For American college students who have dreamed of studying amid the souks (markets) and mosques of Morocco, now’s their chance. The University of New England in Biddeford last Friday signed an agreement that will allow the school to open a campus next year at the American School of Tangier.
“U.S. policymakers have been struggling to reach out to the Arab and Muslim worlds,” Anouar Majid, associate provost for global initiatives, said in a press release issued Monday. “We at UNE have decided to live up to our ideals and invest in friendship. Our presence in Tangier, the meeting point of Europe, Africa and the Arab world, will build trust and allow our students to discover multiple cultures and languages at once.”
The program is offered at no additional cost to University of New England students, who can choose to spend a semester or a full academic year in Morocco. They can choose to live on campus or with host families while taking courses in the sciences, humanities and languages, according to the press release.
It is the school’s first overseas campus although it does offer programs in Seville, Spain, a school official said Monday.
Morocco was chosen in part because it is a crossroads of civilizations and languages. Cultures including Phoenician, Muslim, European, Arab, Berber and African have met there to create a society that is famous for cuisine, hospitality and more, according to the release.
Students there should be well-placed to examine issues including water scarcity, the future of energy and tensions between Islam and the west.
The new campus will be within walking distance of downtown Tangier, the Mediterranean Sea, beaches, hotels and cultural activities.
Tucked away in Morocco's high Atlas mountains the vast oasis of Errachidia, among the most beautiful in the south of the country, is today threatened by bad management. Omar Brouksy, writing on Iol Scitech, tells the story.
A stone's throw from the tarred road that crosses the oasis of Goulmima, near Errachdia, a well closely guarded by the M'barek family supplies a small maize field with the help of a water pump.
“The water level has dropped a lot. God alone knows why,” said Moha M'barek, a farmer in his 80s who was born in the oasis, where he owns a small plot of land.
“I dug four wells before finding water. Around me, the neighbours have no water. Before, there was water everywhere. That's the will of God,” M'barek added, staring down at the stream carrying well water to the fields.
For centuries the sharing out of water in the oasis, now threatened with drying out, was managed in the “khattara” tradition, whereby water towers were used and distribution took place according to need, in line with ancestral Berber rites.
This system made it possible to maintain a regular flow of water all year round.
But more recent exploitation of the oasis illustrates the risk of misusing the planet's water resources, which was an issue on the agenda of the Rio+20 Conference on Sustainable Development.
From the 1970s, farmers have introduced water pumps, leading to the progressive depletion of the water table. Fields, once steadily cultivated and green, are now wasteland abandoned by the oasis dwellers.
“The outlines of the fields, you can see how big they are. Look, one, two, three, four meters wide. They are big, so that means there was lots of water,” said Lahcen Kabiri, professor of environmental geosciences at the University of Errachidia.
“Little by little, the farmers opted for individual wells, which they fitted with water pumps. Thousands of wells were dug, and in a few years the water had dried up,” added the academic, pointing to an immense tract of land bordered by a few ailing palm trees.
Kabiri said the situation “could turn into a real catastrophe in light of the role of oases in the struggle against desertification.
“If the water runs out, then everything that depends on it will be in a dramatic situation. We will be up against an unprecedented ecological disaster.”
Residents and local authorities have become increasingly aware of the threat to the oasis, which is one of the largest in the north African country.
In the small palm grove of Izilf at the heart of Errachidia, several farmers have got together to take a joint approach to the problem.
“We have set up a cooperative to manage the water supply collectively,” said Moha Bousseta, the president of the cooperative. “Otherwise, everything that you see will no longer exist. There'll be nothing left, everything will be dead, dried out.”
The news that the hit TV series, Game of Thrones, will return to Morocco is good news on many fronts. The series, which has been hugely successful, will provide much needed employment in the Atlas Corporation Studios in Ouarzazate and possibly Marrakech, as well as a tourism boost for the area.
Game of Thrones is an American medieval fantasy television series created for HBO by David Benioff and D. B. Weiss. It is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is titled A Game of Thrones.
Primary filming for seasons one and two occurred on a soundstage at Paint Hall Studios in Belfast, Northern Ireland, as well as on location elsewhere in Northern Ireland and in M'dina on Malta and, in Croatia, Dubrovnik and the Minceta, Bokar, and Lovrijenac fortresses. In Iceland the filming was done at the Svinafellsjokull calving glacier in Skaftafell, followed by shooting near Smyrlabjorg and Vik on Hofdabrekkuheidi. Morocco featured in the original pilot as well as in series two. Ouarzazate and Marrakech have both been used.
The news about Morocco being included in the shooting of series three came from Vancouver cinematographer Robert McLachlan who revealed in an interview that the final two episodes of season three would include locations in Morocco
"I just received the schedule for the show and they've got units going in Morocco and Croatia and Ireland, and indoors and outdoors, and logistically I've never seen anything like it. It's incredible," says McLachlan. "It's absolutely gigantic."
Because of the size and scope of the show, Game of Thrones uses about five different DOPs (directors of photography) and five directors working in teams of two, he notes.
The first season debuted in the U.S. on April 17, 2011. Two days later, it was picked up for a second season, which began airing on April 1, 2012. Nine days later, it was picked up for a third season.
Highly anticipated since its early stages of development, Game of Thrones has been very well received by viewers and critics.
Season 1 was nominated for or won numerous awards, including Outstanding Drama Series for the Emmy Awards and Best Television Series – Drama at the 69th Golden Globe Awards.
Interestingly, due to the limited availability of the series, it has achieved a dubious record as the most pirated series this year. The number of pirated downloads stands at around 3,900,000, while the USA viewer numbers are estimated to be 4,200,000. HBO held up the release of series two in Australia until after the release in the USA and so Australians became the country with the highest illegal downloads.
One afternoon a rich man was riding in his limousine when he saw Driss and Thami along the roadside eating grass. Disturbed, he ordered his driver to stop and he got out to investigate.
He asked Driss, 'Why are you eating grass?'
'We don't have any money for food,' Driss replied. 'We have to eat grass.'
'Well, then, you can come with me to my house and I'll feed you,' the rich man said.
'But, sir, I have a wife and two children with me. They are over there, under that tree.'
'Bring them along,' the rich man replied.
Turning to Thami he announced, 'You come with us, also.'
Thami, in a pitiful voice then said, 'But sir, I also have a wife and six children with me.'
'Bring them all, as well,' the rich fellow answered.
They all climb in the car, which was no easy task, even for a car as large as the limousine. Once underway, Thami turned to the rich gent and said, 'Sir, you are too kind. Thank you for taking all of us with you.'
The rich man replied, 'Glad to do it. You'll really love my place. The grass is almost a metre high.'
Waddick Doyle reflects on Fez, the Fes Festival of World Sacred Music and its director, Faouzi Skali.
Fes is a city unlike any other, a sort of Varanassi of the West, spiritual capital of this country which claims to be the oldest continuous kingdom in the world. Every June for the last 18 years, Fes has also become a capital of sacred music with its festival bringing musicians from all of the world, who come here to share their joy and enchantment.
Fes was and is the centre of the Sufi tradition in the west of the Muslim world which is becoming more and more important in Morocco and an antidote to the rise of fundamentalism elsewhere.
The old medina has 240 mosques and countless zawiyas in the walled city where there is no motorised transport. Mules and donkeys weave their way through the labyrinth of alleys and ways of the largest living medieval city in the world.
Festival Director, Faouzi Skali, is a native of the old city and himself a sufi adept and poet. Worried by the widening gulf between Islam and the rest and in the changing process, he created the Fes festival as an attempt to let people communicate through music. He invited musicians from all traditions in a deliberate attempt to give the festival's public a chance to taste a variety of sonic beauty.
He was and remains convinced that beauty can change the world and that traditions will best understand and appreciate each other if they listen. Eighteen years ago with this simple idea and no money or position he created a festival which now attracts spectators in their thousands and journalists in their hundreds from across the world. It is the one of the few places in the world where Jewish and Muslim musicians sing together in joyous festival as Rabbi Haim Louk and Abderrahim Souiri did on Thursday evening.
This year, the festival celebrated the great Persian poet Omar Khayyam, and was entitled "the enchantment of the world." The opening night featured a specially commissioned work by France's Tony Gatlif, denoting how a mystical song from India to Morocco produces a type of enchantment.
Omar Khayyam's poetry was recited in Farsi, Arabic and French bedore ending with Fes's own Marwan Hajjiek singing the simplest of Muslim litanies, laihillallah, the unity of God. The audience warmed to it despite an unseasonal cool wind.
All of this was choreographed in Bab Mekina, a fort above the ancient city. An international crowd from Europe and America had come to see the King of Morocco's consort, the princess Lalla Salma, who opened the festival in a dazzle of elegance. Zeyba Rahman appeared dressed in an orange sari and explained the evening in English. She hails from Dehli but is now the New York based director of the festival for America and Asia. Fatiha Morchid, Moroccan poet, pediatrician and TV personality accompanied her in Arabic and French.
For 10 days, the festival programmed concerts day and night, all striving like Kabir to realise the sacred in the beauty of spiritual experience. Kabir's poetry was featured by Mukhtiyar Ali who performed in the Batha Palace garden in the shade of a huge barbary oak tree. The audience took up the refrain and this ancient Arab city resounded with a crowd of French, English and Arabs chanting in Hindustani.
The old medina of the city strangely mimics the music with its poor narrow streets and small doors opening into hidden palaces centered around courtyards with trees and tranquil pools, unimaginable from the dusty pathways outside. On entering them one's eyes are transfixed by the symmetrical beauty of the houses and their geometric mosaics. As in Kabir's poem sung by Ali under the tree, if you search God with all your heart, he will appear before you.
The audience was entranced without understanding words. Some of the concerts are at night and the audience wanders the labyrinth of the medina seeking a sudden opening to a new viusal and sonic world. For Fes is a city of deep listening, "samma" in Arabic, where an audience listens to poetic chanting about being drunk with love and falls slowly into another state, retreats into inner worlds of beauty. Deep listening is a term developed by NYU musical anthropologist Deborah Kapchan based on her studies of sufi music and Fes. It is a listening without understanding that goes beyond words and makes people like each other whether or not they understand the meaning.
Skali's intention from the beginning was to bring beauty and spirituality to the centre of a broader political project, based on Dostoevsky's injunction that only beauty can save the world. In this mesh of politics and aesthetics, he has created The Fes Forum based on the idea of giving a soul to globalisation.
He invites a motley crew, mixing those who normally attend the Davos Economic Forum and those who go to the World Social Forum, to discuss the role of spirituality in globalisation. This year much discussion centred around finding new indicators for measuring the well being prompted by the King of Bhutan's suggestion to measure gross national happiness instead of gross national product.
What was clear, however, looking at the faces joyously clapping in unison at the Jewish-Muslim concert, was that the Fes sacred music festival was doing its bit to increase global happiness.
Waddick Doyle is a long time friend of the Fes Festival of World Sacred Music and a keen observer of its development. is the the Director, Division of Global Communications and Film, and founder and director of the Masters in Global Communications program at American University of Paris. Doyle teaches courses in Media Globalization, Contemporary World Television, Media Law, Policy and Ethics. He has held positions at universities in Italy, France and Australia. His article on the Fes Festival was first published by the International Business Times.
The eighth annual Festival of Amazigh Culture will be held in Fez from 13 to 15 July 2012. "Mother Tongue and Diaspora" is the theme of this edition organized by the Spirit of Fes Foundation in partnership with the Association of Fes Saiss, North and South Centre and with the support of the Royal Institute of Amazigh Culture and BMCE Foundation.
For its fourth edition, the Festival's organizing committee has put together a varied program consisting of workshops, lectures, musical performances, book presentations around the Amazigh culture, and poetry reading. The program also includes art exhibitions, Moroccan caftan fashion show, and exhibitions of Amazigh carpets.
This festival is an opportunity to reveal the positive impact of cultural diversity and heritage preservation on sustainable development. It is a great moment of authentic culture, a great time of sharing, friendship and fun.
This eighth edition of Festival of Amazigh Culture of Fez aims to promote values of peace and dialogue between cultures. It will highlight the positive impact of multiculturalism and migration on the integration of the Amazigh language in public life.
During the festival a tribute will be paid to Mr. Abdeslam Ahizoun (CEO of Maroc Telecom) and a number of artists and personalities who have served and contributed to the promotion of the Amazigh culture. The festival is a platform for meetings and dialogue between Maghrebi and Western intellectuals and artists, and a journey into the heart of an authentic civilization that is three thousand years old, rich and open to the world.
FESTIVAL DE LA CULTURE AMAZIGHE
FES DU 13 AU 15 JUILLET
PROGRAMME DE LA MUSIQUE
Friday June 13 2012
PALAIS DES CONGRES
Congrès Mondial sur “Langue Maternelle et Diaspora”
Ouverture : 16 :00 - 19 :00 -OUVERTURE
-HOMMAGE A ABDESLAM AHIZOUN
-PREMIERE SÉANCE CONGRES
BAB MAKINA
21 :00 - 23 :00 - HAMADALLAH ROUICHA(Maroc)
- ZINA DAOUDIYA (Maroc)
Saturday July 14 2012
PALAIS DES CONGRES
Congrès Mondial sur “Langue Maternelle et Diaspora”
9 :00 - 19 :00 -TRAVAUX DU CONGRES ET DEBATS
-ATELIER SUR L'ALPHABET TIGINAGH
BAB MAKINA
21 :00 - 23 :00 -ROCK BERBERE ABRANIS (Algérie)
- BOUAZZA LARBI (Maroc)
Sunday July 15
PALAIS DES CONGRES
Congrès Mondial sur “Langue Maternelle et Diaspora”
9 :00 - 19 :00 -TRAVAUX DU CONGRES ET DEBATS
-ATELIER D'ECRITURE Jean-Marie Simon
-LECTURE DE POESIE
COMPLEXE
AL HOURRIYA
19 :00 - 21 :00 - GROUPE TIYFUR(Maroc)
-MOHAMED AKOURAY Boughanim (Maroc)
- ABDOU BEN TAYEB (Maroc)
BAB MAKINA
21 :00 - 23 :00 - -GROUPE CATALAN SARSALE
-DEFILE CAFTAN MAROCAIN
-OUSSAN BAND (Libye)
"In order to preserve Moroccan identity and its religion" is the reason given by the parliamentary group PJD, the main party in the Moroccan government, for its submitting of a draft law prohibiting all forms of advertising for any beverage containing alcohol.
The draft law calls for a ban on any form of "direct" or "indirect" advertising.
This will lead to - as admitted by the PJD deputy Mohamed Zouiten - new forms of censorship. "At times we are seeing indirect advertising through, for example, televisions series which incite people to drink alcohol. In these cases it would be better to ensure checks to cut out these scenes. Both the television and the radio have a key role in raising awareness against alcohol consumption."
And this is not all, as Les Soir Echos has reported that the PJD is also targetting exhibitions and fairs, as well as food and wine tasting events and promotional activities: it will therefore not be simply a matter of announcements, billboards and media advertising.
"Our draft law cannot be called an attack on individual freedom or on press freedom. Our aim is only that of putting into practice the Constitution," said Zouiten. "We have decided to submit this draft law with eight articles within it to accompany the application of the government and parliament programme as part of the mission to apply the fundamental constitutional principles."
If the draft law passes, the consequences - on a sector which has an annual turnover of 4.5 billion dirhams (over 400 million euros) - will be immediate. "If the law is adopted and published in the official gazette, the suppression of the advertising will have to come into effect within the following 30 days. Should there be repeat offenders, the law calls for a sentence of between three months and 2 years in prison and a fine of between 10,000 and 25,000 dirhams," said the deputy.
"The contracts signed by the company for this type of advertising will be rendered null and void as soon as the law comes into force." Courts will also be able to shut down the businesses which granted the space for the exhibition or the advertising for alcoholic beverages for between 20 days and 3 months.
The PJD, which had claimed to be a "moderate Islamic" party, is convinced that this first step will be followed by others, gradually banning anything which could be considered an attack on religion. Alcohol has long been targetted by the PJD. A general increase in the internal consumption tax (TIC) had previously been proposed from 800 to 900 dirhams (over 80 euros) per hectolitre of beer, from 10,500 to 15,000 dirhams (over 1,300 euros) for liquors and for 450 to 500 (about 45 euros) for wine.
CASABLANCA'S AMERICAN SCHOOL SPAT
Divisions among parents of students at Casablanca American School have intensified after the US State Department threatened to withdraw its affiliation, raising serious question marks the governance of the prestigious school.
Last month, the elected Board of Directors set up a meeting with the students’ parents to clarify the main points that are jeopardising the school’s future amid a threat from the US Department to withdraw its affiliation unless the Board fulfilled the so-called American standards and values.
During the steamy meeting, pro-American parents called for the resignation of the Board, which was elected by them in 2010 for three years, in order to keep the affiliation and a financial assistance of $15,000 per year from the Overseas Schools Advisory Council (OSAC).
In a letter sent in February to the Board of Directors, Samuel L Kaplan, the US Ambassador stated that “it has become clear that the Board of Directors does not conform to the governance standards or values expected by the State Department.”
Kaplan made it known that the Board should not micromanage the school.
“On a sustained basis, the Board of Directors have also engaged in the management of day-to-day operations at CAS, a role that conflicts with the appropriate role of a board of directors,” said Kaplan. “Such actions have undermined the authority of the school’s leadership to conduct daily operations,” he added.
Mohammed Arroussafi, President of the Board, said during the parents’ meeting that the Board has a duty to supervise and control the finances of the school.
Tensions between the pro- and anti-Board parents reached new highs when a parent undermined the Board’s credibility by asking why the US Ambassador’s letter had only been shown to parents after almost three months.
“What if the US Ambassador tells you he’s sorry it is not going to happen?” asked Mounir in his late thirties, adding that the US Consul General told him personally that it might not be enough.
A call for the Board to be changed was applauded by anti-Board parents.
The school is accredited by NEASC (New England Association of Schools and Colleges), an independent accreditation body to which ADAEM-CAS is affiliated.
Moreover, the letter sent by Brian Shukan, US Consul in Casablanca, last month to the Board of Directors, confirmed that CAS has been an overseas American school sponsored and assisted by the State Department since its creation in 1973.
However, the State Department’s only involvement in CAS is the provision of a financial assistance of 15 000 USD per year.
A pro-Board parent said that the US Ambassador’s letter “shows how arrogant the US administration is” in dictating us what to do in our own sovereign country,” echoing the opinion of many other parents.
Talks are going on between the Board and the US Embassy after the latter made three demands - the Board must not interfere in the school’s micromanagement; must have only one non-renewable mandate and must include two expatriates among it – in order to keep the US Department’s assistance.
Meanwhile, the Board is adamant to stay the course and fulfil its duty during its term despite the US Embassy’s pressure.
MOROCCAN MUSICIANS GET LITTLE IN ROYALTIES
When Hoba Hoba Spirit are on stage, the audience sings along with every word. Words from their lyrics, such as “fhamator,” or know-it-all, have entered urban slang. But, after 10 years and 5 albums they don’t earn enough from their recorded art to live on. They have earned just $220 in royalties from their music, which is a mixture of reggae, rock and gnaoua.
Hoba Hoba Spirit
“Once we gave a concert with a French band, and when they heard the crowd singing along with us, they thought we were rich,” said Reda Allali, the lead singer of the band. “They told me that in France with only one hit, an artist can live comfortably for years.”
Many artists around the world complain about lack of funding, but in Morocco it seems particularly difficult for a singer or film star to obtain a fair slice of the revenues his or her work produces for others.
Of course, the ability to download music and other media through the Internet has made protecting artists’ copyrights a global problem. But in Morocco, artists say that the agency responsible for monitoring and issuing royalties is not protecting their rights — even when their works are broadcast on Moroccan television and radio.
“Every day our rights are violated,” said rock singer, Khansa Batma, 33, who comes from a family with a long tradition of making music.
Ms. Batma is the daughter of Mohamed Batma, the founder of Lemchaheb, a group that was famous in the 1970s and 1980s, and the niece of the music legend Larbi Batma, a member of Nass El Ghiwane, a band the American director Martin Scorsese once called “The Rolling Stones of Africa.”
Ms. Batma says that despite their musical success, her family has always struggled financially and that she was unable to complete her college degree because of a lack of funds.
“The Moroccan Bureau for Copyright is supposed to find solutions and ensure respect of intellectual property, including the piracy,” she said. “Without fixing the music market, we will continue to evolve in complete anarchy where it’s best to be friends with the right person.”
The Moroccan Bureau for Copyright has in recent months denied withholding money owed to artists.
According to Sarim Fassi-Fihri, the president of the producers’ guild in Morocco, progress has been made in the past few years in helping artists collect what they should be paid. The copyright bureau now receives financing from the state, he says, and is more accountable.
The bureau has been around for decades but was not monitored in the past, Mr. Fassi-Fihri said, and there was no way to know where the money was going. While some famous artists have been receiving regular royalties, others received nothing.
According to Mr. Allali, the singer, who also writes a weekly column in a magazine and hosts multiple radio shows, the only option for a Moroccan musician to earn a living from music is to perform live. Hoba Hoba Spirit performs about 50 concerts every year.
But he says that perpetual performing is not always a good solution. “There are a lot of problems in this. One can compose music without being a performer, in which case the stage is not even an option,” he said. “It also means that we can never take breaks and record new albums like everybody else.”
Ms. Batma said that the way Morocco is treating artists showed that the country does not yet recognize their value.
“Respect of intellectual property means becoming aware of the importance of art for a nation and a culture,” she said. “Unfortunately in Morocco, we keep nourishing the festive aspect of art at the expense of the rest.”
CASH FOR POOR IN SUBSIDY REFORM
Morocco's prime minister has promised direct grants of cash to the poor under a planned reform of the costly subsidy system, after his government recently imposed one of the sharpest rises in fuel prices in several years.
Abdelilah Benkirane invited needy Moroccans to open bank and postal accounts to ensure they benefit from the reform, one of the boldest moves taken by his government, led by Justice and Development, a moderate and former opposition Islamist party.
Back in May, General Affairs and Governance Minister Najib Boulif announced the subsidy reform saying it would take place before end-June amid worsening economic indicators and pressing demands for jobs and less poverty.
Speaking to state television channels, Benkirane however has not fixed a precise timeframe for the completion of the reform, saying only the "gradual" process may be completed before the end of his government's mandate, due towards the end of 2016.
"The subsidy fund was set up to help the poor and the needy ... We are going ahead with the reform of the subsidy fund ... We will seek to fix the expenditure on the subsidy fund and directly send that (money) to the .... needy people.
"To do this, I will need statistics - which I will eventually have - and Moroccans will need ID cards, (they need to be) poor and vulnerable and have a bank or post account," said Benkirane.
Banking penetration in Morocco barely reaches 50 percent due mostly to an important grey economy. Amid an accute and now-chronic shortage in liquidity, banks will be looking forward to adding new customers, from a quarter of the 33-million population that live in poverty.
AROUND 90% OF MOROCCAN BUSINESSES HAVE INTERNET ACCESS
Around 90 percent of Moroccan businesses were connected to the internet. Of these, 96 percent have ADSL access, 45 percent 3G service their mobiles and 42 percent 3G on their computer.
Leased line and fibre are starting to emerge, at 12 percent and 9 percent, respectively. According to the latest monitor, 75 percent of workstations are connected to the internet, compared to 67 percent in 2010.
Desktops account for 79 percent of the installed base of office computers, and laptops 21 percent. The ratio of computers per employee rose to 0.83 percent in the first quarter from 0.57 percent in 2010.
Some 55 percent of connected businesses had a website in the first quarter, up by 7 points on two years earlier. Of companies with websites, 82 percent have their own internet domain name.
On average, businesses spend 8 percent of their budgets on ICT investments and 4 percent on staff ICT training. Of businesses with websites, 14 percent use them to sell products or services online, compared to 11 percent in 2010, while 28 percent order online, versus 17 percent.
MOROCCO'S FIXED PHONES CONTINUE TO DECLINE
Moroccan mobile users up 8.6% a year to 36.24 million, but there is a drop in fixed line phones. As of June this year, around 35 percent of Moroccan homes had a fixed phone, down by 5 points on a year earlier, according to Moroccan telecom regulator ANRT.
The proportion of fixed wireless homes contracted to 19 percent and fixed wired rose to 18 percent. Over the same period, the percentage of individuals with mobile phones rose by 4 points to 87 percent. The study also found that 17 percent of Moroccans have more than one mobile phone to optimise their overall consumption. Some 12 percent of mobile phone owners have smartphones.
The number of homes with computers reached 39 percent in the first quarter, up 5 points on 2 years earlier. There are estimated to be 3.55 million household PCs, compared to 3.13 million in 2010. Laptops accounted for 56 percent of consumer computers and 28 percent of homes had more than one computer. Another 29 percent of homes without computers plan to buy one.
Home internet penetration rose by 10 points over 2 years to 35 percent, with 30 percent of homes having a 3G mobile internet access and 10 percent on ADSL.
Cybercafes are still the main place to use the internet outside the home at 22 percent of connections, before another person’s home at 10 percent. There were an estimated 14.9 million internet users in 2011, 83 percent of whom use social networks and 81 percent instant messaging.
WATER TREATMENT PLANT PROGRESS
Commissioning of the treatment plant wastewater from the city of Fez is well underway. The project of cleaning up the large pool of Sebu, is scheduled for the end of this year.
The director of the independent administration water distribution and power of Fez (RADEEF), Najib Lahlou Mimi says that the construction of the wastewater and sewage plant for the city of Fez continues at "a good pace", as evidenced by their rate of progress that has reached 81%.
SKI MOROCCO
Africa is certainly one of the more exotic ski destinations on the planet and now skiers Mel Presslaber & Sandra Lahnsteiner have made a ski film set here. Check out the trailer.
Islamic Art: Mirror of the Invisible World.
Narrated by Susan Sarandon
Perceptions and ideas around Muslim identity and culture vary widely and too few are aware of the significant works of art and architecture that make up a large part of Islamic civilization’s legacy. Islamic Art: Mirror of the Invisible World, is a new documentary that brings this legacy to life.
Islamic Art: Mirror of the Invisible World is the ninth film by Executive Producers Michael Wolfe and Alex Kronemer and UPF (Muhammad: Legacy of a Prophet, Cities of Light: The Rise and Fall of Islamic Spain, Prince Among Slaves).
Islamic Art presents a kaleidoscope of exquisite works of art – from the opulent Taj Mahal of Agra, India, to the written word in the form of Arabic calligraphy with master calligraphers such as Mohamed Zakariya. A common theme linking each of the showcased works is the way each piece of art is so different from the next – exemplifying not only the beauty, but the diversity within Islamic cultures. Each masterpiece is a contribution to the larger narrative of just how much Muslims have contributed and still contribute to society.
The film was produced to nurture a greater appreciation for the exquisite works of art that Islamic culture has contributed to humanity. “I believe all viewers, Muslim and non-Muslims alike, will bepleasantly surprised with what our film uncovers,” states Alex Kronemer. “As a window into an often misunderstood culture, this film has the ability to be a real catalyst for understanding and perhaps offer a new perspective on Islam’s values, culture and lasting legacy,” continues Kronemer.
Narrated by actor, Susan Sarandon, this 90-minute film takes audiences on a global journey across nine countries and over 1,400 years ofhistory to present the stories behind the masterworks of Islamic art and architecture.
Michael Wolfe says, “Never before have viewers had the opportunity to explore such richness of Islamic art and history with commentary from some of the world’s most renowned experts who have the ability to explain just why these works are so important.” “We hope watching the film will result in Muslims feeling a source of pride, aswell as celebration in their heritage,” continues Kronemer.
After its American television debut July 6th on PBS , Islamic Art will be available on DVD for $19.95 through www.upf.tv.
Jackie Lee is a freelance food writer and photographer, based in London. She writes and runs the blog I Am A Feeder, is an insatiable traveller and foodie (often travelling just to eat), and the granddaughter of Hong Kong's equivalent of Delia Smith. She would ideally like to be paid in white truffles.
I love to explore new places. As a child when asked at a school entrance interview what I wanted to do with my life, I responded without hesitation, "be a missionary so that I can see the world." Upon hearing this my mother wryly remarked that I should've just said I wanted to be an air hostess. Now that I'm "grown up" I no longer want to be a missionary (or air hostess either, for that matter) but my love for travel has not waned.
One continent I had never visited until recently was Africa but, to my utmost joy, my most recent trip took me to Marrakech for a mini 3-day holiday and yes, as our plane touched down in the dusty evening heat I did start humming Toto under my breath…
The trip was fantastic, if a little short, but there was plenty I was in the dark about that would've helped me out a lot before I went; so when the lovely folks at The View from Fez asked me to create a little guest post for them on the subject I of course said yes - I hope you find it just as useful!
Casa Lalla
DO… 1. ...stay in a riad near the medina.
Marrakech is small but getting around is not easy and, I'm sad to say, cabs do and will rip you off. Stay in the heart of the city and really experience Moroccan life! Don't be alarmed by drivers who drive around with their doors open, either - just make sure your seatbelt is on good and tight!
2. ...change your money initially in the medina but back again in the airport.
Because Moroccan dirhams are a closed currency, that means you can only change it within the country. Though you may be tempted to change your money at the airport immediately, you should only change enough for a taxi to your riad/hotel, then change the rest in the medina at one of the many bureau de change booths - you'll get a much better rate! Make sure to change it back again at the airport, though - if you go home with dirhams you're stuck with them!
3. ...barter, barter, barter, then barter some more.
Morocco is a very money-driven country and bartering is a part of life - they actually expect you to turn down their first price (unless they specifically say that they have fixed prices only). So do barter - barter with the taxi drivers and the vendors and if you still don't like the price, walk away - there are plenty more taxis and plenty more vendors who will give you a better one. If you'd rather avoid bartering but want to find the same souvenirs as in the souks, hit up the Centre Artisinal. You'll pay a little more than you would in the souks but the men who work here are extremely kind and friendly and, if you allow them to help you, they may give you a discount!
4. ...brush up on your French and be polite and friendly.
Though English is spoken by most people, if you speak a little French you will be amazed at how much more friendly and accommodating people are. At least brush up on your greetings - a 'salut' or 'bonjour' over 'hello' will be much better received (and if you're strolling through the souks looking for souvenirs, probably a better price!).
5. ...bring a compass.
This proved invaluable. It is so easy to get lost in the maze of the souks and, even if you allow lots of time to be lost, you may find yourself completely and hopelessly lost, not another tourist around you and being yelled at on all sides by souk vendors who don't speak a word of English. Bring a compass - you won't regret it.
DON'T… 1. ...bother haggling over 5 or 10DH.
By the end of our trip we were much better at bartering but had one bad experience where the vendor got very upset with us because we'd pushed it a little too far over a mere 5DH. The lesson here is that though it's fine to haggle over 100DH or more, around the 15 to 25 mark don't bother - if you think about it that's just under £2, nothing for us tourists with our flashy clothes and oodles of money, but for the locals that's enough for a whole meal.
2. ...wear stupid clothing.
Morocco is an Islamic country. Whilst that doesn't mean that you need to wear a djellaba or hijab, it does mean that if you want to attract as little attention as possible and avoid dirty looks from the locals, you should cover up. More than anything, it's a matter of respect - you wouldn't believe how many Westerners we saw wandering around Marrakech wearing tiny little shorts or low-cut tops and vests - even I felt a little offended for the locals.
For women I suggest bringing and wearing long, loose cotton skirts or trousers and loose, long-sleeved tops and shirts. If you don't have any appropriate tops, cover up with a loose cardigan. Long scarves and pashminas are so useful - I ended up wearing my scarf as cover up for my chest when my tops were a little low - not low enough to be falling out, mind, just enough to make me feel uncomfortable and worried about cat-calls or dirty looks.
Bring good, comfortable shoes for walking and leave the heels at home - you'll walk a lot and in the souks the ground can be uneven and cobbled. Just don't bother with the heels, your feet will thank me later.
Ladies: be prepared to be approached by men a lot. The Moroccan government apparently do not issue a lot of passports which has probably added to the fascination with Western women - marriage is a way to leave the country. I would definitely not travel by myself or with another girl in Morocco again but if you do find yourself being solicited unnecessarily or feel uncomfortable, a simple, "non merci," and smile will often suffice. Again, covering up properly will help you out a lot here!
3. ...take photos of people without asking.
There were signs all over the place declaring, 'no photos' and every time I raised my camera somebody would hold their hand up and shoot me a dirty look. I found one crudely scrawled cardboard sign in the medina which read, "to take photos of somebody without even asking is so very rude". This is a huge issue for the locals so please, ask before you snap!
4. ...worry about crossing the road.
When you get to Marrakech the first thing you'll notice is the insane traffic. There seem to be no rules as mopeds, motorbikes, cars and push bikes weave in and out, horns blaring and drivers yelling at each other in Arabic. How, you may wonder, does one cross the road in such disorder? The answer is, apparently, to just be confident and go - traffic will stop for you. It took a little getting used to, and for the first couple of days I would simply run, muttering, "please-don't-let-me-die-please-don't-let-me-die" under my breath, but actually drivers will stop, even if they do shoot you a bit of a weary look first.
5. ...waste your money on tourist trap eateries.
There is so much good food to be had in Marrakech but it's very easy to fall into that trap of finding the nearest tourist joint and just deciding that you're too tired to find anywhere else. Do a little research and plan where you want to eat - we only really planned one meal and stumbled upon the rest and I wish we'd spent a little more time seeking out the best of the best.
On that note I recommend: Cafe Snack Rahba Kedima (no. 168), Kedima Square
This little cafe is set across three floors and boasts a rooftop terrace with a beautiful view of the Atlas Mountains and Kedima Square, right in the heart of the souks - perfect for a leisurely lunch. Their couscous aux sept legumes(7 vegetable couscous) was delicious and totally hit the spot for two hungry travellers!
La Table at Casa Lalla
This restaurant was recommended to me by a friend and it ended up being simply perfect. If I ever return to Marrakech I would definitely stay at this riad - it's a stunning, intimate location, tucked away down the back streets of the souks, right in the heart of the medina, and the food was fantastic. Run by a French previously Michelin starred chef who decided to pack it all in and move out to Marrakech, service is impeccable and friendly - our waiter even walked us back out to the main part of the souks, worried that we'd get lost and not know where we were going! We had our last meal of the trip here and it was the ideal end to our time in Marrakech. A bit of a hidden gem, you must book ahead.
La Place Jemaa el Fna
The main square in the medina, I wish we'd eaten here one night when it was buzzing and full of delicious sights and smells from the many food stalls. Snails are a great speciality and you'll see many vendors stirring huge vats of them - make sure you get a glass of freshly squeezed orange juice (2DH max) but avoid the monkeys and snake charmers who will make you pay to take photos (and if the monkeys jump onto your clothes you may catch fleas!).
I've heard that a day trip by camel into the Atlas Mountains is a great way to spend your time - unfortunately our trip was too short but the next time I find myself in North Africa it's on my list!
The final word really is that when visiting Marrakech, keep an open mind and open heart (with a touch of sensibility) and you'll have a great time. A very common phrase we heard several times a day was, "welcome to Morocco" or "10,000 welcomes to Marrakech" (and my favourite: "I wish you 10,000 camels" - still waiting on those camels…) which is so indicative of the culture; most Moroccans are open, welcoming and kind, treat them the same way and you can't go wrong.
Happy travels!
Story and photos: Jackie Lee The View from Fez welcomes guest posts. See email details on our contact page
The Fes Forum gives voice to the issues surrounding the Fes Festival. This year the theme was Giving a Soul to Globalization, and the five days of colloquia were well attended.
While the first day's discussion, titled The poet and the city, highlighted not just the beauty but the power of words in leading a society through the turmoils and crises of life, but also how beauty allows man to become more self-aware and ethical.
"The poet is someone who describes and looks at the world," said Frederic Ferney, a French writer and essayist. "He is someone who introduces a place of beauty in life ... The poet is someone who forces us to say, 'Yes, this is the power of words and literature. Yes to life. And yes to the moment,' because we live in a world where the idea of beauty is possible".
Day two's forum, The future after the Arab Spring, got down to the more political and hard-hitting. Moderated by Abdou Hafidi, the discussion was fast-paced, ranging from Morocco to France, Syria to the United States. It covered raw party politics, religion, social forces, and culture. Panelists, including Bariza Khiari vice president of the French Senate, discussed themes including a new pride in openness - the need to debate fundamental issues with honesty and without fear; looming questions about the role of religion and Islam and the central importance of women in emerging societies and any debate about the future.
The discussion on Day Three, Business and spirituality, centered on the connection between ethics and spirituality.
"Spirituality offers the answer that ethics can be universal," declared panelist Jean François de Lavision. "We must create a sense of spirituality between the stakeholders and the world". Other key issues raised included cultivating a society for youth that successfully bridges the contradiction between these two ideas, as well as the importance of creating a business model that appreciates the spiritual contexts of different cultures and situations around the world.
Day four'sFinancial crisis or civilizational crisis? focused on the fundamental nature of today's crises (and indeed there are many). The inherently oppositional relationship of capitalism and markets, on the one hand, and spirituality and what is best in humankind on the other, is what the crisis in civilization is about.
Tariq Ramadan, Swiss academic and professor at Oxford University, launched into this debate by urging the crowd to consider the inherent relationship that exists between the two concepts.
"When we talk about the financial and the economical concerns...we are faced with the fact that we must deal with humans and the philosophy of life," said Ramadan.
For Ramadan, to understand the root of a financial crisis, we must first focus on analyzing man's daily practices, as well as his intellectual and social involvements. This will help provide a proper framework for recognizing the different ways and forms from which a crisis is born.
The last day's talk was a wide ranging discussion on Towards a Strategy for Civilisation, with panellists including Younès Ajarraï, Ismaël Alaoui, Touria Bouabid and Henri Joyeux.
Giving everyone a lift at the end of some intense sessions was a talk on the significance of birds in the Islamic world. Michael Barry, Professor in Persian at Princeton University, discussed his new book Visions of the Bird of Wonder, co-authored with French professor, Leili Anvar.
One of the major points that Barry made focused on how the bird represents the soul's aspiration to move to and be closer to God. Additionally, its ability for flight represents the soul's desire to aspire to a higher sense of self.
Grappling with the big issues, debates, spirited exchanges and the occasional laugh all contributed to making the Fes Forum a valuable experience for those who attended.
AN IN-DEPTH REPORT ON EACH SESSION IS COMING SOON - WATCH THIS SPACE!
This year's Fes Festival of World Sacred Music, was, by any standards, a success. The programming was more balanced than in previous years, with notable highlights and few disappointments. The festival theme Re-enchanting the World was a bold one. Did it succeed? The team from The View from Fez reports.
Tony Gatlif and Alain Weber (right) the Festival's Artistic Director
The opening night Tribute to Omar Khayyâm, directed by Tony Gatlif, took the audience on a journey across East, West and Central Asia to Iran and Egypt. Its presentation was flawless and the audience responded warmly. The entire ensemble sat in a semi-circle across the stage and from their ranks singers emerged to add their voices to the, at times, delicate percussion and instrumental performances.
At times, the production was too static and much more could have been done with the vast space available. However, the small chandeliers and the hooped cone draped in white fabric centre-stage added a light theatrical touch and lead to the most arresting image of the night when a whirling dervish performed beneath it. It was extremely effective. (See our review here)
Amina Myers in full flight
Archie Shepp was, as expected, a huge hit with the crowd. The added bonus was the performance of singer Amina Myers, whose soulful voice complimented Shepp’s more gravelly tones. To hear the two of them trading riffs on a sumptuous extended version of Motherless Child was exquisite. (See our review here)
Archie Shepp
The concert of Sama'a was another festival winner. Katherine Marshall, Senior Fellow at the Berkley Center for Religion, Peace, and World Affairs at Georgetown University writing in the Huffington Post commented, "The evening of Sama'a music Sunday night was a pivotal moment for the 18th annual Festival of Global Sacred Music in the magical city of Fes, Morocco. The festival's goal is both noble and ambitious: through the diversity and the power of music from different spiritual traditions to loosen prejudices and open hearts and minds, and thus to ease tensions and conflicts. It has a still more audacious goal: to inspire ways a movement that will "give globalisation a soul" by bringing spirituality into the technocratic and too often sterile discussions of world affairs. Instead of a clash of civilisations the Festival, and Morocco, aspire to a harmony, a music of civilisations."
Sama'a - at the heart of the festival
Marshall went on to note that, "Faouzi Skali, the Festival's inspirer and director, describes the Sama'a tradition as one of the purest forms of prayer and worship in any faith traditions. It is a popular Moroccan and Maghrebian practice, and draws on elements from Arab music and poetry and from the flare of Andalusian style. He points to it as an expression of the Sufi traditions that are a large and vital part of Islam, though they are quite poorly understood in many quarters. Skali, an anthropologist and proud Sufi, argues that the Sufi traditions are truly the heart of Islam, the broader tendency, something to nurture and to celebrate. The Sama'a concert performed in Fes, Skali says, would never be heard in the parts of the Muslim world where the religious atmosphere is more severe. The Sama'a conveys a sense of joy and energy. It is open and driven by love of God, and respect and caring for humankind." (See our review here)
The most contentious programming this year was the inclusion of Icelandic singer Bjork. Her performance had been in doubt due to a throat condition, but on the night, she was in good form.
There is no doubt that the concert divided the audience. Few were indifferent, the fans loved it and the critics did not. Bjork's style made it difficult for her to develop a rapport with the audience until late in the concert, but when she did she received a tumultuous reception. It was a bold step and ultimately one that paid off. (See our review here)
Without doubt the most successful concert this year was unexpected. Joan Baez was always going to be a safe choice but there were those who doubted the wisdom of having her close the festival. They were wrong. The selection of music, the grace of her presence on stage and her intimacy with the capacity audience combined to produce a concert that will be remembered for a long time. From singing in Arabic to her rendition of Jerusalem, she won the audience over totally.
Joan Baez endeared herself to the locals by attending one of the Sufi Nights
The prolonged standing and cheering ovation from the entire crowd during the encores, turned into a party with dancing on and in front of the stage. Ultimately it was a moment that showed just how joyful the Fes Festival can be. (See our review here
Sanam Marvi
The afternoon concerts at the delightful Batha Museum venue were packed day after day and provided some great moments. Mukhtiyar Ali emotively sang the words of Kabir, Cantica Symphonia delivered flawless and uplifting polyphony, Sanam Marvi's Sufi songs were a hit, as was the Kathak dancing performance from Anuj Mishra and Niha Singh.
The three Nights in the Medina were a big hit with the crowds, although sightline problems caused by a fountain and the positioning of camera crews at Riad Mokri does need addressing in future years. The Terra Maïre concert of medieval sacred songs of the Occitan People at Dar Adyel was a standout.
THE SUFI NIGHTS
As is always the case at the Fes Festival, the Sufi Nights offered a wide range of Sufi groups and drew big crowds to Dar Tazi.
The Sufi Nights series was a great success in bringing together Moroccans of different economic classes and visitors from around the world. The free concerts at Dar Tazi, along with those at Place Boujloud, allowed locals who could not afford the ticket prices to engage in the festival. The Sufi performances drew local families, young children, teens, and young professionals who came to sit in the garden of Dar Tazi and enjoy the atmosphere. Every evening had a good balance between attentive, engaged listening and relaxed socialising.
The choice of groups for the performances at Dar Tazi was excellent this year. They represented the diversity of Moroccan Sufism and the variety of ways it can be expressed through poetry, chant, and song. At the same time the performances were often very meaningful and personal for both the local and visiting attendees. Many could be seen singing along, clapping, dancing, and during the best performances the divisions between performer and audience, local and visitor seemed to dissolve, at least for a moment.
On a lighter note
The award for entrepreneurial chutzpah has to go to Jess Stephens who decided one of her creations was perfect for Bjork. She not only tracked down Bjork's hotel, but had the piece hand-delivered to her room.
It is from the new Moroccan Bling collection which is more bold and adventurous than ever. Silk threads that are woven around a cord are part of the silk spinning process that eventually becomes a djelaba button. Moroccan Blings new collection can soon be viewed HERE.
Other artistic ventures on the Fringe were the excellent exhibitions by David Packer, Younes Bekkali and Mikou at Dar Tazi, the Seven Types of Terrain show by Michel Biehn and Margaret Lanzetta at Le Jardin des Biehn and the French Institute exhibition of the work by Sara Dolatabadi. However the paintings by amateur artist Leila Iraki were felt by many viewers to be a disappointing use of the prime exhibition space at the Batha Museum.
The View from Fez team personal highlights:
Vanessa Bonnin
It is difficult to choose a favourite performance from a week where there were so many interesting, varied and emotional moments, so instead I am going to give my vote to a broader theme that inspired me the most during the Festival – the women.
This may seem biased towards my own sex and I may be accused of being a feminist, but let me explain why.
The Archie Shepp concert was one favourite, however when I examine the reasons why I enjoyed it I come back to Amina Myers – a spirited, soulful diva whose voice echoed the great African American divas of the past and brought the presence of all who had gone before her into the music.
My two favourite concerts from the Nights in the Medina were also women – Cherifa the Berber poetess, and Terra Maire the mother and daughter who sang Medieval songs from the Occitan. Two completely different performances but both filled with exuberant joy, humility and a connectedness with something deep and ancient that filled the audience with wonder.
Of the afternoon programming at the Batha Museum it is hard to choose, partly because the venue provides such a spectacular setting and closeness to the performers that the bond between them and the audience is always powerful. However the Arabesques concert stands out, partly because of its original and startling marriage of poem and song, but mostly because of Rocio Marquez. Her raw emotion and incredible voice drew me in and was mesmerising.
Then we have the two draw cards of the Festival, Bjork and Joan Baez. While their music is poles apart, their spirit is the same – both women care passionately about the world beyond music. Baez has been a soldier for human rights throughout her career and Bjork, is a heart-on-sleeve environmentalist, creating educational programmes for schools and sharing her love for the planet through her extraordinarily bold Biophilia project. Between them, Bjork and Joan Baez link the past and the future of activism.
Out of the spotlight, the women also shone. From Festival director Zeyba Rahman’s warmth and elegance, to the entrepreneurial energy and joie de vivre of Jess Stephen’s fringe venture ‘In Transit’ and also the many inspiring women in the audience. Watching your reactions, ranging from serenity, wonder, tears, outright joy, and ‘don’t-give-a-damn-who’s-watching’ exuberant dancing, was as much a source of pleasure for me as watching the performers.
So, to all those sisters of the Festival who let their inner-beauty shine, I thank you.
Sandy McCutcheon
Re-enchanting the world might have been a big ask, but this year the Fes Festival certainly re-enchanted Fes. The highlights are difficult because none of the concerts disappointed. Personally I loved the sama'a as well as the voices of Amina Myers, Sanam Marvi and the amazing Rocio Marquez.
Baez and Bjork, were huge concerts, but for empathy, connection with the spirit of the festival and sheer joy, Joan Baez takes the cake.
Suzanna Clarke
Sitting under the centuries old Barbary oak tree in the Batha Museum for the afternoon concerts is always a special experience. This unique venue provided some of the highlights for my time at this year's Fes Festival. Snapshots of high points include Kathak dancer Anuj's flashing feet as he re-created the sound of a galloping horse; the dulcet tones of West African singer Mory Djely Kouyaté teamed with jazz pianist Jean-Philippe Rykiel and the ethereal Cantica Symphonia.
West African singer Mory Djely Kouyaté
While Bab Makina is a challenging venue, being long and narrow with the much of the audience a long way from the performer, the new larger screens either side of the stage made a huge difference for those sitting further back this year. Despite the limitations of the space, seasoned performers who skilfully connected with the audience such as Archie Shepp and Joan Baez, were able to create an atmosphere of warmth and intimacy. Seeing the audience waving the lights of their mobile phones and swaying from side to side as they stood singing Imagine at the Baez concert is an image that will long remain in my memory.
Visual art around the fringe of the Festival, in the form of exhibitions by artists like David Packer and Margaret Lanzetta, was a welcome touch and definitely something to be encouraged and developed in future years.
Artist David Packer
The Nights in the Medina, with their beautiful architectural settings, held their own challenges with space and sight-lines. However, it felt like a treasure hunt to wend your way through the night to discover special performances such as the Vahdat sisters from Iran and the Nour Ensemble. This is also an aspect of the event that is worth developing.
One of the Vahdat sisters
The Festival in the City, too, with many excellent international performers, kept Bab Boujeloud rocking until late into the night, and gave a sense of inclusion to an event that is financially out of the reach of many locals.
Besides the myriad fantastic performances, just to wander the streets during the Festival and encounter visitors from all over the world who have specially come to Fez because of what it offers culturally during this special time of the year is an uplifting and energising experience. Thank you to all those who made it possible!
A photographic thank you to those who helped make this year's festival so great.
Chief sound engineer Eric Loots - the man with all the backstage gossip!
Our colleague, photographer Omar Chennafi
The sound crews
Security
Venue cleaning staff
Hassan Zemmouri, the chief protocol officer from the office of the Wali of Fez - a superb facilitator
Zeyba Rahman - a thank you for great presentation as well as energy behind the scenes
Reporting at the Fes Festival was by: Sandy McCutcheon, Vanessa Bonnin, Suzanna Clarke, Vivian Nguyen and Phil Murphy.
Photographs: Vanessa Bonnin, Suzanna Clarke, Sandy McCutcheon, Phil Murphy, Omar Chennafi and Vivian Nguyen.
The View from Fez is an official Media Partner of the Fès Festival of World Sacred Music
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