Tuesday, July 31, 2018

Morocco and the English Language Debate

After last year's Fes Festival of World Sacred Music there was much debate about the Festival's  failure to use English in its introductions. Given the large number of Festival patrons who have English as their first or second language, it was discourteous, to say the least

A recent article in The Guardian took an in depth look at the issue of English as a dominant language.

Almost 400m people speak it as their first language; a billion more know it as a secondary tongue. It is an official language in at least 59 countries, the unofficial lingua franca of dozens more. No language in history has been used by so many people or spanned a greater portion of the globe. As The Guardian pointed out, "It is aspirational: the golden ticket to the worlds of education and international commerce, a parent’s dream and a student’s misery, winnower of the haves from the have-nots. It is inescapable: the language of global business, the internet, science, diplomacy, stellar navigation, avian pathology"

One straightforward way to trace the growing influence of English is in the way its vocabulary has infiltrated so many other languages. For a millennium or more, English was a great importer of words, absorbing vocabulary from Latin, Greek, French, Hindi, Nahuatl and many others. During the 20th century, though, as the US became the dominant superpower and the world grew more connected, English became a net exporter of words.

In some countries, such as France and Israel, special linguistic commissions have been working for decades to stem the English tide by creating new coinages of their own – to little avail, for the most part. (As the journalist Lauren Collins has wryly noted: “Does anyone really think that French teenagers, per the academy’s diktat, are going to trade out ‘sexting’ for texto pornographique?”) Thanks to the internet, the spread of English has almost certainly sped up.

In the last few decades, as globalisation has accelerated and the US has remained the world’s most powerful country, the advance of English has taken on a new momentum. In 2008, Rwanda switched its education system from French to English, having already made English an official language in 14 years earlier. Officially, this was part of the government’s effort to make Rwanda the tech hub of Africa. Unofficially, it’s widely believed to be an expression of disgust at France’s role in propping-up the pre-1994 Hutu-dominant government, as well as a reflection that the country’s ruling elite mostly speaks English, having grown up as exiles in anglophone east Africa.

When South Sudan became independent in 2011, it made English its official language despite having very few resources or qualified personnel with which to teach it in schools. The Minister of higher education at the time justified the move as being aimed at making the country “different and modern”, while the news director of South Sudan Radio added that with English, South Sudan could “become one nation” and “communicate with the rest of the world” – understandable goals in a country home to more than 50 local languages.

China has more speakers of English as a second language than any other country

The situation in east Asia is no less dramatic. China currently has more speakers of English as a second language than any other country. Some prominent English teachers have become celebrities, conducting mass lessons in stadiums seating thousands. In South Korea, meanwhile, according to the sociolinguist Joseph Sung-Yul Park, English is a “national religion”. Korean employers expect proficiency in English, even in positions where it offers no obvious advantage.

The quest to master English in Korea is often called the yeongeo yeolpung or “English frenzy”. Although mostly confined to a mania for instruction and immersion, occasionally this “frenzy” spills over into medical intervention. As Sung-Yul Park relates: “An increasing number of parents in South Korea have their children undergo a form of surgery that snips off a thin band of tissue under the tongue. Most parents pay for this surgery because they believe it will make their children speak English better; the surgery supposedly enables the child to pronounce the English retroflex consonant with ease, a sound that is considered to be particularly difficult for Koreans.”

Because English is increasingly the currency of the universal, it is difficult to express any opposition to its hegemony that doesn’t appear to be tainted by either nationalism or snobbery. When Minae Mizumura published the Fall of Language in the Age of English, in 2008, it was a surprise commercial success in Japan. But it provoked a storm of criticism, as Mizumura was accused of elitism, nationalism and being a “hopeless reactionary”. One representative online comment read: “Who does she think she is, a privileged bilingual preaching to the rest of us Japanese!” (Perhaps unsurprisingly, Mizumura’s broader argument, about the gradual erosion of Japanese literature – and especially, the legacy of the Japanese modernist novel – got lost in the scuffle.)

Those troubled by the hyperdominance of English should also remember the role it has played in some societies – especially multi-ethnic ones – as a bridge to the wider world and counterweight to other nationalisms. This was especially keenly felt in South Africa, where Afrikaans was widely associated with the policy of apartheid. When the government announced that Afrikaans would be used as a language of instruction in schools on par with English in 1974, the decision led in 1976 to a mass demonstration by black students known as the Soweto uprising. Its brutal suppression resulted in hundreds of deaths, and is considered a turning point in the anti-apartheid struggle. Similar protests have periodically racked southern India since the 1940s over attempts to enforce official use of Hindi in place of English.



Meanwhile, in Morocco

On March 17, 2017, the Ministry of Handicrafts, Social Economy and Solidarity launched an English training program for trainees or graduates from handicrafts institutions in Fez. The move comes as part of a larger movement across the Kingdom to raise the status of English as a language essential to development and tourism.

The struggle to spread the use of English has been going on for the last few years.

In 2015, a report by Morocco’s think tank: Rabat Centre for Political and Strategic Studies, urged Morocco to adopt English rather than French in schools across the country.

After the statements of many Moroccan ministers and politicians in favour of adopting English over French, the Rabat Center for Political and Strategic Studies submitted a report to the Supreme Council for Education, Training and Scientific Research, demanding the adoption of English as Morocco’s first foreign language instead of French.

The report said that although the Council’s committee in charge of programs considered the proposal earlier this year, the Supreme Council’s administration did not take the necessary steps, and is currently still moving to keep French as a second official language.

The Centre noted that English is the necessary language to compete in today’s world. Morocco being a former French protectorate would not be able to compete without it.

“Maintaining the French language directly after Arabic in the curriculum is neither based on objective measures nor on standards offering good opportunities both locally and internationally for Moroccan students, «the center added.

The center argued that English has become the language of choice in many European universities and education, adding that 90 percent of publications and research in Europe, including France, are published in English.

A number of Moroccan official have previously called for replacing French with English as the primary language of higher education. In March 2014, the Moroccan Minister of Higher Education Lahcen Daoudi had announced plans to make the switch from French to English.

Back in November 2016 the Minister of Education and Vocational Training, Rachid Belmokhtar, declared that the Ministry has taken serious procedures to expand and improve the use of the English language among students in the Moroccan Kingdom.

At the time Belmokhtar revealed that, in response and accordance with the reform project called for by King Mohammed VI, the Ministry of Education has adopted new approaches and methods to expand and improve the comprehension of school pupils in the country’s newly adopted second foreign language of English. “We’ve tried to encourage the creation of English clubs in all high-schools to encourage students to be able to speak it,” Belmokhtar said.

The move towards promoting English has recieved support, not only within Morocco, but also from abroad. Prominent Kuwaiti businessman and Muslim scholar Tariq Al-Suwaidan has been quoted as saying publicly, “French language is useless and a waste of time.”

Al-Suwaidan went on to say, “I am serious, French is not the language of tourism, science and civilisation. France is a backward country in terms of administration.” He pointed out that...“Today, the language of science is English – keep it in your minds. I see proof that Arabic was the historic language of science, however, the current [leading] language of science and tourism is English,” noting that “80% of scientific researches in every field are released [and conducted] in English and the 20% of [researches are conducted] in other different languages.”

“French ranks as the 16th most widely spoken language. So, it is useless in the fields of tourism, science and civilisation,” he said.“I think, according to your history and the dominance of the francophone [culture], which you have to get rid of it – you are still attached to French [language]. We need to break this barrier, because it is useless. [Please] pay to attention to this and learn English.”


Over the past years, the issue of English has become controversial, but, according to a 2015 survey, conducted by news website Hespress, 85.98% of Moroccans want to replace French with English as the country’s first foreign language.

Last year Morocco World News reported that the new project for artisans is part of a partnership agreement between the ministry, the American Embassy, and the American Language Center to provide beneficiaries with tools to communicate with tourists and improve the sale of their products.

More than 300 artisans in the Msala and Aouinat Hajjaj handicraft institutions will benefit from this program, which will be assisted by the University of Sidi Mohammed Ben Abdellah and the handicraft chamber of the Fez and Meknes region.

“The program aims to empower young trainees with various tools including communication, to enable them integrate in the labor market and to develop this sector which is considered one of the pillars of the national economy,” said Fatema Marouane, the head minister.

Many Festivals in Morocco now cater for English speaking audiences. It is to be hoped the Fes Festival will adopt a similar policy.

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Monday, July 30, 2018

Fes Festival - 2019 Dates


Fes Festival of World Sacred Music 2019 will take place between  the 14th and 22nd of June. Ramadan is expected to be celebrated between the evening of Sunday the 5th of May and the evening of Tuesday June 4th



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Friday, July 27, 2018

Casablanca loses an icon - 'Madame Rick'

Kathy Kriger, former American diplomat and founder of the renowned Rick’s Cafe Casablanca, passed away on Thursday July 26th, aged 72 

US-Moroccan relations have lost a champion. Kathy Kriger first came to Casablanca as a diplomat, but soon fell in love with Morocco. She made Rick’s Café in the classic film Casablanca into reality, and was a larger-than-life figure in the community. We will miss her dearly - U.S. Embassy Morocco

Kathy was a good friend and avid supporter of The View From Fez. When she published her book, Rick’s Cafe: Bringing the Film Legend to Life in Casablanca, she asked Suzanna Clarke to write the forward She last visited us in Fez about a month ago, and sat on our terrace sharing her plans. News of her death came as a huge shock, as she appeared to be in very good health and was excited about her new venture - turning the building next to Rick's Cafe into a boutique hotel.

Kriger, born and raised near Portland, Oregon,  founded her own travel agency and then traveled the world before settling in Morocco.
"I have lived in Morocco since 1998, serving as the commercial counselor for the U.S. Embassy. In the aftermath of 9/11, I decided to leave the government, stay in Morocco and do something that demonstrated true American values. Developing a Rick's Café in Casablanca seemed like a perfect way to do this." - Kathy Kriger

Kathy Kriger took an old courtyard-style mansion built in 1930, located in the ancient medina of Casablanca and set about renovating with the help of renowned interior designer, the late Bill Willis.

The project took two years to complete and opened on March 1, 2004 to rave reviews. Sceptics who thought it might have been a Disney-style kitsch version of Rick's Cafe could not have been more wrong.


A longtime fan of  the 1942 classic “Casablanca” from when she first saw it in 1974, Kriger had the movie on continual loop in the upstairs bar of Rick's Cafe. Most nights she could be found standing at the corner of the bar, earning her the nickname “Madame Rick.” She used to instruct waiters to refill her wine glass only with water until 11 p.m., after which she allowed herself a glass of Moroccan Val D’Argan Blanc.

Kriger’s goal was to make Rick’s Cafe Casablanca, “everything it was in the movie, and then some.” She also sought to prove that an American woman operating alone in a Muslim society can run a successful business.

As well, Kriger, wanted to convey a powerful message. After the considerable backlash against Muslims in America following the 9/11 attacks, she aimed to create a place of tolerance and unity. When The View From Fez last went to dinner there two weeks ago, Rick's Cafe was filled with tourists from all over the world and also locals, all throughly enjoying the wonderful food, excellent service and delightful ambience. Kathy Kriger had fully succeeded.

The cause of Kriger's unexpected death has not been released.

Vale Kathy Kriger. You will be sorely missed and fondly remembered. 


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Wednesday, July 04, 2018

The Next Great Moroccan Festival - Not to be Missed!

The Fes Festival of Sufi Culture runs from the 20th to the 27th of October and aims to make Moroccans discover or rediscover a culture that is theirs and offer them access to this artistic, intellectual and spiritual wealth

The Festival is famous for its aim of creating internationally a positive image of Islam, thanks to the universal language of openness and peace that advocates the spiritual voice that inhabits it: Sufism.

This event consolidates Morocco's position in intercultural dialogue by forging a bridge between East and West.

The Festival will question the role of Sufism in today's world, how to link spirituality to business, environment, social action? How can spirituality and Sufism become actors of human development?

The Festival has wonderful music - Marouane Hajji in 2017

It aims to make known the artistic wealth that Sufism inspired with painting, calligraphy, songs, music, films, books and exhibitions.

The Festival also offers a platform of expression to artists, (Moroccans and international guests) who have engaged in a spiritual process in order to enrich artistic and intellectual creativity, to explore new arts and cultural and social projects that work for intercultural dialogue, human and civilisational development.

"The cultural, artistic, and spiritual heritage of Sufism is rich and deep, rooted in centuries of history, and is the living, and constantly renewed, fabric of the civilisation of Islam" - Faouzi Skali , President of the Festival.
Reserve your place on line now: Fes Festival of Sufi Culture
Find out more at the Festival website: http://www.festivalculturesoufie.com


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Monday, July 02, 2018

TIMITAR FESTIVAL - WHEN AMAZIGH MEETS THE WORLD


The Timitar Festival was born in the Souss Massa region to preserve and promote Amazigh culture both nationally and internationally. This year, from July 4 to 7, 2018, nearly forty artists will perform at the Timitar Festival on the stages of the Place Al Amal, the Theatre De Verdure and the Place Al Wahda


Each edition has staged artists from different cultures, languages, musical genres, ages, gender and levels of recognition and for its 15th edition this mix continues .

The Festival promotes the perpetuation of Amazigh culture and will open with the Rways, these groups of Amazigh musicians mixing poetry, song, lute, ribab, bell, drum and sometimes copper cymbalette. They will be represented by Rayss Bizmaouen, Rayss Belmoudden, Rayssa Keltouma, Fatima Tamanart and others. From traditions to modernism, the festival will also present innovative artists such as Imghrane, Hamid Inerzaf, Toudert, Imdoukal and Oudaden.

The great Cherifa Kersit is not to be missed

Moroccan folk art will be front and centre with Cheifa Kerzit, Hadda Ouakki, Dounia Batma and Chaabi star Zina Daoudia. The festival will also see and hear the troops Rokba Ahl Essalam of Zagora, Ahidous Izouran of the Middle Atlas, Ahwach Argan Tafraout, Ahwach Tagmout, Ahwach Taskiwin, martial dance of the Western High Atlas of Morocco which is registered on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding by UNESCO.

Chaabi star Zina Daoudia

In a more contemporary register, the festival will introduce Aywa, Kasba, Malca and Gabatch Morocco. The diversity of genres means that there are also performances by DJ Kabir Taxi, DJ Missy Ness and DJ Sama.

DJ Missy Ness 
Inner Circle's 50th year celebration at Timitar

Inner Circle, the famous reggae band from Jamaica, will be celebrating theirfiftieth anniversary with its 50 years of performing. Straight from the Middle East, the Lebanese The Wanton Bishops will ignite Agadir, while the 3MA, fresh from the Fez Festival, bringing together the artists Ballaké Sissoko (Mali), Driss El Maloumi (Morocco), and Rajery (Mali), will come to remind us what the musical fusion means .

3NA - Ballaké Sissoko (Mali), Driss El Maloumi (Morocco), and Rajery (Mali),

The list of artists is long, but there is more -  Timitar Off - with round tables, symposia, conferences that will educate and raise public awareness of the preservation of the art and culture  of the Amazigh.

See the full programme here: Timitar Festival

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Sunday, July 01, 2018

Fes Festival 2018 - The Wrap

The 2018 Fes Festival of World Sacred Music has been generally acknowledged by audiences and critics as a success. The general consensus is that it returned to its spiritual roots rather than attempting to offer big star performers. 

The lack of introductions in English, inadequate communication about venue changes and no social media presence during the Festival have been the main complaints by patrons.  However, thanks are due to the staff of Esprit de Fes for providing opening night tickets for our team, due to the late delivery of the press passes for The View From Fez. 

The View From Fez guest photo-journalists, Lauren Crabbe from Australia and Venetia Menzies from Scotland, offer their thoughts on the Festival.

The Fes Festival 2018 - bringing the world together

Fes Festival Wrap - Venetia Menzies

Venetia Menzies
The exceptional musical talent of this year’s performers, drawing on ancient wisdom from across the world, provided Festival-goers with a week of both entertainment and insight into sacred musical practices. It was alone their sheer joy for performance, technical mastery and humility that redeemed the shortfalls of the Festival, namely poor management and time-keeping.

Repeated complaints heard from the audience was a lack of translations in English, for both performer’s introductions and of the Festival programme itself. In a country where almost everyone is multilingual, there is no shortage in the availability of narrators who could easily provide information in Arabic, French, English, and even Amazigh. This could prove a turning point, improving accessibility and allowing the Festival a chance on the international stage. With new management retreating back to its Francophone base, they risk alienating customers along both geographical and class lines.

Performances usually began more than half an hour late, and with the audience arriving an hour before the due start-time, this left people impatient and exhausted. For those attending multiple concerts a day this was particularly frustrating. The alteration in the timing of the programme, compounded with late starts, made it impossible for pass holders to attend three concerts in the day, something which Festival regulars were particularly upset about.

Despite these shortcomings, the Festival was once again a success thanks to the immensely gifted performers who graced the stage, many travelling thousands of miles to perform in the ancient city of Fez. The flawless work of the sound and lighting technicians, who provided dizzying projections onto the fortress, deserve a special mention. Particular highlights of the Festival include Dhafer Youssef, whose super-human vocal ability had the largely local audience begging him for more. Another local favourite was Said Belcadi’s Al-Ala Orchestra, who played traditional Andalusia music that whipped people into a frenzy and had them singing along to favourites.

Dhaffer Youssef 

A particular success of this year’s Festival was its syncretism, providing sets which fused sacred music from around the world, offering novel concoctions that mixed styles and languages. ‘3 Ma’, which showcased devotional music from Morocco, Mali and Madagascar, was a shining example of this, with Moroccan Driss El Maloumi, Malian Ballaké Sissoko and Malgache Rajery Madagascar, grinning exuberantly as they played songs which did everything from praising God to mocking African politics.

The Heart of Sufi Africa was another successful blend of musical styles and performers from across Africa. Uniting around the devotional nature of Sufi music, the concert welcomed musicians from Senegal, High Egypt and Morocco. Senegalese Sheikh Papa Sow Djimbira stole the show with his spine-tingling vocals and stage presence. The sheer energy of the Egyptian group’s ritual dances, including whirling dervish-like for minutes on end, had the audience entranced.

Sheikh Papa Sow Djimbira 

Closing the Festival this year, the Soweto Gospel Choir of South Africa injected colour and cheekiness back into the programme, with vibrant costumes, ceaseless dancing and booming vocals. Their final song, where they were joined by the Moroccan Sufi choir led by Hajj Muhammad Bennis, exemplified this year’s focus on celebrating common ground between faiths. Both groups harmonised Hallelujahs and Hamdollilahs as the audience abandoned their seats and poured towards the front of the stage to dance.

If the Festival management are willing to address the shortfalls in organisation, this Festival has the potential to become an international gem, doing justice to the talent of the exceptional performers we’ve seen this week.


                     Fes Festival Wrap - Lauren Crabbe

Lauren Crabbe
Coming into the Fes Festival for the first time, I really didn't know what to anticipate. I expected to witness a lot of tradition, which the Festival wholeheartedly delivered. I expected to be challenged by some of the styles and compositions and messages behind the music, which I was (a welcome challenge, I might add). I expected to reach the end of it all, totally spent, and a little unsure of how to process the flood of new information in my system, which is indeed the case. I didn't expect to be so blown away by the sheer spectacle of some of the performances.

The visuals were astonishing, and witnessing the chameleon-like walls of Bab Makina during the opening ceremony had me instantly captivated. The energy of some of the performers was incredible; Dhafer Youssef's epic soundscapes, the infectious passion of the Soweto Gospel Choir, the frantic dynamism of Goran Bregovic's orchestra, the bolstering fusion of sounds in Heart of Sufi Africa.

Some performances were more understated, but still very special and intimate; the pure and wholesome vivacity of the Moxos Ensemble, the classical rock 'n' roll zeal of Fest Noz, the gentle hilarity of 3MA, the technically brilliant but charming accessibility of the Saint Ephraim choir with Bea Palya and, of course, Jordi Savall. There were few weak links in this festival lineup, and seeing performers unreservedly share their hearts and homeland traditions with their listeners already has me hoping I'll be lucky enough to return again.

Jordi Savall

Despite this resounding success, there is, unfortunately, room for improvement behind the scenes. The biggest problem was lack of almost any kind of English translation, in programs and onstage. Non- (or even weak) French or Arabic speakers not only lose a lose a lot of context, but feel quite excluded when introductions and explanations are directly only at roughly 50% of the audience.

The curse of the smart phone

Sure, it's possible to perform one's own research beforehand, and absolutely to still appreciate and enjoy the spectacle...but it doesn't compare to hearing the traditional meaning entwined with the music and its significance directly from the source. (Or, if not from the musicians, then the announcers.) The varied musical styles (some very unlike anything back home) would be so much more understandable, and therefore endearing, with just a little bit more effort put into multi-lingual translation.


Bungles with programming also led to missed performances. Lack of communication on social media (and apparent indifference to the confusion this might cause) about the last-minute venue change for the Sufi nights was obviously a problem, and misinformation online and in some paper programs regarding performance times of the Linyuanxinlei Art Troupe meant some (including The View From Fez) couldn't experience what surely would have been a dazzling display.



I also think venue staff could have been more diligent. Uneven stair construction leading to a raised platform in Bab Makina caused many people to trip up and potentially injure themselves, while no fewer than five staff lingered nearby but refused to step in and help. Plenty of people talked loudly or on their phones during performances, and loitered in aisles so others couldn't properly see or hear. This was managed a little better towards the end of the festival, but measures could have been put in place sooner.


Thankfully, these criticisms didn't detract from the Fes Festival's core message: appreciating and integrating ancestral traditions from all over the world, and ultimately providing a magnificent platform for artists to share their sacred rituals with us. I was moved, charmed, floored, and heartened by the experience in its uniqueness, and reserve a special place in my heart for having had the privilege.


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