning. She hopes to deepen her research on the topic to create a comparative study and relevant art on the topic of face tattoos. 

Read also: The Disappearing Tradition of Amazigh Facial and Body Tattoos

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Rabat – Hassan Hajjaj, one of Morocco’s most well-renowned contemporary photographers, colors Seoul, South Korea with his first-ever solo exhibition in Asia. 

The exhibit, “A Taste of Things to Come,” opened on August 5 at the Barakat Contemporary gallery in Seoul. 

Until September 27, visitors can explore the London-based artist’s most popular photography series, including: “My Rockstars,” “Kesh Angels,” “Dakka Marrakchia,” and “Legs.” In addition, the exhibit will feature Hassan Hajjaj’s 26-minute video clip “My Rockstars Experimental Vol. 2.” 

Barakat Contemporary not only curated the London-based artist’s pop-art photography and films. The gallery transformed its space using multi-colored wallpaper, flooring, and paint to match Hajjaj’s artistic vision. It also includes a boutique featuring products designed by the artist himself. 

“The gallery space itself will offer a whole new kind of spatial and temporal experience, offering an immersion in the works of Mr. Hajjaj,” said Kim Min-Jung, Barakat Contemporary’s curator.

Hajjaj’s pop-art approach has led many to dub him the “Andy Warhol of Morocco.” Spanning the fields of fashion, design, art, and commerce, Hajjaj is well-known for his vibrant portraits detailed and framed with objects and patterns popularly found in Morocco. 

Last year, in an interview with France 24, Hajjaj explained that the initial inspiration for his work was to share his Moroccan culture with friends in London. Born in Larache, Morocco in 1961, Hajjaj moved to the UK in the 1980s. From the souks of Marrakech to London’s cosmopolitan club scene, Hajjaj’s art straddles the two cultures by telling the story of his own personal journey. 

Notably, Hassan Hajjaj has also exhibited his art at Hayward Gallery in London, the European House of Photography in Paris, New York’s Brooklyn Museum, London’s British Museum, and at Los Angeles Museum of Contemporary Art. 

Read also: Moroccan References Abound in Hassan Hajjaj’s Vanity Fair Spread

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Rabat – The Mohammed VI Museum of Modern and Contemporary Art (MMVI) in Rabat is exhibiting major milestones in Morocco’s art history in its latest exhibition, “Moroccan Painters in the National Collections, From Ben Ali R’bati to Today.” 

The exhibition, opening on August 12, will welcome visitors to view the paintings curated from national collections. These collections belong to the Academy of the Kingdom, the Ministry of Culture, Youth, and Sports, and the National Museum Foundation (FNM).

In a recent press statement, the FNM said that the exhibit “traces the artistic genesis in Morocco.” It includes at least one hundred major works that span Morocco’s art history, beginning with Ben Ali R’bati, the first Moroccan painter to exhibit in Europe. 

Other notable artists featured in the exhibit include Chaiba Talal, Ahmed Yacoubi, and Mohamed Hamri. 

Mehdi Qotbi, president of the FNM, said “in these times disrupted by a global pandemic, art and culture have become more essential than ever to our daily lives by adorning it with images, colors, brilliance, and creativity.” 

Qotbi advocated for the “joy” of meeting in an exhibition space, noting that virtual exhibitions don’t compare to “the unique atmosphere of a museum.” 

In compliance with COVID-19 sanitary measures, MMVI requires visitors to reserve tickets for the exhibition in advance. Upon arrival, visitors are required to undergo a temperature check and make use of the non-contact hydroalcoholic sanitizer dispensers available at the museum entrance.

Other regulations include wearing a protective face mask, respecting social distancing measures, and following museum directional signs.

Tracing decades of Morocco’s art history through paintings that mark the country’s artistic national heritage, the MMVI will offer the collections on display for visitors until December 15 this year.

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