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10. Morocco’s Popular Culture Powerhouse: Darija and the chaabi music of Nas El Ghiwane

Chapter of: Oral Literary Worlds: Location, Transmission and Circulation(pp. 281–300)

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Metadata
Title10. Morocco’s Popular Culture Powerhouse
SubtitleDarija and the chaabi music of Nas El Ghiwane
ContributorKarima Laachir(author)
DOIhttps://doi.org/10.11647/obp.0405.10
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0405/chapters/10.11647/obp.0405.10
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightKarima Laachir;
PublisherOpen Book Publishers
Published on2025-01-31
Long abstractDarija (or vernacular Moroccan Arabic) with its regional diversity is one of Morocco's most vital artistic languages with a rich oral and performative literary repertoire and heritage. Its sophisticated popular literary imaginary and vocabulary has inspired generations of Morocco's centuries old literary traditions such as Zajal and Sufi genres of poetry, Halqa performances, Malhoun and Gharnati music as well as modern forms of performative genres such as theatre, musical, cinematic and television productions. In this paper, I explore how contemporary Chaabi (popular) music has reinvented the literary language of Darija through a close reading of the musical group Nas al-Ghiwane (established in 1971), a group that is credited not only with revolutionizing the aesthetics of Darija but also with starting a popular social and political movement of freedom in 1970s/80s Morocco, an era marked by brutal political oppression. I argue that the group's use of storytelling through songs draw heavily on Morocco's popular Sufi poetry, performative traditions of folktales and proverbs as well as on the sounds and rhythms of Gnawa (African-Moroccan) music and repertoire. The group reinvented a plural literary Darija in their lyrics and music that cut across regions and social classes; their sophisticated political lyrics represented a nation in search of its “soul” at a time of rapid social and political change. Ultimately, I want to show that although Darija is strongly co-constituted with Arabic Fusha (written Arabic) and Tmazight (Morocco's other vernacular language) as well with other languages in Morocco, it has its own literary imaginary that has constituted a powerhouse of Morocco's popular oral culture. Therefore, instead of opting for the flawed equation of “either or” (referring to the current debates in Morocco on the merits of Fusha and Darija), I argue that we should opt to enrich and nurture Morocco's multilingual scene of oral and print languages and cultures that are not only co-constituted but also marked by their own literary specificity and locality.
Page rangepp. 281–300
Print length20 pages
LanguageEnglish (Original)
Contributors

Karima Laachir

(author)
https://orcid.org/0000-0003-3309-0789

Karima Laachir is Professor of Cultural Studies at the Australian National University and the Director of the ANU Centre for Arab and Islamic Studies (Middle East and Central Asia). Previously, she held tenured positions at SOAS, University of London and the University of Birmingham. Karima’s research focuses on the politics of culture in the Arabic speaking world and how cultural productions and practices underpin social and political movements of change. She also works on Comparative literature and Postcolonial Studies multilingually and from the perspectives of the Arabic Global South. She was the Maghreb-lead of the MULOSIGE research project. Her latest publication is a Special Issue on “‘Reading Together’ Postcolonial Multilingual Literature in the Maghreb” in Comparative Critical Studies (Autumn 2024).

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