Promoting Traditional Moroccan Music Outline Theories and concepts

Promoting Traditional Moroccan Music

Outline

• Theories and concepts

• Methodology

• Evolution of Caribbean music

• Traditional Moroccan Music

• Fusion Music

• Suggestions

• Problems encountered

• Short videos of Numydia rehearsals

What is Fusion?

Theories and concepts

• Three Different social systems (3 stages):

• Traditional stage Modern stage Globalization

• Modernization

• Emergence of new technologies

• Globalization

• “The compression of the world and the intensification of consciousness of the world as a whole" (Robertson, 1992)

• Glocalization:

• Local Global

Methodology

Primary sources

• Interviews

• Participant observation

Interviews: Music bands

• Numydia

• Dar Dmana

• Darga

• Nass Al Ghiwane

Interviews: Associations

• Association Envol

• Mr. Jaafar Hamza, President

Interviews: Media

• Telquel Magazine:

• Mr. Benchamsi, General Director (cancelled).
• Miss Chadwane Salmiya, Journalist (cancelled)

Interviews: Producers

• Platinum Universal Music (canceled)

Interviews: Decision

• Ministry of Culture (cancelled)

Participant Observation

• Concerts and rehearsals

Secondary sources

• Books:

• Musiques du Maroc (1992)
• - A. Aydoune
• Culture and Mass Communication in the Caribbean (2001)
• - A. R. Humphrey
• Globalization, Social Theory and Global Culture (1992)
• - R. Robertson
• The Rough Guide for Cuban Music (2001)
• - P. Sweeney

Evolution of

Cuban Music

• Danzon and Danzonette derived from the military music bands

• Rumba, Mambo, Chachachá

• Afro-Cuban Jazz

• The Porto-Rican influence gave birth to Salsa

Reggae Music

• Calypso

• Soca

• Ska (Bluebeat)

• Steady Rock

• Reggae

• Dub

Reggae Music

• Instruments:

• Acoustic instruments like horns, shakers, bells and hand drums
• Emphasis on the downbeat (beat 1 and 3)

• Lyrics and the Rastafarian believes

• Anti-colonialism, racial harmony, resistance to oppression, environmental awareness and spirituality…etc.

• Bob Marley “shot the sheriff”…

Traditional

Rhythm & Scale

• Rhythm:

• Tbal wal ghayta

• Jahjûka

• Daqqa lmarrakchia

• Al-Hawzi

• Scale:

• Arab and Moroccan scale: ¼

• Western: ½

• Hindi: 1/8 to 1/16

Instruments

Problems

• Western influence and the global media: demand of the audience

• Transcription of music: oral teaching

• Documentation: no listing

• Traditional instruments: Old and unpractical

Fusion Music

The Moroccan touch..

• “Do you play Fusion?”

• Essaouira Festival of Gnaoua: They made us like it!!!

• Need for cultural identification

Common Forms

• a) Fusing two or more different musical styles (use of specific rhythms and scales) with traditional Moroccan music using either western instruments or Moroccan traditional ones or both.

• b) Use of modern instruments in expressing traditional Moroccan melodies.

• c) Use of music instruments that are specific to a culture such as the sitar (India), the corn (West Africa) or the Cajon (Peru).

Problems

• - The government “non-contribution”,

• Americanization of Audio-visual media

• Western clips evoque mainly Consumerist lifestyle and romance  all what youth dream of today,

• - Production and music “infradistructer”,

• - “Individual-ociations”,

• - Moroccan musicologists and journalists

• - And others call themselves fusion bands…

Authenticity

• Tarik ibnou Ziad and Andalusia

• Fusion of cultures, fusion of music!

• Creation of new forms of music:

• tarab al-âla
• tarab al-gharnâti in Rabat and Oujda
• piûtim and the trîq exerted by Moroccan Jews

• Modernization

• “New Fusion”: Essaouira Gnaoua music, Timitar, Mawazine…etc.

What to Do?

Suggestions

• Government subsidy

• infrastructure improvement

• Apply quotas for Media broadcasting

• Cooperation

• Musicians’ responsibility for:

• Moroccan Music Authenticity
• Follow up the work of elders
• Make use of Internet: Easy, cheap and an efficient promotion tool
• Perseverance

Research related problems

• Lack of sources

• Time

• Covering all aspects of the subject
• Traveling

• Unavailability of some interviewees

• And the famous train…

Conclusion

• Don’t be afraid of the change

• Make the best of it!

Acknowledgments

• My professors:

• Prof. Bouziane

• Prof. Ibahrine

• Prof. Wyatt

• Prof. Dahmen

• My Friends and Family:

• Capstone friends, student activities, friends at the cafeteria, Tarik, Nizar, Mr. Ouazzani, Saber, Nadia, Yasmina, Mimane, Siham , Douae, Zineb, Amine, Lamiae, Abdellah, Sarah, Amnir, Nabil, Jihad, Mehdi, Saad, Jalil, Mouna, Sebban, Fatem Zohra, Brahim, Simo…and many others.

Dedication

• I dedicate my work to my mom Sabah Elmrini, my dad Mustapha Lebbar, my sisters Maha and Rim, my baby brother Omar

• And to my very special one, Badr Molato