Journal articles on the topic 'Morocco Art'
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1
Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco." Review of Middle East Studies 42, no. 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.
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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sick of the wet-rags of the festival season” that deny “millions of happy festival-goers the occasional…free oasis in the grand cultural desert of Morocco.” Describing the street as an oasis of culture vis-à-vis the desert landscape of Moroccan cultural institutions is not a new trope. In this paper I explore how Moroccan artists have engaged with the potential, promise and problems of art in the street when gallery spaces and museums fail to integrate modern art into a wider Moroccan cultural landscape.
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Alaoui, Fatima-Zohra Sbihi, and Susan Searight. "Rock Art in Morocco." Proceedings of the Prehistoric Society 63 (1997): 87–101. http://dx.doi.org/10.1017/s0079497x00002383.
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Rock art in Morocco is widespread and varied, but little known in English-speaking circles. The present paper aims to present a broad outline of this art — almost entirely represented by engravings — as it is known today. A brief survey of past research is given. The distribution of sites is indicated, showing the country to be roughly divided into two areas: the High Atlas mountains and the sub-Saharan regions to the south. Four major groups of engravings are identified, according to theme, technique, and, to a certain extent, style. In the absence of radiocarbon or other datings, the only clues to the chronology of the engravings come from datable material objects or events. None of this art is thought to be older than Neolithic and the most recent engravings certainly date from early historical times. Problems of conservation are discussed, along with measures being taken both to protect the sites and to extend research on this informative aspect of Morocco's past.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (March 10, 2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Bennani Othmani, M., S. Diouny, and O. Bouhaddou. "Medical Informatics in Morocco." Yearbook of Medical Informatics 22, no. 01 (August 2013): 190–96. http://dx.doi.org/10.1055/s-0038-1638855.
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Summary Objectives: Informatics is an essential tool for helping to transform healthcare from a paper-based to a digital sector. This article explores the state-of-the-art of health informatics in Morocco. Specifically, it aims to give a general overview of the Moroccan healthcare system, the challenges it is facing, and the efforts undertaken by the informatics community and Moroccan government in terms of education, research and practice to reform the country's health sector. Methods: Through the experience of establishing Medical Informatics as a medical specialty in 2008, creating a Moroccan Medical Informatics Association in 2010 and holding a first national congress took place in April 2012, the authors present their assessment of some important priorities for health informatics in Morocco. Results: These Moroccan initiatives are facilitating collaboration in education, research, and implementation of clinical information systems. In particular, the stakeholders have recognized the need for a national coordinator office and the development of a national framework for standards and interoperability. Conclusion: For developing countries like Morocco, new health IT approaches like mobile health and trans-media health advertising could help optimize scarce resources, improve access to rural areas and focus on the most prevalent health problems, optimizing health care access, quality, and cost for Morocco population.
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Larocca, Alberto. "Rock art conservation in Morocco." Public Archaeology 3, no. 2 (January 2003): 67–76. http://dx.doi.org/10.1179/pua.2003.3.2.67.
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Saoura, Zakia, Ahmed Abriane, and Aniss Moumen. "Digital entrepreneurship in Morocco: measurement model validation." SHS Web of Conferences 119 (2021): 03004. http://dx.doi.org/10.1051/shsconf/202111903004.
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According to the 2017 Global Entrepreneurship Monitor report, there are 6.5 million adults aged 18-64 planning to start an entrepreneurial career by 2020. However, the gap between attempt and effective creations remains one of the largest within Arab countries (40% versus 9%). Given these statistics, we ask the question about the profile of the Moroccan entrepreneur. In this paper, we opted for a quantitative research methodology on an exploratory sample. We distributed a questionnaire to a sample of eighty Moroccan entrepreneurs representing different regions of Morocco. The objective of our study is to validate a measurement scale of three dimensions: 1/ entrepreneurial motivations, 2/ skills, and 3/ behaviour in the Moroccan context. To do so, we present, in the first part, a literature review on digital entrepreneurship. Then, we establish a state of the art of entrepreneurship in Morocco. Then, we show our methodology. Finally, we reveal and discuss the results of our study.
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Dornhof, Sarah. "Street Art out of Time." Manazir Journal 4 (October 24, 2022): 74–97. http://dx.doi.org/10.36950/manazir.2022.4.5.
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The small town of Asilah in the north of Morocco holds an annual international festival of visual and performance arts, including exhibitions, workshops, conferences, and other parallel activities. However, it is best known for the murals that are painted every year anew by invited artists on the facades of old town houses. Founded in 1978, the Arts Festival or Cultural Moussem of Asilah qualifies as the first street art festival in Morocco and has significantly shaped the cultural context for arts to interact with public spaces. It has, in particular, linked street art manifestations to ideas of cultural dialogue and south-south alliances as well as to urban regeneration and social development. At the same time, the Festival has been criticized for using the integrative concept of the moussem, a traditional communal festivity, for cultural marketing and for connecting arts and culture to the power of the monarchy. By focusing on political, aesthetic, and urban aspects of the institutionalization of the Asilah Festival, this article draws a genealogical perspective on entanglements of art, public culture, and urban politics in Morocco. It thereby analyzes the cultural context in which street art finds its place, meaning, and critical potential today.
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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.
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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
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Sabar, Shalom. "The Preservation and Continuation of Sephardi Art in Morocco." European Judaism 52, no. 2 (September 1, 2019): 59–81. http://dx.doi.org/10.3167/ej.2019.520206.
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While it is widely known that the Jews of medieval Spain carried with them their language, literature and other traditions to the countries in which they settled following the Expulsion in 1492, little research has been conducted on the preservation of their material culture and the visual arts. In this article, these aspects are examined vis-à-vis the Judaic artistic production and visual realm of the Sephardi Jews in Morocco, who adhered to these traditions perhaps more staunchly than any other Sephardi community in modern times. The materials are divided into several categories which serve as an introduction to specific topics that each require further research. These include Hebrew book printing, Jewish marriage contracts (ketubbot), Hebrew manuscript decoration, clothing and jewellery relating to the world of the Sephardi-Moroccan woman and the interior of the home, and ceremonial objects for the synagogue.
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Abudaya, Mounia Chekhab. "Inner Visions: Art Practice and Sufi Devotion in Morocco at the Turn of the Fourteenth/Twentieth Century." Journal of Material Cultures in the Muslim World 3, no. 2 (July 14, 2023): 267–98. http://dx.doi.org/10.1163/26666286-12340030.
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Abstract This article examines a large calligraphic panel from Morocco preserved in the Harvard Art Museums (2016.206). The artwork features stylized representations of Mecca and Medina alongside Prophet Muhammad’s sandals and a selection of religious texts praising the prophet. This composition is characteristic of Islamic devotional imagery, highlighting artistic transfer from Moroccan illustrated copies of the Dalāʾil al-Khayrāt by the ninth/fifteenth-century Sufi mystic al-Ǧazūlī. This article aims to contextualize the production of this specific panel artwork within the Wazzāniyya Sufi Brotherhood in Morocco. It also presents how the expression of religious devotion through symbolic images reflects a mediation between the believer and Islamic holy sites and relics of the prophet.
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Rosser-Owen, Mariam. "Andalusi Spolia in Medieval Morocco: “Architectural Politics, Political Architecture”." Medieval Encounters 20, no. 2 (March 27, 2014): 152–98. http://dx.doi.org/10.1163/15700674-12342164.
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Abstract Traditionally, art historians have viewed the art of medieval Morocco through the lens of Islamic Iberia, which is regarded as the culturally superior center and model for the region. However, more recent studies are beginning to show that, rather than Moroccan patrons and artisans passively absorbing an Andalusi model, the rulers of the Almoravid and Almohad regimes were adopting aspects of this model in very deliberate ways. These studies suggest that Andalusi works of art were part of a conscious appropriation of styles as well as material in a very physical sense, which were imbued by the Moroccan dynasties with a significance relating to the legitimacy of their rule. This paper focuses on the way in which Andalusi architectural and other, mainly marble, material was deployed in Moroccan architecture in the eleventh and twelfth centuries. Rather than reusing locally available material, this monumental (and extremely heavy) material was gathered in al-Andalus, at the ruined monuments of the Andalusi Umayyad caliphs, and transported over great distances to the imperial capitals at Fez and Marrakesh. Here this Umayyad spolia was deployed in key locations in the mosques and palaces constructed as the architectural manifestations of the Almoravids’ and Almohads’ new political power. Most frequently, this spolia consisted of marble capitals in the distinctive, dynastic style developed by the Andalusi caliphs for their palace at Madīnat al-Zaḥrāʾ. But together with other Andalusi imports, such as the magnificent minbars made in Córdoba for the Qarawiyyīn mosque and Almoravid mosque at Marrakesh, these physical symbols of al-Andalus in Morocco conveyed a clear message that the Almoravids and, later, the Almohads had taken up the mantle of rule in the Islamic West.
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Lourenço, Isabel, and Jorge Teixeira. "The Saharawi Arab Democratic Republic, the Art of Resistance and How to Constitute a Country While Under Occupation." Uchenie zapiski Instituta Afriki RAN 63, no. 2 (June 15, 2023): 117–31. http://dx.doi.org/10.31132/2412-5717-2023-63-2-117-131.
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The Frente POLISARIO, a liberation movement that aimed to achieve freedom of the then Spanish Sahara, was funded in 1973. In 1976, one year after the invasion of Morocco and Mauritania of Western Sahara, POLISARIO proclaimed, in the name of the Saharawi People, the Saharawi Arab Democratic Republic (SADR). Western Sahara has been on the United Nations’ list of Non-Self-Governing Territories under Chapter XI of the UN Charter, since 1963. Forty-seven years later, the fight for the future of Western Sahara still ensues. Despite all judicial decisions against its claim, Morocco still occupies Western Sahara and proclaims it is part of its national territory. On the other side, Frente POLISARIO, adhering to International Law and their legitimate rights to Self-Determination, still fights. Morocco resorts to a mix of tactics: war, propaganda, fake news, defamation, imprisonment of dissidents, human rights violations, and Geopolitical Alliances. In 1991, under the auspices of the UN and AU, an agreement on a Referendum to determine the Liberation of Western Sahara or the Annexation into the Kingdom of Morocco was achieved, but was never materialized. A UN Mission, Misión de las Naciones Unidas para la Organización de un Referéndum en el Sáhara Occidental (MINURSO), was established. Morocco, however, did not respect the terms of the agreement, boycotting the referendum. Between 1991 and 2020, a cease-fire was in place. In November 2020, a Moroccan military assault against a peaceful protest of Saharawi civilians against a new breach of Military Agreement No. 1 triggered Frente POLISARIO to declare the cease-fire null and void and to resume military action. In this paper, we will try to clarify what the Saharawi Arab Democratic Republic is and what Frente POLISARIO is. To achieve our goals, we have examined the SADR Constitution and how the political actors implement the ideas and ideals of the Constitution reflected on Frente POLISARIO. Our analysis has found a country ready and able to implement the structure of a functioning Modern Democratic State with the necessary prepared human resources.
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Maraini, Toni. "Some Observations on Traditional Popular Art in Morocco." Journal of Modern Craft 13, no. 1 (January 2, 2020): 107–14. http://dx.doi.org/10.1080/17496772.2020.1735131.
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Himmi, Mariem, and Youssouf Amine Elalamy. "Walls of Many Colors: The Celebration of Mural Art in the Moroccan City." International Journal of Linguistics, Literature and Translation 6, no. 8 (August 15, 2023): 183–90. http://dx.doi.org/10.32996/ijllt.2023.6.8.17.
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The history of walls in Morocco is extremely rich. Walls have played a powerful role throughout history, recounting stories of protection, resistance and encounter. They stand as historical palimpsests bearing traces of former times. However, in our modern times, walls have now embraced new functions. They have become spaces for creative communication and artistic performance. As a survivor of the Arab Spring revolutions that swept the MENA region by the end of 2010, Morocco has adapted to the transformations that have altered the political landscape in the region by answering the national demands and needs. It has elaborated strategies that aim to ease the masses’ frustrations and answer their aspirations by offering them larger platforms to express themselves and more liveable and breathable public spaces to occupy. Morocco has been creatively upgrading its cities where mural art is celebrated, thus competing with the world’s most famous metropolises. This article explores the evolution of mural art in Morocco with an emphasis on the cultural wall heritage of the country.
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Sbai El Idrissi, Zineb, and Maryam El-kssiri. "Zainab Fasiki’s Feminist Artistic Practice: A Semiotic Study of the Exhibition Hshouma at Le Cube – Independent Art Room." International Journal of Linguistics, Literature and Translation 5, no. 12 (December 5, 2022): 84–95. http://dx.doi.org/10.32996/ijllt.2022.5.12.11.
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Moroccan feminist activist Zainab Fasiki has become a prominent contemporary artist. After the publication and success of her graphic novel Hshouma, Fasiki has gained international popularity. Nevertheless, Fasiki 's artistic practice is seldom thoroughly explored and analyzed. This article attempts to conduct a deep-level analysis of her work utilizing a Moroccan repertoire of symbolism. To reach this aim, this paper provides a semiotic analysis of Hshouma, Fasiki’s first exhibition in Morocco. The analysis of the different components of the exhibition is undergirded by the artist’s own statements and comments. The article introduces the artist and deconstructs her approach. It also provides background information on the female nudes in Moroccan art history and defines the Moroccan concept ‘hshouma’. Then, it describes the artworks showcased in the exhibition prior to a thorough examination.
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Taibi, Moulay Abdellah, and Fatima-Zohra Iflahen. "Cinema-induced Tourism in Morocco: A narrative review." Environment-Behaviour Proceedings Journal 8, no. 23 (March 30, 2023): 223–37. http://dx.doi.org/10.21834/ebpj.v8i23.4507.
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A leading destination for both tourists and filmmakers, Morocco - specifically the province of Ouarzazate - has the potential to be a cinema-induced tourism (CIT) cradle. Branded as the "Hollywood of Africa," this province is privileged due to its diversified landscape. Through a narrative review approach, this article explores the development of (CIT) in Morocco. It identifies research areas and trends by providing state-of-the-art knowledge and highlighting gaps. The results unveil the dearth of research in this field despite Morocco's pioneerism as a (CIT) destination. Furthermore, this niche is underexploited as a tourism product by national destination marketers. Keywords: Cinema-induced tourism; Morocco; narrative review eISSN: 2398-4287 © 2023. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians), and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v8i23.4507
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El Ouakili, Ahmed, Fatma Talha, and Amelie Artis. "State of the art of Islamic finance in Morocco." International Journal of Financial Accountability, Economics, Management, and Auditing (IJFAEMA) 2, no. 3 (July 30, 2020): 16–21. http://dx.doi.org/10.52502/ijfaema.v2i3.34.
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Islamic finance is now an essential component of global finance. It knows vertiginous growth in several Muslim countries like the Gulf and Southeast Asia countries. It has shown innovation and has been able to set up in several non-Muslim countries where it coexists with conventional finance. Indeed, the increased demand for Islamic financial products has made it nowadays a primordial player that no country can no longer neglect. This is how we will try to focus on the ethical dimension of Islamic finance. Before explicing any issues that it would present for all socio-economic operators in Morocco, particularly to commercial banks, Bank Al -Maghrib, the Treasury and local financial market players. Then we will discuss the opportunities it would provide for its contribution to the financing of the priority sectors for Morocco, the banking of its population and the promotion of social solidarity through the establishment of the funds of the Zakat.
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Bachleda, Catherine L., and Asmae Bennani. "Personality and interest in the visual arts." Arts and the Market 6, no. 2 (October 3, 2016): 126–40. http://dx.doi.org/10.1108/aam-02-2014-0012.
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Purpose The purpose of this paper is to explore the relationship between personality and interest in the visual arts in a sample of Moroccan workers. Design/methodology/approach Data were gathered from 210 respondents to an online survey. Findings Results indicate that interest in the visual arts is associated with openness and sensation seeking, even after controlling for income and education. Practical implications This study suggests that to increase consumption of visual arts products or experiences, arts marketers should focus on the personality traits of openness and sensation seeking rather than the demographic variables of income and education. Originality/value Results extend conclusions about openness and interest in the visual arts to a non-student sample and extend the importance of sensation seeking to visual art interests as opposed to visual art preferences and art judgement. This study also represents the first empirical examination of interest in the arts in Morocco.
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Ammari, Nada, and Abdellah Gantare. "The development of nursing professional identity in morocco: state of the art and avenues for research and education." SHS Web of Conferences 119 (2021): 05003. http://dx.doi.org/10.1051/shsconf/202111905003.
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Nursing is a major pillar for the achievement of national and global health goals, with a plethora of research documenting the effect of the state of nursing professional identity on different outcomes such as the quality of care, worker retention, and work satisfaction. This present paper examines the current state of professional nursing identity in the Moroccan context and introduces critical priorities for its progress. Using a logical inductive analysis, this article concludes that significant developments have occurred in Moroccan nursing in recent years, mainly the shift to universitybased education and initial formal recognition of nursing as a profession. Nonetheless, Professional identity remains mostly unexplored in Morocco, and research is increasingly required to evaluate its various attributes and inform decision-making in nursing education and practice. Recommendations related to the findings include prioritization of research on the knowledge base of nursing and its application in the Moroccan healthcare context, the establishment of innovative measures in education conducive to positive socialization into the profession, amendment of nursing social image, and the establishment of professional nursing ethics within the Moroccan healthcare system.
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AL-HARTHI, TURKI. "The Robbery Events in Morocco During the Nineteenth Century." Journal of King Abdulaziz University-Arts and Humanities 7, no. 1 (1994): 115–46. http://dx.doi.org/10.4197/art.7-1.6.
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Pinto Ferretti, Alexia. "Regards croisés sur les mondes de l’autoportrait : le cas des artistes d’origine marocaine Hicham Benohoud, Mehdi-Georges Lahlou et Zakaria Ramhani." Muséologies 9, no. 1 (October 17, 2018): 61–78. http://dx.doi.org/10.7202/1052628ar.
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This article takes a contemporary look at the practice of self-portraiture by three artists from Morocco: Hicham Benohoud, Mehdi-Georges Lahlou and Zakaria Ramhani. The career trajectories of these creators illustrate the various dynamics of institutional opposition and integration mechanisms that belong to the new geographies of art, in the era of globalization. The article's goal is to investigate the manner in which individual, local and global concerns are expressed in their understanding of an imaginary projection of corporality. The works are studied through the lens of local characteristics particular to the artist's Maghreb-Muslim culture. In the first section, the artists' careers, in relation to their training and the places where they have exhibited their work, are presented in tandem with the paradoxes of globalization. It is thus specified that if the artists were trained primarily in the West or made their careers there to achieve international success, it can be attributed to a lack of support from the Moroccan artistic scene, but also to the difficult access to the international art world for artists coming from the art scenes of the Maghreb. In the second part, we postulate that the artists' self-portraits attest to the different issues related to Maghreb-Muslim culture, such as the current socio-political situation in Morocco and the Islamic ban on representation. Lastly, we maintain that these self-portraits are a wider reflection of the varied concerns that transcend the borders of the Maghreb, as the artists reflect on the meeting of the Eastern and Western worlds.
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Durmelat, Sylvie. "The Art of Saving Food: Preserving Gestures in Ymane Fakhir's Video Installation, Handmade (2011–12)." Gastronomica 19, no. 3 (2019): 60–66. http://dx.doi.org/10.1525/gfc.2019.19.3.60.
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If food is transient, so are the techniques, gestures, and know-how required to preserve it and extend its lifetime. “There is a life and death of gestures,” Luce Giard (1998: 202) suggests with a tinge of nostalgia. Casablanca-born and Marseille-based visual artist Ymane Fakhir (b. 1969) documents this transition with a sense of urgency. In Handmade (2011–12), a series of five minimalist videos titled Grains, Bread, Wheat, Vermicelli, and Sugar Loaf, Fakhir captures her Moroccan grandmother's technical gestures as she transforms raw ingredients into basic staples such as couscous. Documentary, memorandum, archive, narration, and video installation, her five films, like five fingers, record her grandmother's hands at work. The installation recreates her childhood sensorium and memories of her grandmother's nurturing preparations. Likewise, her films function as visual aide-mémoire and collective repository for a new generation of women, including Fakhir's own daughter, who do not (need to) know these techniques. In this article, I ask what type of aesthetic interventions her film segments propose, and which memorial and symbolic goals they achieve. More specifically, in light of Morocco, Algeria, and Tunisia's 2018 common bid to have couscous recognized as UNESCO World Cultural Heritage, I focus on how Fakhir's video installation, compared to institutional projects of heritagization, works to restore the degraded cultural capital of this now transnational and industrialized dish, while speaking to contemporary anxieties about the industrialization of the food system in both Morocco and France.
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Powers, Holiday. "Reading Modern Art in the Arab World from Morocco and Qatar." Review of Middle East Studies 54, no. 1 (June 2020): 5–13. http://dx.doi.org/10.1017/rms.2020.24.
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AbstractModern Art in the Arab World is a collection of approximately 125 primary documents dealing with the debates around modernism in the Arab world dating between 1882 to 1987. This essay responds to the book from two perspectives: first, as an academic researching modernism in Morocco, and second, as a Qatar-based professor that teaches undergraduate courses about modern and contemporary Arab art. The book highlights a broadly defined and heterogeneous Arab world that extends from Morocco to the Gulf, and the selected texts create new conversations between these varied movements. It is evidence of the changing nature of this field of study. As a tool for teaching, the book offers signposts about what the editors consider to be the most significant debates and events in a given place while also creating the possibility for reading these movements transnationally.
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Idhssaine, Abdellah. "The evolution of the status and teaching of Amazigh in Morocco: From marginalization to institutionalization." Journal of Language Teaching 2, no. 12 (December 24, 2022): 1–7. http://dx.doi.org/10.54475/jlt.2022.016.
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The present paper provides a critical review of the trajectory of the status and teaching of the Amazigh language in Morocco in an attempt to contextualize its state of the art following the recent changes in the Moroccan language policy. The assumptions herein discussed are not based on fieldwork, but rather on previous literature, document analysis, and numerical data reported by the Ministry of Education between the years 2003 and 2010. Such an approach is expected to pave the path for future fieldwork research by investigating the extent to which some of the claims advanced tend to align with the de-facto reality of the Amazigh language in a variety of priority domains of public life, governed by the recently validated organic law 26.16, including the Moroccan educational system.
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Ganivet, Elisa. "Outline & Depth of Otherness: An Interview with Randa Maroufi." Borders in Globalization Review 3, no. 1 (December 20, 2021): 96–103. http://dx.doi.org/10.18357/bigr31202120445.
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In this interview, as part of the special section Art & Borders, Art Editor Elisa Ganivet talks with the artist Randa Maroufi. The shore between Morocco and Europe is particularly questioned, along with Maroufi’s fine work around the more structural, societal and gender boundaries. Her research is synthesized by stagings where a strong and clear-sighted image predominates.
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Thalal, Abdelmalek, Youssef Aboufadil, and My Ahmed Elidrissi. "Construction of quasiperiodic patterns in the Moroccan ornamental art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1430. http://dx.doi.org/10.1107/s2053273314085696.
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The similarity between the structure of Islamic decorative patterns and quasicrystal, aroused the interest of several crystallographers. They analyzed these patterns, by different approaches, various kinds of ornamental quasiperiodic patterns encountered in the Morocco and Alhambra (Andalusia) as well as in the eastern of Islamic world. In this work, we are interesting in the quasiperiodic patterns found in several Moroccan historical buildings constructed in the 14th century. We first describe the Zellige panels (fine mosaics) decorating the Madrasas (schools) Attarine and Bou Inania in Fez in term of Penrose tiling, to confirm that both panels have quasiperiodic structure (Makovicky et al, 1998). The panel Madrasas Attarine appears as a finite part of this quasiperiodic pattern (Figure 1-c). As already mentioned by several authors, we can notice the similarity of the decagonal pattern with the diffraction pattern of the quasicrystal Al Mn (Schechtman et al, 1984) (Figure 1-a and c). The multigrid method developed by De Bruijn (1981) and reformulated by Gratias (2002) to obtain a quasiperiodic paving, is used to construct known quasiperiodic patterns from periodic patterns extracted from the Madrasas Bou Inania and Ben Youssef (Marrakech). At last, we propose a method of construction of heptagonal, enneagonal, tetradecagonal and octadecagonal quasiperiodic patterns, not encountered in the Moroccan ornamental art. They are built from tiling (skeleton) generated by the multigrid method and decorated by motifs obtained by the craftsmen method.
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Vogl, Mary. "Art journals in Morocco: new ways of seeing and saying." Journal of North African Studies 21, no. 2 (February 23, 2016): 235–57. http://dx.doi.org/10.1080/13629387.2016.1130936.
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Powers, H. "Katarzyna Pieprzak: Imagined Museums: Art and Modernity in Postcolonial Morocco." Nka Journal of Contemporary African Art 2011, no. 28 (March 1, 2011): 140–41. http://dx.doi.org/10.1215/10757163-1266747.
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Benkhaldoun, Zouhair. "A project of a two meter telescope in North Africa." Proceedings of the International Astronomical Union 10, H16 (August 2012): 558. http://dx.doi.org/10.1017/s1743921314012137.
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AbstractSite testing undertaken during the last 20 years by Moroccan researchers through international studies have shown that the Atlas mountains in Morocco has potentialities similar to those sites which host the largest telescopes in world. Given the quality of the sites and opportunities to conduct modern research, we believe that the installation of a 2m diameter telescope will open new horizons for Astronomy in Morocco and north Africa allowing our region to enter definitively into the very exclusive club of countries possessing an instrument of that size. A state of the art astrophysical observatory on any good astronomical observation site should be equipped with a modern 2m-class, robotic telescope and some smaller telescopes. Our plan should be to operate one of the most efficient robotic 2m class telescopes worldwide in order to offer optimal scientific opportunities for researchers and maintain highest standards for the education of students. Beside all categories of astronomical research fields, students will have the possibility to be educated intensively on the design, manufacturing and operating of modern state of the art computer controlled instruments. In the frame of such education and observation studies several PhD and dissertational work packages are possible. Many of the observations will be published in articles worldwide and a number of guest observers from other countries will have the possibility to take part in collaborations. This could be a starting point of an international reputation of our region in the field of modern astronomy.
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Benani, Hicham, Lalla Amina Ouzzaouit, Larbi Boudad, Hassan Rhinane, Ayoub Nehili, Yahya El Khalki, and Nadia Slimani. "Topographic Survey with Disto x and 3D Representation of the Caves by Laser Grammetry, Case of the AZIZA Cave, Errachidia, Morocco." Iraqi Geological Journal 55, no. 1D (April 30, 2022): 21–34. http://dx.doi.org/10.46717/igj.55.1d.2ms-2022-04-18.
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From the middle of the 19th century, speleological topography became a discipline, if not an art, which supported the work of both explorers and scientists. Underground explorations in Morocco remain an area to be discovered and developed. The Moroccan 99,890 km² limestone surface, represents 14% of the total surface which potentially contains a large number of caves, only 3 of them are developed. This under-exploitation is explained by the lack of evaluation of the richness of Morocco’s karst and cave heritage, the topographic maps of Moroccan Caves are poorly carried out or absent, the last inventory of Moroccan Caves dates from 1981.The objective of this study is to represent the AZIZA Cave virtually, appreciate its volume, and optimize the topography of the latter based on 3D technologies. Two methods were used, the topography of the cave by a DISTO-X, and the results of the 3D projection of the cave were carried out on the software VISUAL TOPO. Secondly, we carried out 3D modeling by lasergrammetry using a TLS FARO FOCUS 70, to scan the main entrance, the main axes, and the large rooms of the AZIZA Cave, the final rendering was provided by the scene software. Laser grammetry gave us the possibility of having a virtual representation of the cave and also of important details that conventional methods cannot give because of this heritage dimension, conservation conditions are essential, also given the potential to be appreciated that the cave and its environment offer, which can constitute a typical example of the exploitation of karst heritage and its environment.
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Moumane, Adil, Jonathan Delorme, Adbelhadi Ewague, Jamal Al-Karkouri, Mohamed Gaoudi, Hassan Ista, Mohamed Moumane, et al. "Jbel Bani Rock Art: Newly-discovered Shelters along Mountain Paths suggest a Significant Link between Central Sahara and North Africa (Zagora, Southern Morocco)." Journal of African Archaeology 17, no. 1 (July 9, 2019): 36–52. http://dx.doi.org/10.1163/21915784-20190002.
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Abstract The authors, with the help of a team of researchers, have discovered twelve rock shelters with inside paintings on the southern slopes of the Jbel Bani Mountains in southern Morocco. The paintings vary in subject and time period and span multiple rock art styles. Majestic creatures that once inhabited southern Morocco are depicted next to hunters, pastoralists, and warriors. The shelters and paintings cast upon their walls illustrate a transfer of culture, beliefs, technology, and ideas between people groups of the Meridional and Central Sahara and the Jbel Bani region. These discoveries were all made along a mountain path in the Bani Mountains known as Foum Laachar and may help trace ancient human migration routes.
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Gaspar Rodrigues, Vitor Luís. "The Portuguese Art of War in Northern Morocco during the 15th Century." ATHENS JOURNAL OF HISTORY 3, no. 4 (September 30, 2017): 321–36. http://dx.doi.org/10.30958/ajhis.3-4-4.
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AL-HARITHI, TURKI. "Examples of Foreign Encroachments in Morocco During the Second Half of the Nineteenth Century." Journal of King Abdulaziz University-Arts and Humanities 6, no. 1 (1993): 103–34. http://dx.doi.org/10.4197/art.6-1.6.
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Powers, Holiday. "Jilali Gharbaoui and Decolonization." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 44–55. http://dx.doi.org/10.1215/10757163-10904048.
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This paper proposes a new reading of Moroccan abstract painter Jilali Gharbaoui through the lens of decolonization. Gharbaoui fits uncomfortably into the narrative of modernism in Morocco. Unlike other painters, interested in direct connections between their shapes or abstractions and traditional visual culture or Islamic art as a postcolonial claim of local identity, Gharbaoui’s work is more elusive. Many critics have framed his abstraction primarily through his schizophrenia, as Gharbaoui died from suicide in 1971; this continual recourse to biography over the actual art objects puts Gharbaoui definitively at the margins of narratives of modernism. Moreover, this analysis precludes close attention to the ways in which Gharbaoui, like other painters of his generation, was shaped by the discourses of decolonization and the role that art could play in the new nation. Within this paper, in contrast, staying close to the work itself allows the possibility to understand the active ways in which Gharbaoui was negotiating questions of what postcolonial modernism could be. He sought to position himself as an international artist that was continually trying to bypass traditional aesthetics as a statement about modernity, but equally saw himself as deeply marked by his homeland. Read in dialogue and confrontation with cosmopolitanism, Gharbaoui’s oeuvre can be analyzed in terms of the multiple ways in which Gharbaoui tried to understand the materiality of the art itself, his relationship to the space of production, and the political stakes of abstraction.
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Azzouz, Khaoula, Jabir Arif, and Mohamed Badr Benboubker. "Exploratory Study of the Role of Logistics Service Providers in Terms of Traceability in the Process of Outsourcing of Logistics’ Activities: Case of Moroccan LSP." International Journal of Engineering Research in Africa 54 (June 2021): 187–208. http://dx.doi.org/10.4028/www.scientific.net/jera.54.187.
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The paper focuses on Information and communication technologies (ICT) deployed by Logistics service providers (LSP), particularly for the monitoring and companies. Indeed, nowadays ICT are essential for any implementation of efficient traceability, notably for the outsourcing of logistics activities. This paper is structured around two parts: the first part presenting the state of the art in terms of outsourcing logistics activities and traceability. The second part concerns a comparative study combining a set of LSP operating in Morocco and those operating abroad through several criteria. These criteria include the services offered and the technology deployed for rigorous traceability. The comparative study will determine the profile of the LSP operating in Morocco and adopting an effective and efficient traceability strategy based on innovative technology.
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Bokbot, Youssef, Corisande Fenwick, David J. Mattingly, Nichole Sheldrick, and Martin Sterry. "Horses and Habitations: Iron Age Rock Art from Fortified Hilltop Settlements in the Wadi Draa, Morocco." Journal of African Archaeology 19, no. 2 (November 5, 2021): 159–86. http://dx.doi.org/10.1163/21915784-bja10008.
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Abstract The article presents important results from the Middle Draa Project (MDP) in southern Morocco related to two mid-1st millennium CE hilltop settlements (hillforts) that were associated with significant rock art assemblages. The combination of detailed survey and radiocarbon dating of these remarkable sites provides a unique window on the Saharan world in which the pecked engravings, predominantly of horses, were produced. As the horse imagery featured on the walls of buildings within the settlement, the radiocarbon dating around the mid-1st millennium CE can also be applied in this instance to the rock art. The rarity of rock art of this period within habitation sites is also discussed and it is argued that its occurrence at both these locations indicates that they had some special social or sacred significance for their occupants. While it is commonplace for rock art of this era, featuring horses and camels, to be attributed by modern scholars to mobile pastoralists, a further argument of the paper is that the desert societies were in a period of transformation at this time, with the development of oases. The association of the rock art imagery with sedentary settlements, where grain was certainly being processed and stored, is thus an additional new element of contextual information for the widespread Saharan images of horses and horse and riders.
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Ghallam, Aziza, Leila Bouasria, and Hayat Zirar. "The law of medically assisted procreation-the history of a legal framework to boost fertility in the face of environmental constraints in Morocco." E3S Web of Conferences 412 (2023): 01012. http://dx.doi.org/10.1051/e3sconf/202341201012.
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For the first time, the Moroccan legislator officially regulated the use of medically procreative techniques in 2019, allowing couples affected by infertility to conceive outside the ordinary biological process. Aspiring relatives are betting on Law 47-14 on medically assisted procreation (ART) to facilitate access to infertility care. This article aims to demonstrate the contributions and limitations of this law and to understand its impact on the lives of infertile couples. In addition, this work highlights the position of the various parties involved in the implementation of this legislation after a controversial debate. Methodologically, we opted for a qualitative method based on reading parliamentary archives, writings, and audiovisual media, coupled with semi-structured interviews with the various stakeholders in the field of GPA. 91.7% of participants, infertile couples and practitioners of medically assisted procreation place the lack of financial reimbursement of ART acts at the top of their concern. Similarly, health professionals criticize the disciplinary sanctions stipulated in the law. Despite the strengths of this legal framework, it has not provided a solution to fight against socio-economic and gender inequalities related to access to GPA in Morocco.
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Bahji, Zineb Bahji. "Présence Commune, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 28.03.2017 - 31.09.2017." Museum and Society 15, no. 3 (January 10, 2018): 359–62. http://dx.doi.org/10.29311/mas.v15i3.2520.
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The present review focuses on the temporary exhibition Presence Commune that was held at Museum Mohammed VI for Modern and Contemporary Arts (MMVI) of Rabat, Morocco, from 28 March to 31 September 2017. The review contextualizes the exhibition Presence Commune and examines the communicative strategies it used to convey its messages. It also explains how this artistic event adds to the various artistic and cultural programmes and events that the Moroccan National Foundation of Museums organizes in the course of democratizing access to culture and promoting harmony and tolerance through the universal language of art. The review also shows how the exhibition reflected the role of MMVI in initiating dialogues among artists and visitors from different ethnicities, religions, and African countries, and how it supportedMorocco’s new cultural agenda.Morocco has made cultural diplomacy a priority after the uprisings of the Arab Spring and the rise of religious and ethnic conflicts in the region of North Africa and theMiddle East.
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Tripathi, Ameya. "Bombing Cultural Heritage: Nancy Cunard, Art Humanitarianism, and Primitivist Wars in Morocco, Ethiopia, and Spain." Modernist Cultures 17, no. 2 (May 2022): 191–220. http://dx.doi.org/10.3366/mod.2022.0368.
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This article examines Nancy Cunard's later writing on Spain as a direct legacy of her previous projects as a modernist poet, publisher and black rights activist. Cunard was a rare analyst of the links between total war, colonial counter-insurgency, and cultural destruction. Noting the desire of both the air power theorist and art collector to stereotype peoples, from Morocco to Ethiopia to Spain, as ‘primitive’, the article brings original archival materials from Cunard's notes into dialogue with her journalism, and published and unpublished poetry, to examine how she reclaimed and repurposed primitivism. Her poems devise a metonymic and palimpsestic literary geopolitics, juxtaposing fragments from ancient cultures atop one another to argue, simultaneously, for Spain's essential dignity as both a primitive and a civilised nation. Cunard reconciles Spain's liminal status, between Africa and Europe, to argue for Spain's art, and people, as part of a syncretic, universal human cultural heritage, anticipating the art humanitarianism of organisations such as UNESCO.
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Boullata, Kamal. "To Measure Jerusalem: Explorations of the Square." Journal of Palestine Studies 28, no. 3 (1999): 83–91. http://dx.doi.org/10.2307/2538309.
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A Palestinian artist, in discussing his work, cuts back and forth between his past and the present, retracing his itinerary from Jerusalem to the United States, from Morocco and Andalusia to France, linking each place to stages in his artistic explorations. In so doing, he sheds light on the ancient roots of his art and says as much about the condition of exile as about painting.
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Forss, Matt. "Maroc: L’art du samā à Fes (Morocco: The Art of Samā in Fez)." Ethnomusicology 52, no. 2 (April 1, 2008): 333–34. http://dx.doi.org/10.2307/20174595.
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Lahmidi, Zineb, and Achraf Dadouh. "UX with regard to interruptive advertising on YouTube: State of the art." International Journal of Engineering, Business and Management 7, no. 3 (2023): 31–40. http://dx.doi.org/10.22161/ijebm.7.3.6.
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Often attached to usability, design, utility, accessibility, ergonomics, system performance, marketing, human-machine interaction, etc., UX is a multidisciplinary concept in continuous evolution. Among the online platforms marking this evolution, we shed light on one of the most manipulated video content sharing websites in Morocco: YouTube having a growing popularity and proposing a diversified digital advertising offer. From this point of view, the current research is theoretical in nature. It attempts to address the concept of user experience from a marketing perspective in general and in light of the evolution of YouTube advertising in particular. The aim is to focus more on the influencing factors attached to interruptive advertising on YouTube.
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SIDRI, Samira. "ART ET ARTIFICES DE LA PRÉFACE VIATIQUE : VOYAGEURS EN ORIENT." Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, no. 1 (January 24, 2022): 287–306. http://dx.doi.org/10.52846/aucllr.2021.01.20.
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This study aims to investigate the many forms of the preface in relation to the conditions of its production and the profile of the preface writer in certain travel accounts in Morocco, Algeria, Egypt, or Turkey from the seventeenth to the twentieth centuries. It is interesting to see the diversity of the construction of the self in the prolegomenes, intended to enhance the good reception of the narrative. From the simple traveller in search of exoticism to the passionate missionary, the prefaces of travel relationships offer an array of discursive strategies where the narrator's ethos underpins a rhetoric specific to the travel literature. Lady Montagu, Bugéja, Eberhardt, Montesquieu, Loti and other travellers invite the reader not only to explore a travel experience, but also to grasp the secrets of a rhetorical approach consciously undertaken.
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Aboufadil, Youssef, Abdelmalek Thalal, and My Ahmed El Idrissi Raghni. "Moroccan ornamental quasiperiodic patterns constructed by the multigrid method." Journal of Applied Crystallography 47, no. 2 (March 19, 2014): 630–41. http://dx.doi.org/10.1107/s1600576714001691.
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The similarity between the structure of Islamic decorative patterns and quasicrystals has aroused the interest of several crystallographers. Many of these patterns have been analysed by different approaches, including various kinds of ornamental quasiperiodic patterns encountered in Morocco and the Alhambra (Andalusia), as well as those in the eastern Islamic world. In the present work, the interest is in the quasiperiodic patterns found in several Moroccan historical buildings constructed in the 14th century. First, thezelligepanels (fine mosaics) decorating the Madrasas (schools) Attarine and Bou Inania in Fez are described in terms of Penrose tiling, to confirm that both panels have a quasiperiodic structure. The multigrid method developed by De Bruijn [Proc. K. Ned. Akad. Wet. Ser. A Math. Sci.(1981),43, 39–66] and reformulated by Gratias [Tangente(2002),85, 34–36] to obtain a quasiperiodic paving is then used to construct known quasiperiodic patterns from periodic patterns extracted from the Madrasas Bou Inania and Ben Youssef (Marrakech). Finally, a method of construction of heptagonal, enneagonal, tetradecagonal and octadecagonal quasiperiodic patterns, not encountered in Moroccan ornamental art, is proposed. They are built from tilings (skeletons) generated by the multigrid method and decorated by motifs obtained by craftsmen.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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ABOULAID, Kaoutar. "TRAVEL LITERATURE AND ITS ROLE IN LINKING THE HISTORICAL AND INTELLECTUAL RELATIONSHIPS BETWEEN THE EAST AND THE MAGHREB: THE JOURNEY OF MUHAMMAD HAJJI BOUCHAARA AS A MODEL." International Journal of Humanities and Educational Research 5, no. 1 (February 1, 2023): 115–29. http://dx.doi.org/10.47832/2757-5403.18.8.
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Historical knowledge is a human one consisting of multiple sources and stripes that carries with it diverse and abundant information that concerns a specific period of history for a nation. The trip is considered an essential source of this historical knowledge, as it relies on direct awareness of events and it is not satisfied with transmission and hearing only, which makes it a living testimony to historical facts that may not be included in the history books themselves. It is worth mentioning that the history of Morocco has not been without a book about the journey through the ages, which highlights the interest of Moroccans in this literature to the extent that it has become one of the characteristics of the Moroccan literature, so that Professor Mohamed El Fassi believes that “the most important thing with which Morocco participated in building the edifice of general Arab culture And with juris prudence research, the art of the journey”. The Moroccans have achieved the best luck in this field. Indeed, we can say with confidence and reassurance that the Moroccans have excelled and gained the advantage of being a pioneer and leader in the field of travel. If the historical sources have recorded the names of a large number of Moroccan travellers who roamed the horizons, there are those whom we do not find mentioned , so it can be imagined that a large number of Moroccan trips have been lost or are still hidden in forgotten shelves that have not yet been reached,explored or studied. An example of this is Bouchaara's Hajj trip, whose owner is unknown - despite his scientific status - in the Moroccan and Arab cultural circles. In particular, we mention: Youssef Al-Nabahani. Thus, we have uncovered a cultured Moroccan figure who remained unknown despite the fact that he left a scientific work that enriched the Moroccan treasury. From here came our conviction to present the authentic journey of Bouchaara, so who is this traveller? What are the conditions of his trip and what are its main raised issues ? Where does its importance lay? And what did it add to the series of Moroccan pilgrimages that Moroccans have been taking? These are a set of questions that we will try hard to answer through this research
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Thalal, Abdelmalek, Semra Ide, Youssef Aboufadil, Nermin Şaman Doğan, and Yunus Koc. "Symmetry groups in Islamic geometric art: ornamental patterns of Konya (Turkey) and Marrakech (Morocco)." Acta Crystallographica Section A Foundations and Advances 74, a2 (August 22, 2018): e421-e422. http://dx.doi.org/10.1107/s205327331808885x.
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Bigon, Liora, and Edna Langenthal. "Tracing Trade and Settlement Infrastructures in the Judaic Material Culture of Tafilalt, Southeastern Morocco." Heritage 5, no. 4 (November 30, 2022): 3785–818. http://dx.doi.org/10.3390/heritage5040196.
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This article traces the history of the medieval oasis city of Sijilmassa, southeastern Morocco, and that of its modern, continuation city of metropolitan Rissani in the Tafilalt region. Elements of mobility and transition are discussed in light of the prominent historical role of the urban settlement in Tafilalt in long-distance trans-Saharan trade infrastructure. These elements are developed with a focus on the region’s Jewish communities, their socio-spatial characteristics, the employed toponymy with respect to Sijilmassa, and the material culture. Within the material culture of Tafilalt’s Jewry until the 1950s and 1960s (that is, upon their dramatic emigration from Morocco, mostly to Israel), the article analyzes in an original manner their traditional marriage contracts (ketubah-s) as a textual and especially as an esthetic artifact. The analysis interprets the visual imagery that appears in these manuscripts—an imagery that corresponds with global Jewish symbols, with the vernacular architecture in the Tafilalt, and with wider regional, trans-Saharan conceptual motifs. Revealing the composite symbolic imagery and decoding the visual repertoire of the ketubah-s against the rich cultural histories of the pre-Sahara region—with affinity to both northern Morocco and sub-Saharan, “black”, Africa—necessitates an interdisciplinary approach. This study brings together area studies (of the Middle East and Africa), art histories (of architecture and built forms, artifacts, and manuscripts), cultural studies (critical intra-group relations between Arabs, Berbers and Jews), and human geography (forms of settlements and long-distance trade activity)—in a type of meeting that is quite uncommon in the relevant research literature. Its contribution lies in tracing the dissemination of ideas and material cultures among less researched groups (southeastern Jewry) and regions (pre-Saharan) in Morocco, through engaging a transdisciplinary lens that requires an intimate acquaintance with associated research historiographies.
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Powers, David S. "Kadijustiz or Qadī-Justice? a Paternity Dispute From Fourteenth-Century Morocco." Islamic Law and Society 1, no. 3 (1994): 332–66. http://dx.doi.org/10.1163/156851994x00101.
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AbstractSometime after the year 1312-13 a paternity dispute was brought before a qādī serving in an undetermined location in the northern part of the Western Maghrib. The claimant asserted that he was the son of a local notable, whereas the latter's legally recognized children asserted that he was the child of a slave-girl who belonged to the notable's daughter. Before issuing his judicial decision, the qādī wrote a detailed letter to a distinguished Fāsī mufti in which he presented a summary transcription of the testimonial evidence and asked the mufti to issue a fatwā corroborating his handling of the case. In the following essay, I seek to shed light on the operation of qādī-justice under the Mārinids in the fourteenth-century by studying the qādī¸s familiarity with legal doctrine, his ability to manipulate legal discourse, and the "art" of his judicial narrative.
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OUAHANI, Nasr-edine, and Brahim Hiba. "Critical Thinking Practice in Moroccan Higher Education: An Evaluation." International Journal of Linguistics, Literature and Translation 6, no. 1 (January 16, 2023): 91–97. http://dx.doi.org/10.32996/ijllt.2023.6.1.12.
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In this paper, the authors intend to evaluate the stand of critical thinking in Moroccan higher education. To delineate the basic issues surrounding critical thinking and its practice, this study went through a review of eighteen articles that took as their subject matter the teaching and learning of critical thinking in Moroccan higher education. This article diagnoses the state of the art, the challenges involved, the scope and the limitations. The authors sought to answer four research questions: (i) what place does CT occupy in Moroccan higher education? (ii) what is the scope of the teaching and learning of CT in Moroccan higher education? (iii) what limitations do published studies on the teaching and learning of CT in Morocco have? and (iv) how can we improve the practice of CT in Moroccan higher education? Findings show that the teaching and learning of critical thinking (1) is a recent endeavour in Moroccan academia, (2) is an under researched field, (3) is limited to two CT skills: argument evaluation and argument construction, (4) is restricted to two language skills: reading and writing, (5) is diagnostic and evaluative more than practical in nature, and (6) lacks scientific rigour. This article ends with a critique of present practice as being devoted solely to procedural, analytical skills, ignoring issues of power relations and ideologies beneath discourses. The authors put forward some suggestions and recommendations to move beyond critical thinking towards a critical consciousness. After reading this article, the reader would come to a broad picture of the state, the scope, the limitations, the deficiencies, and the needs regarding the teaching and learning of critical thinking in Moroccan Higher education.