Morocco is a land steeped in culture and mystery, where you can lose yourself in its food, breathtaking landscapes, and architecture, always accompanied by rhythmic and evocative music. As a confluence of African, French, and - today - global music, the sounds of Morocco are nothing if not varied. Moroccan music varies greatly between geographic regions and social groups. Musical styles vary by geography. Particularly since the 20th century, musicians have been synthesizing Moroccan musical traditions with influences from around the world, such as blues, rock, metal, reggae, rap, etc.
Map of Morocco highlighting different regions and cultural influences.
This article will explore the rich tapestry of Moroccan music, from its historical roots to its contemporary evolution.
The Origins of Traditional Moroccan Music
The origins of traditional Moroccan music have very distant roots, a time when the mass deportation of black populations and the slave trade were commonplace. The deportations of local populations across the Atlantic Ocean are well-known, but those to the Old Continent and Africa should not be underestimated. Here, the nations proved entirely willing and highly interested in purchasing labor from the Saudi Arabs, who occupied these lands and in turn employed the local populations in the most arduous labor. They were employed in the dirtiest and most degrading jobs, such as in agriculture, manufacturing, but also in combat, so much so that a completely new category of warriors was born, the eunuchs, skilled soldiers trained with depriving and inhumane techniques to guard the sultan's house. In this climate of deprivation, suffering and slavery, different types of musical movements were born such as Arab-Andalusian music, Reggada, Dakka Marakchia, Ahidous, Hait and Gnawa.
One of the most characteristic forms of music in Moroccan tradition is Gnawa music. Indeed, it is almost called "trance music" precisely because it is the cornerstone of traditions, beliefs, and rituals. It is a music that encompasses various arts, songs, and dancers performing impressive pirouettes that convey the suffering of an oppressed people, destroyed by conquerors and stripped of every human right. In their choreography, accompanied by this ritual music, one can sense the vibrant suffering of this culture, enslaved and deprived of its rights.
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Gnawa Music: A Spiritual Tradition
One of the best-known genres of music to all Moroccans comes from the classical Andalusian legacy, and reflects Morocco's historic relationship with Spain. Another important but often neglected genre of music is that of the Gnawa, who came from West Africa to Morocco by way of migration, both voluntary and forced. Not all blacks in Morocco were slaves that originated from black West Africa. Some blacks were actually native to southern Morocco. Some sources suggest that groups of black people were indigenous of the Draa valley. They were sedentary agriculturists.
The term Gnawa has three important meanings:
- It refers to black people who were enslaved in West Africa.
- It defines both a religious/spiritual order of a traditionally Black Muslim group.
- It denotes the style of music associated with this order.
However, this genre of music cannot be defined only as a representation of the suffering of this people, in fact it is also used for various ritual dances, the most interesting and important of which is the "Lila" ritual in which the participants come into contact with supernatural entities who give them advice, warn them and answer their questions. In fact, devotees approach this ritual music above all to obtain healing, purify themselves and come into contact with those they cannot see in everyday life. It is also interesting to understand the typical tools used by these populations who have kept the same ones for generations. One of these is precisely what is called the "Gimbri", a kind of guitar-drum with strings made from animal gut and a soundbox entirely made of wood, used mainly in Gnawa music.
Elements of pre-Islamic West African animism such as the belief in the spirit world are fundamental to the Gnawa order. For the Gnawa, the spirit world is inhabited by ancestral spirits who, among other spiritual creatures, can be used for either good or evil purposes. Ancestors are believed to act as intermediaries between the living and the supreme god, and the Gnawa communicate with their ancestors through prayer and sacrifice.
The Gnawa have influenced other Berber/Arab mystic orders or brotherhoods, as in the case of the Issawiya (16th century) and Hamdushiya (17th century). These brotherhoods added new elements to the usual sufi devotional rituals, such as trances and contacts with spirits, most likely influenced by contact with the Gnawa order. The Gnawa, as a spiritual order within Moroccan Islamic society, was marginalized and is still marginal. Through their musical ceremonies and trances, they claim to cure insanity and free people from malign influences.
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Westerners who have visited Morocco have likely encountered Gnawa musicians. In the coastal Atlantic town of Essaouira, where an annual festival of Gnawa music takes place, and in Marrakesh, at its spectacular central square called Jamaa el-Fna.
Compass: The world of Gnawa
Andalusian Classical Music: A Legacy of Moorish Spain
Some of the best known genres of music to all Moroccans come from the classical Andalusian legacy, and reflect Morocco's historic relationship with Spain. Andalusian music is recognized as a national music and is repeatedly featured on national audio-visual media. Andalusi classical music (Arabic: طرب أندَلُسي, موسيقى الآلة transliterated ṭarab andalusi or Musiqa al-Ala, Spanish: música andalusí) is a major genre of Arabic music found in different local substyles across the Maghreb (Morocco, Algeria, Tunisia, and Libya in the form of the Ma'luf style). Some of its lyrics are based on poetic works written by authors from Al-Andalus, such as Al-Shushtari, Ibn al-Khatib and Al-Mu'tamid ibn Abbad.
Andalusi music is considered part of the longest traditions of art and music in the world. Andalusi music was greatly influenced by Ziryab, a freed Persian slave and musical pioneer, in the early 9th century.
Centuries on, the most famous andalous orchestras are those of Fes, Rabat and Tetouan. A typical andalous orchestra uses rabab (fiddle), oud (lute), kamenjah (violin-style instrument played vertically on the knee), qanun (zither), darbuka (metal or pottery goblet drums) and taarija (tambourine).
Milhun is a semi-classical sung poetry associated with artisans and traders. It makes use of the same modes as al-ala orchestras, but is more lively and danceable. A Milhun suite consists of two parts: an a-metrical taqusim played on oud or violin, which introduces the mode, and the qassida, sung poems with words of folk or mystical poetry, or nonsense lines.
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Chaabi Music: The Voice of the People
Chaabi (Arabic: الشعبي, meaning popular in English) is a music consisting of numerous varieties which descend from the multifarious forms of Moroccan folk music. Moroccan Chaabi music first appeared during the 1930's, during the French protectorate in Morocco. This early form of Chaabi was profoundly influenced by the social landscape of the period. Most Chaabi artists had limited or no formal education, so they sung in colloquial Moroccan Arabic, or Darija.
A Chaabi music performance in Morocco.
Because of limited access to radio during the early years of Chaabi, Chaabi artists used local instruments in their music and were only somewhat influenced by the popular music of Egypt and Syria being developed at the same time. During the 1970's, Chaabi developed into a more formal style of music. Increased communication and transportation allowed Chaabi to infiltrate urban centers in Morocco. Increased contact with Western music also facilitated the creation of popular Moroccan Chaabi bands. Electric instruments were introduced into the bands.
The oldest form of chaabi (pop) is al’aita, the music of rural communities on the Atlantic coast. It is performed during private and public celebrations and is usually sung in Darija (Moroccan colloquial Arabic), telling of love, loss, lust and daily life. Alaita has two parts. The lafrash is a slow instrumental prelude (usually on violin) followed by several verses sung in free time. Then comes the lahsab, a syncopated dance that lasts as long as the audience desires.
In the following decades, Chaabi music gradually declined in popularity. It was superseded by more Western forms of music, especially by the rise of Ra'i music in the 1980's.
Raï Music: A Genre of Social Commentary
Rai music originated from Algeria, but is just as effective and popular in Morocco. This style of music was created during a period of political turmoil, and served a purpose of social and political commentary. Raï music is a blend between traditional Islamic drum patterns, melodies, and instruments with Western electric instrumentation. Raï music is most commonly found in Moroccan towns near the Algerian border. The songs address taboo topics, often making social and political commentary.
Rai music has gained massive support over the years from the urban populace for its purpose of addressing taboo topics. It was also greatly known for code switching between French and Arabic.
Berber Music: Ancient Rhythms of North Africa
The Berber are the first known inhabitants of Africa’s north-western corner. In a typical scene of village music-making, an entire community may gather in the open air to sing and dance in a large ring around an ensemble of drum (bendir) and flute (nair). The best-know dances are the ahouache and the ahidus.
Berber ritual music often features drums and rhythmic handclapping. It is used in the rites of the agricultural calendar - such as moussems - as well as on occassions such as marriage. In the Atlas Mountains professions troupes of musicians, called imdyazn, travel during summer and perform in village squares and at weekly souks. A leader improvises poems telling of current affairs. Drum, rabab and clarinet accompany the singer.
Modern Moroccan Music: Fusion and Innovation
In this new era, Morocco has also seen the development of new styles of singing and rhythm, often completely different from the region's musical traditions. Many of the most modern songs originating in Morocco are in fact much more Western in style, so much so that, if it weren't for the original language, they would hardly differ from the music heard every day in the West.
The introduction of modern recording equipment, electric keyboards, and synthetic beat making has helped transform Moroccan music over the last 40 years. Moroccan music has proved an ideal starting point for all kinds of fusion experiment, having influenced such disparate figures as Brian Jones, Ornette Coleman, and the European electronic group Dissidenten.
Hip-Hop in Morocco
More recently hip-hop has become popular in Morocco and, though the home grown scene is still largely underground, most popular crews have attained national visibility. Notable Moroccan rappers include H-Kayne, Muslim, Don Bigg, L'Morphine, 7liwa, Dizzy Dros, Shayfeen and others. Issam Harris has, more recently, created a Moroccan form of trap music by combining influences from American rapper Travis Scott with melodic lines from North African. The new styles of hip-hop music produced in Morocco often feature auto-tuned vocals. These are laid over beats produced digitally to mimic the sound of the famous Roland rhythm composer.
| Genre | Artist | Description |
|---|---|---|
| Gnawa | Hamid El Kasri | A living master of Gnawa music known for his deep voice and charismatic presence. |
| Hip-Hop/Pop | Manal Benchlikha | An award-winning artist who spans multiple genres and addresses diverse topics in her music. |
| Fusion (Psychedelic Rock, Blues, Gnawa) | Bab L’Bluz | A band that blends the music and styles of psychedelic rock, blues, and Gnawa. |
| Malhun | Fatima Hadad | A key figure in the continuation and preservation of the Malhun musical tradition. |
| Raï | Cheb Mimoun | A prolific Raï musician who released 17 albums. |
| Rap | Don Bigg | Considered a pioneer of rap music in Morocco. |
| Trap | 7liwa | A young trap musician who has seen incredible growth in popularity online. |
From rhythmic Berber chanting to the sweltering, sun-drenched sounds of Egyptian influenced Chaabi, one of Morocco’s most popular genres is the country’s repertoire of African Islamic spiritual music, known as Gnawa, which continues to influence major artists even today. When traveling in the country, you’ll hear music wherever you go - echoing out of portable radios, played movingly in restaurants, or during impromptu performances high in the Atlas Mountains.
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