 Marrakech

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IAA705799

place

Videos of the music recorded in Marrakech, along with the notes on the performances.

 Embarek ben Mohammed

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Morocco

<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: Embarek ben Mohammed (self-accompanied on guinbri)
Recorded by Paul Bowles at Marrakech, Morocco
November 1, 1959</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"</span>This was another singer I found in the&nbsp;<a href="http://archnet.org/sites/4720">Djemaa el Fna</a>&nbsp;one day, lost subsequently, and discovered again only after several days of searching there at different hours. He explained that he performed only early in the afternoon, because the arrival of the larger groups and the subsequent crowds that collected made it impossible for himvto be heard. He was a vocalist par excellence, trained in the classical&nbsp;<span style="font-style: italic;">qsida</span>, of which these two are examples. It is not a popular genre these days, which doubtless also explains his inability to yie with the other performers in the square·. The first qsida describes the birth of the Prophet Mohammed, how he refused to drink his mother's milk and was taken in by Halima and brought up by her."</div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">&nbsp;</span></div><div><div><br></div><div>Source:&nbsp;</div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

video

33A Music of the Hamatcha Cult

<p>The Jama' al-Fna is a large open-air market at the southwestern edge of the medina of Marrakesh. Defined only by the streets and buildings that surround it, the market square has been used as a public gathering place since the eleventh century, when Marrakech became a lively international capital under the rule of the Almohad dynasty (1130-1269). Merchants from distant regions of the Almohad empire, then stretching across much of northern Africa and into Spain, assembled daily in the Jama' al-Fna to distribute their wares, but the traditional functions of the square have never been confined to trade and commerce alone: dining, political and religious assembly, and many forms of entertainment are essential in defining the character of the highly dynamic space. The square persisted as a key urban hub for centuries after the decline of the Almohads, and is still functioning today.</p><p><br></p><p>The Jama' al-Fna is a triangular space bounded by Rue de la Koutoubia to the northeast, Rue Moulay Ismail to the west, and Rue Dabachi to the south. The side of the square along Rue de la Koutoubia is 136 meters long, the side along Rue Moulay Ismail is 146 meters long, and the side along Rue Dabachi is 166 meters long. The triangle bounded by the three major thoroughfares is roughly equilateral. The angle between Rue Dabachi and Rue de la Koutoubia is fifty-one degrees, the angle between the Rue de la Koutoubia and Rue Moulay Ismail is sixty-one degrees, and the angle between Rue Mouay Ismail and Rue Dabachi is sixty-eight degrees. In terms of orientation, the side of the square that borders Rue de la Koutoubia is rotated fifty-four degrees clockwise from the north-south meridian.</p><p><br></p><p>The crossing of Rue Moulay Ismail and Rue Dabachi forms a second triangular space, roughly equal in size to the Jama' al-Fna, directly to the southwest of the square. This space is bounded by Rue El Mouahidine to the southwest and is landscaped as a public garden.</p><p><br></p><p>Several significant buildings either border or are axially linked to the Jama' al-Fna. The Commissariat building is located opposite the west side of the square along Rue Moulay Ismail. Fifty meters northwest of the northern vertex of the triangular square, Rue de la Koutoubia turns approximately ninety degrees toward the southwest, then terminates after 360 meters at the foot of the Kutubiyya Mosque (1147-1162). Rue Moulay Ismail continues to the north of the square as Souk Laksour, the principal route that cuts through the dense souks of the medina. Souk Laksour ends 320 meters to the north of Jama' al-Fna at the Ali bin Yusuf Madrasa (1564-1565).</p><p><br></p><p>The ground surface of the square is paved with concrete. A repeating geometric pattern of expansion joints within the slab suggests tile-work. Though there are no permanent structures within the square, temporary market stalls define the street edge while portable carts, tents, and umbrellas create a dynamic "roofscape" and provide shade in the center of the large open space. Depending on the time of day, the square may be as densely occupied as the souks that border it to the north.</p><p><br></p><p>Several possible explanations are given for the origin of the name of the square. The word <em>jama'</em>, or <em>djemma</em>, is an Arabic term meaning "gathering" or "assembly," sometimes carrying the more religious connotation "mosque." The word <em>fna</em> means "nothing" or "end." The interpretation of Jama' al-Fna as "the mosque that came to nothing" refers to an unbuilt mosque that was planned for the site by Sa'di Sharif Ahmad al-Mansur (reg. 1578-1603) but was never erected. Another rendering of the name's meaning is "the gathering at the end of the world," an understanding that derives from the chaotic atmosphere of the space.</p><p><br></p><p>The Jama' al-Fna accommodates such a wide variety of activities and populations that it is occupied twenty-four hours a day, with a patterns of use that vary each hour yet repeat daily. The complete lack of physical programming of the space affords extreme flexibility of use over time, and the square's grand scale is especially effective as an urban gesture when contrasted with the high density of the adjacent souks in the medina. While the square is flooded during the day with international tourists on their way in and out of the neighboring souks, after dark the lingering crowds in the square are mostly composed of Marrakech locals, who come to hear the traditional storytellers and singers perform late into the night. The Jama' al-Fna was listed as an UNESCO World Heritage Site in 1985 as a part of the "Medina of Marrakesh" site.</p><p><br></p><p>Sources:</p><p><br></p><p>Allen, James Sloan. 1996. "The Storytellers of Marrakech." The Sewanee Review 104 (4): 497-520.</p><p><br></p><p>Andrews, C. E. 1922. Old Morocco and the forbidden Atlas. New York: George H. Doran Co., 32.</p><p><br></p><p>Blair, Sheila S. and Jonathan M. Bloom. 1995. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 123.</p><p><br></p><p>Bosworth, Clifford Edumund. 1996. The New Islamic Dynasties. New York: Columbia University Press, 41-42.</p><p><br></p><p>Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218.</p><p><br></p><p>Hillenbrand, Robert. 1999. Islamic Architecture. Edinburgh: Edinburgh University Press, 271-272.</p>

Jama' al-Fna

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IAA706362

Parker Halliday

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<span style="color: rgb(1, 1, 1); line-height: 16px;"></span><div><div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"</span>Public manifestations, of the Hamatcha 'Cult are strictly forbidden and have been for more than ' twenty years. Officially the cult no longer exists, and to obtain any documentation on it through the usual channels would be impossible. In 1931 I was present at several Hamatcha gatherings; it is understandable that the cult should have been persecuted and driven underground, since it is a cult of self-torture. (The men drive sharpened bones into their flesh, strike themselves in the head with hatchets, thrust skewers through their cheeks and arms, and so on, while the women spin in circles until they fall to ,the ground in a trance. Even the small children emulate the adults. There is a definitely repulsive side to the cult.)</div><div><br></div><div>Unsatisfactory though it is from a technical standpoint, the tape has a certain interest in that it was a stroke of great luck to be able to get it at all. The music was being played after midnight at a distance of at least a mile from the garden where I set up my equipment. The instrument is a long cane flute (<span style="font-style: italic;">qsbah</span>). Exactly what drums were being used I can't say, but I imagine they were <span style="font-style: italic;">benadir</span>.
Almost throughout the recording there is the sound of a bus, climbing slowly up the side of the valley."</div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">&nbsp;</span></div><div><div><br></div><div>Source:&nbsp;</div><div>Bowles, Paul F.&nbsp;&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div></div></div><p style="margin-bottom: 0px;"><span style="color: rgb(1, 1, 1); line-height: 16px;"></span></p>

 Maalem Taieb ben Mbarek

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<div><div style=""><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Maalem Taieb ben Mbarek and Ensemble </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
Recorded by Paul Bowles 
At Marrakech</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">, Morocco</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
November 1, 1959</span><br></div><div style=""><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div style="">"This piece, while resembling completely the other examples of Haouziya music, seems to me to be the most successful recording of the set, partly because of the acoustics, but principally because the performers seemed finally to reach some unnamable state which the music strives to induce in the group-psyche of those performing it."</div></div><div style=""><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div>

44B: "Hadouk Khail Hadou Alamma" (Music of the Haouz)

Rais el Hussein and His Ensemble 

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<div>Performers:&nbsp;<span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Rais el Hussein and his Ensemble</span></div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Recorded by Paul Bowles
At Marrakech, Morocco&nbsp;</span><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">December 18, 1959</span></div><div><br></div><div>"The music of the Souassa, usually, although incompletely, labelled "Chleuh" (Chleuh meaning any Berber whose language is Tachelhit) is not a tribal manifestation, but a regional one, like the music of the Djebala. The Souss (inhabitant: Soussi; plural: Souassa) is the region of southwestern Morocco which stretches roughly from the Atlantic Ocean to the upper Draa Valley, and from the Grand Atlas to the Anti-Atlas. The larger troupes of Soussi musicians are often ambulatory, and dancers generally accompany them, assisted by the players themselves, who are adept at performing the dance steps while they play on <span style="font-style: italic;">guinbri</span> or <span style="font-style: italic;">rebab</span>. The combination of this ensemble is as follows: three guinbris, one rebab, one bendir and one nagous. The Aoulouz from Taroudant is very clearly a dance, with its series of false endings, but each piece has the same form: a vocal prelude which gives way to a dance of increasing tempo in which the instruments gradually replace the voices."</div><div><br></div><div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div>

59A: "Rhna dial Tiznit" (Music of the Souassa)

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<div><div><div style=""><div>Begging Music of the Djemaa el Fna<br></div><div>(Aouda Solo)</div><div>Recorded by Paul Bowles</div><div>At Marrakech, Morocco.</div><div>October 28, 1959.</div><div><br></div></div><div style="">In the past there were many more of this kind of performer in the&nbsp;<a href="http://archnet.org/sites/4720">Djemaa el Fna</a>&nbsp;then there are today. The misshapen and incomplete have largely disappeared from the square, and the beggars are&nbsp;fewer. Occasionally one finds a man such as the one playing the&nbsp;aouada here, who does not actually beg with his voice, but pronounces&nbsp;the words of the formula, as it were, on his instrument. In this way&nbsp;he is able to think of himself as a musician rather than as a beggar,&nbsp;although no one ever stops to listen to his repetitive little plaint.&nbsp;He had only one arm; the other had been removed at the shoulder.</div></div><div style=""><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div><div><br></div>

41B: "Aouada Solo" (Begging Music of the Djemaa el Fna)

 Si Mohammed Bel Hassan Soudani

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<div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Si Mohammed Bel Hassan Soudani</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
Recorded by Paul Bowles 
At Marrakech</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">, Morocco</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
October 27, 1959</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">It would take a long time to get recordings of all the distinct kinds of music that are heard daily in the </span><a href="http://archnet.org/sites/4720">Djemaa el Fna</a><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"> of </span><a href="http://archnet.org/authorities/3820">Marrakech</a><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">. Any afternoon of good weather, an hour or so before sunset, ten or fifteen thousand people gather in the huge open space and form circles around the various entertainers who come regularly there to earn their living. Mediocre musicians and dancers attract nobody; technicianship is of high quality. It is true, however, that the larger troupes draw the biggest crowds, and occasionally an excellent solo performer will be found sitting all alone on the ground singing and playing, with absolutely no one paying any attention. Such was the case with the Guennaoui who made this tape. Si Mohammed bel Hassan Soudani was born in the Sudan, and it is extremely unlikely that he ever came in contact with the institution of slavery in any manner; nevertheless, his second song, Jabouna men es Soudan, is a slave's lament, a song of the [black people] of Morocco, who until recently were for the most part slaves. A literal transcription of certain lines: "Oh, father, they rounded us up and brought us from the Sudan. They separated us from our parents suddenly and brought us from the Sudan. They brought us from the Sudan and sold us. The Chorfa bought us. They herded us together (like animals) and brought us from the Sudan." The first song is a patriotic-religious piece asking Allah to help the Sudan to become prosperous. The third is a song in praise of Allah. Sudanese words and phrases are mixed freely with those in Moghrebi. The singer unfortunately has adopted the Moroccan custom of very high voice placement; his natural register (his speaking voice was that of a low baritone) is audible only in the first line of the last song. The high pitch in itself is not objectionable, but it reduces volume to a minimum, and the accompaniment, which he provided himself on a Sudanese instrument called a gogo, tended to obscure the sound of the voice. Microphone adjustments were of no avail; the voice itself could not be got near enough to the mike to compensate for the loudness of the gogo, (which in itself is like a little orchestra, since it provides the sounds of a plectrum instrument, a drum and a cymbal.) In this respect at least, Si Mohmammed bel Hassan Soudani had become Moroccanized. The gogo's body was approximately the size and shape of a shoebox; it had a long neck to the end of which was attached a feather-shaped piece of steel with incised decorations. Tiny rings of metal had been loosely attached all along the edges of this steel feather, so that with every impulse they reverberated. The feather is called a soursal; after the first piece I asked him to remove it so that the last two songs are played without soursal. The technique of the gogo involves not only the plucking of the guts but the striking of the membrane over which they are strung. (The entire top of the instrument is covered with skin.) (Spanish folk guitarists often use the same device, in a simpler manner, to accentuate the rhythm.)</span><br></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div>

40A: "Zidou Mell" (Music of the Guennaoua)

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<div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Maalem Taieb ben Mbarek and Ensemble </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
Recorded by Paul Bowles 
At Marrakech</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">, Morocco</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
October 28, 1959</span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">The Haouz is the great plain that surrounds the city of Marrakech; anything connected with the region is called haouziya. This group comprised two <span style="font-style: italic;">kamenjas</span>, two <span style="font-style: italic;">tarijas</span>, one <span style="font-style: italic;">mgahs</span> (a pair of leather-worker's shears with the points truncated) and one solo voice, which in this case was the Maalem's.</span><br></div><div><div><br></div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div></div><div><br></div>

39B: "Sebar Aqliq" (Music of the Haouz)

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<div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Maalem Taieb ben Mbarek and Cheikhats</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
Recorded by Paul Bowles 
At Marrakech, Morocco
November 1, 1959</span></div></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div>The querulous (and sometimes even despairing) sound of Haouziya music is belied by the ecstatic expressions on the faces of those singing and playing it; there is an enormous disparity between the way they sound and the way they look. These singers were perfectly obedient about standing where I asked them to. After each piece, however, they insisted on returning to the positions they had been assigned by the Maalem, so that there was a continuous coming and going after and before each number. Maalem Taieb ben Mbarek was the most exacting of all the musicians I had to deal with when it came to play-backs. Generally, the musicians were, to all appearances content to hear perhaps half of each number; Maalem Taieb insisted on hearing everything from the beginning to the end. If I skipped even the first note or drum beat he complained. Sometimes he wanted to hear certain sections twice. Sessions with him took a good deal of time. Fortunately the U.S.I.S in Marrakech, where they took place at night after closing hour, assigned people to stay on until whatever hour we happened to finish.</div><div><br></div><div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div>

44A: "Soula al Couida" (Music of the Haouz)

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<div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Performers: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">Embarek ben Mohammed, self-accompanied on guinbri</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">
Recorded by Paul Bowles 
</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">At Marrakech, Morocco
November 1, 1959</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"><br></span></div><div>These <span style="font-style: italic;">qsidas</span> are based on secular subject matter; the music is less formal and hierarchic than in the two recorded by Embarek ben Mohammed on reel no. 33B. The examples of solo guinbri are quite worthless; however, I left them rather than erasing them. He was warming up for his Dance for Guinbri Solo (No. 4). The Aaita Marrakchiya always has two separate misanes; the transition is abrupt and without warning. The careful listener to no. 6, (Mellaliya) will hear that the melody is identical to that of El Aarabiya (<a href="https://www.archnet.org/media_contents/112512">no.1 of Reel 17B</a>).</div><div><br></div><div><div><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10116" target="_blank" data-bypass="true">Marrakech</a>" in&nbsp;<a href="http://archnet.org/publications/10093">Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection</a>. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.&nbsp;</div></div><div><br></div></div>

42B: "Qsida dial Metmora"

Recording Location: Marrakech

<p>In 1959, the American writer and composer&nbsp;<a href="http://archnet.org/authorities/2872" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Paul Bowles</a>, who by then had already taken up residence in&nbsp;<a href="http://archnet.org/sites/8435" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Tangier</a>, Morocco, received a grant from the Rockefeller Foundation to document the musical heritage of Morocco for the&nbsp;<a href="http://www.loc.gov/folklife/archive.html" target="_blank" style="background-color: rgb(255, 255, 255); font-size: 1em;">Archive of Folk Culture</a>&nbsp;of the Library of Congress.&nbsp;Bowles traversed the country in a VW Beetle, with an Ampex reel-to-reel recorder and an assistant, to record "approximately 60 hours of traditional folk, art, and popular music. Bowles collected in 23 villages, towns, and cities along the Mediterranean and Atlantic coasts, from&nbsp;<a href="http://archnet.org/collections/928" rel="noopener noreferrer" target="_blank">Goulimine</a>&nbsp;in the Sahara to&nbsp;<a href="http://archnet.org/collections/935" rel="noopener noreferrer" target="_blank">Segangan</a>&nbsp;in the Rif country, and inland through the Middle and Grand Atlas ranges to&nbsp;<a href="http://archnet.org/collections/946" rel="noopener noreferrer" target="_blank">Zagora</a>&nbsp;in the Anti-Atlas."(1) Additional recordings were made between 1960 and 1962.&nbsp;Only the southeastern part of Morocco was left out of the project due to the ongoing war in Algeria. A selection of the recordings was released commercially on vinyl in 1972.<sup>2  </sup>An expanded edition of that set, remastered and more extensively documented, was released in 2016.(3)</p><p><br></p><p>In 2010, the Tangier American Legation Institute for Moroccan Studies (<a href="http://archnet.org/sites/8271" rel="noopener noreferrer" target="_blank">TALIM</a>)&nbsp;commissioned the digitization of the recordings, with the support of funds from the <a href="http://morocco.usembassy.gov/pas.html" rel="noopener noreferrer" target="_blank">Public Affairs Office</a> of the U.S. Embassy in Rabat, the Wilaya&nbsp;of&nbsp;Tangier, and the Moroccan&nbsp;<a href="http://www.minculture.gov.ma/fr/" rel="noopener noreferrer" target="_blank">Ministry of Culture</a>.&nbsp;The&nbsp;<a href="http://libraries.mit.edu/akdc" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center at MIT</a>&nbsp;has agreed to make the recordings and the corresponding documentation available in this&nbsp;collection. Unless otherwise noted, all information presented in the descriptions and in the texts of the videos comes from the information provided by Paul Bowles, or from supplementary materials from the&nbsp;<a href="https://lccn.loc.gov/2004695190" rel="noopener noreferrer" target="_blank">Paul Bowles Moroccan Music Collection</a> of the American Folklife Center. The collection utilizes the names and spellings provided by Bowles for individuals, locations, and styles, but associates them with site and authority records that incorporate contemporary and standardized names.&nbsp;</p><p><br></p><p>The cataloging of each recording&nbsp;and its supplementary materials takes&nbsp;full advantage of the capabilities of Archnet to situate the music within the context from which it originates or was&nbsp;recorded. Videos and notes are grouped into sub-collections based on the place where they were recorded. Links associated with each video connect each recording to&nbsp;the relevant notes, images, and other material from the archive,&nbsp;as well as additional related material provided courtesy of the&nbsp;<a href="http://www.loc.gov/folklife/index.html" rel="noopener noreferrer" target="_blank">American Folklife Center</a>, the&nbsp;<a href="http://hcl.harvard.edu/libraries/finearts/" rel="noopener noreferrer" target="_blank">Harvard Fine Arts Library</a>,&nbsp;<a href="http://legation.org" rel="noopener noreferrer" target="_blank">TALIM</a>, and&nbsp;<a href="http://libguides.mit.edu/islam-arch" rel="noopener noreferrer" target="_blank">AKDC@MIT</a>.&nbsp;</p><p><br></p><p>For the sake of internal consistency within the collection, items are cataloged using only the information provided by Paul Bowles in his notes and documentation.&nbsp;The spelling of names, instruments, tribes, and places has <strong>not been updated, corrected, or standardized</strong>.&nbsp;However, where appropriate, records have been linked to place names and other authorities that follow Archnet's transliteration standards.&nbsp;&nbsp;</p><p><br></p><p>This is a project that is under development.&nbsp;Items will be added&nbsp;as they are processed and cataloged.&nbsp;We appreciate your patience and welcome your comments or suggestions.&nbsp;</p><p><br></p><p>--<a href="https://archnet.org/authorities/2691" rel="noopener noreferrer" target="_blank">Michael A. Toler</a>, Archnet Content&nbsp;Manager, AKDC@MIT</p><p>April 21, 2015 (last updated May 17, 2015)</p><p><br></p><p>NOTES:</p><p>1. Michelle Forner, "<a href="http://www.loc.gov/folklife/guides/paulbowles.html" rel="noopener noreferrer" target="_blank">Finding Aid</a>",&nbsp;<em>The Paul Bowles Moroccan Music Collection</em></p><p>2.&nbsp;Bowles, Paul.&nbsp;<em>Music of Morocco</em>. [Washington]: Library of Congress, Recording Laboratory, 1972.</p><p>3.&nbsp;Bowles, Paul, Lee Ranaldo, and Philip Daniel Schuyler.&nbsp;<em>Music of Morocco</em>: from the Library of Congress. 2016.</p>

Music of Morocco: The Paul Bowles Moroccan music collection of the American Folklife Center

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IAA706331

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<p>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.</p><p><br></p><p>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.</p><p><br></p><p>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>.</p><p><br></p><p>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.</p>

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<h2><strong>ARCHNET FAQ</strong></h2><p>1. <strong>Will ARCHNET work on my device?</strong></p><p>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!</p><p><strong>2. Will my URLs from earlier versions of Archnet still work?</strong></p><p>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;</p><p><strong>3. How do I download a/n:&nbsp;</strong></p><ul><li><strong>image</strong> - 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><strong>publication</strong> - 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><strong>site descriptions and metadata </strong>- Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li><strong>video</strong> - 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><p>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.</p><p><strong>4. Can I contribute material to Archnet?&nbsp;</strong></p><p>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;</p><p><strong>5. What happened to the Archnet Timeline?&nbsp;</strong></p><p>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.</p><p><strong>6. My question isn't here.&nbsp;How can I get help?&nbsp;</strong></p><p>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></p><p><strong>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 </strong><a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank"><strong>archnet@mit.edu</strong></a><strong>.</strong></p><p>&nbsp;</p>

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<p><strong>Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.</strong></p><p>Focused on the built environment of Islamic civilizations past and present, we seek to:</p><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><p>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;</p><p>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>.</p>

Recording Location: Marrakech

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Recording Location: Marrakech

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