Andalusian Morocco

Through state-backed Catholicism, monolingualism, militarism, and dictatorship, Spain’s fascists earned their reputation for intolerance. It may therefore come as a surprise that 80,000 Moroccans fought at General Franco’s side in the 1930s. What brought these strange bedfellows together, Eric Calderwood argues, was a highly effective propaganda weapon: the legacy of medieval Muslim Iberia, known as al-Andalus. This legacy served to justify Spain’s colonization of Morocco and also to define the Moroccan national culture that supplanted colonial rule. Writers of many political stripes have celebrated convivencia, the fabled “coexistence” of Christians, Muslims, and Jews in medieval Iberia. According to this widely-held view, modern Spain and Morocco are joined through their shared Andalusi past. Colonial al-Andalus traces this supposedly timeless narrative to the mid-1800s, when Spanish politicians and intellectuals first used it to press for Morocco’s colonization. Franco later harnessed convivencia to the benefit of Spain’s colonial program in Morocco. This shift precipitated an eloquent historical irony. As Moroccans embraced the Spanish insistence on Morocco’s Andalusi heritage, a Spanish idea about Morocco gradually became a Moroccan idea about Morocco. Drawing on a rich archive of Spanish, Arabic, French, and Catalan sources—including literature, historiography, journalism, political speeches, schoolbooks, tourist brochures, and visual arts—Calderwood reconstructs the varied political career of convivencia and al-Andalus, showing how shared pasts become raw material for divergent contemporary ideologies, including Spanish fascism and Moroccan nationalism. Colonial al-Andalus exposes the limits of simplistic oppositions between European and Arab, Christian and Muslim, that shape current debates about European colonialism.

A Discovery in Living Art tells the story of the exchanges between the furthest frontier of the Maghreb and Al-Andalus for more than five centuries. Political and social circumstances gave birth to a crossroad of cultures, techniques and artistic styles revealed by the splendour of Idrisid, Almoravid, Almohad and Marinid mosques, minarets and madrasas. The influence of Cordovan architecture and Andalusian decorative models, horseshoe arches, floral and geometric motifs and the use of stucco, wood and polychromatic tiles, display the continuous interchange that made Morocco one of the most brilliant homes of Islamic civilisation. Eight itineraries invite you to discover 89 museums, monuments and sites in Rabat, Meknes, Fez, Chefchaouen, Tetouan and Tangier (among others)."

Performing al-Andalus explores three musical cultures that claim a connection to the music of medieval Iberia, the Islamic kingdom of al-Andalus, known for its complex mix of Arab, North African, Christian, and Jewish influences. Jonathan Holt Shannon shows that the idea of a shared Andalusian heritage animates performers and aficionados in modern-day Syria, Morocco, and Spain, but with varying and sometimes contradictory meanings in different social and political contexts. As he traces the movements of musicians, songs, histories, and memories circulating around the Mediterranean, he argues that attention to such flows offers new insights into the complexities of culture and the nuances of selfhood.

Focus: Music and Religion of Morocco introduces the region and its history, highlighting how the pressures of religious life, post-colonial economic struggle, and global media come together within Moroccan musical life. Musical practices contextualize and clarify global historical and contemporary movements—many of which remain poorly understood—while articulating the daily realities of the region’s populations in ways that rarely show through current news accounts of religious extremism, poverty and inequality, and forced migration. As with other volumes in the series, Focus: Music and Religion of Morocco addresses large, conceptual issues though interwoven case studies, in three parts: Part I – Memories and Medias: Who We Are highlights how issues of religion, colonialism, nationalism, and globalization transcend boundaries through music to create a sense of personal and national identity, whether hundreds of years ago or on today's satellite television stations. Part II – Contesting Mainstreams: Where We're Going explores Morocco’s sacred and secular music practices as they relate to the country's diversity and its contemporary politics. Part III – Focusing In: Faith and Fun in Fez highlights Fez’s sacred music industry by introducing musicians who navigate musical and religious expectations to appeal to both their own devotional ethics and their audiences’ wants. Links to music examples referenced in the text can be accessed on the eResource site www.routledge.com/9781138094581

Established in 1971, Nass el-Ghiwane is a legendary musical group that transformed the Moroccan music scene in the last decades of the 20th century. The charismatic founding member Larbi Batma (1948-1997) through his lyrics brought to light Moroccan folklore and obscure poetry. His autobiography Al-raḥīl, blurs the boundaries between fact and fiction and deals with social issues plaguing post-independence Morocco. Providing a reading of Al-raḥīl, this book is the first in English to examine the work of Nass el-Ghiwane, as well as the emergence of al-Ūghniya al-Ghīwaniya as a musical genre and the social conditions that fostered its growth.

Historians have long grappled with the question of how Islamic civilization - so clearly dominant during the medieval period - could fall completely under Western hegemony in the modern age? Many Western writers answer this question by referencing European ingenuity, initiative, and transformative energy in contrast with Islamic parochialism, passivity, and resistance to change. This book challenges such assumptions by studying the career of an aggressive sultan in early-modern Morocco, Mulay Ahmad al-Mansur (r. 1578-1603), who dared to take on the international super-powers of his day and sought to redraw the map of Islamic Africa. Al-Mansur is best known for launching a bold invasion across the Sahara desert to conquer the West African Songhay Empire. Most historians ascribe strictly economic motives for this assault, stating that the sultan wished to capture the prosperous gold trade that had traveled for centuries from West Africa to the Mediterranean. Dr Cory argues instead that Mulay Ahmad was pursuing more expansive goals than simply stuffing his coffers with West African gold, as evidenced by audacious claims made on his behalf in numerous panegyric texts produced by the sultan's court. Through a detailed analysis of official histories, documents and correspondence, writings by European observers, and architectural evidence, he contends that the sultan sought to establish a Western caliphate that would eclipse the Ottoman Empire. Mulay Ahmad advanced this agenda through panegyric literature, elaborate court ceremonies, grand constructions, stunning military conquests, and astute diplomacy with European powers, Ottoman officials, and sub-Saharan rulers. Such assertions of universal caliphal authority had not been seriously promoted in Islam for over three hundred years before al-Mansur's reign. Thus al-Mansur sought to move his country forward into the modern age by returning to an institution that had governed Muslim lands during the fabled golden age of the Abbasid and Andalusian Umayyad caliphates. Through an investigation of the sultan's ambitions and achievements Dr Cory provides new insight into the history of relations between Muslim states and the West.