Rabat – Naima El Bezaz, Dutch-Moroccan author of several best-selling books that confronted taboo topics head-on, passed away on August 8. After battling depression for decades, she decided to take her own life.

El Bezaz was an outspoken writer who approached sensitive topics with a brutal honesty and directness that saw her lavished in praise from the Dutch literary community.

Young sensation

Naima El Bezaz migrated to the Netherlands in 1978 at age 4, following her father who had migrated earlier and worked in a factory in Alphen aan de Rijn, a Dutch town known for its bland, suburban nature.

She emerged as a literary talent in 1995 when she was just 21 after she published her debut novel “The Road North.”

The book was a hit and received the Jenny Smelik-award, which honors Dutch-language books that provide a fresh perspective on the lives of ethnic minorities in the Netherlands.

Her first book became part of the Dutch “student literature list,” a list of Dutch literature that experts recommend students to read as part of their education.

Her second novel was published in 2002. Titled “The Devil’s Mistress,” the book explored mythology and folklore in the Arab world with a particular focus on the element of fear and reverence surrounding Jinn demons.

In her book, El Bezaz explored taboo concepts like black magic, traditional Islamic expectations of womanhood, and universal perceptions of love, lust, and betrayal.

Criticism and depression

The book was well-received, but the controversial topics covered in her fictional story resulted in her receiving death threats, which sent Naima El Bezaz into a deep depression.

Her third book, “The Rejected,” published in 2006, covered the topic of depression in a personal and touching manner. El Bezaz decided to avoid publicity following the book’s launch.

The impact of depression on her life led her to write her fourth novel, “The Happiness Syndrome,” in which she described the fictionalized life of a young Dutch-Moroccan woman dealing with depression. Following the publication of the book in 2008, she spoke openly about her depression on a prominent Dutch television show.

In 2010 she wrote “Suburban Women,” the book that would make her a household name in Dutch literature.

The autobiographical novel explored life in multi-cultural Dutch suburbia, through the eyes of a Dutch-Moroccan woman. El Bezaz’s book comprised 38 short stories that explored preconceived and taboo notions in Dutch society, the book was well received and became a hit in the Netherlands.

Witty and fierce

Naima El Bezaz published a sequel to the book in 2012, followed by “In Service to the Devil,” a novel deemed the Dutch “Devil Wears Prada,” covering the life of a young female journalist who starts her career at a beauty magazine.

El Bezaz’s witty but fierce and confrontational style was exemplified by her appearance at the 2003 Cairo Literary Festival. A translator refused to introduce her by her last name, as it resembled the Egyptian Arabic word for breasts, and instead introduced her as Naima El Khalid.

After her introduction, she told the crowd, “Ladies and gentlemen, I was just introduced as Naima El Khalid, but that is not my last name.”

As the crowd fell silent, she continued: “My name is El Bezaz, I know that means ‘breasts’ here, but I don’t care. It is my name, and I am proud of it,” she stated to a round of applause.

A variety of Dutch authors and literary critics have highlighted her impressive oeuvre and the legacy she leaves behind. Her books will continue to be well-read by Dutch youth and her voice will be greatly missed with the Dutch literary community.

“You were an amazingly witty and sweet person, always surprising. I will miss you tremendously,” stated Khadija Arib, speaker of Dutch Parliament and fellow Dutch-Moroccan.

Naima El Bezaz will be remembered for her provocative voice that provided Dutch society with a deeper understanding of the lives of Dutch-Moroccan women. Survived by her husband and two daughters, even in death she continues to bring awareness to the demons people with depression face on a daily basis.

Read also: Moroccan-Dutch Writer Naima El Bezaz Ends Her Life at Age 46

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Rabat – Touria Jabrane is receiving medical care with the support of King Mohammed VI. The former actress and politician has been suffering from cancer, for which she is receiving care at Cheikh Khalifa hospital in Casablanca after her health deteriorated, said Le360.

Her admission to the Cheikh Khalifa hospital came at the behest of King Mohammed VI, who insisted she receive the best care at his personal financial expense, according to Yabiladi. The Cheikh Khalifa hospital is a state-of-the-art medical facility in Casablanca that regularly provides care for patients from across the world.

Hayat Jabrane, her sister, announced Touria’s admission to the hospital and thanked King Mohammed VI for the support.

“A great lady, a beautiful soul, fights today against the disease. Thank you Majesty for your support and generosity,” she stated on Instagram. “Today Madam Touria Jabrane Kraytif needs your prayers to all, Allah yejazikom, to overcome this difficult ordeal. Allah yehfedha.”

Career

Touria Jabrane, born in October 1932, is a multi-disciplinarian woman whose talent propelled her into stardom. She regularly featured on Moroccan television, starred in movies and made a name for herself on and off-stage in the Moroccan theatre world. Between 2007 and 2009 she held the position of minister of culture as part of the government of Abbas el Fassi.

She was the subject of tribute at the 2015 Tetouan International Mediterranean Film Festival where she was honored as the “great lady of the theater.” The festival said “she undoubtedly represents an idol of Moroccan cinema and television.” Her last appearance in movies was in the 2011 production “Atè,” before which she featured in major productions “Oud al Ward” and “Atash.”

Jabrane was decorated by the previous monarch and received the prestigious title “knight of the order of arts and letters of the French Republic.” She also received the silver prize for “Arts, Sciences and Letters” in Paris. As one the greats of Moroccan cinema and theater, Touria Jabrane will be well cared for in Casablanca, under the watchful eye of the Royal court.

The post King Mohammed VI Supports Hospitalized Actress Touria Jabrane appeared first on Morocco World News.

Rabat – Friday, August 14, iconic Algerian Rai singer, Cheb Khaled announced his decision to launch a new song to pay tribute to Lebanon in the wake of the Beirut explosion.

Cheb Khaled intends to launch his news song entitled “Elle s’appelle Beyrouth”, meaning “Her Name is Beyrouth,” on August 18, in collaboration with the musician Rodge from Lebanon.

“The profits will be donated to the Lebanese Red Cross,” said the Algerian artist.

“My smile has faded, to give way to the grief that I share by your side,” Cheb Khaled said  in a statement sent by his record label, according to the French Press Agency (AFP).

“A people … your people, Lebanese brothers (friends), have been touched and our hearts have been bruised,” the singer added.

The Beirut explosion that took place on August 4 has claimed the lives of 177 so far and injured more than 6,500, while 30 are still missing. Meanwhile, losses amounted to $15 billion as of August 12.

The initiative of Cheb Khaled’s song for Lebanon adds to the UN’s call for the creation of a fundraiser of $565 million to help revive the country after the disaster.

“The duty of rebuilding the lives of the inhabitants and permitting the therapeutic of such devastation has solely simply begun,” said Najat Rochdi, a coordinator of humanitarian support to Lebanon. 

Cheb Khaled is not the only artist looking to use his media as a platform for Lebanon.

France Télévisions, the national French television, is mobilizing resources to organize a musical concert with the participation of French-Lebanese trumpeter, Ibrahim Maalouf, with the aim to collect funds for Lebanon, according to Le Parisien.

“Lebanon is going through a terrible ordeal. France Télévisions stands alongside artists to organize a major concert of support and solidarity for the benefit of Lebanon and its affected population,” revealed Delphine Ernotte, the president of France Télévisions.

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Rabat – In May, four Moroccan and Tunisian art enthusiasts came together to create Interval, a non-profit art collective that documents and preserves art, empowering artists from the Middle East and North Africa (MENA). 

“We want to give visibility to the talents in our region. We also want our youth to engage with culture and art in our region,” Interval’s French-Tunisian co-founder Amina Debbiche, 31, told Morocco World News. 

“We want to create a new narrative that looks more like us by breaking the cliches of Africanism and Arabness — we should be building bridges between these countries and places rather than grouping them. We want to prevent the overall narrative. We want to listen and create content and spaces for content that the next generation and ones after can access.” 

Debbiche, along with her Moroccan partners Oussama Garti, Omar Benmoussa, and Hamza Slaoui, underlined the need for a platform which elevates the work of regional artists and shares knowledge about the artists and their work — without relying on Western narratives of their art. 

“We aren’t against the Western narrative about us, but in the contemporary world, we also want to be part of the conversation. We want to create a collective where people feel comfortable to discuss ideas and create.”

Interval’s mission is three-fold: First, to widen access to art and make it more accessible to everyone. The North African team plans to make art and art education more inclusive and comprehensive through their digital platform by curating experiences alongside exhibitions. The second aspect of the collective’s mission to “debate and bring awareness to the most pressing issues in today’s cultural landscape.” Finally, they will promote and support projects with high social impact. 

Read also: IDYR: The Art of Moroccan Boucherouite Meets Eco-Consciousness

In just over two months, the organization has already established itself among well-known artists and organizations in the region, namely in Morocco.  

As part of its social impact initiatives, the organization has partnered with the Tahar Sebti Institute (ITS), a public-interest association in Casablanca. ITS dates back to 1956. It has a long history of innovative education and training programs that support women, as well as children experiencing vulnerability or with disabilities. 

Interval’s partnership with ITS is a pilot project intended to be transferable to other schools throughout Morocco. 

The ITS project draws support from Interval’s first up-and-running virtual exhibition called “IM(PULSION).” 

IM(PULSION): A virtual exhibition inspiring art education 

Featuring 21 Moroccan artists whose passion for their practice was “unconditional,” Interval’s first exhibit features on The Open Crate. IM(PULSION)’s host is a digital platform for art collectors, advisors, cultural institutions, and professionals. IM(PULSION) will be up until September 22. 

“IM(PULSION) comes from a strong urge to start a conversation around culture in Africa and the Middle East. We felt the urge to do it,” Debbiche explained. 

“We wanted to create an independent action that could bring together artists with a common thread — the fact that their engagement towards their practice is unconditional. When a small seed is planted, you can have the compulsion or the impulsion to do anything.” 

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

The virtual art exhibit also offers the opportunity for viewers to request a studio visit with artists. This lets them better understand the process of creation and gain insight into the practice and narratives of the featured artists. The studio visits aim to “demystify” the practice of art by offering new ways to communicate passions.

 

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J-1 until the launch of the digital sale! INTERVAL is proud to announce the launch of its very first action « IM(PULSION) » which will go live tomorrow on the 22nd of JULY at 4:00 pm (GMT +1) and will take place on: theopencrate.com @theopencrate This sale brings together 21 Moroccan artists and will support INSTITUTE TAHAR SEBTI (ITS). INSTITUTE TAHAR SEBTI is an association recognized as public interest since 1956. The ITS is an inclusive school, welcoming children in vulnerable and/or disabled situation. Through this project, we hope to support and promote their innovative and alternative educational model, which aims to be implemented in other schools throughout Morocco. A detailed impact assessment will be shared at the end of the action. The 21 Moroccan artists that will be part of the digital sale: YTO BARRADA (@ytobarrada) SAID AFIFI (@said_afifi_studio) OUSSAMA GARTI (@garti.o) MO BAALA (@mobaala) AMINE EL GOTAIBI (@amine.elgotaibi) AMINA AGUEZNAY (@aminaagueznay) ABDELAZIZ ZERROU (@abdelaziz_zerrou) YASMINE HATIMI (@yamsine9) HASSAN DARSI (@hassandarsi) MOHAMED LEKLETI (@mohamedlekleti) YACOUT KABBAJ (@yacoutkabbaj) YOUNES ATBANE (@atbane_youness) MORAN BEN LAHCEN (@morran_studio) SAFAA ERRUAS (@safaaerruas) M’HAMMED KILITO (@mhammed_kilito) HICHAM MATINI (@matinihicham) NAFIE BEN KRICH (@nafiebenkrich) AMINA REZKI (@aminarezki2) MOHAMED THARA (@mohamedtharaofficiel) SIMOHAMMED FETTAKA (@simohammed_fettaka) YOUSSEF OUCHRA (@youssefouchra) Background Image: Said Afifi, Yemaya, 2020, Photographic print (Closeup)

A post shared by INTERVAL (@interval____) on Jul 21, 2020 at 5:50am PDT

The founders highlighted the fact that “every single action will have a specific focus — a country and subject.” Each will emphasize the voices of artists, curators, historians, and collectors, as well as their perception of art in current societies. 

M’hammed Kilito, Mohamed Thara, Safaa Erruas, Yacout Kabbaj, Amine El Gotaibi, and Hicham Matini are among the selected artists setting the stage for the Interval’s cultural project. 

Interval’s work is timely, as the world begins to recognize the importance of empowering people around the world to insert their own histories, voices, and representations in a narrative long oppressed by colonial powers. 

With hopes of their ideas spreading, Dibbiche says, “We hope to give others the impulse to do the same.” 

In addition to the art exhibition and educational spaces Interval has created, the organization is facilitating a number of discussions over webinars, radio talks, and social networks. 

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

The post Moroccan-Tunisian Interval Art Collective Empowers MENA Artists appeared first on Morocco World News.

Rabat – Moroccans and many Muslims around the world are set to celebrate the first day of the new year of the Islamic calendar, also known as the Hijri calendar, on Friday, August 21.

Friday marks the beginning of year 1442 of the Islamic calendar and is a public holiday in most Muslim majority countries.

First established in the year 622 AD, the Islamic calendar consists of 12 lunar months, totaling 354 or 355 days per year.

In most countries, the calendar’s main use is now in determining the dates of religious events, such as Eid al-Fitr, Eid al-Adha, and the holy month of Ramadan. However, several countries, such as Saudi Arabia, use it as an official calendar.

The Hijra

The first year of the Islamic calendar marks the “Hijra” (migration) of Islam’s prophet Muhammad in 622 AD from his birthtown, Mecca, to Yathrib, currently called Medina.

The event holds special significance for Muslims, as it was after Hijra that Islam gained many followers.

According to Muslim tradition, Prophet Muhammad fled Mecca after God warned him of an assassination plot against him. The prophet only told his closest companions, Abu Bakr and Ali, of his plan to escape.

After a miraculous nocturnal escape from the tribe of Quraysh, Prophet Muhammad and his companion Abu Bakr hid in a cave outside Mecca. With a bounty on his head, the prophet stayed in the cave for three days before resuming his journey to Yathrib.

After the Hijra, Prophet Muhammad gained more supporters and Islam began to expand on a large scale in the Arabian Peninsula, as well as in Persia and Africa.

Pre-Islamic calendar

Muslims began using the Islamic calendar in the 17th year after the Hijra, approximately seven years after Prophet Muhammad died.

Prior to the establishment of the Islamic calendar, Muslims used a lunar calendar, with similar month appellations as the Islamic one. However, they did not numerically track years and only referenced them based on the occurrence of major events.

The most famous example of the years’ names is “A’am al-Fil” (The year of the elephant), which coincided with 571 AD and is commonly known as Prophet Muhammad’s birth year.

The year’s name derives from the story, mentioned in the Quran, of Abraha, a Christian ruler of Yemen. He marched upon Mecca with a large army, including war elephants, intending to demolish the Kaabah—Islam’s most sacred site.

However, according to the story, the elephants refused to destroy the holy site and a flock of birds dropped clay stones on the army to protect Mecca.

Establishment of the Islamic calendar

Muslims established the Islamic calendar under the reign of the second Muslim Caliph, Umar Ibn al-Khattab. The main reason behind the establishment of the calendar was the unprecedented expansion of the Islamic Caliphate, pushing Muslims to adopt a unified calendar for counting years.

Caliph Umar Ibn al-Khattab suggested the adoption of the Hijra as the start of the Islamic calendar, which all the prophet’s companions approved.

Another suggestion for the beginning of the Islamic calendar was the year Prophet Muhammad received his first revelations, in approximately 610 AD. However, the companions preferred the first option because the Hijra represented the actual birth of an Islamic nation.

When establishing the Islamic calendar, the companions had different opinions about what the first month should be. Many suggested the month of Safar, as it was the month when Prophet Muhammad migrated from Mecca to Yathrib.

In the end, they agreed on the month of Muharram because it comes right after the Hajj season—one of the most important annual rituals for Muslims.

Difference with the Gregorian calendar

Hijri years are 354 days, eight hours, and 48 minutes long—the duration it takes the moon to circle the Earth 12 times. This makes the Islamic calendar 11 to 12 days shorter than the solar Gregorian calendar.

The difference in duration makes the Islamic and Gregorian calendars unsynchronized. The two calendars mark a new year on approximately the same day only once every 33 years.

The difference also gradually pushes the Islamic calendar closer to the Gregorian calendar year-wise. While 622 years separated the two calendars at the establishment of the Islamic calendar, today, only 578 years separate them.

Through its over 14 centuries of existence, the Islamic calendar has documented wars and truces, births and deaths, and celebrations and mournings across the Muslim world. Today, in a multicultural context, it coexists with the civil calendar and connects Muslims with their eventful history and most sacred rituals.

The post 1442 Hijri New Year: Tracing the Roots of the Islamic Calendar appeared first on Morocco World News.

In Rabat’s art-deco Cafe Renaissance an old acquaintance, Montacir Laouina, talks with me about Morocco through architecture, photography, and his attempt to navigate one using the other. 

For Montacir the two are not mutually exclusive. One helps you understand the other, and vice versa. 

When once asked about the function of a wall in architecture school, he responded, “to host the shadow of a tree.” 

One quick glance at Montacir’s work from across Morocco, and it’s easy to see the role shadows, lines, and architecture at play in his photography.

“Photography is very experimental. Photography is about changing perception.”

Photography, an architectural design tool

Montacir is in his sixth and final year of his architecture degree from the National School of Architecture in Rabat. He has used photography to explore the world around him, particularly various aspects of Morocco’s architecture, for roughly the same amount of time.

When I ask how he got started in photography, Montacir tells me it was simply a matter of filling an unmet need. Being active in the volunteerism community, he found there was often a need for photographers at events or gatherings. He grabbed his camera and stepped up to fill the role.

His love for photography developed as he was strolling through Morocco’s fabled old medina of Fez, admiring the surrounding architecture.

“One place can give you a million possible ways to see it,” he explains. “The sun is never the same. Colors are never the same.”

Architecture

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This is why he returns to the same location, building, street, etc. He’s observing the light and capturing the shadows in an attempt to “exhaust a place and space.”

A single photo can tell a story, he explains to me, but a series of the same composition can give way to a hidden or deeper meaning. It gives the photography a conceptual idea.

The scale of the city is changing, Montacir points out. It is no longer walkable. As cities become large and larger, do we lose the details? When you see a whole building, you have an overall idea of it. However, a photo allows you to take in the small details.

Photography, architecture, and shadows

His passion for expressing the relation between architecture and photography came to a forefront in the winding streets of the Fez medina, where you can see the way Morocco’s light changes throughout the day. 

“We think of light as being white, but it isn’t. It changes with the seasons. A photo in March won’t be like a photo in September,” he adds, even if it’s the same exact composition. 

It was in those narrow alleys he saw the dramatic role shadows play in his observation of the world around him. 

“Whenever I walk with my friends now, they tell me the shadow on a certain building will interest me,’” he muses. “Once we visit the building, I tell them about the function of a wall and they are usually moved by it. The calm and silence solicited by the scenography of shadows and light becomes aware of itself and naturally inclined towards a meditative time.” 

The work of the Japanese writer Junichiro Tanizaki also heavily influences Montacir’s photography and appreciation of architecture.  

In his work “In praise of Shadow,” Montacir notes that Tanizaki “raises the question of the shadow as a major element of the aesthetic quest, criticizing modern society saturated with shiny objects. The more we gain in transparency, the more we lose in depth.”

Inspiration

Montacir’s inspiration is the Portuguese poet Fernando Pessoa. One quote in particular speaks to him: “Know how to present one’s work in such a way that it is not introduced as the lie of theory but rather the truth of a metaphor.”

Pessoa’s book, “The Book of Disquiet,” is more of a non-book, according to Montacir. It doesn’t follow a traditional path. Nor does it have a specific message. 

The poet is simply “sharing his way of perceiving space, religions, philosophy, symbols.” To me, it feels that this is how Montacir expresses himself, and Morocco, through architecture and photography.

Rural

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I ask Montacir if a picture tells a story, if he thinks his photography tells stories.

We launch into a lengthy discussion about social media. Photos inundate us on a daily basis. We mindlessly scroll through various newsfeeds absorbing dozens of images. He finds it ironic that social media outlets call them our “stories,” because in a way they are.

However, he does not feel that a photo necessarily has to tell a story. A photograph, he says, “exhibits concepts, it tells the metaphors and metamorphoses so that it can raise and stimulate human consciousness and modify perception.”

People don’t really live the lives they are portraying on social media. “We exhibit our lives like we live in a movie or an ad,” he critiques.  But is that really reflective of our true stories?

In contrast to social media, he says that “hanging photos on the wall gives them value. Putting lights on them to make people aware of the importance, without being abstract.”

Photography, postcards, and Orientalism

Montacir’s number one critique of photography in Morocco, even when it comes to architecture, is how it often serves a sort of auto exotism, also known as Orientalism.

Take the photo above as an example. He says this is exactly the type of photo that would call to an Orientalist.

“I would expect people to love these types of women. However, it’s everything I would hate about this type of photo. It’s so Orientalist because she is a Spanish woman, in a Muslim scarf, posing in the iconic Majorelle Gardens in Marrakech.”

The problem with this, he points out, is that it follows the logic of consumption. A country wants to attract tourists. This is especially true when tourism comprises a high percentage of the GDP, as it does in Morocco.

Locals want to create an image to sell to outsiders. They want to paint a picture and create a welcoming sense of “depaysement”—for the visitor a sense that they are no longer home. At the same time the country must “adhere to the image the outside puts onto the country” to meet their expectations.

The problem comes when the country or locals begin to take on that identity as their own, replacing identity that once was. “You do it for fun, at first, but then it becomes your identity.”

This problem is prevalent in Morocco, but isn’t unique to the country, Montacir assures me.

Read also: Zineb Bouchra Revives Famous Art in Moroccan and Amazigh Style

Orientalism

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The postcard, he argues, is one of the worst offenders of Orientalism. We want to capture an image of a place we’ve visited and send it to our families or friends back home. But capturing an entire culture, an entire people, or an entire experience in one quick photo is easier said than done.

This expands into the greater realm of photography and art.

“We present expected themes to the exterior viewer, and this presentation is what shapes back our perception of authenticity, identity, and heritage and inevitably in architecture.

Montacir says he can hold himself accountable for avoiding Orientalist themes in his photography by limiting ”binary dichotomic representations of everything: Modernity vs tradition, poor vs rich, etc. Those entities co-exist and that is what creates the image of the city, of the culture.”

Excluding people and silhouettes from his photos highlights what might seem in other photography as “background or artificial scenography where the instant and its invention are dissociated,” he adds.

“It is not a quest for photography transparency but honesty. On the other hand, it is an attempt to deconstruct the postcard photography of architecture that generally conveys an ideal of the city through the monuments, giving it a brand image. I am not interested in that more than I am interested in the spirit of the space.”

‘Everything is ephemera’

As we wrap up our discussion about Morocco’s future and his passions, Montacir tells me, “Photography for me is a medium of thought, a tool for architecture and urban design. That’s why I think that we should not only trust the image but also the viewer.”

He tells me he compared his spatial experience in the city with a poem composed of three interchangeable lines: 

Meet the stealth

Astonishment in front of the world 

Everything is ephemera

When you go somewhere, you know it’s just an ordinary scene that you can always see. In that one second, you’re not really aware of the importance.

Sometimes, however, you know it is something specific, monumental. You encountered this space or saw it in a specific moment of the day when the light enhanced it, making it feel remarkable.

There is nothing really specific about this place exactly because we can do that to every single moment, place, or person we encounter.

“It’s about how we see it and perceive it. We must be aware that every scene of daily life is just daily life, but then realize how amazing it can be as well. It’s up to you to make this theatrical representation of reality.”

The post Morocco’s Montacir Laouina: Interweaving Architecture and Photography appeared first on Morocco World News.

Rabat – Moroccan artist Touria Jabrane died today, August 24, after a fight against cancer.

Several Moroccan artists and public figures shared the news, expressing their condolences.

Earlier in August, Jabrane was admitted to the Cheikh Khalifa Hospital in Casablanca after her health further deteriorated.

According to Touria Jabrane’s sister, Hayat, King Mohammed VI offered financial support to the actress to cover her medical expenses and insisted she receive the best care.

Hayat Jabrane announced her sister’s admission to the hospital on social media and thanked King Mohammed VI for the support.

“A great lady, a beautiful soul, fights today against the disease. Thank you Majesty for your support and generosity,” Hayat wrote on Instagram.

“Today, Madam Touria Jabrane … needs your prayers … to overcome this difficult ordeal,” she added.

A career that transcends acting

Born in 1952 in Casablanca, Touria Jabrane grew up in the Moroccan metropolis and graduated from the Ministry of Culture’s National Conservatory.

She began her acting career in 1972 with the theatre troupe “Masrah Nass” (The theatre of the people), working alongside emblematic dramatist Tayyeb Saddiki.

In 1978, Jabrane played her first roles in television and cinema. Jabrane made her debut in cinema in the film “Omar Al Mokhtar.” Some of her most famous appearances were in the movies “Bamou” and “Noura.”

In 1987, Touria Jabrane co-founded a new troupe with her husband, Abdelouahed Ouzri, called “Masrah Alyaoum” (The theatre of today).

Since the late 1970s, the Moroccan actress made a series of appearances on television, notably in comedy roles. The joyful and funny characters she played made her an iconic comedian and earned her a special place in the collective memory of Moroccans who witnessed the early days of television.

In addition to being an emblematic actress, Touria Jabrane was also an activist and participated in the founding of several NGOs defending human rights.

In 2007, the then-head of government, Abbas El Fassi, nominated her as minister of culture. Jabrane worked as a member of the government for two years, until her health condition no longer allowed her to carry out her functions.

During her tenure as Minister of Culture, Touria Jabrane launched reading and music festivals and participated in the development of agreements between artists and local authorities.

The post Moroccan Theatre Icon Touria Jabrane Dies at 68 appeared first on Morocco World News.

Rabat – Four Moroccan films are participating in Brazil’s 31st Sao Paulo International Short Film Festival, from August 20 to 30. 

Among them is “Clebs,” a short film by Moroccan-Canadian filmmaker Halima Ouardiri. The documentary features Le Coeur sur la Patte animal sanctuary in Agadir.

The film draws parallels between the lives of Le Coeur sur la Patte’s 750 dogs anxiously awaiting adoption and the millions of refugees worldwide who are searching for shelter and security.

The Agadir sanctuary is the largest in Morocco and home to nearly 800 dogs. The sanctuary’s founder, Michele Augsberger, cares for 100 dogs and 200 cats in her own home. 

“Clebs” won Best Short Film at the 70th Berlin International Film Festival (Berlinale) in February. In addition to the Crystal Bear, the Moroccan film earned a Special Prize of the International Jury. 

The film offers a “glimpse of a world we’ve never seen before,” the festival’s jury remarked.

With “Clebs,” Ouardiri wants to “remind people that human beings are living under the worst conditions right now,” she explained after her win at Berlinale. 

Read also: ‘Night Walk’ Becomes First Moroccan Film to Hit Hollywood

Also featuring in the Sao Paulo short film festival is “What if the goats die?” by French-Moroccan filmmaker Sofia Alaoui. 

The film tells the story of a young mountain shepherd named Abdellah who, while trying to save his cattle in a snowstorm, encounters a supernatural phenomenon.

The festival is taking place virtually this year due to COVID-19. The public may access, free of charge, the 212 films selected to feature in the event on the festival’s website.

The festival also offers a program of conferences and seminars to be projected live on its social networks.

The Sao Paulo short film festival also offers parallel programs presenting “Beyond the Wall” by Moroccan director Aisha Jabour and “Bab Sebta” by Moroccan director Randa Maroufi. 

The Moroccan films are 4 of 212 to make the cut, chosen from a pool of 3,000. 

A total of 26 countries are participating in the festival, which features unreleased works as well as award-winning films from both established directors and budding talents. 

“Bringing to the public such a diverse program that shows this immense plurality of gazes, accents and languages ​​across the world makes us feel that we are helping to bring joy at such a difficult time,” said the director of the event, Zita Carvalhosa, in a press release.

Read also: Moroccan Film “Myopia” Wins Award in Virtual Canadian Film Festival

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Rabat – American actor Chadwick Boseman died August 28 at the age of 43 after a four-year battle with colon cancer. The actor is mainly known for his iconic role in the superhero movie Black Panther.

Doctors diagnosed Chadwick Boseman with colon cancer in 2016, which continued  progressing until it reached stage four. The disease ended the Hollywood star’s life in his home, with his wife and family.

Many celebrities shared their photos with the late Chadwick Boseman on social media, grieving his loss. Mourners included actor Chris Evans,  who stated that he is “absolutely devastated” and heartbroken.

“Chadwick was special. A true original. He was a deeply committed and constantly curious artist. He had so much amazing work still left to create. I’m endlessly grateful for our friendship. Rest in power, King,” said the American actor.

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Marvel Studios produced the ‘Black Panther’ movie. They shared a post on Instagram in the wake of the actor’s death. “Our hearts are broken and our thoughts are with Chadwick Boseman’s family. Your legacy will live on forever.”

Black Panther grossed over $1.3 billion worldwide making it the ninth highest-grossing film of all time, and the third highest-grossing film in the US and Canada in 2018.

In other films, Chadwick Boseman embodied real life figures. He played soul music icon James Brown in the movie ‘Get on Up.’ He also portrayed American baseball player Jackie Robinson, who was the first African American to play in Major League Baseball (MLB), in the movie ‘42’.

Unlike many Hollywood actors, Chadwick Boseman attended college while pursuing his acting career. In 2000, he graduated from Washington DC’s Howard University with a BA in directing.

American actor Denzel Washington played benefactor to Boseman, privately funding his tuition.

The Black Panther star only learned about Washington’s donation after his graduation.

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Rabat – King Mohammed VI has sent a message of condolences to the family of late Moroccan actor Abdeljabbar Louzir, who succumbed to illness on Wednesday in Marrakech at the age of 92.

In a message to the artist’s family, and by extension the artistic community, the King expressed his “sincere feelings of compassion” for their loss.

Abdeljabbar Louzir was “of one of the pioneers of constructive comedy who was able, thanks to his cheerful and authentic style and his spontaneous performance which marked his various performances on theatre and television, to win the love and respect of people during over five decades,” the monarch said, according to Morocco’s state media. 

The statement emphasized Louzir’s morality and patriotism, asking God to reward the artist for his “commendable services” to the nation and grant his family “patience and comfort.”

The Marrakech-born actor rose to fame for his beloved roles in several sitcoms, theatre productions, and movies.

Abdeljabbar Louzir made his theatre debut in 1948 with the Atlas Troupe for Popular Theatre. His sense of humor, however, propelled him to the status of a national icon. One of his most well-known works is the sitcom Dar Lwarata, or the “heirs’  house.”

Morocco suffered a similar loss in August with the death of actress and former minister of culture Touria Jabrane.

The actress died on August 24 in the Cheikh Khalifa Hospital in Casablanca after a fight against cancer. 

King Mohammed VI sent her family a message of condolences, saying her death “is not only a loss for her small family, but also for the Moroccan artistic family, which has lost an outstanding artist and actress known for her abundant, active, and serious contribution to the development of theatre and cinema in Morocco.”

The King also commended her morality and patriotism. 

Read also: Morocco Celebrates 57th Birthday of King Mohammed VI

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Rabat – Morocco’s Government Council adopted a draft decree on Thursday relating to the implementation of Tifinagh, the official alphabet of the Amazigh (Berber) language.

Draft decree No. 2.60.600 establishes the composition and operating procedures of a permanent inter-ministerial commission tasked with monitoring the implementation of Tifinagh in education and public life.

Minister of Culture Othmane El Ferdaous presented the text, aiming to follow through with the provisions of Law No. 16.26, relating to the official use of the Amazigh alphabet in Morocco. 

Law No. 16.26 sets the stage for Tifinagh’s integration into education and various aspects of public life in Morocco. 

Thursday’s decision concerns Article 34 of the law, which calls for the creation of “a permanent ministerial commission” responsible for “monitoring, evaluating, and activating the official alphabet of the Amazigh language” in Morocco. 

Government spokesperson and education minister Saaid Amzazi explained the details of the decision during a press briefing after the Government Council session, according to Morocco’s state media.

He said the new draft decree outlines the composition, functions, and goals of the Tifinagh monitoring commission. 

The commission must evaluate decisions related to Tifinagh and produce an annual summary of the alphabet’s implementation.

Head of Government Saad Eddine El Othmani will act as president of the commission. 

The draft decree also stipulates that the councils of government, national language and Moroccan culture, and education meet annually to review action plans and sectoral programs related to Tifinagh’s implementation.

The commission must convene at least two meetings per year under the guidance of El Othmani.

Amzazi said the monitoring commission will welcome the participation of any other government authority, public institution, or body, as well as any person “whose presence is deemed useful by the President of the Commission.” 

The text also opens the commission to participation and advice from thematic working groups, specialized commissions, and experts in the field.

What is Tifinagh?

North Africa’s indigenous Amazigh people use Tifinagh to write in Tamazight (Berber language).

The writing system dates back more than two millennia, according to anthropological studies. 

Since the late 20th century, Amazigh activists in Morocco have called for the implementation of Tifinagh in public life and campaigned for the official recognition of their dialects. 

In 2001, King Mohammed VI established the Royal Institute for Amazigh Culture. The center developed a modern Tifinagh writing system, called Neo-Tifinagh, consisting of 33 different characters. Neo-Tifinagh can be found on signs and buildings throughout Morocco. 

Morocco’s 2011 constitution recognized Tamazight as an official language for the first time. 

The implementation of the written alphabet Tifinagh in education and public life is another crucial step in Morocco’s recognition of Amazigh culture.   

Read also: Tifinagh: The Amazigh Alphabet

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Rabat – The wife of French President Emmanuel Macron, Brigitte Macron, received today Moroccan artist and President of the Moroccan National Museum Foundation (FNM) Mehdi Qotbi.

Macron welcomed Mehdi Qotbi at the Elysee Palace in Paris for a lunch meeting to discuss the Eugene Delacroix exhibition that is set to take place next spring in Morocco.

The exhibition that the Louvre Museum and the Delacroix Museum co-organized was postponed from April 2020 to April 2021 due to the spread of COVID-19. It will take place at the Mohammed VI Museum of Modern and Contemporary Art (MMVI) in Rabat.

The lunch meeting of Macron with Mehdi Qotbi came to follow and assess the progress of the exposition at MMVI, which will be the first dedicated to Eugene Delacroix in Africa or the Arab world.

The Moroccan official signed an agreement with Louvre Museum President Jean-Luc Martinez in June 2019 to bring the works of the late French artist to Rabat.

Art fans know Delacroix, who lived in the 18th and 19th centuries, for painting the famous “Liberty Leading the People” in 1830.

Mehdi Qotbi’s reception at the Elysee Palace is not the first of its kind. Several French leaders have received the Moroccan artist, including former presidents of France Jacques Chirac, Nicolas Sarkozy, and Francois Hollande.

In 2016, Hollande granted Qotbi the insignia of Commander of the Legion of Honor, the highest award in France, during a ceremony in the Elysee Palace.

Qotbi has often represented Morocco in culture and art events, and played the role of a cultural intermediary between his country and other entities.

In 2017, King Mohammed VI appointed Qotbi as Morocco’s representative in the International Alliance for the Protection of Heritage in Conflict Zones (ALIPH).

In January 2020, the Moroccan painter signed two agreements with the National Museum of China. They aimed to enhance cooperation and cultural exchange between the two nations by organizing exhibitions in both countries.

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Rabat – The UN Educational, Scientific, and Cultural Organization (UNESCO) has elected Morocco as a member of the Intergovernmental Committee for Safeguarding its Intangible Cultural Heritage.

Morocco’s Ambassador to Belgium and Permanent Representative at UNESCO Samir Addahre will join the committee for a term of four years. His presence will mark Morocco’s first representative on the cultural heritage committee.

Morocco is now one of 24 States Parties active on the cultural heritage committee.

The committee renewed half of its members during the eighth session of the General Assembly of the Convention for the Safeguarding of the Intangible Heritage. 

The session took place from September 8-10 at the UNESCO headquarters in Paris.

Saud Arabia, Sweden, Brazil, South Korea, Switzerland, and Rwanda also joined the committee.

The committee will make recommendations on measures to safeguard intangible cultural heritage, providing advice on best practices and promoting the objectives of UNESCO’s conventions.

The committee also examines the requests for inclusion on UNESCO heritage lists as well as proposals for programs or projects. It will also be responsible for providing international assistance.

Read also: Ait Ben Haddou Residents Aim to Market Cinematic Heritage to Tourists

Morocco is home to several UNESCO World Heritage Sites, including Volubilis, Meknes, Ait Benhaddou in Ouarzazate, the windy city of Essaouira, Fez, Marrakech, Tetouan, El Jadida, and Rabat.

Morocco’s UNESCO World Heritage Sites have monuments and cultural sites that mark a specific era of the country’s history.

In addition to physical sites, UNESCO also named Morocco’s Gnawa music as representative of the Intangible Cultural Heritage of Humanity.

The recognition celebrates Gnawa music’s performances, intense beats, and “fraternal practices,” according to UNESCO.

“Originally practised by groups and individuals from slavery and the slave trade dating back to at least the 16th century, Gnawa culture is now considered as part of Morocco’s multifaceted culture and identity.”

Read also: Agadir Reflects on Morocco’s Judeo-Amazigh Heritage

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Over the years, Morocco’s burgeoning cinema has produced some enthralling movies, with the best Moroccan movies making it to several festivals such as the Cannes Film Festival. 

In addition to giving Morocco a spot in the global cinematic spotlight, some of these movies made Moroccans give their country’s young film industry a chance—both by watching and supporting Moroccan artists driving and inspiring the still adolescent Moroccan industry. 

The story of Moroccan-made movies, however, goes beyond the limited and limiting confines of exclusively “Moroccan” films. Because of its gorgeous and diverse landscape, the North African country has become a go-to destination for some of the most influential names in the cinematic universe. For decades the country has been home to countless Hollywood and international movie sets.

Among some of the most iconic Hollywood movies filmed in Morocco is “Lawrence of Arabia” in 1962 by David Lean. Shot in the city of Ait Benhaddou Kasbah, one of the many sites of Morocco listed as a World Heritage Site by UNESCO, the movie has secured a prominent spot in the pantheon of visually gorgeous, great historical dramas. 

Closer to our times are the movies “MUMMY” by Stephen Sommers in 1992, in the Moroccan Sahara, as well as the famous HBO series “Games of Thrones,” 2011. 

While great acting and storytelling may be the most cited reasons for the successes of such movies, it is almost certain that they would not have been as universally admired and loved as if not for their uniquely captivating, almost succulent, sceneries. The common thread of all masterfully shot movies in Morocco is the irresistible splendor of the setting. 

Read also: 25 Moroccan Movies Available for Free During COVID-19 Lockdown

The growth of Moroccan cinema

After King Mohammed VI ascended the throne in 1999, and with his love for art and film, Morocco’s then struggling and sluggish cinema noticeably took off. As it received more investments and attention from the authorities, the Moroccan cultural landscape started showing promising signs of an industry that could flourish if sustainably supported. 

While there still remains a long way to go, the industry has delivered on some of its promises in recent years. Among these is the Marrakech Film Festival, which is rapidly becoming one of the most significant events in the country and beyond, showcasing the top cinematic work from Morocco and across the globe.

Despite the ongoing debates about individual freedoms in Morocco, the recent, notable gains in freedom of speech remain one of the strengths of contemporary Moroccan cinema. 

With an increasingly free public space, Moroccan artists often treat the country’s most salient social and political issues, including issues that have traditionally been considered — and still are, to a certain degree — as taboos. The result has been a proliferation of films addressing “controversial” societal themes to attract, entertain, and educate Moroccan viewers on the multiple facets of these social realities.

The film “Behind Closed Doors” is a case in point. With its affecting depiction of social issues like sexual harassment, the movie made a huge mark on the Moroccan cultural and political scenes in 2014. For many, one of the movie’s most perceptible impacts was the subsequent birth of a national movement that seeks change in Moroccan laws on questions of sexual harassment, and gendered violence and inequality in general.

Below are the best nine Moroccan movies of all time that are bound to give many Moroccans a wave of nostalgia and bring new watchers closer to Moroccan cinema.

Read also: 10 Important Movies and Documentaries About Racism You Need to Watch

Casanegra

Perhaps the first movie that crosses Moroccans’ mind when asked about the best Moroccan movies is the film “Casanegra” by Nour Eddine Lakhmari, and that is for a good reason. Casanegra was one of the few films that showcased the dark side of Casablanca and the reality of young locals’ lives that most Moroccans would rather not talk about.

The story is about two close friends Adil, played by Omar Lotfi, and Karim, played by Anas El-Baz. Both are in their twenties, live a life of squalor and unending challenges, and are motivated to make money and change their social status.

Karim struggles to provide for his family and retired father while secretly being in love with an upper-class rich girl. His love for the well-off girl gives him more reasons to improve his social standing. Adil, meanwhile, lives with his violent stepfather and dreams to immigrate to Sweden to escape his miserable situation and save his mother.

Adil and Karim’s desperation to better their situations led them in the hands of a drug dealer, Zrirek, acted by Mohammed Benbrahim. The movie goes on with dramatic and sad touching events that keep the viewers hooked throughout. 

The Bitter Orange, “Al burtukala al mura”

“The Bitter Orange” is one of Moroccan cinema’s saddest and the best Moroccan movies. The story is about a girl named Souadia, acted by Houda Rihani, that tries to pick up bitter oranges from a tree.

In the course of her daily uncanny routine of gathering bitter oranges, she makes the acquaintance of a policeman, Amine, played by Youssef El Joundi, who ends up becoming the hero of her dreams and the love of her life.

The policeman later falls in love with Saoudia and as they both dream in their own world of a perfect married life and a fairy tale love story, the movie follows up several unfortunate events that lead to misunderstandings that dramatically change their fate.

The series of misfortunes cause Amine to move on and marry with another, leading Soadia to be in extreme shock and suffer from various health issues, including a mental illness that ruins her life.

Read also: 10 Movies on Netflix to Help You Beat COVID-19 Lockdown Boredom

Marock

“Marock” is one of the most controversial Moroccan movies. It is best known and most celebrated among Morocco’s youth, simply because it tells a love story of a young couple who decides to break free from the cultural and religious stigmas imposed on them by their families and society.

Directed by filmmaker Laila Marrakchi in 2005, Marock tackles a number of Moroccan society’s most entrenched taboo subjects, from sexual relationships to religious hypocrisy. It is, at its core, a story about a young girl from a rich Muslim family (Rhita), acted by Morjana Aaloui, that falls in love with a Jewish guy, Youri, portrayed by Matthieu Boujenah.

The film events continue showcasing the life of a rich young Moroccan girl ignoring her family’s religious lifestyle and living by her own standards and expectations. She meets with friends every night for drinks, cigarettes, and dancing all night at nightclubs. 

This lifestyle of youthful defiance and freedom puts Youri on her way. She falls in love with him, and the movie then becomes the tale of a young couple’s fights — against, family, and society — to preserve their love. 

Horses of God

“Horses of God” is a 2013 fictional film by one of Morocco’s leading filmmakers and producers, Nabil Ayouch. Under the title “Les Chevaux de Dieu”, the movie’s original French title, it tells a sad story of poverty, violence, and crime.

The film portrays the lives of those responsible for the horrific Casablanca bombings in 2006 that claimed forty-four lives. It is an exploration of how their extreme poverty leads them to embrace a life of petty criminals and eventually lures them into the unforgiving hands of a radical Islam group.

The movie plays a huge role in showcasing the vulnerable lives of Moroccan youth under difficult conditions in our society and how many desperate and hopeless young Moroccans have to live among peers to find a purpose and make sense of their intractable circumstances. 

It speaks of how these desperate souls can easily be manipulated by leaders who promise them eternal paradise. Some of them are chosen for suicide operations, leading them to end their life and murder others as a solution for their struggle and suffering.

Read also: 5 Apocalypse Movies for a Coronavirus Film Fest

Much Loved

“Much Loved” or “Zin li fik” is another controversial film by Nabil Ayouch that depicts a serious social issue in the country. Only this time the movie gets banned from Moroccan screens, and its lead actress, Loubna Abidar, was beaten in the street and received several death threats that made her flee the country.

The film tells a story of female sex workers struggling to live through the exploitation by pimps in the prostitution market in Marrakech and the corruption of police to earn a living and support their families.

Much Loved was screened in the Directors Fortnight section at the 2015 Cannes Film Festival, as well as the contemporary World Cinema section of the 2015 Toronto International Film Festival.

Because of its controversial topics, the film is hated by almost half the country while the other half believes it is one of the best Moroccan movies, and applauds the producers and actors for their courage in showcasing important aspects of Morocco’s reality. 

Ali Zaoua, “The prince of the street”

“Ali Zaoua” is another great film from Nabil Ayouch’s early movies. 

Released in 2000, the film tells the story of a group of street kids in Casablanca and their involvement with a gang lead by Dib (Said Taghmaoui). Leaving the gang causes the kids to lose their anchor friend Ali, who was thrown recklessly into a rock and instantly killed by Dib’s followers. 

The tragedy leaves the boys feeling lost without their precious friend that dreamt to be a sailor, just like the childhood hero his mother (who worked as a prostitute) used to tell him about in a fairy tale story. As the film events proceeds, the rest of the boys make a decision to do their best to give Ali a proper funeral.

This movie illustrates the struggles of young Moroccan street kids, as they live in a painful, poor, and abusive situation. It also shows how each kid is different from the other, as they try to escape their reality by sniffing glue, doing drugs, and dreaming of a better rich life.

Read also: Short Film on Moroccan Animal Sanctuary Features in Sao Paulo Festival

Road to Kabul

Directed by Brahim Chkiri, with Said Bey, Younes Boab, Rafik Boubker, and Fatima Bouchain in Casablanca, “Road to Kabul” is one of the best Moroccan comedic movies. 

The story is about Ali, acted by Youne Bouab, Hmida by Rafik Boubker, Mbarek by Amine Naji, and Masoud by Rabie Katie, who are young and unemployed in Casablanca and dream of living in the Netherlands and escaping their life of misery in Morocco.

The movie escalates quickly when Himda meets with an expert smuggler and convinces their friends to collect money for only one of them to immigrate to Holland. After months without hearing from Hmida, his friends discover that he is not in Holland and instead in Afghanistan.

The group of friends worriedly decide to go look for him and bring him back, setting the scene for a road to Kabul littered with countless hilarious interactions and encounters throughout the movie.

Zero

“Zero” is a 2012 film by “Casanegra” producer Nour Eddine Lakhmari. The movie gained a lot of popularity after the year it was made. Just like Casanegra, the film portrays serious social issues, such as corruption, prostitution, and addiction.

The film revolves around a corrupt cop called Amine Bartal and nicknamed Zero acted by Younes Bouab. It is a foray into the bad cop’s conflicting ideas, as well as his depression, alcoholism, and love life, as he uses a prostitute to catch her clients and take their money and share it with her.

Amine is also harassed by his superior in the police station. The superior is involved in even deeper corruption and in protecting a luxury hotel that takes young girls hostage for prostitution. Later a woman pleads with Amine to save her daughter from the prostitution network his superior is protecting.

Read also: Moroccan Filmmaker Aziz Tazi on His Rise to Hollywood Fame

Classroom 8

“Classroom 8” would definitely feature on any Moroccans’ list of the greatest Moroccan movies, as it stands in the same pantheon as Marock, and Casanegra. The 2003 movie by Jamal Belmejdoub is one of the most nostalgic ones, mostly because of its dramatic and emotional characteristics.

Classroom 8 is about a young Moroccan teacher Ms. Leila (Fatima Khair) who transfers to a high school near her residence. This leads to profound troubles in her, with the source of the young teacher’s tribulations being two troublesome and rebellious students, Majid, acted by Rafik Boubker, and Miloud played by Aziz Hattab.

Moroccans love this movie because it reminds them of their own school experience where there always were the rebellious kids who tormented the teachers, interrupting them, and making fun of them in front of the whole class just to avoid studying.

It is, however, the movie’s detailed and deeply affecting emotional background story of each character that left indelible marks on many Moroccans.  Pivotal in the film’s charming depiction of each character’s development is the troubled teacher’s heartfelt struggle to help her students even in their personal lives. The students eventually open up to her, making peace with the teacher. This captivating teacher-student relationship really gets to many Moroccans’ hearts, which makes them appreciate and remember this movie years after its release.

Morocco has come a long way to reach certain cinematic excellence, granted there is still a long way to go in making it to international fame.

Luckily, the country is blessed with many talented Moroccan filmmakers, producers, and actors that work hard to portray their artistic vision and make some of the best movies in the Arabic-speaking world.

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Rabat – Moroccan performer Khansa Batma won the “Best Actress” award at the 77th annual Venice International Film Festival from September 9-12.

The award recognized her performance in the movie “Zanka contact,” directed by Ismail El Iraki.

The movie was shot in Casablanca last year.

It was one of six movies representing works from Arab countries at the Italian film festival, which concluded on Saturday.

Khansa Batma played the role of Rajae, telling the story of “Larsen,” an artist who lost his voice.

The movie follows the love story between the two characters, and shows how Rajae’s voice enlightened Larsen’s life. 

Khansa is from an artistic family. Her father, the late Mohamed Batma, was an iconic singer with Moroccan music group Lemchahbe.

The singer studied Literature and followed her passion to become a singer at an early age.

Tickets Marche said the singer joined the Casablanca Conservatory at the age of 9. She debuted her music career in 2001 with her first song “Sharq wa gharb.”

In 2003, the singer released her second album.

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Rabat – The 13th Fez Festival of Sufi Culture from October 17-26 will take place online this year due to the spread of COVID-19.

The festival has been held under the patronage of King Mohammed VI since its first installment in 2007. 

This year’s events will fall under the theme “The Art of Transmission.” The festival aims to offer a cultural and creative response to the COVID-19 crisis, according to organizers.

The virtual Fez Festival of Sufi Culture will serve as a platform for Moroccan and international cultural activities.

According to the event’s organizers, the Fez Festival of Sufi Culture strives to consolidate Morocco’s position in intercultural dialogue and explore the role of Sufism in the modern world.

Every year, the Fez Festival of Sufi Culture gathers various Sufi music groups and solo artists, as well as intellectuals for various panel discussions, with the goal of promoting a positive image of Islam and Sufism.

Last year’s festival saw the participation of Sufi groups such as Tariqa Boutchichiya, Tariqa Sharqawiya, and Tariqa Rissouniya.

Tariqa Boutchichiya is named for the Qadiriyya Boutchichiyya Sufi order, which originated in northwest Morocco in the 18th century.

Tariqa Sharqawiya originated in southern Morocco and dates back to the 2nd second century. 

Meanwhile, Tariqa Rissouniya from the northern city of Chefchaouen, specializes in Andalusian music.

Last year’s Fez Festival also saw the participation of the Tariqa Halvetiya, a group of the Khalwati Sufi brotherhood, which originated in western Afghanistan more than 500 years ago. The Khalwati order is now popular in Turkey, where it is known as Halveti.

To honor the 13th century Andalusian Sufi poet Abu al-Hasan al-Shushtari, the 2019 Fez Festival of Sufi Culture hosted a performance featuring French-Moroccan singer Francoise Atlan, Spanish flamenco singer Curro Pinana, and Moroccan singer Marouane Hajji.

Read also: Weather, Festivals, Holidays: The Best Time to Travel to Morocco

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Rabat – Iconic Moroccan cinema and theater figure Anouar Joundi has died at age 58 (Editor’s note: Some sources report age 59).

The performer died on Tuesday, September 15, at the Military Hospital in Rabat, after a long battle with heart disease.

Anouar Joundi has been suffering from cardiovascular complications, according to his family.

Anouar Joundi comes from an artistic family. His father is renowned Moroccan actor Mohamed Hassan Joundi, who participated in national and international works, such as prophet Muhamad’s biography “The Message.”

Joundi’s mother is the late Moroccan actress Fatima Benmeziane, who he honored by naming a theatrical troupe after her in 2017.

The late Moroccan artist is also a playwright and began his art career at the age of 12.

In 1974, he played his first role in the play “Al Kadiya” (The [Palestinian] cause), which his father wrote. Anouar Joundi embodied the role of a Palestinian child.

He also starred in the Syrian series “Rabii Cortoba” in 2003, featuring a part of Islamic history in Andalusia.

Joundi’s most recent appearance was in “Zhar Lbatoul” during Ramadan in 2020, on television channel 2M. 

Anouar Joundi was also a movie director, and a screenwriter. 

The death of the iconic Moroccan actor follows the passing of fellow artist Abdeljabbar Louzir, who died on September 2 at the age of 92.

The actor made his theatre debut in 1948 with the Atlas Troupe for Popular Theatre.

One of the most famous sitcoms in which the actor starred was Dar Lwarata, “The Heirs’  House.”

Abdeljabbar Louzir, a Marrakech native, starred alongside Anouar Joundi’s mother in several comedies such as “Weld Mo” in 2009, with Abdellah Ferkous.

Both actors died a few weeks after Saadia Kritif, as known as Touria Jabrane, also an iconic Moroccan performer, and major figure in Moroccan theater. Jabrane was also a former minister of culture in Morocco.

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Rabat – Editions Senso Unico published Mohamed Alami Berrada’s book “Le Maroc a Venir” to mark the start of the literary season. The title translates to “Future Morocco” in English and explores the country’s development.

The author sought to answer several questions, including what could encourage Moroccan youth to invest more in their country and what could bring women to play a greater role in the country’s public management.

Through his book, Mohamed Alami Berrada called for conditions essential for the emergence of Morocco and its prosperity. He referred to the current critical period as one of “reflection on the foundations of the new development model.”

In a statement to Morocco World News, Berrada stressed, “We are now experiencing a major turning point in the world and in Morocco with the conception of the new development model.”

This time is key for “young Moroccans” living in the country and elsewhere to contribute to the debate with ideas and projects to accelerate the building of a “Morocco to come.”

He emphasized that the country needs to mobilize its talents more than ever in the years to come.

Berrada’s vision for a reformed Morocco is in line with King Mohammed VI’s approach, seeking a new development model that meets the needs of all the country’s people.

Through his speeches, the King has urged the creation of a new development model to meet the socio-economic demands of Moroccans and provide integration opportunities for youth in employment and political life.

Mohamed Alami Berrada’s “Le Maroc a Venir” stipulates that if the state regains the confidence of citizens, it should be able to respect and protect their rights, including freedom of expression and respect for dignity and other rights.

Providing examples, the author called for a legislative framework that would allow women to access the same opportunities as men in all fields, including education, business, senior civil service, and politics.

Mohamed Alami Berrada added that economic actors must be able to operate in confidence, feeling that the “markets are free, protected from unfair competition without corruption.”

The author believes that reforms could work only if Morocco reviews its thoroughly with “genuinely meritoric processes in the public service.”

In “Le Maroc a Venir”, Mohamed Alami Berrada also called for the establishment of a culture of public management and creation of public value in administrations.

Berrada was born in Casablanca in 1979. A graduate of ESSEC in Cergy, France, the author also followed executive training in leadership and governance at the Harvard Kennedy School in Massachusetts, as well as political communication at the Hertie School of Governance in Berlin.

The author joined Morocco’s head of government’s office as a youth employment officer in 2017. 

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On September 12, 2020, Florence Howe passed away at the age of 91. She will be remembered as a founder-mother of Women’s Studies, a founder and Director of the Feminist Press, which has recently celebrated its 50th anniversary, as well as for her pro-diversity and anti-racist activism. 

But for us in Africa, Florence Howe’s name and legacy are and will be mainly associated with the four Women Writing Africa regional anthologies which were published by the Feminist Press with two-year intervals: The Southern region (2003), the Western and Sahel region (2005), the Eastern region (2007), and the Northern region (2009). She was behind the idea, the fundraising, the preparation, and the compilation of these anthologies. 

Each one of these volumes has been hailed by critics worldwide as a genuine landmark not only in the history of African women, but in the diverse ways these women contributed to the shaping of the continent. By highlighting and historically contextualizing women’s voices, the volumes presented a feminist reading of African women’s experiences and their roles in the making of Africa.  

The writing of the four anthologies did not only need a tireless search for funding and a continuous attention to logistics, it also needed dedication, commitment, passion, and compassion, without which the remarkable collaboration of scholars across various countries, and dealing with unexpected challenges and, at times, aggressive ideologies, could never have been achieved. In this respect, the collection of the four volumes of Women Writing Africa is a unique product.  

I can speak of the Northern region anthology which I had the honor to be part of.  Under the leadership of Florence Howe, the writing of this volume lasted for twelve years (1996-2009) and could not have seen the light of the day without the work of a dedicated core of scholars from the region, Ghana, and, the US. Hundreds of oral and written texts from periods that stretched back to Antiquity and the coming of Islam, to the pre-modern, and the modern eras, had to be found, checked, scrutinized for a combination of scholarly value and esthetics, sifted through, translated, presented,  and discussed by our team which comprised historians, anthropologists, social scientists, and humanities scholars. 

The gathered texts, produced by educated, non-educated, poor, rich, royalty, ordinary women, were compared, linked, and positioned within a bigger narrative of North African women. The whole process was long, complex but very rewarding. 

Florence told us once: “You are constructing the history of North Africa!” Indeed, Florence’s inquisitive mind, critical assessments, and collaborative spirit were very important in this process; they made the whole experience both exhausting and thrilling.

Endless notes were taken and endless discussions of headnotes that would introduce each text took place in several meetings across the region and in the US. 9/11 and other major world events permitting, we held regional meetings in Fez (1999, 2001, 2002), Malaga (2003), Alexandria (2004), Bellagio (2005), and Washington DC (2007). In parallel, smaller meetings were held in various cities of Morocco for the Maghreb, and in Cairo and Alexandria for Egypt and the Sudan.

Not only hard work went into these meetings, but also heated discussions, disagreements, and sometimes dramatic exchange of words… but at the end of the day came reconciliation; we understood that we were on a special mission and we could compromise… which created lasting bonds between us and a feeling of pride for being part of the WWA story. The quotidian dramas in our personal lives made the bonds stronger: Some of us lost a parent or a family member, others went through divorce, an Algerian colleague scholar was killed in her home during the Algerian black decade, etc.

The collaborative endeavor had to continue no matter what. Florence’s dedication fueled our enthusiasm. We all learnt so much from her. We celebrated our own commonalities as we reflected on those that have been uniting North African women across a variety of cultures, languages, political systems, and societies. We learnt how to deal with the continuities and discontinuities in our history, how to read the many gaps in this long history, and how to value the often neglected roles of women in the construction of North Africa. 

Today it is with both sadness and respect that we remember Florence Howe. Her name does not appear on the cover of the anthology, but her wit, inquisitive mind, rigor, attention to the details, exceptional editing skills, and optimistic spirit are encoded in every page, in every line…

May you rest in peace Florence, you left this world physically but your legacy continues: The North African anthology was translated into French in 2013 as Des Femmes Ecrivent l’Afrique du Nord and published by Karthala (Paris); the Arabic translation is on the way; the anthology entered our classrooms and became part of our scholarly discussions and debates, more and more students are familiar with it…You allowed us to grow personally and professionally and we will continue to celebrate your legacy.

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Two NGOs concerned with promoting and protecting the Kasbah of the Oudayas in Rabat have expressed their satisfaction with the ongoing reconstruction of the historic Moorish Cafe.

The Oudaya Association and the Oudaya Space Association, along with local residents, had initially expressed concern after local authorities destroyed the 98-year-old cafe.

However, the reconstruction of Rabat’s Moorish Cafe is “very satisfactory,” according to the NGOs, as the new building is based on the same original design.

The associations issued a joint statement on Tuesday to update the public on the situation of the Moorish Cafe in Rabat, after they contacted all the stakeholders of the renovation project.

The statement revealed that the main reason behind the demolishing of the cafe was an expert study conducted on the historical site. The study concluded that 90% of the site is at risk of collapsing and needs urgent renovation.

The NGOs’ inspections of the construction site confirmed that Rabat authorities are rebuilding the Moorish Cafe according to its original design and using the same type of materials, such as wood and tilework.

“This will make the cafe return to its original state in terms of form and content,” the statement said.

Read also: Locals Express Concern Over the Rebuilding of Rabat’s Moorish Cafe

The NGOs assured citizens concerned with the protection of Morocco’s heritage that the historical monument “will remain a cultural memory” for Moroccans after its reconstruction.

The statement also condemned “those who attempted to politicize the demolishing of the cafe to achieve personal goals, away from the common interest.”

The NGOs issued the statement following a visit from the Rabat-based UNESCO Maghreb Director, Golda El-Khoury, to the construction site.

The visit aimed to ensure Rabat’s new Moorish Cafe is identical to the original building.

UNESCO is closely following the renovation project because the Kasbah of the Oudaya, where the cafe is located, is a World Heritage Site.

Morocco’s state media reported that El-Khoury was also satisfied with the ongoing reconstruction.

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