The Impact of Western Style on Moroccan Popular Music

Driss RIDOUANIi

Moulay Ismail University, Meknes, Morocco

Abstract:With the advancement of means of communication especially in themodern era, we have become more aware of the scope where nationsconstitute an ineluctable part system of the world at large. In fact, whatis nowadays called individual societies and considered as independententities do not exist any more, for their local distinctive standard can berecognized only within the global framework. Hence, besieged andgoverned by mass media, the world at large has been transformed intowhat McLuhan cogently termed “Global Village”, paving the way for theexpansion of foreign powers over the poor societies. In order to gaininsight into an individual society, we would consider it as an integratedpart of the global whole together with the external, say Western,factors that forcibly influence its fundamental principles. The scope ofthe impact is so wide and its nature is so various that it encompassesall nations together with their institutions. This paper is an attempt toinvestigate the way the cultural framework of Moroccan society is

i Brief Biographical Sketch of the Author:Driss Ridouani is an Assistant Professor at Moulay IsmailUniversity, Meknes. He has taught English literature since hisrecruitment at the School of Arts and Humanities, namely drama,fiction, poetry and other courses. He has published differentarticles in Maknassat Review namely “Overlapping of Space andCulture”, “Interconnectedness Between Space and Theme in SamuelBeckett’s Endgame”; he participated in other cultural activitiesin Meknes and elsewhere – Beni Mellal with a paper titled“Function of Space in Ernest Hemingway’s The Snows of Kilimanjaro”,Fes Sais with a paper titled “Gendered Space in MoroccanMaxims”; he also published some articles in Arabic especially inAlamat Review.

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“Westernized”, drawing on the popular music and the changes thathave shaped both its content and form. In the same vein, scholars ofdifferent interest and aim, chiefly Moroccan ones, underline the processof transformation that has been incessantly happening in popularmusic, pointing especially to the integration and assimilation ofWestern characteristics. Such a situation leads to a crucial questionwhy Moroccan popular music has made room for external influenceswhile sloughing off its originality and its essence. As a case study, thefocus will concern a comparative analysis of traditional popular singersand what is termed “modern” popular singers.

IntroductionIt is unanimously agreed that culture is a superordinateconcept which is so wide and so diverse that itencompasses different areas of human activities andpractices which are as various as the different socialgroups are. In his essay “Is There Really a RelationshipBetween Culture and Development?” Ifeyinwa AnnastasiaMbakogu stressed the multifaceted concern of culture andassumed that:

Culture embraces all the material andnonmaterial expressions of a people as well asthe processes with which the expressions arecommunicated. It has to do with all the social,ethical, intellectual, scientific, artistic,and technological expressions and processes ofa people usually ethically and/or nationally orsupra-nationally related, and usually living ina geographically contiguous area; what theypass on to their successors and how these arepassed on (2004, p.1).

In this paper, I narrow the scope of focalization, and Iwill concentrate only on Moroccan culture and moreparticularly on Moroccan popular music and its alterationor rather re-adaptation in relation to education and

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media. I will try to answer the following questions: Whatfunction do the new media and communication technologiesplay in the construction and restructuration of people’ssocial and cultural identities? Does the globalization ofmedia and communication contribute to the integration ofpoor countries into the information age to make use oftechnology and speed up their development? Or does itsimply damage the reputation of the home-grown culturesand impose on them alien cultures? My paper then is anattempt to outline the different agents that set in motionthe process of change in Moroccan culture.

Evolution of Modern Moroccan MusicMorocco is ethnically and culturally a kaleidoscopiccountry which hosts a heterogeneous popular music coveringa considerable geographical area ranging from the north tothe main plains down to the south via the Atlas Mountains.Culturally speaking, Morocco has succeeded to drawtogether different cultures namely Arabic, Berber andJewish, but lately he has added to his cultural heritageFrench, Spanish and recently he embarked also on Anglo-American lifestyles.

The diversity of areas paves the way for a multifariouspopular music performance, giving each region a specificgenre nationally known as “chaabi” and recognized by itsrhythm, instruments, language and staff.

Chaabi is probably considered pop music sinceit is indeed the most popular music listened toin Morocco. It is another form of Moroccanmusic that is widely listened to because it issung in Darija, Moroccan Arabic. (Music fromMorocco, 1995, p.1). (https://www.google.com/search?hl=ar&noj=1&q=Chaabi+is+probably+considered+pop+music+since+it+is+indeed+the+most+popular+musi

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c+listened+to+in+Morocco.+It+is+another+form+of+Moroccan+music+that+is+widely+listened+to+because+it+is+sung+in+Darija%2C+Moroccan+Arabic.+&oq=Chaabi+is+probably+considered+pop+music+since+it+is+indeed+the+most+popular+music+listened+to+in+Morocco.+It+is+another+form+of+Moroccan+music+that+is+widely+listened+to+because+it+is+sung+in+Darija%2C+Moroccan+Arabic.+&gs_l=serp.3...56115.56115.1.58345.1.1.0.0.0.0.0.0..0.0....0...1c.2.37.serp..2.0.0.ZiegUKO3MFM)

It was the era of what is called ‘Ayta’ ‘Gnawa’ ‘taqtuqa’to name but a few. These types, though slightly modifytheir traditional standard, their music maintained themonotony of the rhythmic verses and the static refrain.

Gnawa taqtuqaayta

Moroccans, it is also true for any other part of theglobe, always cherish and vindicate the preservation oftheir culture, making it the driving force and the crucialprerogative of self-esteem. As early as the thirties of

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the last century “chaabi” – the Arabic term for pop music– has long survived as a fixed musical heritage both inform and content.

The historical demarcation of Moroccan pop music is tracedback to the thirties under the name of “chaabi”. Afterhaving created this type, Moroccan pop singers dismantledrelatively the dominance of Egyptian and Syrian pop music.Such independence offered Moroccan artists the opportunityto establish an original type based on local instruments,rhythm, language, and staff.

As the term connotes, “chaabi” refers to Moroccan folkmusic, echoing the norms, lifestyles and traditions of themiscellaneous social groups and their different regions.Central to this issue, the term denotes that “chaabi”originally emanates from what is popular and performs theinveterate traditions and norms of the different regionstogether with their various dialects. It is a musicconsisting of numerous varieties which are descended fromthe different forms of Moroccan folk music.

Central to the framed pattern in which Moroccan popularmusic was entangled, different factors contributedeffectively to the establishment of this framework,chiefly education and media. To outline the framework ofthis postulation, this paper opens a pathway in thispattern.

Originally the institutionalization of Moroccan popularmusic can be historically determined on account ofeducation network. The majority of the early pop singers –say those of the first half of twentieth century – wereassigned a very limited education if not at all. As earlyas 1920 schooling, or rather modern schooling had beenproffered to few privileged citizens while the mainstreampopulation was contented with traditional learning. Such a

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situation entailed a wide scope of illiteracy chieflyamong the lower class of workers and farmers who in factconstituted the substance of the popular music in Morocco.Their limited education framed the parameters of theirsongs, structuring its language and rhythm in accordancewith the local environment. In this vein, colloquiallanguages together with the local maxims and intonationsbecame a common practice among the pop singers.

Likewise, in dealing with the issue of alteration ofMoroccan popular music, we must take into account therelevance of media. Along the first half of the twentiethcentury media had not been technologically advanced, onthe contrary it was limited in nature and scope. Radio andrecord-player, the first tools of communication, were notat the disposal of the majority of Moroccan population. Assuch they did not lend a hand to the pop singers to have aclose and ever contact with other types of music outsidetheir local areas. Notably this context was positive inthe sense that Moroccan pop music had been canonizedwithin the surrounding substance of its originalmainstream. In this respect, norms such as the use ofsimple and local musical instruments of all sortsIdiophones (qarqaba) Membranophones (Darbûka, târ, bender)Chordophones (‘ûd or lute, ‘genbri, hajhûj, kamanja)Aerophones ( nay flute, lira) colloquial language, andmonotonous rhythm had been maintained.

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Tam-tam lutebendir

Guembriflute

The seventies marked an advancement in both education andmedia in Morocco though their scope did not cover thewhole country; put differently,

In the 70s it was the music that was used toexpress people’s overall political views and

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feelings via groups such as Jil Jilala andNas El Ghiwane (Music from Morocco, 1995).

Hence, modern schooling, especially in urban sides,covered all cities; such a situation paved the way for thegeneration of the seventies to be on a par with what wasgoing on in Western countries. Similarly, media chieflytelevision, newspapers, cinemas and other sources ofentertainments were largely confined to the urban areaswhile radio remained the only effective communicationmedium in the rural areas. In this vein, on account ofbeing in touch with the Western culture, though in alimited way, including music, the urban areas had knownthe birth of unprecedented pop music style.

Framing Moroccan popular music in its historicaldevelopment, the seventies knew a wave of pop musicannotated as band singers. To name but the most prominentgroups, ‘Nass El Ghiwane’ (Men Singers), ‘Jil Jilala’(Jilala Generation), ‘Lemchaheb’ (Flames), and the Imazighband ‘Izenzaren’ (Sun Rays) were the bands which enticedthe majority of pop fans.

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Despite these pop bands were inspired by their counterpartin the West in group-forming, their newness did not astrayaway from the local context, deriving their style fromMoroccan legacy. Apart from a seemingly Western influenceseen in adopting the fashion of the seventies like havinglong hair, wearing tight clothes, and putting high heels,

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the promotion of Moroccan popular music originality hasbeen touched in the parameters upon which their songs werebased. Relying on the same traditional musical instrumentsas their predecessors did, their modernization of popmusic lies in the first place in music composition, givingeach song a new rhythm. In this way they freed Moroccanpop music from the monotonous tone which had persisted forgenerations.

Along this period, the promotion of Moroccan popular musicoriginality is touched in the ingredients integrated intheir songs. As a starting point, language ispredominantly confined in Moroccan dialect, Arabic orBerber. Yet unlike the plain and straightforward languagewhich had been used by their predecessors, the bands ofthe seventies had recourse to implicit expressions thatsome of them become maxims such “horses know their knights”,“a subpart cannot be subdivided”, “a fish needs no soap”, to statebut a few sayings. Secondly, the social context became thefocal axis around which most of the songs revolved,criticising mainly the ignorance of people who enduredwholeheartedly their grievances. Some songs encroachedupon the frontiers of social problems and attainedpolitical areas, a process which drove some groups toprison. To close the file of this period, I see that themusical instruments and composition are of importantrelevance. The two are complementary constituents, in thesense that the traditional instruments such as “bindir”,“tamtam”, “guimbri”, and banjo moulded the composition ofthe songs in the matrix of Moroccan tradition.

Different relevant factors played a major role in theshift that took place in Moroccan popular music along theseventies onward. Education constituted the pillar ofchange in that the members of the bands were equipped withmodern learning and they were knowledgeable enough to pournew blood in popular music. The use of Moroccan

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colloquial language did not indeed represent anobstruction to stressing the social problems or revealingtheir political standpoints. Likewise, along the seventiestechnology had known a shy progress which was mirrored inthe slow propagation of the means of communication, namelyradio, television, cinema, hence their influence remainedquite insignificant as well, an opportunity given for boththe popular singers and audience to satisfactorily becontent with the local artistic production.

However, from the nineties onward, technology hasextensively widened its scope and diversified its naturethat it has spread its roots through all directions,encompassing the world at large and transforming it into‘a global village’. Such a rapid and diverse advance pavesthe way for the audience all over the world to be in touchwith different cultures without moving an inch from theirrooms. The interaction ignites the appetite for newtastes, ranging from lifestyle to the very minute detailsof norms. Like the other constituents, Western music gainsamply its own share, conquering even the far-remotefrontiers of the globe.

Being an inescapable part of the technologized world,Morocco or rather Moroccan popular music, especially amongthe young generation, drops its hands before its Westerncounterpart. Unlike the generation of the seventies whichadvocated national popular legacy, the very lategeneration of the recent century divorces the standard oflocal popular music and adopts the Western style. Latelythe majority of Moroccan popular bands, if not all ofthem, opt for rap, rock, hip-hop and reggae. Just likesnakes that slough off their old skins, so does Moroccanrecent generation, substituting local names by Westernones, playing on Western musical instruments instead oforiginal ones, adapt Western rhythm, dancing in Western

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mode, and dressing in Western style. Latifa al Arousnipoints out that:

But is it not only the music that reflects theWestern influence, as their choice of clothes,loose cotton t-shirts printed with certainphrases and baggy jeans worn low on their hips,are also a sign of Western influence. Theyemulate American artists especially, and oftenwear sports caps, gold and silver chains andeven earrings. (Latifa al Arousni, 2007, p.1)

To begin with, the names of the bands are an indicationwhich reflects the Western influence upon the recentgeneration and stresses its disposition towards the latterartistic legacy. Apart from ‘Fnaïre’ (Oil Lamps),‘Hnouz’, among a few others which give themselves Arabicnames, once one hears or reads the names of the bands suchas ‘Zanka Flow’ (Street Flow), ‘H-Kayne’, ‘Kanka’, ‘Bigg’,and ‘Ma Yara Fusion’, the first impression that comes toone’s mind is that they are Western musical groups. In anarticle titled “Travel the World of Moroccan Rap Music” itwas stated that

“since 2001, representatives of Moroccan Rapinclude: Bigg, H-kayne, Zanka flow, Hoba HobaSpirit, DJ Key, Put Crew, Smoufey, StyleUnder, Aminoffice solo of salted, Rass Derb,Fnaïre, The Author' S, Marocologues, DerbFunk. DS Crew, H-Name, Kachela, Hell-Ouaf,UnDer MiC , Hell Lemkane, Professorz(Reduction/H.N), Fes City Clan, RAIRAP, andMobydick” (p.5) (http://www.travel-exploration.com/subpage.cfm/Moroccan_Rap)

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HAKMIN

H-KAYNE’

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MAYARABAND

FNAIRE

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ZANKAFLOW

The other constituent which shows the Western relevance inMoroccan popular music is the instruments. The newtechnologies have sparked new blood in the younggeneration and coerced it to internalize Western pop musicchiefly hip-hop and rap. The adoption of the latter genrenecessitates the tunes of adequate instruments namely anelectric guitar, synthesizer, saxophone amongsophisticated others, and hence Moroccan pop singers turntheir backs to local traditional instruments. In a relatedvein, by virtue of making use of Western instruments,Moroccan bands emulate Western rhythm.

With the advancement of means of communication especiallyin the modern era, we have become more aware of the scopewhere nations constitute an ineluctable part of the largerworld system. In fact, what is termed individual societiesas independent entities does not exist any more, and theirdomestic distinguishing criterion can be recognized onlywithin the global framework. Hence besieged and governedby mass media, the world at large has been transformedinto what McLuhan cogently termed “Global Village”, paving

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the way for the expansion of foreign powers over the poorsocieties. Soon, in order to gain insight into anindividual society, we would consider it as an integratedpart of the global whole, together with the external, sayWestern, factors that forcibly influence its fundamentalprinciples. The scope of the impact is so wide and itsnature is so various that it encompasses all nationstogether with their institutions and culture. To tacklethe issue from a close perspective, Moroccan popular bandsare not the only ones who internalize Western music, butit is the question of a wider scope comprising aconsiderable number of the young generation. According toLatifa Al Arousni, the members of the bands come up withcontradictory argumentations so as to substantiate theirdisposition to implement Western musical genres. Shepoints out that rap for the members of Hakmin becomes aworld wide phenomenon as

they insisted that they learnt music through‘perseverance and expertise’ and absolutelyreject the notion that they are merelyimitating American rap groups. In theiropinion, ‘rap’ is a rhythmic genre that existsin all languages. ( 2007, p.2)

The problem, however, is not so much issued from the term“chaabi”, as it is raised from its modernization. It is aquestion of terminology in the sense that the term“chaabi” persists even if this genre has known, in somecases, radical changes. It is undeniably true thatwhatever exists in the world has been changing alonghistory, responding either to local development oradopting external or rather alien aspects. Though bothsides are considered modifying processes, they operatedifferently from one another. While internal changeincites the operation of socialization, external andborrowed components ignite acculturation. In the same

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vein, the former aspect preserves the fundamentalcomponents of its original foundation, hence warrantingthe continuation of its identity; on the other hand, theimported constituents lead either to the mixture of whatis original with what is foreign or drive to the completeadaptation of what is alien.

Moroccan younger generation behaves in accordance withwhat media offer them through miscellaneous factors. Theyfind themselves besieged by unlimited number of channelsthat offer all types of Western music. On the other hand,local channels, besides being very limited, grudginglypresent intermittently few programs to the Moroccanspectators. Added to this is that the percentage ofviewers of the local channels is maximized in 30%.Incidentally, being an inescapable part of thisgeneration, Moroccan bands, to go hand in hand with such acontext, harmoniously appeal to the proclivity of “thevoices of the country's younger generation”. It is theinfluential impact of media that galvanizes the turningpoint of Moroccan younger generation to appreciate rap,hip-hop, Hard Rock, among other Western musical types.

Others, however, tackle the question from a globalizedpremise and argue that music or the arts in general is notconstrained within specific geographical borders. Just aspainters, for example, all over the world and irrespectiveof their nationality, are inspired by trends such asrealism, surrealism and impressionism, so do pop singers.The members of Hakmin maintained that their music is notsimply a ‘blind’ reproduction of American rap, but theybecome skilled at music through ‘perseverance andexpertise’. However, they admitted that they amalgamatedMoroccan musical pieces with Western ones and came up witha ‘new style’. However, some, in an attempt to hide theirentire assimilation of Western pop music, claim that theonly borrowed constituent is music whereas language and

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subject matters spring from Moroccan context. Contrary tothe foregoing ‘Ma Yara Fusion’ admitted that “their musicis a blend between traditional Moroccan and Westernsounds.” (Latifa Al Arousni, Morocco's Hip Hop Revolution2007, p. 1)

Moroccan popular music, on this basis, is a two-prongeddimension: a local raw material molded in Western matrix.The amalgamation of the two cultures brings about a hybridproduct which is neither Moroccan nor Western. Theadvocates of a mixed version neglect, in fact, theimpending danger that threatens to obliterate Moroccanoriginal music norms. An optimistic standpoint, however,is affirmed by the ‘Bnan’ band as

Zacharia Bnan … believes that the rap phenomenonin Morocco is a short-lived one that will soondisappear. He predicts that the people will getbored with such groups and ultimately seektradition, which is embodied in the Moroccanmusic culture …. Moroccan youth do not rush toimitate the Western tradition and that they wereattached to their Moroccan identity. (Latifa alArousni, 2007)

Rose Scherlis tackled the issue in the same way,seeing that the Western influence is the primary causeof Moroccan’s divert and propensity towards Americanstyle of music. She stated that “Originally peopledidn’t believe it like rap. They say rap is Americanmusic. After 2005, they found young artists tried topass messages with rap. Always, we rap about thegovernment, problems, poverty …. In 2005 peoplestarted believing there is the art of the street.”(pp.1-2)

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It is noticeable that the rate of influence and change insocieties is related to the results of the interactionsbetween the original/interior factors andincoming/exterior issues. It is also remarked thatsocieties have recently known an unprecedented change bothin scope and speed. The latter characteristics are soconsiderable that it becomes impossible to envision them,in the sense that what is used to be performed incenturies, it is carried out in decades and what ishabitually achieved in decades it is done in a few yearsand later on we may speak about change in terms of monthsand days.

Besides the aforementioned institutions, the incrediblerapid advance of technology amplifies the Western hegemonyover the rest of the world or rather the less developedcountries, and this impact constitutes a potential threatto their identity. Indeed, it is enough to consider thesignificant discrepancy between the developed countriesand the underdeveloped ones in relation to media, radio,television, satellites, film-making and Internet. Thesituation is critically paradoxical, in that no societynowadays can shrink within its own shell and live detachedfrom the rest of the world. International “sociability”imposes itself on all nations whether they want it or not.

Media is considered to be a dynamic mechanism which iscapable of manipulating the established political, socialand cultural institutions on account of its influentialmeans of communication and its overspread scope to theextent that it can reach as much social groups aspossible. Far from being a conscious process, its effectis permeable and muffled, in the sense that it structuresor rather restructures the inner essence of the targetedsocieties without the latter’s awareness. Such a processis set in motion via the interaction between the senderand the receiver who is eager to accept all sorts of

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amusements that can substitute the social, family andpersonal problems. In this way, the viewer/receiverintegrates involuntarily the ideological framework hiddenin the different programmes that are presented to him/herand becomes, thus, victim of an alien ideology.

ConclusionBy highlighting such cultural development, I stress thestrong connection between the new media and communicationtechnologies and the configuration of people’s culturalidentities and their sense of belonging. But what isstrikingly interesting is the insistence on the fact thatculture shares standard which is transmitted fromgeneration to generation through learning process. Thefact that the individual is exposed to environmentalcontext together with the interaction with specific moresand ethos allow him/her the chance to adopt and adapt thecharacteristics of that specific local territory. Learningthen is strictly confined within a limited tempo-spatialdimension which does not exceed the border lines ofenvironment. In this relation, the process ofsocialization plays a major role in familiarizing theindividuals with the norms of their societies’ cultures.

On the other hand, the strikingly technological advanceand the alarming acceleration invention of gadgets ofmeans of communication and transmission force theresearchers to reconsider the conception of the process oflearning as regards culture. If the individual used to beexposed only to his confined environment in the far-gonecenturies where learning norms were limited, thetechnological boom in the twentieth century allocates theindividual to be exposed to other cultures. In thisprocess, the technological advance, however, brings withit new means of communication and substitutes the processof local contact with mass interaction. The differentmeans of transmission – TV, DVD, Internet to name but a

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few – transform the world and restructure its fundamentalbasis which is based on territorilization and localization. The media audience, be it heavy or light, is no moreexposed only to the local environment; on the contrary,mass media miniaturize the universe and transform it intoa small global village. The compression of spacio-temporaldimension of the globe helps in the widening of the scopeof exposure of the individuals, and hence the learningprocess becomes no more confined within a specificterritorial framework.

Media and communication technologies that have known aboom in the last decade of the twentieth century make theaforementioned definition of culture quite contested. Inthis regard, individuals are no more restrained within thematrix of their socialized practices, but they become opento other alien ones. The learning process thus changes itsscope as well as its nature. The same as the individualslearn from their local environment, so they adapt othernew cultures by means of mass media. Such operationcreates an intimate interaction between the viewer-consumer and alien transmitted cultures. In thisinteractional context, the audience becomes the target oftwo diametrically opposed processes of learning:enculturation and acculturation.

To preserve Moroccan culture and its fundamental basis andframework that has lasted persistently among centuries,Moroccan responsible opt for different festivals based inthe first place on reviving the inveterate popular music.Alecia Cohen in “Your Morocco Travel Guide” highlightsthat “Celebration is an important aspect of Moroccanculture. Morocco is an exciting and entertaining countrythat lays claim to cultural, historical and religious

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holidays and festivals.  At any given point of the yearthere is a Moroccan city or Berber community hostingglorious festivities. Moroccan celebrations can lastanywhere from a few days up to two weeks” (2010. p.5. Infact festivals are very numerous; I state but a few: FezFestival of World Sacred Music in Fez which takes place inJune each year, Gnaoua Music Festival in Essaouira whichtakes place in June each year, Timitar Music Festival inAgadir which takes place in July each year, Rose Festival-El Kelaa De Mgouna which takes place the first week in Mayeach year, and Sufi Festival, which takes place yearly inFez in June. By and large, these festivals, traditional intheir performance and style, give homage to Moroccanpopular music and revive its parameters.

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