Folk Art in Morocco, which impregnation of policy
T he development of participatory institutions in Morocco dates back to precolonial times. The Jemaa, co-opted assembly of notables, is itself the know-how popular the popular genius to administer in accordance with strong ancestral traditions. The more or less formal organization of the tribes in the form of Jemaâ and could lead the destinies of these. Thus, this assembly was interested in everything that was related to community problems. This democratic development, particularly in Bled Siba, was coupled with a rise of art, or rather used it in front. Fortified granaries (Agadir in Berber) built with mountain peaks in the regions of Souss, show us a social reality. That want to break free and develop a culturally crossed by the tone of the Berber folklore (Ahwach). So it was all a state of mind which flourished through the field of freedom enjoyed by the Berber at the time. Colonial penetration in Morocco will result in profound administrative reforms. However, these reforms were far from encouraging participation in the general sense. On the contrary, they tighten the noose on the local population. Where it remained, the Jemaâ is subject to review by the authority of the Protectorate. Thus, the Pasha employee of the French, "Glaoui," he put down any attempt at insurrection the Berber tribes.
Raïss Belaïd El Haj, the poet, the genius of improvisation, musician and icon community Sousse, was often invited by him to sing for his guests. It is said that he sang of love poems, spiritual poems, poems about social reality ... the Berbers, but never the poems of the national cause. This reveals to the point, the feelings were repressed and emotions were suppressed at the time.
Access to Independence crystallized a new political order. Moroccans, by the joy they felt, rushed to the altar of freedom. It was designed differently by each individual or group, which led to political tension.
The legendary group, Nass El Ghiwane, which has revolutionized the field of art in Morocco, would be, for his heroic songs, warm voice of the dark years, difficult years of political and social. Thus, in conveying messages not handled by Moroccan artists, he was able to pinpoint the discomfort bottomed and ambient even a public hungry for revival. But a few years later, and from the eighties, the ardor of the song Nass El Ghiwane was tempered. This wear is dependent on political and sociological changes. Morocco of today is not yesterday's. Expanding the scope of freedom has led to various forms of expression, and popular art has exceeded all standards.
Moreover, we can say that it is distorted by the different procrastination which inflect in contradictory meanings.
Globalization or globalization of the art is not without impact on folk art. Indeed, some recent artistic practices are only the reproduction experiments imported from elsewhere. Certainly, the Other would imitate enriching for artistic discourse, but should not lead to destruction of national identity.
The Moroccan rap is now trying to adapt to the rhythms of Moroccan music, claiming a better future for young people through messages of political and social protest. But this musical style remains heavily influenced by American and French trends. Support at arms length so the right to cultural citizenship and strengthen the cultural identity with the process of globalization is more than ever with force. As a popular art expresses emotions and frank true to reality, is likely to be a free people.
* Doctor in Public Law - Perpignan
Mustapha Farissi *
Source: libe.ma
