#moroccan legacy

[babalmaghrib]

" Moroccan Women in Haik ", Tetouan, Morocco, archive picture by George Washington Wilson c. 1870

[0alanasworld0]

Cast your votes!!!

You best bet our big boy is currently leading the race alhamdulillah!!!!

[starkeysbunny]

Omg I started reading your fics and I fell in love😭

I wanted to request a Rafe x reader (angst) where like she's Kiara older sister but she dies instead of JJ, and its all angst and something like that 🥲

(its okay if you don't want to write this!💋)

Love you!!! 💓

𝗽𝗶𝗻𝗸𝘆 𝗽𝗿𝗼𝗺𝗶𝘀𝗲 [𝗿𝗮𝗳𝗲 𝗰𝗮𝗺𝗲𝗿𝗼𝗻]

first request yay !! i’m new to writing on tumblr, so here’s my first one! excited to do more <33

pairing - rafe x pogue!carrera!reader

warnings - angst, hurt, sad asf, reliving jj’s death but plot twist it’s you this time, cursing, death

summary - ask above ↑ you’re kiara’s older sister. (rafe’s age gap to sarah is what i imagined!). when you’re in morocco on a dangerous trip to help your friend jj get answers, everything goes terribly wrong. in a last stitch effort to save your best friend and sister, you end up clinging for life in your boyfriend’s arms with your friends beside you.

i can’t see anything. my arm covers over my eyes as dust blows in every direction. the hot air coats my skin covered by cloth.

“rafe!” i shout, trying to see, trying to find him. he ran off with john b and sarah. and now, i couldn’t find him.

that’s when i see my sister, and jj.

i stand back, dodging behind a wall so groff wouldn’t see me. my hand covers my mouth in shock as i see groff holding a knife to my sisters neck. “shit.” i mutter.

“give me the crown, and you can have the girl.” groff says, sticking his arm out gingerly, while holding kiara close to his chest.

“okay, okay, you can have it. just give me kiara.” jj says, raising his hands in defense.

i try to watch through the dusty sandstorm as jj reluctantly and carefully trades the crown for kiara. they both switch hands at the same time, kiara collapsing in jj’s arms.

groff holds the crown to his chest, a sick smirk on his face. his eyes flick to the knife in his hand, then back at jj.

no. no. no.

before i can even think, my feet are moving before my mind could. through the blazing heat and thick sand storm, i move blindly. going in the direction of kie and jj, i slot myself between jj and groff.

i gasp, my hand coming to my stomach. my eyes are locked onto groff’s and he raises his eyes in surprise.

“y/n!” i hear the desperate pleas of my sister fade into blurry obscurity. i couldn’t recount every moment after that. it was all a blur of pain.

my breathing is heavy, but fast. kiara had propped me up against a weak wooden pillar.

“y/n! it’s gonna—gonna be okay? okay?” kie says, her voice shaking. i could barely hear her over the roaring winds around us. jj was kneeling next to kie in front of me. he wasn’t saying a word. he was in shock, staring at the blood beginning to stain the moroccan cloth clothing cleo stole for all of us.

the blood that was supposed to coming from his own abdomen, was now instead, on his hands. i furrow my eyebrows at him, silently pleading for him to not feel guilty. i shake my head.

“it’s okay.” i whisper weakly.

jj’s eyes were full of guilt, regret, and anger. this would kill him. the survivors guilt. and i knew kiara would be fueled by anger and revenge.

after everything we went through on this trip, to get here. to save jj’s family legacy. to get him answers. and to save what was rightfully ours on kildare, the surf shop.

instead of leaving in riches, smiles on our faces—i would never leave. and my friends would all leave with vengeance in their hearts, and no place to go home to.

as i think about my friends, all the pogues—my mind goes to my boyfriend. the one kook with us. and suddenly, my heart is ripped in two.

my eyes immediately meet jj’s. weakly, i plead. “find rafe. please.”

jj nods firmly without a second’s thought. he stands, pulling the bandana over his nose and finding rafe.

“kie.” i whisper, my voice weak as my lip quivers. i look at my sister who’s hands were pressing harshly against my stomach, trying to stop the bleeding.

“no, no it’s fine—you’re fine!” she exclaims as tears violently and rapidly soar down her cheeks.

“hey.” i say, getting her attention.

finally, her glassy eyes move from my stomach to my face, a sob escaping her lips.

“i love you, kie, okay?” i sniffle. “save a seat for me at the maybank wedding, hm?” i tease with a weak chuckle.

“shut up.” she says through gritted teeth, hot tears never stopping. “i won’t have to. cause you’ll be there. cause you’re my sister-you-you’re supposed to be there.”

“okay.” i whisper with a weak nod.

she presses her lips together, closing her eyes. she hears the agreement and compromise in my single word response because, i didn’t want to argue. even if it was a stupid, little argument about her adamance of my survival. my last moments with my sister couldn’t be ended in trivial bicker.

“i love you too.” she whispers.

“y/n?!”

i look up, seeing rafe rushing toward us with an urgency i’ve never noticed him have before. jj trailed behind, john b, sarah, cleo, and pope following suit.

“baby.” rafe whispers. he kneels next to me, moving my body slightly so my back laid against his chest. kie still knelt in front of me, her hands holding pressure on my stomach.

i tilt my head back slightly as i look up at rafe. “hi.” i whisper weakly.

he pulls his bottom lip between his teeth, shaking his head. “no. no, no, you’re not goin’ anywhere, alright? we-we’ve talked about this. you can’t go before i do.”

“tell that to groff.” i wince, groaning as i lean against him. “fuck.” i mutter in pain.

“i’m gonna fuckin’ kill that bitch.” rafe spits. i look up at him, and see tears falling down his cheeks.

my hand weakly reaches up, pulling down the bandana from his nose. “hey.” i whisper softly, my touch gentle as my thumb wipes his tears. “i’m gonna be fine.”

my eyes dart down at my sister. “right, kie?”

her lip quivers violently, she presses harder against my stomach. then, her eyes look up at rafe.

even though my sister and all of my friends hate rafe—they understand. they see how much he cares about me. ever since we started dating, parts of them had grown slightly tolerant to him. because when he’s around me, he’s a little nicer. a little sweeter.

and they know that even if they don’t trust him, i do. and rafe has shown it time and time again. that he cares about me. for real.

“yeah, rafe.” she whispers, her voice shaking. “she’s gonna be fine.” kie says, but i don’t even think she believes the words anymore.

“y/n…” john b says, his lips gaping open. sarah stood beside him, her hand covering her mouth. “oh-oh my god.”

“no, no.” rafe snaps. “don’t say that!” his voice is firm and sharp. “she’s gone be fine! go get help don’t just stand there and gasp—“

“hey, hey.” i say softly, my hand brushing against his cheek. “stop.” i whisper.

john b nods. “no, he’s right. we-we’ll go find help.” john b grabs sarah’s hand as they run off, searching for help. pope looks back reluctantly, but i nod at him. both him and cleo follow to find help. but there was no one for miles. we were screwed.

“you can’t leave me, alright?” rafe gasps, his voice breaking. “everyone else in my life, they always fuckin’ screw me over. yo-you’re the only one i can trust.”

his lip quivers and he leans down, pressing open mouthed kisses to my forehead. “please, baby. you’re all i have, y-you’re everything. c’mon, you-you remember, right?” he sniffles, pulling back and looking down at me.

my eyebrows furrow as i look up at him weakly, letting him continue.

“we gotta buy that house. t-the white one, with the blue shutters on the marsh.” he sniffles. “and you can get all the fuckin’ cats, dogs, bunnies, whatever you want—“

i chuckle softly, clutching my stomach from the pain the laugh causes. rafe and i had been together for about eight months. we’ve talked about moving in together. and there’s this house, on the marsh on figure eight. my dream house. rafe and i always would talk about it and make up scenarios of our future together.

one of them, involved him and i in the backyard of the house as i tend to our many pets. he groaned in annoyance the first time i mentioned it. but, i guess he secretly loved it. he’d do anything for me. anything i wanted, he’d make sure i had it.

“yeah, baby. all the pets. a-and then, i gotta make you mrs. cameron. okay? s-so don’t even think about leavin’ alright? we have so much more-more to do, please.” he begs through shallow cries and gasps.

“okay.” my eyes slowly blink up at him. i weakly bring my hand up, sticking out my pinky. “we’ll have the house, all the pets, and i’ll be mrs. cameron. pinky promise.”

he presses his lips together as a particularly rough sob threatens to escape. his hand comes to mine, his pinky latching on. “pinky promise.” he whispers.

i smile softly at him, then slowly turn my head to kie. “i love you.” i whisper to her.

she nods firmly. “i know. i love you too.”

then, my eyes turn to jj. “it’s not your fault.” i weakly whisper. “thank you, j. for being my best friend. you’re really good at that.” my voice breaks. “p4l?” i chuckle softly.

jj smiles as tears fall down his cheeks. “p4l.” he repeats.

“and, if you break my sisters heart—i’ll haunt you or some shit.” i weakly chuckle. jj grins, a laugh slipping from his lips. his hand comes up, rough knuckles wiping at his tears, he nods. “got it.” he whispers.

i look back up at rafe, leaning further into him, my hand coming up to rest against his chest. “i love you.”

“i know. i love you more. i got you.” he whispers, his voice a ghost now from how low and shaken it is. he presses a kiss to my hair, holding me impossibly close.

i didn’t want to die. but, as my body grew weak, my eyes wanted to close. i just wanted to go to sleep. and part of me hoped that, if i went to sleep, i’d wake up in a few hours magically, in a hospital bed.

maybe john b, sarah, pope, and cleo found help. maybe it’ll be okay.

but if not, i’m okay with that too. i got to go with my favorite people. kiara, my sister. jj, my best friend. and rafe, the love of my life.

as my eyes begin to flutter shut, i take in rafe’s features one last time. my gaze brushes over his blue eyes, the curve of his nose. down to the shadow of his cheekbones, and the purse of his lips that i had gotten the luck to kiss so many times.

i said everything i could’ve possibly wanted to say. i got to die, with the people i loved most in the world. i was okay.

and hopefully, in a few hours, i’d wake up. and get to live a long life with all of them.

but for now, i was going to sleep.

—

damn yall that was sad asf. making me relive jj’s death 😞 hope u enjoyed !! thx for the request lovies !! <3

[pargolettasworld]

https://www.youtube.com/watch?v=Xih_7N-iLwM

Just yesterday, I had the pleasure of listening to my friend and colleague Judith Cohen describe her ethnomusicological travels, in this case through Canada, Israel, Morocco, and Brazil.  She was describing the singers she met who carried on the legacy of Moroccan Sephardi music, often sung in haketia, which is the Moroccan version of Ladino.  Songs in haketia are getting rarer, as the Ottoman versions of Sephardi songs have become more popular.  But here’s a Moroccan version of Eliyahu HaNavi, in that lovely Moroccan style.

[mchiti]

italian commentators arguing on who's the best colombian player and they were like "james rodriguez" "james rodriguez the best colombian player????" "well I'm not saying so, colombians say so" and the other replied "well I don't know...I didn't expect james rodriguez to be so fundamental to colombia still...since our attention is now on such a talent as luis diaz now" see the culture of the moment, I dislike it so much in football. Luis diaz's a super great player but there's no need to disrespect james rodriguez? he could've had a better career and we all know but he's been a great player and granted I don't know if he's still the most loved colombian player as I'm not colombian, I'm sure there's a reason while he's very much loved and this reason might also be going beyond football (attachment, history, first achievements, pride). It's like what Hakim Ziyech is for us moroccans even tho he's also a player who was a bit unlucky on an international level. Like sometimes you don't have to questions legacy you know, it's not just about playing in the prem and shit

[beardedmrbean]

ALGIERS, Algeria (AP) — Algerian lawmakers condemned the European Parliament for a resolution criticizing the arrest of French-Algerian novelist Boualem Sansal.

Lawmakers from both chambers of the North African nation's parliament on Monday signed a statement rebuking the European Parliament's resolution for “misleading allegations with the sole aim of launching a blatant attack against Algeria.”

Since his Nov. 16 arrest, Sansal’s cause has been taken up by European writers, artists and politicians, particularly those on the French right sympathetic to his criticism of Islam.

Sansal has been charged with violating an anti-terrorism statute that rights groups say Algeria uses to target activists and dissidents and quiet criticism of the government. The 76-year-old is among several imprisoned writers mentioned in the European Parliament’s resolution last week, which also references journalist Abdelwakil Blamm and poet Mohamed Tadjadit.

Algerian lawmakers accused the European Parliament of political inference and cast doubt on whether their motivations had to do with Sansal's well-being or “harming the image of Algeria.”

The back-and-forth mirrors similar spats between Europe and nations that were once colonized by some members of the 27-nation bloc and see such criticism as paternalistic. In 2023, Moroccan lawmakers blasted the European Parliament for passing a resolution that implored Morocco to respect press freedoms and grant fair trials to three imprisoned journalists.

The clash over the resolution is the latest rupture between Algeria and France. The countries have for nearly a year sparred over immigration and repatriation issues, the disputed Western Sahara and the legacy of French nuclear testing in Algeria's Sahara Desert, which lawmakers passed a resolution addressing last week.

[youridlisen]

Berber Tattooing: Exploring Amazigh Tattoo Culture and Moroccan Women’s Face Tattoos (Book)

Berber tattoos, also referred to as Amazigh tattoos, serve as a vibrant reflection of the diverse cultural heritage of North Africa's indigenous Berber population. These meticulously crafted and captivating tattoos transcend mere skin-deep artistry; they function as vessels embodying the rich tapestry of heritage, social standing, and personal narratives seamlessly interwoven into the very fabric of Berber identity.

With a historical lineage stretching back millennia, the Berber people have fostered a profound connection with the natural world. Within the realm of Berber tattoos, this deep affinity manifests through a striking array of symbolic depictions, each laden with profound meanings that resonate with life, belief systems, and pivotal moments.

Nature assumes a central role in the realm of Berber tattoos, where symbols bear the imprint of animals, plants, and celestial bodies. The towering palm tree, symbolizing strength, growth, and resilience, serves as a potent representation of life and prosperity deeply ingrained in Berber culture. Likewise, the snake, embodying a guardian spirit, symbolizes wisdom and healing, acting as a protective force against malevolent influences and ushering in good fortune.

Amazon Link: a.co/d/gRSF3Jy

Drawing from ancient Egyptian iconography, the Berber people adopted the Eye of Horus, a potent symbol believed to ward off evil and usher in good luck. Equally significant is the Hand of Fatima, an open palm that serves as a protective talisman against the evil eye and negative energies.

The Amazigh Cross, often referred to as the “Agadez Cross,” serves as a compass of sorts, offering guidance and orientation during travels and life’s journeys. In the vibrant world of Berber tattoos, women play a central role, embodying themes of fertility, femininity, and the enduring legacy of the tribe.

Berber tattoos are not mere embellishments; they are markers of life’s milestones and rites of passage. For young Berber girls, their first tattoos, often received during puberty, symbolize the transition into womanhood and eligibility for marriage. These tattoos bear not only ink but the weight of cultural identity and pride.

The complexity and number of tattoos worn can also signify an individual’s standing within the community. Leaders and elders, with their wealth of wisdom and life experiences, may display more intricate and elaborate tattoos.

From “Berber Tattooing: Exploring Amazigh Tattoo Culture and Moroccan Women’s Face Tattoos”, illustrated by Mohammed Jiari

In recent times, there has been a renaissance of interest in Berber tattoos. Efforts to preserve and reinvigorate this ancient art form have borne fruit. Modern-day artists and tattoo enthusiasts explore the depths of Berber symbolism, infusing tradition with innovation to create contemporary designs that pay homage to the past.

This resurgence is not only about the art itself but also about nurturing cultural pride and identity among the Berber community. These timeless designs remain a vibrant and integral part of Berber heritage, ensuring that the symbolic meanings of Berber tattoos continue to thrive, enchanting and resonating with generations to come.

[paramedicabroad]

Historic City of Meknes

Tucked between the Middle Atlas and the Rif Mountains, Meknes is a city where history whispers from every corner. Known as one of Morocco's four imperial cities, Meknes offers a blend of grandeur, culture, and charm that has earned it a place on the UNESCO World Heritage list since 1996. Walking through its gates feels like stepping back in time to an era of sultans, palaces, and towering walls. Let’s dive into the timeless allure of this extraordinary city!

Meknes rose to prominence in the 17th century under Sultan Moulay Ismail, a ruler with grand ambitions. Determined to make Meknes the heart of his empire, he transformed the city into a magnificent capital, building monumental gates, sprawling palaces, and imposing fortifications. His legacy is etched into every stone, making Meknes a living testament to Morocco’s imperial past.

One of Meknes’ most iconic landmarks is the Bab Mansour, often hailed as the most beautiful gate in Morocco. Completed in 1732, this monumental entrance is adorned with intricate zellige tilework, marble columns, and Kufic inscriptions. It served not only as a functional gateway but also as a statement of power and artistic brilliance. Stand beneath its arch, and you’ll feel the weight of history towering above.

Moulay Ismail's vision extended beyond palaces and mosques; he also built vast Royal Stables and Heri es-Souani, the granaries designed to store food for the city. These impressive structures could accommodate thousands of horses and hold massive supplies of grain, ensuring the empire's self-sufficiency. Walking through their cavernous interiors, you’ll marvel at the ingenuity that sustained a thriving imperial capital.

The Mausoleum of Moulay Ismail is a serene and sacred site, where the sultan himself rests. It’s one of the few religious places in Morocco open to non-Muslims. The mausoleum is a masterpiece of Moroccan design, with stunning stucco work, mosaic tiles, and serene courtyards. Visitors come to pay their respects and experience the tranquility of this hallowed space.

Located just outside Bab Mansour, El Hedim Square is Meknes' bustling hub. Once used for royal proclamations and public events, today it’s alive with street performers, market stalls, and cafés. As the sun sets, the square comes alive, offering a vibrant mix of sights, sounds, and flavors. Grab a mint tea and soak in the lively atmosphere—it’s an experience that captures the soul of Meknes.

Meknes is a city of walls, with an intricate network of fortifications stretching for over 40 kilometers. These walls, punctuated by grand gates and watchtowers, were designed to protect the imperial city and its treasures. Their sheer scale is awe-inspiring, a reminder of Moulay Ismail's vision of a city that would stand the test of time.

Meknes was inscribed as a UNESCO World Heritage Site for its exceptional testimony to the fusion of Islamic and European architectural influences. It stands as a symbol of Morocco’s imperial ambition and cultural richness. The city's preservation allows visitors to explore a well-preserved snapshot of 17th-century urban design and imperial grandeur.

While the historic core of Meknes is its main attraction, the surrounding area offers even more to explore. Just a short drive away, you’ll find the ancient Roman city of Volubilis and the sacred town of Moulay Idriss Zerhoun. Together, these sites paint a rich tapestry of Morocco’s historical and cultural layers.

Meknes is a city of contrasts: imperial yet approachable, grand yet intimate. It’s a place where history comes alive, and every corner tells a story. Have you wandered through its streets or stood in awe beneath Bab Mansour? Share your Meknes memories below!🏰✨🇲🇦

[caleb-marlowe]

Henry Kissinger was Secretary of State for the US. His legacy is:

1. Organizing detente with China. Which would lead to normalized relations with China leading to the China of today, which depending on where you live today might either make you happy, sad, concern, or furious.

2. Advocating for the unrestricted bombing in Cambodia to stop the Vietcong from using the Ho Chi Minh trail, a complete fucking war crime as Cambodia was not involved, was at peace with the US and had little to do with Vietnam. This laid the groundwork for an upswell of support for the Khmer Rouge, who then went on to commit genocide. Even after the genocide, Kissinger advocated for friendship with the Khmer Rouge, as they were more aligned with Beijing than Moscow.

3. He supported Pakistani military dictators and generals against Bengal's war of independence. The Pakistanis were committing what has been called "selective genocide".

4. He worked towards detente with the USSR and Brezhnev, including SALT 1, aimed at limiting nuclear proliferation.

5. Kissinger didn't tell Nixon immediately about the outbreak of the Yom Kippur war, as he worried Nixon would get involved before the situation would be beneficial to Israel.

6. Kissinger was a key player in having Allende assassinated in Chile, replacing him with the right-wing dictator and murderous bastard, Augusto Pinochet.

7. He supported the Argentinian Junta for couping Isabella Peron, who had won her democratic election. This junta would go on to murder and disappear tens of thousands, culminating in the Falklands war.

8. Kissinger was a proponent of Brazil getting a nuclear weapons program, mainly because it was a right-wing junta in power.

9. Kissinger publicly engaged in talks with Rhodesia to put an end to the war, and transition to black majority rule. Privately, he told the racist, apartheid loving Ian Smith that he admired him.

10. Following the breakdown of Estado in Portugal (Salazzar's dictatorship), decolonization started for what remained of the Portuguese empire. One of those was East Timor. Sudharta, Indonesia's military ruler, decided he would annex the territory, and damn the wants and desires of local East Timorans. Kissinger supported the Indonesian president, in an on-going occupation that has killed many, many tens of thousands. It's possibly worse and more brutal than the Israeli occupation of West Bank, but no one cares.

11. West Sahara, a problem area to this day, was forcibly conceded away from Spain. Kissinger supported passing this territory, despite the locals desire for independence, and didn't inform President Ford about an upcoming Moroccan invasion. Another whoopsie moment, I guess.

12. Aided in behind-the-back talks with Vietcong forces to keep the Vietnam War going, sabotaging peace talks with Johnson and South Viet government which prolonged the War another five years (!) until Nixon could conveniently end the war. As well as Operation Menu and Operation Freedom Deal, Vietnam War era atrocities ordered by Nixon and Kissinger to bomb the ever-loving shit out of Cambodia, with an estimated 55,000-150,000 civilian deaths and causing a massive refugee crisis, and to this day the soil in that region of Cambodia is thick with unexploded bombs.

Via Reddit, u/JustMyOpinionz

[blkforester]

Born under the relentless heat of the Moroccan sun, yet raised amidst the rhythmic beats of Jamaican reggae, the man carries the soul of two worlds in his veins. His life has been a journey of embracing contrasts—navigating the dusty, sun-drenched landscapes of the Atlas Mountains and the vibrant, carefree spirit of the Caribbean coast. His tattoos, etched with the intricate geometry of Morocco and the bold symbols of Jamaican freedom, tell the stories of his ancestors, each line a legacy of resilience. With the gold amulet passed down through generations, he stands tall, embodying the strength of his heritage. The desert wind and the ocean breeze have shaped him, merging the spirit of two cultures into one powerful identity. Proud and unwavering, he walks through the world as a living testament to the richness of his roots—an enduring blend of desert heat and island rhythm.

[johnsonemy]

My Journey with Moroccan Rugs: A Touch of Tradition

When I first discovered Moroccan rugs, I knew they were more than just decor—they were rich with history and artistry. I began exploring Berber rugs, which are handcrafted by Moroccan tribes. What fascinated me most was the deep cultural meaning behind the patterns. Every pattern Berber carpet reflects a personal story or tribal tradition, which makes each rug unique and full of life.

While searching for the perfect addition to my home, I came across vintage Moroccan carpets. These older pieces, worn by time, felt like they carried stories from past generations. I found myself drawn to their authenticity and the idea of owning something with a history.

Eventually, I chose an abstract Moroccan rug that blended modern design with traditional craftsmanship. The bold, artistic patterns gave it a contemporary feel, yet it still held the essence of Moroccan culture. The use of natural wool and plant-based dyes in the rug’s creation made it both eco-friendly and durable—qualities I really appreciate.

Owning a Moroccan rug has transformed my living space. It adds warmth, character, and a connection to a rich cultural heritage. It’s more than just a beautiful piece on my floor—it’s a symbol of tradition and skilled craftsmanship.

If you’re considering a Berber rug, I highly recommend it. It’s not just about style; it’s about bringing a piece of Morocco’s artistic legacy into your home, and I promise, you’ll feel the difference it makes.

[babalmaghrib]

Zellij fragment, 1350 ~ (14th century), Tangier, Morocco

— Conserved at the Royal Museums of Art & History in Brussels, Belgium

[totallyhussein-blog]

The stories we share and the legacy of food

Throughout the history of the Jewish people, food has served as a bridge between their ancient heritage and the present day, as Daniela Ghelman explains in the Boca Raton Observer.

Culinary Curator and Jewish and Israeli Food Specialist Naama Shefi’s latest cookbook, “The Jewish Holiday Table: A World of Recipes, Traditions & Stories To Celebrate All Year Long,” highlights this connection exceptionally well.

Hailing from Givat HaShlosha, a small kibbutz in central Israel, Shefi arrived in New York City in 2005, following a career path in film. While navigating the bustling pace of her new life in America, she turned to food to reconnect and strengthen her Jewish identity.

She began organizing various culinary events across the city, such as gefilte fish conferences, an Israeli Moroccan Seder and an Iraqi Jewish comfort food pop-up. These projects paved the way for the Jewish Food Society, a nonprofit that Shefi founded in 2017 that preserves, celebrates and revitalizes Jewish culinary heritage.

“Following the success of launching many delicious Jewish food events across the city, I started to imagine a home for Jewish food,” says Shefi, 43, of the nonprofit. A great inspiration was her husband’s grandmother, Nonna, who Shefi says opened her eyes to the connectivity, hospitality and spirit around the Shabbat table.

“I thought back to Nonna and realized there are countless cooks like her whose recipes tell the stories not only of their lives and those before them but also of their communities and Jewish experience. I knew that if those recipes disappeared, so would a crucial and irreplaceable part of our history and culture.”

[dry-valleys]

اللَّهُمَّ افْتَحْ لِي أَبْوَابَ رَحْمَتِكَ

The seventh and last part of my Morocco series (please see here, here, here, here, here and here for more).

Marrakech became the capital city of an empire spanning Africa and Europe when it was founded by the Almoravid dynasty in 1070 and Islam, which has been the foremost religion (alongside a large Jewish minority) since Morocco was conquered by the Arabs in 709 AD, has always set the tone of the city.

Ben Youssef Mosque was built here by Ali ibn Yusuf (1106-1142 AD), who was an Almoravid, and the site is now home to Ben Youssef Madrasa since 1565.

A madrasa, or theological school, has been here since Abu Al Hasan ibn Othman of the Marninid Dynasty (1244-1465) founded it between 1331 and 1348 and this building has stood since commissioned by Abdallah Al Ghalib of the Saadian dynasty (1549-1659), who also built palaces and tombs that you can read about in my other posts.

(This is mainly a post about the 16th and 17th centuries; please see here and here for earlier and later eras).

The Saadians were sharifs (descendants of Mohammed, the founder of Islam, or his family) and thus felt a duty that they took seriously, and carried out well, as you can see from what they left behind.

They were also mindful of the links to Europe which their country had had since European times, and which has left its mark in Morocco since the Koutoubia Mosque, built 1147 AD by the Almohad dynastY, who overthrew the Almoravids earlier that year. (The Koutoubia is twinned with a mosque in Cordoba, in what is now Spain, which sounds absolutely lush, though I’ve never been there).

As the Museum with No Frontiers points out, “if anything can be singled out as the leitmotif running through the area of the Mediterranean, it is diversity of expression combined with the harmony of sentiment, a sentiment more cultural than religious”. I’d love to test this out in Cordoba or Seville one day!

Indeed the Andalusi marble basin, built in 1002-1007 AD, went from Morocco to Cordoba and came back; it now lives here as a sign of those who came here after 1492, when the last Muslim power in what is now Spain was cast out.

At that time, all Muslims and Jews were expelled from the Spanish state, and many came here, as it was the nearest friendly country and many of their forefathers came from Morocco; they were just as much European as Islamic and African, and brought back a legacy that infuses all Saadian and later buildings.

Because the state religion was (and is) Islam, both theologians and lawyers were trained in a madrasa that taught 800 students and was thereby the largest in Morocco.

This school worked tirelessly until it was shut down in 1960; it then reopened as a museum in 1982 and was restored between 2018 and 2022 on the orders of King Mohammed VI, showing the links between religion of state that have always existed in Morocco, though without becoming an Iranian-style theocracy.

Since it was built just after a wave of migration from Europe to Morocco, and has strong European influences painted on to the Islamic bedrock (both Arabic and that of the Berber folk who have always lived here), this shows the sheer Moroccan-ness that makes Morocco distinctive.

فِى بُيُوتٍ أَذِنَ ٱللَّهُ أَن تُرْفَعَ وَيُذْكَرَ فِيهَا ٱسْمُهُۥ يُسَبِّحُ لَهُۥ فِيهَا بِٱلْغُدُوِّ وَٱلْـَٔاصَالِ

[mywifeleftme]

59: Nass El Ghiwane // Nass El Ghiwane

Nass El Ghiwane Nass El Ghiwane 1976, Plein Soleil

The job of a label press release is to pique interest in a record, and when you’re in the ~*world music*~ reissue business that usually means trying to find a parallel between your artist and a familiar touchstone, angling for the off chance an openminded shopper will take a shot and throw your record into the day’s stack. This is the ship that launched a thousand “the [western artist] of [non-western country]” blurbs (“The Hendrix of Turkey!” “The Joni Mitchell of Zambia!” “The Mort Garson of Brunei!” etc.). It worked on me when a somewhat younger, much callower version of myself snagged Nass El Ghiwane (1976) from a shop that’d taped an excerpt of the press release to the sleeve. Here it is in full:

“Formed in 1971, Nass El Ghiwane's five members first performed in the avant-garde of Morocco's underground theater scene. Following their debut performance as a band in Rabat at Tayeb Seddiki's Mohammed V Theatre, their songs became the 1970s anthems of Moroccan youth -- nationalist, rebellious, experimental, and bygone all at once. They are Morocco's most enduring musical legacy. They modernized the way music was transmitted to the disenchanted and rebellious youth of their country. Their concerts would turn into riots as their music and lyrics incited deep affection from their virulent fan base. Their music echoes medieval Moroccan oral traditions; coming from the Gnawa trance music of their ancestors, they sang tales of Sufi mystics and wrote lyrics that criticized the conservative monarchy of Mohammed V. They were the first to introduce the banjo, guembri, and colloquial Moroccan Arabic in their version of the shaabi genre. Nass El Ghiwane were a huge influence on Algeria's modern Raï movement, as Cheb Khaled started his career covering Nass El Ghiwane's songs. This is exemplary trance music and the foundation of the modern era in Moroccan music. Martin Scorsese has called them "‘The Rolling Stones of Morocco.’" It could be argued that Scorsese's claim would be more accurate if the Stones were fronted by Bob Dylan. This is the first ever vinyl reissue of their third album from 1976, one of the most desired LPs in their legendary discography. Fully remastered sound.”

It's a near platonic ideal of its kind—rife with dope-sounding references (Gnawa trance music! Sufi mystics! Concerts breaking out into riots!), and intriguing bold-type names.* I might have had no idea who Cheb Khaled was, but the wording insinuated I should and would like to, and the references to the Stones and Dylan suggested I was holding some kind of wicked fusion of Arabic folk music and heavy rock. Which anyone who knows anything about Gnawa trance music, or shaabi, or Raï, probably could’ve told me it wasn’t, but none of those people were in Sonic Boom Records at that time, so they didn’t, and I ended up with a record I really didn’t know what to make of for quite a while.

To paraphrase writer Ralph Wiley’s rejoinder to Saul Bellow’s (allegedly) dismissive question, “Who is the Tolstoy of the Zulus?”, the Rolling Stones are the Rolling Stones of Morocco, and Dylan is the Dylan of Morocco. Nass El Ghiwane are similar to these acts in the sense that they were famous and countercultural in their own society, but what that meant in a Moroccan context, and in musical terms, is very different. “Nass El Ghiwane isn’t a pop group in the classical sense, but more of a theatre group that sings,” noted Tayeb Seddiki, a theater director who helped launch their career. He continues:

“They’re sort of troubadours. In the Atlas Mountains, we have three or four poets who travel from souk to souk, from village to village, singing stories from a political, economic or sociological viewpoint that deeply interests people. […] Nass El Ghiwane were the first, and they still are. Moroccans recognize themselves in the group. They see their problems reflected in their songs, their daily lives and all their issues.”

This is something close to a working definition of the appeal of any ethnic or national folk music, music that seems to concentrate the experience of living within one’s culture into song. Like many American and British folk revival artists of the ‘50s and ‘60s, Nass El Ghiwane began by performing and reinterpreting traditional songs. In their case, this was romantic poetry that had been preserved through oral traditions going back generations. Once thoroughly steeped in the scales and structures of these familiar songs, they began to also create original material that felt to Moroccans like an organic outgrowth of their proud musical lineage.

Though I eventually grew to appreciate the insistent rhythms and passionate group vocals of the LP I’d purchased, it wasn’t until I watched the 1981 documentary/concert film Trances (الحال) by director Ahmed El Maânouni that I got a better handle on what made Nass El Ghiwane such a profound experience to their fans. (I highly recommend this 88-minute film, which Criterion re-released in the 2000s. I was able to easily find a high quality rip on the Internet Archive, and this YouTube version is decent.) Nass El Ghiwane’s performances alternated between dramatic spoken word monologues and incantatory rave ups which left audiences in exhausted, cleansed heaps. The film makes explicit the connections between the ecstatic healing rituals of the Gnawa and the wild dancing of the band’s young fans:

Here, at last, comes the time of ecstasy, of trances

Those who refuse to their senses the gift of trances shall wither

Trances also gives welcome insight into each member’s personality and role in the band. There is virtuosic banjo player Allal Yaâla, a quiet Black Moroccan with a mastery of Arabic, Berber, and occidental scales who taught the others much of their original repertoire. Tabla drummer and frequent lead singer Larbi Batma was their soul, a lanky, intense poet whose seriousness was offset by the sly humour of bendir (handheld frame drum) player Omar Sayed, the strongest actor of the troupe and perhaps its most gifted singer. The longest-running version of the band was rounded out by Abderrahmane "Paco" Kirouche on sintir (a sort of bass lute) and daadoua (a shoulder-held goblet drum), a robust man who’d been a woodcarver before finding musical success.

Nass El Ghiwane is an LP I appreciate more as I discover more of its context, knowing not only who these men are but how their talents fit together; some notion of where their music came from, and how audiences of their time received it. It benefits from being played as loudly as you’re comfortable with and being listened to in a meditative frame of mind. Nass El Ghiwane were “the Nass El Ghiwane of Morocco” just as they are the Nass El Ghiwane of Canada, Cambodia, and Fiji—but if a Scorsese quote comparing them to the Stones is what got me listening to them, I reckon that’s fair enough.

59/365

* Also, bless the Plein Soleil press release writers for bolding Mohammed V’s name, in case there were any real Alawi-dynasty heads out there in record-land. Worth noting they got the wrong king though, as it was actually Mohammed V’s son Hassan II who was in power during NEG’s heyday!

[laforzadelvoila]

Loreen: how a legacy of warrior women helped the star win Eurovision

I get to sit down not once, but twice, with Loreen, all in the space of a week. Our time together has done my soul a lot of good, she’s definitely calmed me. The first thing you need to know about the Swedish pop star is that spirituality is everything to her. This also leads to the Libra quickly trying to guess every crew member’s star signs on set for her Rolling Stone UK digital cover shoot. We’re meant to delve into the enigma that is Loreen right at the end of a frankly delirious day on set (soundtracked nearly solely by FKA Twigs’ and Pa Salieu’s banger ‘honda’). But everything runs well over and a planned eight-hour day, quickly slips into 11 hours, and she’s pretty exhausted. Our interview is subsequently moved to the weekend to take place at her London hotel. And breathe.

Loreen, a name now so synonymous with Eurovision, never watched the singing event, or its Swedish feeder, Melodifestivalen as a child. She’s one of six kids, raised by a single mum. “I was just a weird kid. I preferred my own company,” she recalls. “I was raised in a big family. A lot of siblings, a lot of helping Mother out because she was alone, trying to make ends meet. We didn’t have much. We had three channels and I didn’t know anything about Melodifestivalen or Eurovision. I just knew at some point in my life, very late though, that I wanted to work with music. I was just trying to find my way wherever I went.” Loreen, 39, has now competed in the Swedish Eurovision selection process four times, making it through twice, and winning both years – pretty good going. Her determination means her name will forever appear in pop music history books.

Raised in a spiritual family, it continues to act as a key component to her personality and outlook on life. She loves nature, star signs, meditating and even has a house she can take herself away to on the remote Swedish island of Gotland. Her Moroccan roots and heritage, she says, provide for a very spiritual backdrop and are a massive influence here, too. “I know what suffering feels like. If you’ve been in pain, and allowed yourself to be in pain, or life has given you painful situations, at some point, when you see another person in pain? Ooof, I can feel that, and I know what you’re going through, I can imagine what you’re going through. That’s why you can’t stop from reacting.”

Her childhood wasn’t easy. Along with her five siblings she grew up “poor”, which led her to start questioning things at an early age. “Why is that happening? Why am I doing that, what is this all about? That’s where spiritually starts,” she says. “So in my house, these conversations happened. ‘Why don’t we have what they have? What’s the purpose of that? That’s unfair. Those people died over there. Why is it like that?’ Spirituality is about questioning your environment and understanding the bigger picture of things.”

Meeting the artist for a second time feels like a huge intake of fresh air. I arrive at Kings Cross, albeit 10 minutes late, and there’s a massive air of calm ready to greet me. Loreen is sitting in the lobby of The Standard London hotel drinking a slightly tepid cup of Earl Grey tea. This time she’s dressed down in an all-black ensemble and instantly recognises me when I arrive. After giving me a hug, she is desperate to know what we’re going to talk about. We settle on: everything.

The star has been vocal about her initial reluctance for a possible Eurovision return. So much so that she originally turned down the idea of using fiery pop anthem ‘Tattoo’ for Melodifestivalen after being sent a demo. How different things could have been. “I was afraid,” she admits. “That was just my initial reaction [when asked to return to Melodifestivalen], because everything went so fast for us. First there was a song, and I loved the song. There was no talking about Melfest. It was just a beautiful song and I wanted to release it.”

From all directions, she was firmly nudged into entering it, in what turned out to be her fourth whirl at Melodifestivalen. “Initially, I said, ‘No, no, no, no!’ I usually do that when I don’t know the purpose of why I’m doing something. Initially, I said no, because I needed time to figure things out. When I say time to figure things out, what I mean is, I need to understand why I do things.”

Everything that happens in Loreen’s life acts as a test, she believes. The prospect of a Eurovision return is a prime example. “What is the story? What can I give you guys? Is this meant for me to do? If you’re at a crossroad, are you going to go right? Or are you going to go left? You can’t really rush into that. That’s why I said no. I said no for a while. I just thought, ‘How do I navigate this?’”

As time passed, signs it was lining up to be a good call started to appear, pointing in her direction. “They were beautiful, beautiful signs. The first was the song, the second sign was the people that I trusted around me, they were so happy whenever I said, ‘Yes’. There were so many positive things happening. People were happy and curious. That’s why I said yes, basically.”

There is such a strong sense of purpose that ripples through everything Loreen does. When she competed in Azerbaijan back in 2012, a country marred by its questionable human rights record, she was the only entrant to meet local human rights activists. She told reporters: “Human rights are violated in Azerbaijan every day. One should not be silent about such things.” An Azerbaijan government spokesman responded critically, calling for the contest to not “be politicised”, and demanded the EBU (European Broadcasting Union) prevent such meetings. But Swedish diplomats stayed firmly on her side. They replied that the EBU, the Swedish broadcaster SVT and Loreen had not acted against the competition’s rules.

Loreen is publicly bisexual, coming out in a TV interview in 2017. Eurovision and the LGBTQ+ community have strong ties, too. Previous LGBTQ+ contestants and winners such as trans star Dana International, drag queen Conchita Wurst and Duncan Laurence have all found success in the competition. She loves her queer fans dearly, too. The ‘Euphoria’ singer told TV host Renée Nyberg at the time: “Many people are so focused on sex, on sexuality. Love is so much more. I usually say ‘Love is where you find it’”. When asked to clarify whether this meant she identifies as bisexual, Loreen said she “quite simply” was.

Unsurprisingly, she has LGBTQ+ fans messaging her all the time. “I absolutely love that. Queer or not queer, I don’t see that, I just see us as people with certain attributes. That’s why I say these are my people. We have the same mindset. The thing is, if somebody asked me, ‘What is freedom, what is feeling free?’, that is just doing exactly what you feel like, expressing yourself exactly the way you want to express yourself. Clothe yourself the way you want to clothe yourself, talk the way you want to talk. Don’t care about what other people think. This is true freedom.”

She goes on passionately: “This community, we know what freedom is about and what that feels like. If you compare it to another community where there are rules and regulations… where someone says, you need to talk like this and be like this, that’s a f**king jail! I cannot do that. For me, when somebody says, ‘You are weird’ to me, that’s [them saying] that I’m free.”

“The women from my mother’s mother’s side, these are real warriors. Historically, the women from my tribe, they’re called Berber.” She explains that this word comes from ‘Barbarian’, and adds: “They were called Barbarians by the Egyptians because they were so aggressive. The women were so aggressive. Isn’t that interesting?” She smiles: “The women from my tribe, they weren’t so interested in monogamy, but being in a relationship. Historically, they went out to the village in search of a man. ‘You’re coming with me,’ right? They did whatever they wanted to do. Then they said, ‘Ta ta,’ and they raised their children by themselves. This whole concept of husband and wife was never a concept. They used these women in war, because they were like, ‘Ahhhhhh!’”

This energy is “generational”, Loreen confirms, but that seemed obvious from the get-go, and especially reflective, she says, through her grandmother. “My great grandmother, my grandmother, all of these women, they had a life presented to them. They were told, ‘This is what your life is going to be like,’ by men, but instead, they were like, ‘F**k no!’ They fought for their freedom. My great grandmother, she loved her husband, he died in the war. They wanted her to marry someone else. So, what does the bitch do? She says, ‘F**k no’.”

Her grandmother took her two children away to a different city, dressed as a man “with a kaftan and everything” and they fled, alongside her housekeeper. “I have pictures of her at home, seriously! She left everything behind, dressed as a man, so that nobody would notice her. She had a cousin in the next city, opened up a store, still dressed as a man, till she got f**king old. She raised those two children by herself with some help from her cousins and never married again. I have a picture of her; she didn’t stop wearing male clothes, she did until she died. The kaftan, the hat, the gold tooth. That was hardcore from my grandma!”

The unravelling of these “huge” stories leads her to repeat my initial question back to me: “So how was it, raised by these women? It’s a lot of pressure!” she laughs. “They have a lot of expectations of me. Like, girl, you better step up your game, change something in the world. It’s crazy to see what women can do. Women are so much more powerful, stronger than men are. That’s why we can have babies and s**t like that, just saying!”

It’s not just the women in her family who provide inspiration, but “all women within the industry that stand their ground”, she tells me. “You can tell when women are standing their ground and not buying into that whole concept of what a woman’s supposed to be. I’m not saying that women aren’t supposed to be sexy. Grace Jones, for instance, she owns her sexuality. She can run around naked. She’s still doing it! There are so many, not even just in the industry. All women [inspire me] because they’re taking positions for the next generation, they’re balancing things up. It’s necessary and it’s inevitable. It’s going to happen. The shift is going to happen, and men will take a step back. The thing is, they’re longing for it, because they’re messing things up…”

Her Eurovision victory was Sweden’s seventh win, and means the nation will host the competition on the 50th anniversary of Abba’s 1974 win. Many fans are begging the group to make a triumphant return to the stage, but after Abba recently created the Voyage experience featuring avatars of themselves, surely that amounts to a deliberate act to make sure they’d never have to perform again? Loreen is convinced they will be at the event. If I were a bookmaker, I’d feel inclined to back her on this.

“They’re going to be there,” she insists. “Maybe not all of them, but they won’t miss it. I promise. How old are they? They all have their own lives. They haven’t really played together in a while. But I’m pretty sure that some of them will be there. Don’t tell them I told you!”

Before she returns to Eurovision again, there’s a giant 2023 in store for Loreen. With tickets for her ‘Tattoo’ tour selling out in literally seconds, it seems Loreen’s going absolutely nowhere. “I’ve been waiting for this tour for years,” she exclaims. “My fans are like, ‘Can you please come to England? Can you please come to Spain? Can you please come to France?’ and now I’m coming! Finally, I’m doing this, and with everything that’s happened with ‘Tattoo’ it’s just a perfect time. I’m longing for it. I’ve longed for it for many years. So it’s going to be nice. I’m a people’s person, I just want to connect.”

Connection is the key feeling again for Loreen. It all feeds back to her spirituality, which has been the dominant force in her life since she was a kid. I point out that there’s no better place for an artist to connect with all their fans than taking themselves on tour. “Yeah! because we gather,” she notes. “They’re there because they want to be there, and I’m there because I want to be there. It’s effortless.” Loreen is already full of ideas. She is, she reminds me, “a bloody creative” after all. “I’m working with the same team that I did ‘Tattoo’ with. It depends on the venues, but it’s going to be a visual performance, obviously.”

She’s heading straight to the studio after our interview. “I haven’t released that much music over the years,” but she promises that absolutely will change. “Now there’s a shift going on, there’s going to be a lot more releases, which is nice. This year and next year. My medium, she told me that!” A move to London is likely, too. “I think it’s actually going to happen. I’m pretty sure. Hello, London! I don’t know what it is, but it’s almost like the UK is a creative hub.” Her top picks of UK artists to work with? Labrinth and Burna Boy. Watch this space.

As our interview wraps, Loreen gives me a huge hug. She made a point of hugging the whole crew on our shoot day earlier in the week, too. It’s a warmth that exudes from her at every stage. “I know we’ll meet again soon,” she says before she departs. “I just know it will happen.”

• Source: Rolling Stone UK •