This collection groups the videos of the recordings and the notes on the performances in Aïn ed Diab on the Atlantic coast. It is now a part of the Casablanca metropolitan area.

Recording Location: Ain ed Diab

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digital graphic

IAA706348

 Aïn Diab

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Morocco

"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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Tape 2A. Rhaitas and tbola (singular tbel) from the region of the ChaouiaRecorded in Aïn
Diab, Morocco on August 1, 1959 by Paul Bowles

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All
the recordings made at Ain ed Diab were done under the difficulties
inherent in trying to isolate one of dozens of groups performing
simultaneously. The occasion was an amara
or
enormous outdoor festival where there were more than 700 musicians and about
30,000 spectators. This particular sequence was recorded from a distance of
about 100 feet. It was impossible to get any nearer the group of performers
because of restrictions imposed by the authorities. 









 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.

2A Raitas and Tbola

 Essaouira 

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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

Moha ben Driss and Ensemble 

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3A. Moha ben Driss and Ensemble. (El Hajeb, Middle Atlas, Beni Mitr Tribe) Amimmi Recorded in Aïn
Diab, Morocco on August 1, 1959 by Paul Bowles 

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<p style="margin-top:4.32pt;margin-bottom:0pt;margin-left:0in;margin-right:
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mso-line-break-override:none;word-break:normal;punctuation-wrap:hanging">"The
antiphonal nature of this piece is difficult to hear, since
the
men
and women
sing the same notes in the same register.





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<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">The Ain ed Diab
recordings
were made
during
two excessively hot sultry days, and the tent in which they took place,
although open to
the
sea on
one side,
was low-ceiling and made of a heavy, soft material, so that the air inside was
stifling.&nbsp; Both spectators and performers
were crowded tightly together among divans and piles of cushions, and there
was
very little
room
for
the strenuous dancing which took place.&nbsp;
Blocking the entrance was an unmoving mob trying to peer into the tent . Perhaps because of
all t his, my
general impression of the sessions was that everything would have been better if
only there
had
been a little air
to
breathe.&nbsp; The music itself seem to
have a
peculiarly
muffled and lifeless sonority, an impression I cannot guarantee, of course, to
be entirely objective." 



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It was, of course, the current."





 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.

Moha ben Driss and Ensemble-Amimmi

Cheikh Diaai ben Ali

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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;

6A. Scene from an Amara

 El Hajeb

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5A."Ighinn Cha ou Smoun"Moha Ben Driss and Ensemble. (<a href="http://archnet.org/sites/14755" rel="noopener noreferrer" target="_blank">El Hajeb</a>, Middle Atlas)Recorded by Paul Bowles&nbsp;at Ain ed Diab, MoroccoAugust 1, 1959 Bowles, Paul F.&nbsp;"Ain ed Diab." in <a href="http://archnet.org/publications/10093" 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.

Moha ben Driss and Ensemble-"Ighinn Cha ou Smoun"

 Raïs Mahamad ben Mohammed and Ensemble

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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;

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<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;
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by Paul Bowles: 

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these identifications.&nbsp; The officials who
supplied them were admittedly confused.”<p style="margin-top:4.32pt;margin-bottom:0pt;margin-left:0in;margin-right:
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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;

Group of musicians from the Haha Tribe

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6A. Mani Fichta Naghida Nalik Aoua Tin Tizi Aoua

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6B. Ira Imanou Adidou ou Tigheioukh Aadikine

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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>.

Aïn Diab

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Aïn Diab

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