Morocco is a land steeped in culture and mystery, where you can lose yourself in its food, breathtaking landscapes, and architecture, always accompanied by rhythmic and evocative music.
The origins of traditional Moroccan music have very distant roots, a time when the mass deportation of black populations and the slave trade were commonplace.
The deportations of local populations across the Atlantic Ocean are well-known, but those to the Old Continent and Africa should not be underestimated. Here, the nations proved entirely willing and highly interested in purchasing labor from the Saudi Arabs, who occupied these lands and in turn employed the local populations in the most arduous labor.
They were employed in the dirtiest and most degrading jobs, such as in agriculture, manufacturing, but also in combat, so much so that a completely new category of warriors was born, the eunuchs, skilled soldiers trained with depriving and inhumane techniques to guard the sultan's house.
In this climate of deprivation, suffering and slavery, different types of musical movements were born such as Arab-Andalusian music, Reggada, Dakka Marakchia, Ahidous, Hait and Gnawa.
However, this genre of music cannot be defined only as a representation of the suffering of this people, in fact it is also used for various ritual dances, the most interesting and important of which is the " Lila " ritual in which the participants come into contact with supernatural entities who give them advice, warn them and answer their questions.
In fact, devotees approach this ritual music above all to obtain healing, purify themselves and come into contact with those they cannot see in everyday life.
One of these is precisely what is called the "Gimbri", a kind of guitar-drum with strings made from animal gut and a soundbox entirely made of wood, used mainly in Gnawa music.
Typical of Berber music, however, we find several very interesting instruments:
Among the most listened to songs by Moroccan singers we can distinguish at least 5:
The deportations of local populations across the Atlantic Ocean are well-known, but those to the Old Continent and Africa should not be underestimated. Here, the nations proved entirely willing and highly interested in purchasing labor from the Saudi Arabs, who occupied these lands and in turn employed the local populations in the most arduous labor.
They were employed in the dirtiest and most degrading jobs, such as in agriculture, manufacturing, but also in combat, so much so that a completely new category of warriors was born, the eunuchs, skilled soldiers trained with depriving and inhumane techniques to guard the sultan's house.
In this climate of deprivation, suffering and slavery, different types of musical movements were born such as Arab-Andalusian music, Reggada, Dakka Marakchia, Ahidous, Hait and Gnawa.
Gnawa Music: Between Tradition, Slavery, and Rituals
One of the most characteristic forms of music in Moroccan tradition is Gnawa music . Indeed, it is almost called " trance music " precisely because it is the cornerstone of traditions, beliefs, and rituals. It is a music that encompasses various arts, songs, and dancers performing impressive pirouettes that convey the suffering of an oppressed people, destroyed by conquerors and stripped of every human right. In their choreography, accompanied by this ritual music, one can sense the vibrant suffering of this culture, enslaved and deprived of its rights.However, this genre of music cannot be defined only as a representation of the suffering of this people, in fact it is also used for various ritual dances, the most interesting and important of which is the " Lila " ritual in which the participants come into contact with supernatural entities who give them advice, warn them and answer their questions.
In fact, devotees approach this ritual music above all to obtain healing, purify themselves and come into contact with those they cannot see in everyday life.
The instruments of the Moroccan musical tradition
It is also interesting to understand the typical tools used by these populations who have kept the same ones for generations.One of these is precisely what is called the "Gimbri", a kind of guitar-drum with strings made from animal gut and a soundbox entirely made of wood, used mainly in Gnawa music.
Typical of Berber music, however, we find several very interesting instruments:
- the Taɣanimt , a reed flute used as an accompaniment for songs;
- the Mizwid , very similar to a bagpipe and called this way because it resembles a "food bag";
- the Tabl , a double-sided cylindrical drum that sits vertically on the body to be played standing;
- the Qaraqib , small metal castanets that can be held and played directly with one hand.
Modern Moroccan music and songs
In this new era , Morocco has also seen the development of new styles of singing and rhythm , often completely different from the region's musical traditions. Many of the most modern songs originating in Morocco are in fact much more Western in style , so much so that, if it weren't for the original language, they would hardly differ from the music heard every day in the West.Among the most listened to songs by Moroccan singers we can distinguish at least 5:
- Yema, a song born from the collaboration between Balti and 7liwa , two rappers who have successfully integrated two worlds: their origins and the modern world. The video clearly shows how the two rappers live in modern society, offering glimpses of their daily lives;
- Ana Wyah, a song by Ibtissam Tiskat , in whose video clip you can see all her modernity without ever clearly distancing herself from her origins and her native language;
- Dnia, a song by rapper Komy , in whose video he shows his homeland and although the sound is much more up to date, he maintains his native language;
- My lady, by Muslim , in whose video clip and song you can hear how they have skilfully integrated modern music, choruses in English and a song entirely sung in their language;
- Hollelah, a song by pop singer Samira Said , in which the video clip and the song immediately reveal an avant-garde singer who has created a completely modern song that does not completely depart from its origins as it is entirely written in the singer's native language.
