The “Ruby” party with scales is criticizing

The first participation of the Egyptian singer Rob within the activities of the twentieth session of the “Mawazine Festival .. Rhythms of the World”, the honorable passage, as her concert, which she performed on Friday evening on the Renaissance platform in the capital Rabat, sparked a wave of sharp criticism among the pioneers of social networking sites and a number of followers.

A general feeling of “disappointment” prevailed in the ranks of a wide segment of the present audience who expressed their dissatisfaction with the artistic presentation, which they described as “more than musician than music”, considering that the artist did not rise to the level of the aspirations of a Moroccan audience known for his artistic taste.

The most prominent criticism centered on Ruby’s resort to the “Playback” technology, where it was noted that most of the concert paragraphs using prior audio recordings, instead of providing live and direct performance.

Many commentators considered that this option is “a disregard for the audience of an ancient festival as a scale”, and raises questions about the extent of seriousness in preparing for this first artistic appearance in Morocco.

The controversy did not stop at the limits of the technical character; Rather, it extended to the visual and visual side of the ceremony, as the appearance of the Egyptian artist in clothing was considered by a number of followers “bold and inappropriate” widespread controversy, especially after she presented dance links described as “exciting”, and some saw in it an attempt to give the nature that prevails in the artistic content.

The reactions varied between those who defended “the artist’s freedom in artistic expression and the choice of his style of performance”, and who considered that what was presented above the stage “is not appropriate for the position of an international festival that celebrates cultural diversity”, criticizing what they described as “marketing for an attractive image at the expense of the quality of the music show.”

These criticisms returned to the forefront the discussion about the criteria adopted in programming the paragraphs of the “Mawazine” festival, the extent of the balance required between openness to various musical patterns from different countries of the world, and respecting the cultural privacy and the general taste of the local audience who has been known for its stinging criticism and its rejection of any offers he considers without a level.