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[edit] Weddings
En général, la mariée apporte une dot. la famille du marié doit pour sa part verser à la famille de la future épouse une somme importante qui servira à l’achat de meubles pour la mariée et aux besoins du ménage. Il est courant qu’une femme mariée garde son nom de jeune fille. Au Maroc, la cérémonie de mariage donne lieu à de grandes fêtes, qui peuvent durer de trois jours à une semaine et sont plus ou moins coûteuses selon les moyens de la famille, mais toujours très visuelles, avec de magnifiques vêtements et bijoux. En effet, les femmes marocaines assistent toujours aux mariages traditionnels habillées en caftan, sorte de longue robe en soie, satin, mousseline, taffetas ou autre riche tissu, recouverte d'une veste ouverte quelquefois sur le bas de la robe, brodée, parfois pailletée, le tout étant retenu par une large ceinture à la taille.
[edit] Handcraftmanship
[edit] Art
Delacroix is considered the greatest French romantic painter. His use of colour influenced later impressionist and post-impressionist painters. A visit to Morocco in 1832 provided subjects for more than 100 sensuous and exotic works.
[edit] Music
Please see the main article at Music of Morocco The most important single element of Morocco's folk culture is its music ... the entire history and mythology of the people is clothed in song. - Paul Bowles
Musically, Morocco is heterogeneous, and this heterogeneity reflects the variety of Moroccan culture. From secular urban professionals and religious singers to rural and nomadic singers. From historic and traditional to modern to Raï music. We find the classical Andalusian style, reflecting Morocco's historic relationship with Spain. We find Sephardic music and other folksongs from the historic Jewish communities in Essaouira and Fez. We also find Gnawa; the music originally derived from West Africa that demonstrates the influence of migrations and cultural interchanges across the Sahara.
THERE ARE many genres of Moroccan music. It includes Arab, Berber, classical, and popular elements. Musicians perform in concerts, in cafes, at private homes, ceremonies, marriages, funerals, and religious processions. It is also used to accompany dancing and storytelling.
[edit] Andalusian Music
Music traces its origins to Abu Hassan Ali Ben Nafi, known as Ziriab. This famous singer and composer fled Baghdad in the 9th century following injurious rumours and intrigue spread by his teacher, Ishaq al-Mawsili, who became jealous of his success. A Living remnant of the brilliant Spanish-Maghreban civilisation, the Andalusi music of Morocco perpetuates the âla, a broad repertory of songs and instrumental music which Moroccans have jealously preserved thanks to a strong oral tradition. Today, this repertory consists of eleven nûbâ each based on a specific principal mode and a variable number of secondary modes, each nûbâ is divided into five main parts or mîzân, of uneven length. corresponding respectively to five basic rhythms.
Each mîzân respects the principle of progressive acceleration in three phases muwassa'(broad), mahzûz (increased), insirâf (lively, fast).
The poetic corpus, besides classical poetry, comprises muwashshahat constructed around a new metre distinct from that of the traditional arûd, Andalusian zajal, and barwâla (Moroccan malhûn). It is usual to call the sung poetic text san'a (craft, masterpiece). San'a treat various subjects in praise of the pleasures of love and of wine, piety, Sufism. It is customary for a nubâ to last for seven hours. It is not usually performed in its totality, one makes do with playing a mîzân on feast days, According to tradition, each mîzân begins with instrumental preludes, bughya mishâliyya, tûshiya, followed by the linking san'a performed in chorus. Sometimes, one or two individual songs (mawwâl or inshâd) are interposed between two movements of a mîzân.
The traditional orchestra is made up of instrumentalist-singers with, in their midst, the leader, who is not only the guardian of the repertory but bas a long experience of the style and way of arranging san'a to his name.
Nowadays, the instruments of the orchestra performing the âla are the rbâb usually played by the leader, the ud (lute), the violin, the viola, the violoncelle, the târ (a form of tambourine) and the darbûka. The western violin an viola, introduced in the 18th century, are played vertically on the left knee. The violoncelle, introduced more recently may be played with a bow or pizzicato.
Its poems al âla Moroccan repertory reveal the desire for clarity and limpidity following an active night entirely given over to beauty and wine.
Obscure night steals away Chased by the light that sweeps up shadows The candlewax runs as if weeping tears of farewell And then, suddenly and behold, the birds are singing and the flowers smile at us.
[edit] Malhun
Main article Malhun
Milhûn is a form of sung poetry which uses many of the same modes and instruments as al-âla. A milhûn suite is comprised of two parts, the taqsim overture played on an oud or violin in a free rhythm to introduce the mode for the rest of the piece, followed by the qassida, or sung poem which is itself divided into three parts. These are the solo verses (al-aqsâm), choral refrain (al-harba) and crescendoing chorus that completes the suite (al-dîdka).
Al-Thami Lamdaghri is perhaps the best-known milhûn composer, known for songs like "Al-Gnawi" and "Aliq Al-Masrûh".
Milhûn orchestras include oud, kamenjah, darbuka, handqa (small cymbals), hadjouj (a bass lute) and swisen (a high-pitched lute).
[edit] Chaabi
CHAABI is Arabic for "popular" - Moroccan pop music. It draws on many aspects of Moroccan music plus other Arab, African and western styles. The 1970s saw the emergence of several groups recognised as pop innovators including JilJilala, Nass El-Ghiwane and Lem Chaheb
[edit] Gnawa
THE GNAWA people originally came from the Guinea Empire (today Senegal, Guinea, Mali). During the16th century, they were deported to North Africa as slaves of rich sultans and integrated this new culture and religion into their own. The music of the Gnawa is a powerful mixture of religious Arabic songs and African rhythms, trance music tinged with mysticism. Typical instruments used in Gnawa are the tbal (loud double-headed-drums) and querqbat (metal castanets).
[edit] Berber Music
THE ANCIENT Berber culture is extrordinarily rich and diverse, with a variety of musical styles. These range from bagpipes and oboe (Celtic style) to pentatonic music (reminiscent of Chinese music) - all combined with African rhythms and a very important stock of authentic oral literature.
These traditions have been kept alive by small bands of musicians who travel from village to village, as they have for centuries, to entertain at weddings and other social occasions with their songs, tales, and poetry.
the great Berber singer, Ammuri Mbark. In the 1970s, with his group Usman, he was the first one to modernise Berber song - without removing its soul. Najat Aatabou became a singer following a recording of her voice at a family celebration. She has since become a star in her native Morocco, speaking out against the religious and moral strictures of her family tradition. See details of her album, Country Girls and City Women.
[edit] Aissawa
THE AISSAWA, founded by Sidi Ben Aissa in the 15th century, are perhaps the best known of the Sufi brotherhoods of Morocco. This Aissawa group, led by Said Kissi, comprises 16 musicians on bendir, taarija (percussion instruments), raita (small pipes) and n'far (large one-note trumpets.
Founded in the 16th century by Sidi Mohamed Ben Aïssa, this religious brotherhood is attached to the Sufism. Its main spiritual center (zaouia) is in Meknès where its founder is buried. They are present in all Morocco through secondary zouias but also in all the Maghreb countries. The followers of this brotherhood devote themselves, after initiation near a Master, to the individual practice of the asceticism and ritual collectives animated by musical instruments. The ritual of Aïssaoua comprises litanies and poems sung, in particular the dikr and hadra which give place to dances and extatic transe. The instruments which accompany the ritual by Aïssaoua are: cylindrical tambourines with only one membrane (bendir), drums with double membrane (t'bal) and oboes (ghaïta).
[edit] Dance
THESE dances are performed on festive occasions, often at night around a bonfire:
AHOUASH (High Atlas): Only women perform in this dance, forming a large circle while the men, each holding a bendir, squat around a big fire.
AHAIDOUS (Middle Atlas): Singers and dancers make a huge circle where men and women beat the ground rhythmically.
GUEDRA (southern Morocco): The dancer starts her performance kneeling, entirely covered with a black veil. The steady rhythm of the guedra (a "cooking pot") becomes insistent and the dancer's fingers start undulating. TISSINT (south of Agadir): men and women entirely clad in indigo-blue dance as if performing a rite. It is the dance of the dagger.
GNAWA: Of African origin, the dance of the gnawa has a magico-religious aspect. Some of the dancers achieve great acrobat skills.
TASKIOUINE (High Atlas - Ouarzazate): This is a warriors' dance. Dancers with white tunics, holding a powder flask on their shoulders, beat time to the music of a drum.
Shikhat: Popular erotic dance of Moroccan women. Unique to this dance is a special footwork called rakza, in which the dancers stamp rhythmic patterns with bare feet for a flamenco effect.
[edit] Cuisine
Many cookery experts rate Moroccan cuisine among the best in the world. Cooking in Morocco falls into two specific categories. The first, intended for important guests, is the work of skilled chefs. It requires such intensive supervision that the host does not participate. He merely oversees the banquet with his sons and servants. No women are present. The men squat on mattresses or pillows around low, beautifully inlaid tables. A silver ewer of perfumed water is taken around and poured over three fingers of the right hand of each guest. The host claps his hands and the meal begins. One course after another- each delicacy is served until Chban- complete satiation- is achieved. Again the silver ewer filled with warm water is presented to clean the mouth, lips, and hands. The meal is a feast for the gods and indeed it begins and ends with Bsmillah--God's blessing.
In the second category of cookery are the wonderful dishes prepared with loving care by the mistresses- Dadas- of the homes. Here, where time does not seem to count, she spends hours with her glazed earthenware and copper cooking dishes and her kanoun, the movable clay brazier. Her kitchen is austere, and the charcoal which perfumes the kebabs and allows the sauces to simmer is the only source of heat. There are no chairs. A folded carpet serves as a seat. The Dada is dressed in a long colorful robe tucked up in front and her wide sleeves are held in place with a twisted cord.
The scents of coriander, cumin, saffron, marjoram, and onion mingle with the pungency of olive oil and the sweetness of sandalwood, mint, and roses, delighting the senses.
Bstilla, followed by the typical brochette or kebab flavored with bits of beef or lamb fat. Next comes the Tajine, chicken or meat in a spicy stew which has been simmered for many hours, and it is served with a flat bread called Khubz.
In Morocco, every household makes its own bread. It is made from semolina flour without shortening or milk. An invocation to God is made before commencing the sacred act of kneading. When the bread has been properly shaped, each family puts its own mark or stamp on it before sending it via the children to a common bakery oven. After the Tajine, a Batinjaan- eggplant salad or chopped tomato salad- is served as a separate course. Then comes Couscous, that marvelous Moroccan national dish made of semolina, cooked to perfection, each grain separate from the other. The dinner is completed with slices or wedges of peeled melon, pastries made with honey and almond like the Middle Eastern Baklava, and finally a small glass of mint tea. The dinner following is a very much simplified version, but it is delicious and will give you the "feel" of Morocco. Once you have made the Couscous, it may very well become one of your favorite dishes. This is a delightful dinner to prepare and serve.
If feasible, use a low table with cushions on the floor.
Before serving the dinner, walk around the table with an attractive pitcher (silver if possible) filled with warm water which has been scented with cologne or a few drops of perfume. Carry a Turkish towel over your left arm and a small basin in your left hand. Pour a little water over the fingers of each guest, catching the water in the small basin.
Serve tiny kebabs first (with or without a fork) on small plates. As soon as the kebabs have been eaten, remove the plates. The salad may be served as a separate course or may accompany the Couscous. If you serve it separately place the salad (with a fork) in front of each guest. In Morocco, the Couscous is served in a large platter and each guest eats directly from it with a large spoon or he may roll the Couscous up in little balls and pop them into his mouth, but don't expect your guests to do this. You may prefer to place extra plates in front of your guests and ask them to serve themselves.
Slices of melon, watermelon, or cantaloupe speared with toothpicks (no plates) are served in a platter right after the Couscous. You might also serve the mint tea at this time, or wait until later to serve it with the honey pastries.
Again the hostess pours water over the fingers of her guests. This is a mark of graciousness and hospitality. At the end of the meal, after tea has been served, bring in a tiny incense burner and light it on the table.
The Argan tree (argania spinosa) is perfect for a harsh environment, surviving heat, drought and poor soil.
It is little known outside Morocco, and many Moroccans themselves have never heard of it because it grows only in the south-west of the country - roughly between Essaouira and Agadir, Argan oil is slightly darker than olive oil, with a reddish tinge. It can be used for cooking and is claimed to have various medicinal properties, such as lowering cholesterol levels, stimulating circulation and strengthening the body’s natural defences. Internationally, there is some interest in its possible cosmetic uses.
[edit] Literature
Most Moroccan literature use French rather than Arabic. Little of it has been translated into English. Unfortunately, it remains virtually unknown to most of the English-speaking public.
Literary and Artistic Prizes: There are two main prizes held annually; the Moroccan book prize and the Grand Prize of National Merit. Several Moroccan figures from culture have been rewarded by Moroccan and foreign prizes.
A list of Morccan writers can be found at List of Moroccan Writers
[edit] Mystical Morocco
his has always been a place of mystics, of secret brotherhoods, arcane rituals and spiritual mysteries.
Regragas an arabian sect which commemorates the coming of the seven saints of the prophet Mohammed to Morocco; visiting forty holy sites nearby it assists in the fecundation, through magic and ecstatic trance of earth and sea.
"The Aissaoua brotherhood- mystic poets, drummers, and totemic animal mines; the Hamadcha confrerie-ecstatic dancers who through acts of self-mutilation make supplication to the devil-goddes Aicha Kandisha; the Talmudic cabals of the Moroccan Jews who long lived here- there are more secrets , more mysteries here than I would care to penetrate".
[edit] Jewish Morocco
Jews have lived in the North African country for more than 2,000 years. Morocco is that the nation contains a mix of cultures. Eleven different languages are spoken in Morocco, and Jews, Christians and Muslims live there in peace.
old mellahs or Jewish quarters
novelist -- Edmond Amrane El Maleh.
[edit] Heritage
The main article is List of World Heritage Sites in Morocco
[edit] Sports
[edit] Moroccan proverbs
[edit] Folklore
Moroccan folklore expresses and enhances everyday life of which it is an integral part. Although loyal to its forms of expression for generations, it is being continually enriched by popular imagination, under the influence of new events on the national, tribal or individual levels.
Moroccan folklore is extremely diverse. It varies not only from one area to another but each tribe, nomadic or sedentary, has its own repertory, the extent and wealth of which will surprise the layman. Besides the exotic, picturesque, colorful or romantic aspects of the setting, folk dancers form an ensemble of traditions, a world of symbols which are undecipherable today.
THE AWASH The dance comes from the High Atlas valleys in the Ouarzazate area. A circle of women in multicolored robes stands motionless. In the center, men sit around a fire, each of them with a "bendir" (a circular wooden frame with a hide stretched over it). THE OUAIS Set to very ancient music, in which is easy to perceive Middle Eastern accents, this dance is like a ballet. THE TISSINT South of Agadir, men and women, entirely garbed in indigo-blue, perform a dance which resembles a religious rite. Perhaps it is an ancient rite. The dagger dance is clearly symbolic. It is part of marriage ceremonies. Men and women dance to a rhythm that becomes more rapid. A young girl and boy leave the circle to do a duet. THE TASKIOUINE No doubt a warrior's dance, since women do not take part. Wearing white tunics and turbans, with powder- horns on their shoulders, the dancers keep time to the accompaniment of earthware tambourines covered with skins. THE AIT ATTA This dance resembles somewhat the Ahwash of Kelaa M'Gouna. A row of women in festive dress faces a row of men. The dance marks the end of work in the fields, when the harvest is in and when the winter cold of the mountain regions gives way to the season of relaxation. THE AIT BODAR Another warrior dance performed only by men. Wearing white "gandoras", they link arms as if welded to each other and chant their song during a continuous backwards and forwards movement. The dance appears to symbolize the indivisible unity that should link the warrior of the tribe in the face of the enemy. The men form an impenetrable barrier: they are as one man, one will be animated by a single rhythm. THE AIT BOUGUEMAZ The central figure wears a different costume to the rest of the troupe. It is an abstract dance by the mountain folk but it has the virility also of warrior dances. Poems are recited. OULMES AND KHENIFRA The "Ahidous" of the Middle Atlas is a visual enchantment performed in its traditional purity by men and women dancers of the Oulmes and Khenifra areas. Most of the girls are very young and very pretty. Poems are recited. THE AIT HADDIDOU The Ait Haddidou live on the upper plateaux of the Assif Melloul in the High Atlas mountains at an altitude of 8,500 feet, and seem to have been subjected to no influences to upset the harmony of their patriarchal existence. The women wear "handiras", blue cloaks with white stripes. Married women and widows may wear "akidoud", a kind of henna, in their hair. The "Ahidous" they perform is fascinating although static. THE HOUARA These dancers come from Inezgane near Agadir. The troupe is composed of a group of men and one woman. The men begin the dance to a sprightly rhythm. One or two virtuosi leave the circle to execute solo dance. When the rhythm reaches its peak, the woman rushes to the center. THE AHIDOUS In the Middle Atlas Haidous dance singers and dancers form a large circle with the men and women standing alternately shoulder to shoulder. Sacred and secular THE GHIAYTAS Warriors carry rifles dance to the tune of pipes and drums. They do not sing but shout rumbling cries in cadence. Their rifles, like toys, are balanced on the head, spun at arms length, and they pretend to shoot with them at invisible enemies. HAHA The music is reduced to a solo seven-hole flute made out of a reed and elementary in design. The rhythm is supplied by hand-clapping THE GUEDRA It would take too long to try to explain the significance of this dance from South Morocco in which the attitudes and movements have their origin in a very ancient symbolism. The women dancers kneel and are completely covered with a black veil. The head is revealed, with eyes closed, swaying like a pendulum. THE OULAD SIDI AHMED OU MOUSSA These acrobats belong to the wandering brotherhood of Sidi Ahmed Ou Moussa, the saint of Tazeroualt, a locality of the Anti Atlas mountains. Many people from the Oulad Ahmed ou Moussa work in circuses in Europe and America. The colorful costumes are often embroidered and have not changed in centuries. THE DEKKA (MARRAKECH) The people who perform this rhythmic entertainment are not professionals. The strange orchestra composed of craftsmen and merchants of Marrakech is made up entirely of earthware drums of different dimensions. THE FANTASIA This colorful display of horsemanship begins with a procession made up of women from the Zayaan tribe on horseback. Behind them come, their menfolks in groups according to their tribe and bearing each group's emblem. When this "lap of honor" finishes, it gives way to the real Fantasia, the Aid el Broud (Festival of Gunpowder) with its gun-fire and bursts of shots. The horsemen line up in close ranks, and no sooner has one wave of riders left than the next is ready to follow; the impression is that of surging waves of galloping hooves. The frenzied dash of horses is accompanied by the piercing cries of the riders and terse orders from their chief until the whole thing explodes in a blaze of gun-fire from their famous "moukhahla", the rifles that are so highly prized by gun collectors. And when the riding is over, then another kind of show begins on a platform that has been erected in front of the huge marquees.
[edit] Tourism
[edit] List of museums
[edit] Festivals and Mousems
[edit] Dates
[edit] Fetes religiueses
Ce sont des jours fériés dans tout le Maroc. L'Aid El -Fitr (ou Aïd el-Seghir) marque la fin du mois de Ramadan L'Aïd el-Kebir (ou Aïd el-Adha) commémore le sacrifice d'Abraham. C'est la fête du mouton, Premier Moharrem, le premier jour de l'hégire, l'an musulman Le Mouloud célèbre la naissance du Prophète.
[edit] National holidays
1er janvier : jour de l'An 11 janvier : manifeste de l'Indépendance 1er mai : fête du Travail 30 juillet : fête du Trône. C'est la plus importante fête civile au Maroc. Elle est joyeusement célébrée dans tout le royaume avec feux d'artifice, chants, danses, parades. 14 août : allégeance de l'oued Eddahab 20 août : anniversaire de la révolution du Roi et du Peuple 21 août : fête de la Jeunesse. 6 novembre : anniversaire de la Marche Verte 18 novembre : fête de l'Indépendance
[edit] Bank Holidays
La vie civile est régie par le calendrier grégorien. A la différence d'autres pays musulmans, le week-end se compose du samedi et du dimanche. Le vendredi n'est pas férié mais administrations et services publics allongent leur pause-déjeuner pour permettre aux fidèles de se rendre à la prière. La vie religieuse suit le calendrier musulman. Il débute le 16 juillet 622, jour où le prophète Mohamed quitta La Mecque pour s'établir à Médine où il avait beaucoup plus d'adeptes. L'année hégirienne, année lunaire, se compose de 12 mois, mais elle est plus courte que l'année solaire. Le mois du Ramadan et les grandes fêtes religieuses varient par rapport au calendrier grégorien. Pour en obtenir les dates, renseignez-vous auprès de l'Office National Marocain du Tourisme.
souk | Henna | Djinn | Sephardic| jEWELRY | Aicha Kandisha: "a lot of people in Berrechid - the psychiatric hospital - are married to her."
il y a encore des zones d'ombre sur ce personnage presenté comme démoniaque ! Doté d'un charme exceptionnel ! Elle l'utilise pour seduire des Hommes et après les tuer. Lilith est venue des temps où la place de la femme était bien différente, où la femme était vénérée pour sa capacité à donner la vie. Mais aussi d’un temps où le pouvoir de l’homme n’avait pas encore opprimé la liberté de son égale, la femme.
Elle est souvent représentée sous la forme d’une dévoreuse d’hommes. Lilith est venue des temps où la place de la femme était bien différente, où la femme était vénérée pour sa capacité à donner la vie. Mais aussi d’un temps où le pouvoir de l’homme n’avait pas encore opprimé la liberté de son égale, la femme. Lilith a été rejetée, niée, démonisée afin d’exorciser cette attraction-répulsion qu’éprouve l’homme à son encontre.
femme-fantôme séduisante, effrayante, à sa simple vue l'homme s'irradie et sombre dans la folie. Mobile, dansante, s'envolant, se propulsant… L'homme sommeille, est en latence, dormant, fumant, s'imprimant dans l'image.
Elle est souvent représentée sous la forme d’une dévoreuse d’hommes.
Le nom même de Lilith semble dériver du mot assyro-babylonien "lilitu" qui signifie "démon femelle" ou "esprit du vent". Toutefois, Lilith apparaît déjà plus tôt sous la forme de "Lilake" dans des tablettes sumériennes d’Ur de 2000 ans avant notre ère, dont la fameuse tablette de l’épopée de Gilgamesh. L’étymologie hébraïque populaire fait dériver Lilith du mot "layil", la nuit, & c’est pourquoi elle apparaît souvent sous les traits d’un monstre de la nuit. Selon la légende, Salomon a suspecté la Reine de Sabbah d’être Lilith sur le fait qu’elle avait des jambes poilues.
voila, j'ai entendu dire, par un prof, que dans le religion chretienne (et juive aussi je crois), on croyait a l'existence de cette fameuse Lilith qui aurait été créée avant Eve. Ne voulant pas se soumettre a "l'autorité" d'Adam (lui oppossant le fait qu'ils etaient egaux car tous deux crées de terre), elle dû s'enfuir de l'Eden. et c'est seulement après que Dieu a créé Eve de la chaire de Adam, afin qu'elle se soumette.
The Berber culture is extrordinarily rich and diverse, with a variety of musical styles. These range from bagpipes and oboe (Celtic style) to pentatonic music (reminiscent of Chinese music) -all combined with African rhythms and a very important stock of authentic oral literature. These traditions have been kept alive by small bands of musicians who travel from village to village, as they have for centuries, to entertain at weddings and other social occasions with their songs, tales, and poetry.
[edit] See also
[edit] External Links
- Musical map of Morocco
- Azawan Amazigh: A dedicated site to Berber music
- Henna site
- Jewish Moroccan Museum
- Moroccan Connections in America
[edit] References
[edit]
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