Morocco

Records for the performers on the Music of Morocco recordings as noted by Paul Bowles in the field notes.

Music of Morocco: Performers

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black-and-white print

Performance of the Guidmioua Tribe

Cheikh Diaai ben Ali

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Cheikh Diaai and Cheikha Fatoma with Ensemble

 Aïn Diab

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"Recorded by Paul Bowles. At Ain ed Diab, Morocco. August l, 1959 "Performers: A group of fourteen women and two men. Four of the women played benadir (singular bendir) as they sang; the men also sang and played benadir. The bendir is an open drum about fifteen inches in diameter, with wooden sides five or six inches high; the membrane covers only one end. The women without drums use hand-clapping to accentuate the rhythm or to make cross-rhythms. This music is essentially dance music; there is often a more or less lengthy prelude to the actual dance, however. In the recordings made at Ain ed Diab only the women danced, in groups of twos and fives. The leader of this group (all of whom are from Ain Leuh in the Middle Atlas) is Cheikha.Fatoma bent Kaddour. (The tribe is Beni Mguild.)" Source: Bowles, Paul F.&nbsp; Folk, Popular, and Art Music of Morocco. 
The Paul Bowles Moroccan Music Collection. Washington, 
DC: American Folklife Center, Library of Congress, 1959-1962.

Fatoma Bent Kaddour Ensemble-Yarza Digi Inrhancha Airhi Rebbi

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Source:&nbsp; Bowles, Paul F.&nbsp; "Ain ed Diab." in&nbsp;<a target="_blank" href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco</a>. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;

6B. Ira Imanou Adidou ou Tigheioukh Aadikine

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6A. Mani Fichta Naghida Nalik Aoua Tin Tizi Aoua

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The Berbers often sing in parallel fourths (also in thirds and fifths); the first piece is a good example of this tendency.&nbsp;
The accompaniment includes, as well as the benadir, a large copper tray placed upside down on the matting; this was hit with two tea glasses, one held in each hand. Toward the end of this ·number, a young man of seventeen or so, carried away by the excitement of ·the dance, (two girls were dancing opposite one another) suddenly threw himself into . the circle and began to dance with them. The crowd appreciated this; their approval can be heard.&nbsp;
The performers insisted that there were three pieces here, and· indeed there are two definite breaks. Still, the listener is· inclined to consider it one piece in three parts. The· enormous tent in· which the recordings were made was jammed to bursting with spectators. Source:&nbsp; Bowles, Paul F.&nbsp; "Ain ed Diab." in&nbsp;<a target="_blank" href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco</a>. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;

Fatoma Bent Kaddour and Ensemble 

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"Recorded by Paul Bowles. At Ain ed Diab, Morocco. August l, 1959 Performers: A group of fourteen women and two men. Four of the women played benadir (singular bendir) as they sang; the men also sang and played benadir. The bendir is an open drum about fifteen inches in diameter, with wooden sides five or six inches high; the membrane covers only one end. The women without drums use hand-clapping to accentuate the rhythm or to make cross-rhythms. This music is essentially dance music; there is often a more or less lengthy prelude to the actual dance, however. In the recordings made at Ain ed Diab only the women danced, in groups of twos and fives. The leader of this group (all of whom are from Ain Leuh in the Middle Atlas) is Cheikha.Fatoma bent Kaddour. (The tribe is the Beni Mguild) "The part singing in number 2 is curious, in that the intention is clear to end each phrase with an augmented fourth. The Ain Leuh group seemed to have trouble with words. In number 2 they stopped suddenly, talked together for a moment, and then resumed. This difficulty may have to do with the fact that the folk repertories have been examined and censored by the government since the beginning of independence. Many of the present texts are new." Source: Bowles, Paul F.&nbsp; Folk, Popular, and Art Music of Morocco. 
The Paul Bowles Moroccan Music Collection. Washington, 
DC: American Folklife Center, Library of Congress, 1959-1962. <o:p></o:p>

Cheikha Fatoma Bent Kaddour Ensemble-Sagous Touit Idar Ayardanou

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Tape 2A.

Cheikha Fatoma Bent
Kaddour
Ensemble (Beni Mguild Tribe, Aïn
Leuh, Middle Atlas) 

Magasa o
Smou Ingress DouachalRecorded in Aïn
Diab, Morocco on August 1, 1959 by Paul Bowles

<p style="margin-top:4.32pt;margin-bottom:0pt;margin-left:0in;margin-right:
0in;text-indent:0in;text-align:left;direction:ltr;unicode-bidi:embed;
mso-line-break-override:none;word-break:normal;punctuation-wrap:hanging"> <p style="margin-top:4.32pt;margin-bottom:0pt;margin-left:0in;margin-right:
0in;text-indent:0in;text-align:left;direction:ltr;unicode-bidi:embed;
mso-line-break-override:none;word-break:normal;punctuation-wrap:hanging">At one point in Magasa o
Smou Ingress
Douachal the
singers stopped; when they began again, they were still in the same piece. It developed that they were in disagreement as
to the correct words. 





 Source: Bowles, Paul F.&nbsp; "Ain ed Diab." in <a target="_blank" href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco</a>. 
The Paul Bowles Moroccan Music Collection. Washington, 
DC: American Folklife Center, Library of Congress, 1959-1962.

Cheikha Fatoma Bent Kaddour Ensemble-Magasa o Smou Ingress Douachal

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Fatoma Bent Kaddour and Ensemble
Morocco

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