Day two of the Essaouira Gnaoua Festival began with a concert that featured one of the main goals of this year's event. While many of the tradition's elders continued to perform throughout the weekend, the organizers invited the "next generation" for a series of concerts with a local focus. Chris Witulski reports for The View From Fez
The main stage at Place Moulay Hassan saw three prominent and successful mʿallems from Marrakech: Moulay El Tayeb Adhibi, Tariq Ait Hmitti, and Hicham Merchane
Hicham Merchane playing the tbal |
The generational aspect hit home when I saw Hicham Merchane's father, the renown Mʿallem Abdelkebir Merchane, watching his son up on the main stage before his own performance later that night.
Mʿallem Abdelkebir Merchane watching his son Hicham at Place Moulay Hassan |
Mʿallem Moulay El Tayeb Adhbi of Marrakech leads his Marrakech friends and colleagues |
The evening moved on with Mʿallem Said Oughessal and his gnawa troupe. They sang music from the ritual ceremony, much of which was familiar to the crowd. Moments like one during a song for Ghumami, one of the spirits associated with the color black, brought the audience in with an energetic call and response. The mʿallem's stage presence was extraordinary as, like Hamid El Kasri the night before, he moved around the stage easily, engaging both his ensemble and the audience.
I have a confession, however. As a dad who is missing his kids while traveling to Morocco, a different element of Mʿallem Said's performance was more memorable for me. The group had two young boys with them. One was a touch older: he spent a great deal of time helping the mʿallem hype up the crowd and his singing was distinct from those of his elders. The upper octave added a fantastic color to the troupe's sound. The second was younger, maybe one or two years old. He followed the group, trying to spin and jump whenever he could and, at least as far as I could tell from the audience reactions around me, I was not his only fan.
Mʿallem Said Oughessal and Chris Potter |
The one disappointment was the timing of the concerts. By this point, the evening was about an hour to an hour and a half late and, with the final artists planning on starting at one in the morning anyhow, this kind of delay makes a difference. Gnawa music, at least as far as the musicians are concerned, is a male-dominated practice. Women's roles are important in the ritual, but they do not translate to the stage. So when the festival organizers arranged a collaboration between one of the few women who plays this music and Fatoumata Diawara, from West Africa, I was excited. This was an important moment, especially as it was happening at Place Moulay Hassan and not one of the other stages.
Furthermore, this performance actually sounded more like what happens in a lila ceremony: the women in the group not only sang what is expected of the men in all of the other ensembles, they also added the sounds made by women in so many Moroccan ritual musics. They ululated and yelled prayers and praises to the prophet, creating a sense of familiarity on stage, despite the uniqueness of the group. When I spoke with some people about the concert, both Moroccans and foreigners, they were left to wonder about the role of women in this tradition.
Photographs and Text: Christopher Witulski
Chris is an instructor of ethnomusicology at Bowling Green State University and the author of The Gnawa Lions: Authenticity and Opportunity in a Moroccan Ritual Music, due out in October 2018 with Indiana University Press.
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