The New York Times has a travel piece on Marrakesh, which I fear will result in even more tourists crowding the city. When we were there last spring, I saw a moronic British tourist sticking his ass out of one of the windows of the Ben Youssef Medersa. The floors of the seminary’s student rooms were damaged by all the activity, and one of the guides kept touching the exquisite plaster work in the inner courtyard with his bare hands. (The photo above gives you a small idea of what you’ll see on any given day at the famous medersa.) The tile floors at the Bahia palace were completely falling apart, and people had no regard for the artifacts. The Menebhi palace was also starting to show signs of wear. Sad.
Jennifer Needleman and Joshua Asen’s documentary film I Love Hip Hop in Morocco, which screened this past weekend at the Arab Film Festival in Los Angeles, and at the Casablanca Film Festival in Morocco, is a rare treat: A film that shows the country in all its complexity. The picture follows several hip hop bands (H-Kayne, Fnaire, DJ Key, Bigg, Brown Fingazz, and Fati Show) as they attempt to set up a hip hop festival in three big cities: Meknes, Marrakesh, and Casablanca. They try to get funding and sponsorship, they rent space, they get permits, they print flyers, they rehearse, and as we follow them through this journey we get a rich portrait of these artists. We visit with DJ Key at home and hear about how he abandoned his work in an architecture firm to focus on hip hop. We hear about the choices they make in their lyrics. For example, the members of Fnaire refuse to use the word ‘fuck’ (“We don’t talk like that”) while solo rapper Brown Fingazz defends his use of the epithet ‘nigga’ to refer to himself and his friends in the medina. They share their struggles, particularly with freedom of speech and with logistical support. They talk about their private lives. The only woman rapper in the film is a young high school girl in Fez, whose parents are extremely supportive, but who has to win the crowd when she goes on stage during the festival. If you have a chance to see this film at the festival near you, don’t miss it.
Following the legislative elections of September 2007 in Morocco (which, while generally transparent, had low levels of voter turnout) the new government has been announced. The new Prime Minister is Abbas El Fassi, of the Istiqlal Party.
Mr. Abbas El Fassi is perhaps best remembered by the young people of Morocco as the man who, in his capacity as Minister of Employment in 2002 was responsible for the Al Najat fiasco. At least one person has committed suicide in the aftermath of that scandal. Abbas El Fassi is also the man who, earlier this year, was quoted in Tel Quel magazine as saying that the efforts to promote Darija Arabic in Morocco are part of a conspiracy by the francophone elite to hurt the unity of the Arab peoples. (Rien que ça? one is tempted to say.)
Several ministers have no party affiliation (Chakib Benmoussa, Taieb Fassi Fihri, Ahmed Toufiq, et al.), and are technocrats chosen for their experience in the private sector, and in that sense the country will continue to be managed as it has in previous iterations.
This new government is quite remarkable, however, for its record number of women ministers: Ms. Amina Benkhadra (Energy & Mines); Ms. Yasmina Baddou (Health); Ms. Nawal El Moutawakil (Sports); Ms. Nouzha Skalli (Family); Ms. Touria Jabrane (Culture); Ms. Latifa Labida (liaison to National Education); and Ms. Latifa Akherbach (liaison to Foreign Affairs).
It comes from Le Matin, of all places: The Spanish discover the existence of blondes in Morocco. It’s about the response in Europe when it was discovered that the blond and blue-eyed girl photographed riding on her mother’s back is not Madeleine McCann, but two-year-old Bouchra Benaissa. Photos here.