 Amizmiz

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Performance of the Guidmioua Tribe

place

<p>Videos made from the music recorded in Amizmiz, as well as the notes on the performances.</p>

Larbi bel Hocein Nait ou Nasr 

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View of the Guidmioua Tribe musicians performing at Amizmiz<br>

CAD drawing

Morocco

<p>A small city in the Al Haouz province of Morocco</p>

Amizmiz

<p>View of the Guidmioua Tribe musicians performing at Amizmiz. Music and dance are often inseparable in Moroccan folk music. Here the dancers provide their own percussion. </p>

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digital graphic

IAA708435

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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;">Larbi bel Hocein Nait ou Nasr</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;"> </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;">Recorded by Paul Bowles 
At Amizmiz, Morocco
November 5, 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;">"I went out to Amizmiz, (59 kilometres south of Marrakech) on a Monday to arrange with the Caid there to make contact with the Tiskiouine, who live in a region some ninety kilometres south of Amizmiz in the Grand Atlas. The Poste, sixty kilometres above Amizmiz in the mountains, was notified Tuesday, and the men began arriving there by muleback Wednesday morning. A truck was sent up from Amizmiz to the Poste Wednesday afternoon and it brought the men down to Amizmiz Thursday, shortly before I got there to record. There were twenty-six men altogether. Twenty played <span style="font-style: italic;">tarija</span>, (small ceramic hand-drums) three played tara (the local name for benadir) and two played aouadas (which in most parts would be called <span style="font-style: italic;">lior</span>, since they were small recorders.) The final man was the <span style="font-style: italic;">moqaddem</span>, as the leader called himself here.The performance was to take place on the lawn of the Caid' s residence. As soon as the men arrived, they sat down and removed their clothing in order to put on their dance costumes. On his left shoulder, over a white toga-like garment, each man wore a clump of silk tassels to which was affixed a brass bell and a large silver powder-horn (from which the tiskiouine take their name); some of the powder-horns were set with large amethysts and rose -quartz. When they had their costumes on they got up and immediately began to play an arrival piece (no. 1) walking in single file slowly across the lawn."</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><div><span style="font-weight: bold;">Source:&nbsp;</span></div><div>Bowles, Paul F.&nbsp; "<a href="http://archnet.org/publications/10120" target="_blank" data-bypass="true">Amizmiz</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>

video

47A: "Amigleb" (Music of the Guidmioua Tribe)

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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;">Larbi bel Hocein Nait ou Nasr, Moqaddem</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 Amizmiz, Morocco
November 5, 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;">"As a final number the Moqaddem had the men perform a war dance. Instead of the center of the circle's being piled with gun, as it would be under traditional circumstances, the drums were there. Several of them had got broken membranes during the excitement of the dance. Then the sack containing the 141 pounds of sugar was brought from the car by two soldiers and given to Larbi bel Hocein Nait ou Naar.(Here as in Ait Ourir the musicians were paid in sugar rather than cash.)"</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/10120" target="_blank" data-bypass="true">Amizmiz</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>

48A: "Tahouacht" (Music of the Guidmioua Tribe)

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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;">Larbi bel Hocein Nait ou Nasr, Moqaddem
</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">1. Ahouache Nait Tqsit
2. Boulaqadem
3. Taskirft
4. Tasousst
5. Aserahal</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 Amizmiz, Morocco
November 5, 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><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">"These pieces are good examples of large-group Berber drumming. </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">The performers are aware of technique and the displaying of it to best advantage. Their dances are set-pieces which they have performed innumerable times; both dancing and drumming demand great skill, </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">particularly in the sudden and gradual shifts of tempo and rhythm. </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">As in the music of the Haha, that which is heard is the auditory facet </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">of a dance; with the exception of the liara and bendir players (aouada and tar here) all the men are constantly engaged in a physically exacting group dance. The moqaddem most of all; he is everywhere at once, spurring the dancers on with exhortatory commands and the violent gyrations of his own dance.</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">The men in the circle either dance and play tarijas, or dance and sing, in which case they place their tarijas in a pile in the center of the circle in order to be able to clap their hands when the moqaddem gives the command. The tara and aouada are outside the circle. For some numbers, in order to feature the sound of the group </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">drumming, I put the microphone in the middle of the circle, for others </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">I put it outside at some distance. Normally the men of the circle </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">face inward; when they turn and face outward, and the microphone is </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">inside the circle, the brass bells on their shoulders are audible. </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">For no. 4 I requested a piece for percussion without group drum</span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">ming. Tasousst is the result; it is a quartet for two tara and two aouadas. It is my personal favorite of the Guidmioua collection, for</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;">its rhythmical subtlety."</span></div></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/10120" target="_blank" data-bypass="true">Amizmiz</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>

47B: "Ahouache Nait Tqsit" (Music of the Guidmioua Tribe)

Recording Location: Amimiz

<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

<p>Archnet is a community-powered resource that provides ready access to visual and textual material to facilitate teaching, scholarship, and professional work of high quality.&nbsp;This unparalleled resource continues to grow with both the addition of historic archives and documentation on contemporary trends shaping the built environment today.&nbsp;To better serve you, our user, in the study of art and architecture of Muslim societies, we continue to build our vast collection of sites, publications, images, and videos. To ensure a high level of scholarly content and accuracy in the information provided, we appreciate your expert feedback and, more importantly, your contributions.</p><p>.&nbsp;&nbsp;</p><ul><li>Please send comments, corrections, commendations, and other feedback to <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;</li><li>If you find sites on Archnet to which you can contribute in compelling and meaningful ways, your generosity is most welcome. If you would be interested in contributing research, publications or other media to Archnet, please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite contributions of relevant, previously published, Open Access or copyrighted material for which you are able to grant Archnet a non-exclusive license. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite the contribution of syllabi, lesson plans, recorded lectures, or other material for our pedagogy project. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We welcome the donation of select archives based on our current editorial policies and priorities.&nbsp;If you have a collection you would like to bring to the attention of Archnet's editors, please send an email to: <a href="http://mailto: archnet-submission@mit.edu/" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.</li><li>Occasionally, Archnet editors issue calls for contributions on specific themes or of particular types of material. Follow those on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">website of AKDC@MIT </a>or <a href="https://mailchi.mp/17fc345bbd94/archnetakdc-updates" rel="noopener noreferrer" target="_blank">subscribe to our mailing list</a>.</li></ul><p><br></p><p>The breadth, depth, and quality of Archnet is oachieved through the generosity of numerous institutions and individuals listed on the respective pages throughout the site.&nbsp;We thank you for your generosity!</p>

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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: Amimiz

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Recording Location: Amimiz

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