UNIVERSITY of Cadi Ayyad

Faculty of Letters and Human Sciences

The construction of Moroccan identity in music:

A term paper submitted to the Department of English in partial

fulfillment of the requirements for the degree of the BA in English

Submitted by: supervised by:

1. Literature review

Andalusian classical Music is a case study in this research because we all need to understand

how this Music genre that came from Spain now reflects the characteristics of Moroccan culture

and became a part of Moroccan identity. Some articles about Andalusian Music focused on the

history of this music genre and the musical system used in the musician’s performances and the

instruments as well. Others highlight the hybridity and mixture of Andalusian Music. There are

some important articles relating to Andalusian Music:

Daniele Conversi and Mathew Machin Autenrieth, explore the tolerance, diversity, and

intercultural dialogue, that lie at the base of the Andalusia regionalist project, and the integration

between Andalusia and Morocco, and how this historical background is reimagined through

musical performance in the context of new challenges, derived from recent migration trends in

Andalusia particularly from Morocco, also they highlight how Moroccan and Spanish

musicians actively promote the ideals of intercultural dialogue, through the performance of

repertoires such as flamenco and Arab-Andalusian music, and the combination have been

occurred between the two, also it examine relationship between culture exchanges and Music,

and how music is used to ground social integration.

E. Jones explain how many foundational studies focused on the Andalusian classical music

genre that has offered a careful examination of the relationship between colonialism,

nationalism, and music, and he reveals how music played an important role in the construction

of national identity. In addition, music shows the connection between many cultures and

religions and gives the opportunity to some communities to fashion their culture. “Trends and

Opportunities in North African Music Scholarship”.

“Philip D Schuyler in his article sheds light on the historical roots of the Andalusian Music,
considered it as one of the longest continuous traditions of Music in the world. He also

highlighted the circumstances that led this Music genre to come to Morocco. He presents the

history of ziryab which is the first contribution of Andalusian Music, and then he gives a large

part to explain the musical pattern ‘nawbat’ system and introduces the Andalusian orchestra

and instruments of Andalusian musicians.

This research will be dealing with Andalusian Music from a different side, it will not be focus

only on the historical roots or performance’s pattern of Andalusian music but it will be more

focusing on symbols and signs of Moroccan culture and attributes of Moroccan identity in this

Music genre, which makes this paper significant, and it gives an added value to Moroccan

cultural studies.

I. Methodological Framework

1. Research hypothesis

Andalusian music is a melting pot of different music styles, essentially a combination between

Arabic and Spanish arts. Through historical events, this music genre became a Moroccan

heritage and one of the elements that construct the Moroccan identity. So, this research

hypothesizes that Andalusian Music reflects Moroccan culture and constructs Moroccan

identity.

2. Research question

How does Andalusian music represent Moroccan identity? What are signs and symbols of

Moroccan culture that Andalusian music conveys?

Moroccan music is incredibly diverse. You can find different music styles from one region to

another. The diversity of the Moroccan Music is a result of the history, heritage, and culture of

each region. The location of Morocco has allowed it to integrate culturally with many countries.

What is really special about Moroccan music is the amount of the cultural influences that are

reflected in it such as; Berber, Spanish, Arabic, and Saharan, and how Morocco was inspired

from these surrounding Musical flavors to build their own.

Andalusian Music is one of the Music genres that prove the inspiration from the surrounding

cultures. This type of Music is a birth of integration between Spanish and Moroccan cultures

with some touches of other ones. Andalusian music has spread across countries of Maghreb

(Algeria, Tunisia, Libya), but it is more associated with Morocco which is the primary heir of

it, and it has taken the cities of fes, Tetouan, Tangier and Chefchaoun as home of this oral

tradition.

My choice of "The Andalusi Music" as a case study is mainly based on three reasons; first of

all, no one can deny that Andalusian Music is amid the oldest music cultural genres in Morocco.

In fact, it has been maintained for hundreds of years up to now and still meaningful and

luxurious. Second, we can easily notice the characteristics of the Moroccan culture within the

lyrics; religion, language, ethnicity and history. Third, this music genre is considered a vivid

example of the integration and intercultural theory of the Moroccan Culture. So, by interpreting

Moroccan Andalusian Music, we will gain the essence of Moroccan culture and the construction

of Moroccan identity in Music.

While dealing with this musical type,I would like to rely on two Moroccan Andalusian

songs,which are very well known and one of the beloved Andalusian ones in Morocco, in order

to get a deep overview of the characteristics and attributes of Moroccan culture that they carry.

“Chamss El-Achiya” by Abderahim Souiri and “Bouchra lana” are the most by Adnan Sfiani
are the two songs that i will be focusing on during my analysis process.

Content and semiotic analysis

II. Practical part: analyzing Andalusian music

⮚ Analyzing “BOUCHRA LANA” lyrics

“BOUCHRA LANA” is a Moroccan Andalusian song, was posted on YouTube platform in

2013, performed by Adnan Sefiani, it is one of the beloved Andalusia pieces. Though the author

is unknown, the song maintains the characteristics and norms of Andalusian music, such as the

lyrics chosen which is suitable to “Ramal l’Maya” also the number of musicians in the orchestra

and the song’s instruments which is basically composed of the (Oud, Kamenjah, Rebab, the

Qanon, Darbouka, Taarija).

In the “Bouchra Lana” song, there are four themes that emerged, and overwhelmed the content

of the lyrics, therefore, each lyric line refers to one of these themes (Happiness, Love,

unwantedness and sufferance). We will collect words or expressions that refer to each theme

and explain them as they will help us understand the whole topic of the song.

Beginning with the first theme which is happiness, it is notable from the first verse “ ‫بشرى لنا نلنا‬

‫“ ;”المنى‬Glad Tiding for us, we have attained our highest wish”; the term “Bouchra” indicates

the sensation of bliss, satisfaction and joy in the Arabic culture, so the writer used this word to

express joy while fulfilling their wishes. The second verse made more clear the causes of

happiness which are the disappear of dirt, bad things and the prevalence of joy, peace and

reunification
The second theme is love. It has a wide existence in this song, the writer expressed his love

toward the night, that made him praised it and describe it with beautiful words for instance, "

‫“ ;"ياليلة حزت الجمال‬oh, night you took all the beauty”, " ‫“ ;” لك المفاخر والكمال‬you got the perfection

and our proudness” . The writer keeps praising night by making it as a reason of their shine

"‫ " ;" احسنت ياليل في تألقنا‬well done night you make us shine on’, also he asked night for not going

and stay longer, as an expression of love. Whereas in the last verses he shifted his expression

of love towards an unknown person, he used the word "‫ المليح‬Almalih" that means beautiful and

pleasant in order to describe his lover.