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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Performance of the Guidmioua Tribe

 Raïs Mahamad ben Mohammed and Ensemble

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Sixteen men: the composition of the group is given in notes for 3B. This is above all dance music.&nbsp;&nbsp; The leader crouches in the center of the circle, screaming frantic exhortation and orders to the other dancer-musicians.&nbsp; Occasionally the dancers cry: 'Haha! Haha!' Whether these exclamations, pronounced in exactly the same way as the tribal name, have any connection with it or not, I was unable to discover. When one has put a question several times in different ways and got no answer, one is obliged to desist and get on with the work.&nbsp; The Moroccan's idea what way makes good dance music is the same as our idea of what makes good jazz, and they use the same word to describe it: skhoun...(hot). <p style="margin-top:4.32pt;margin-bottom:0pt;margin-left:0in;margin-right:
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Source:&nbsp; Bowles, Paul F.&nbsp; "Essaouira." 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;

4B. Haha Janoubia 

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“The musicians insisted that their music had no names, so the different examples of it are without titles.&nbsp;Whatever music the men of the Haha make, they do it in large groups as an inseparable part of their dancing.&nbsp;Music and dance are one concept to them.&nbsp;The manifestation is called ahouache.” Source:&nbsp;Bowles, Paul F.&nbsp;"Essaouira." in <a href="http://archnet.org/publications/10102" rel="noopener noreferrer" target="_blank">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;

7A. Music of the Haha Tribe

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3B. Raïs Mahamed Ben Mohammed Ensemble Vocal Chorus and Dance (Beni Haha Tribe, <a target="_blank" href="https://www.archnet.org/sites/14757">Tamanar</a>) Recorded in <a target="_blank" href="https://www.archnet.org/sites/14756/">Essaouira</a>, Morocco by Paul Bowles August 8, 1959



"There were sixteen men in this group. Four
played benadir, and three played aouada; the rest sang, clapped their
hands and danced. The dancing is primarily percussive.&nbsp; The musician-dancers are mainly
farmers of the region of Tamanar, and it is hard to believe that
such a degree of perfection in the way of making percussive music can be
attained by a group of untrained non-professionals. Asked for details
concerning the purpose of the second of these two selections, the Caïd
of Tamanar said: "The Haha
use this music to excite themselves, such as before making war, or before
marriage,--any time when courage is needed." 










Some form
of ternary meter is by far the most usual one in Berber music; in this·
respect the first selection and the first
part
of the second on this tape are extraordinary. The drummer,
whose talents
the
first piece is intended to display, was also the principal dancer. He was a somewhat heavy elderly man, and he was particularly
solicitous about seeing
that
I appreciated his star quality.
When
he had decided that I was not really aware of it, he seized his opportunity and shouted his
name triumphantly into the microphone
in
the middle of the music."

 Source: Bowles, Paul F.&nbsp; "<a target="_blank" href="http://archnet.org/publications/10101">Essaouira</a>" from <a target="_blank" href="http://archnet.org/collections/872/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. 











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Music of the Haha Tribe-Vocal chorus and dance

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<a data-search-link="Rais Mahamad ben Mohammed" href="#">Rais Mahamad ben Mohammed and Ensemble</a>, from the town of <a data-search-link="Tamanar" href="#">Tamanar</a>, perform on <a target="_blank" href="http://archnet.org/publications/10100">benadir and aouda</a> at <a data-search-link="Essaouira" href="#">Essaouira</a> for the <a target="_blank" href="http://archnet.org/publications/10101">Music of Morocco</a> recordings

black-and-white photograph

Beni Haha perform

Essaouira is a port town on the Atlantic coast of Morocco,
between Safi and <a data-search-link="Agadir" href="#">Agadir</a>. It is bounded
to the east by sand dunes.&nbsp; The area has
been settled since at least the Phoenicians came in the 6th century
BC, but the city as it exists today was built in the 18th
century.&nbsp; Until independence the city was
named Mogador, either after a local holy man or through corruption of the
Tamazight name of the city.

The city that exists now was founded ca. 1765/1178 AH by
Sultan Sidi Muhammad ibn Abdullah, who wanted a port closer to <a data-bypass="true" target="_blank" href="http://archnet.org/sites/14772">Marrakech</a>, and sought
to diminish the importance of Agadir to the south.&nbsp; At the Sultan’s
bidding, the French architect and planner Theodore Cornut planned the grid
layout of the city street, and built Qasba and European Housing.&nbsp; In order to encourage development of the city,
Muhamad ibn Abdullah closed the port of Agadir in 1767, and obliged European
residents of from <a target="_blank" href="http://archnet.org/sites/10538">Rabat-Salé</a> moved to the city.&nbsp;
Moroccan Jews were encouraged to move there to act as mediators with the
Europeans.&nbsp; At its height, it is estimated
that the Jewish community was as much as 40% of the population. 

 During the Protectorate era from 1912 to 1956 the city was
used as a military base, and after independence the name reverted to
Essaouira.&nbsp; Shortly thereafter, &nbsp;the city became popular with “hippies” of the
1960s and 70s.&nbsp; In the 1990's the city once again began to be a popular tourist attraction, and the site
of an annual <a target="_blank" href="http://archnet.org/media_contents/99335">Gnawa</a> music festival.&nbsp; In 2001 it was classified as a World Heritage Site by UNESCO which noted: <blockquote>Essaouira
 is an exceptional example of a late-18th-century fortified town, built 
according to the principles of contemporary European military 
architecture in a North African context. Since its foundation, it has 
been a major international trading seaport, linking Morocco and its 
Saharan hinterland with Europe and the rest of the world. -"<a data-bypass="true" target="_blank" href="http://whc.unesco.org/en/list/753">Médina D'Essaouira (ancienne Mogador)</a>." 
UNESCO World Heritage Centre.</blockquote>

 Sources: 



 
																	
																	
																		
																			
																		
																			
																		
																			
																		
																			
																		
																			
																		
																			
																		
																		
																	
																	 "Beauté Sauvage." Séjour à Essaouira. Maroc.
 Travel for Real. Accessed October 14, 2015.<a data-bypass="true" target="_blank" href="http://www.visitmorocco.com/index.php/fre/je-vais-a/Essaouira-Mogador/Incontournable">http://www.visitmorocco.com/index.php/fre/je-vais-a/Essaouira-Mogador/Incontournable</a> .
 Médina D'Essaouira (ancienne Mogador)." UNESCO World 
Heritage Centre. Accessed October 14, 2015. <a data-bypass="true" target="_blank" href="http://whc.unesco.org/en/list/753">http://whc.unesco.org/en/list/753</a>. "History - Mogador." Essaouira. Accessed October 16, 2015. <a data-bypass="true" target="_blank" href="http://www.essaouira.nu/mogador.htm">http://www.essaouira.nu/mogador.htm</a>. <div class="hang">
 Mouline, Said. Essaouira: Repères De La Mémoire. Rabat: Royaume Du Maroc, Ministère De L'Habitat, 1997. </div>
 <div class="hang">
 Park, Thomas Kerlin., and Aomar Boum. "Essaouira." In Historical Dictionary of Morocco, 115-16. Lanham, MD: Scarecrow Press, 2006. 

</div>

Essaouira 

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3B. Raïs Mahamed Ben Mohammed Ensemble Dance for solo drum and percussion chorus (Beni Haha Tribe, <a target="_blank" href="https://www.archnet.org/sites/14757">Tamanar</a>) Recorded in <a target="_blank" href="https://www.archnet.org/sites/14756/">Essaouira</a>, Morocco by Paul Bowles August 8, 1959



"There were sixteen men in this group. Four
played benadir, and three played aouada; the rest sang, clapped their
hands and danced. The dancing is primarily percussive.&nbsp; The musician-dancers are mainly
farmers of the region of Tamanar, and it is hard to believe that
such a degree of perfection in the way of making percussive music can be
attained by a group of untrained non-professionals. Asked for details
concerning the purpose of the second of these two selections, the Caïd
of Tamanar said: "The Haha
use this music to excite themselves, such as before making war, or before
marriage,--any time when courage is needed." 










Some form
of ternary meter is by far the most usual one in Berber music; in this·
respect the first selection and the first
part
of the second on this tape are extraordinary. The drummer,
whose talents
the
first piece is intended to display, was also the principal dancer. He was a somewhat heavy elderly man, and he was particularly
solicitous about seeing
that
I appreciated his star quality.
When
he had decided that I was not really aware of it, he seized his opportunity and shouted his
name triumphantly into the microphone
in
the middle of the music."

 Source: Bowles, Paul F.&nbsp; "<a target="_blank" href="http://archnet.org/publications/10101">Essaouira</a>" from <a target="_blank" href="http://archnet.org/collections/872/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. 











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Music of the Haha Tribe-solo drum and percussion

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3B. Raïs Mahamed Ben Mohammed Ensemble Dance for solo drum and percussion chorus (Beni Haha Tribe, <a target="_blank" href="https://www.archnet.org/sites/14757">Tamanar</a>) Recorded in <a target="_blank" href="https://www.archnet.org/sites/14756/">Essaouira</a>, Morocco by Paul Bowles August 8, 1959



"There were sixteen men in this group. Four
played benadir, and three played aouada; the rest sang, clapped their
hands and danced. The dancing is primarily percussive.&nbsp; The musician-dancers are mainly
farmers of the region of Tamanar, and it is hard to believe that
such a degree of perfection in the way of making percussive music can be
attained by a group of untrained non-professionals. Asked for details
concerning the purpose of the second of these two selections, the Caïd
of Tamanar said: "The Haha
use this music to excite themselves, such as before making war, or before
marriage,--any time when courage is needed." 










Some form
of ternary meter is by far the most usual one in Berber music; in this·
respect the first selection and the first
part
of the second on this tape are extraordinary. The drummer,
whose talents
the
first piece is intended to display, was also the principal dancer. He was a somewhat heavy elderly man, and he was particularly
solicitous about seeing
that
I appreciated his star quality.
When
he had decided that I was not really aware of it, he seized his opportunity and shouted his
name triumphantly into the microphone
in
the middle of the music."

 Source: Bowles, Paul F.&nbsp; "<a target="_blank" href="http://archnet.org/publications/10101">Essaouira</a>" from <a target="_blank" href="http://archnet.org/collections/872/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. 










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recording are part of the original digitized track.&nbsp; No editing has
been
done for this video.





 











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Archnet is an Open Access resource, provided to the public to facilitate cultural understanding and excellence in both scholarship and practice. Content from Archnet.org may not be published, displayed, or appropriated for commercial use without the expressed written permission of the copyright holder. Unless otherwise noted, Archnet material is available for instructional, nonprofit use, and personal use on the terms of a <a href="https://creativecommons.org/licenses/by-nc/4.0/" rel="noopener noreferrer" target="_blank">Creative Commons Attribution-NonCommercial 4.0 International</a> (CC BY-NC 4.0) license. Please contact Archnet to request permission to use the Archnet.org website and its contents beyond the scope outlined above. High-resolution images may be available by contacting us using <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>. The content available on Archnet, including but not limited to information, text, graphics, logos, and multimedia related to the the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture’</a>s programmes, such as the <a href="https://www.archnet.org/collections/54" rel="noopener noreferrer" target="_blank">Historic Cities Programme</a>, the <a href="https://www.archnet.org/collections/848" rel="noopener noreferrer" target="_blank">Aga Khan Award for Architecture</a> and the <a href="https://www.archnet.org/collections/132" rel="noopener noreferrer" target="_blank">Aga Khan Music Programme</a>, may be protected by copyright, trademark, or other intellectual property rights and laws, whether owned by the Aga Khan Trust for Culture, its affiliates, or third parties. Unauthorized use, reproduction, distribution, modification, or display of this content is strictly prohibited without the express written permission of the respective copyright or trademark holder. Violation of this prohibition may result in legal penalties.

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<h2>ARCHNET FAQ</h2>1. Will ARCHNET work on my device?Archnet works well on the most recent version of any major browser (Chrome, Firefox, Safari, Edge), either on a mobile device or computer. It may work on older or less common browsers as well. If Archnet fails to work properly on your machine, please let us know about your experience by clicking the blue feedback button at bottom right!2. Will my URLs from earlier versions of Archnet still work?Yes, if they are from the version launched in January 2013. As of October 12, 2021, all URLs from the old Archnet have been redirected to ARCHNET.&nbsp;&nbsp;3. How do I download a/n:&nbsp;<ul><li>image - Select the image you want to download from search results, a site or an authority. The image will open in your browser.&nbsp;Right click to download.&nbsp;For larger, high-resolution copies, see contact us using archnet@mit.edu.&nbsp;</li><li>publication - Open the page for the publication in your browser and click the download button. Reprinting Archnet publications is permissible only for personal use.&nbsp;Please contact us for any other requests.&nbsp;</li><li>site descriptions and metadata - Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li>video - Currently video downloads are not possible. If you'd like to use an Archnet video, please contact <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</li></ul>See our <a href="https://www.archnet.org/pages/terms" rel="noopener noreferrer" target="_blank">Terms of Use</a> for information on how you can use Archnnet material.4. Can I contribute material to Archnet?&nbsp;Yes!&nbsp;See our <a href="https://www.archnet.org/pages/contribute" rel="noopener noreferrer" target="_blank">Contribute</a> page for more information.&nbsp;Calls for specific contributions are also also shared in our social media and on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">web site of the Aga Khan Documentation Center at MIT</a>.&nbsp;&nbsp;5. What happened to the Archnet Timeline?&nbsp;Timeline has migrated into the ARCHNET NEXT Collections page&nbsp;<a href="https://www.archnet.org/collections/collection_type/3/1" rel="noopener noreferrer" target="_blank">as a category</a>. These collections provide short introductions for each period, often offering lists of additional resources at the end of the entry. Only the timeline graphic listing the periods along a chronological axis has not migrated.6. My question isn't here.&nbsp;How can I get help?&nbsp;If your issue is with using Archnet, use the blue Feedback button to alert us to your issue. This will allow you to include a screenshot or recording. Please, also, feel free to contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>We are currently developing the help section of ARCHNET NEXT. In the meantime, please use the blue Feedback button in ARCHNET NEXT to send us feedback or other questions. Contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;

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Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.Focused on the built environment of Islamic civilizations past and present, we seek to:<ul><li>Facilitate excellence in scholarship and professional work by&nbsp;providing reliable information and ready access&nbsp;to vetted, high-quality textual and multimedia resources&nbsp;focused on architecture, urbanism, environmental and landscape design,&nbsp;heritage&nbsp;conservation, economic and environmental sustainability, community development and resilience in the face of rapid change, and related topics.</li><li>Enable teaching and learning in these domains by providing educators with reliable, effective pedagogical material and teaching aids.&nbsp;</li><li>Serve as a platform through which scholars, practitioners, and institutions can bring their work to new global audiences.&nbsp;</li><li>Promote intercultural understanding and dialogue through reliable, high-quality, peer-reviewed material on the diversity of and pluralism within Muslim societies and the interaction between Islamic and other religious, cultural, and philosophical traditions as it relates to architecture and urbanism.</li><li>Enable easy access to a wide variety of resources via a custom-built, web-based, mobile-friendly platform optimized to minimize financial, infrastructural, linguistic, and other barriers to access.&nbsp;&nbsp;</li></ul>Launched in 2002 after several years of development, ARCHNET is a pioneering digital resource that has proven a reliable authority on the built environment of Muslim societies, past and present.&nbsp;ARCHNET is a partnership between the <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a> (AKDC@MIT) and the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture</a> (AKTC), with support from the <a href="https://www.archnet.org/collections/50" rel="noopener noreferrer" target="_blank">Aga Khan Program for Islamic Architecture</a> at Harvard and MIT.&nbsp;ARCHNET is developed and maintained by <a href="https://www.performantsoftware.com/" rel="noopener noreferrer" target="_blank">Performant Software Solutions</a>.

Raïs Mahamad ben Mohammed and Ensemble
Morocco

Documents

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Additional Names

Raïs Mahamad ben Mohammed and Ensemble

Documents

Images & Videos

Collections

Additional Names