UNESCO recognition is not an end in itself… Gnawa will reach future generations

“The inclusion of Gnaoua music on the UNESCO list is not the end of the road, but rather an important step in a long journey. This journey requires all of us, Gnaoua masters, professionals in the sector, and cultural and artistic institutions in the country, to make more efforts to preserve this authentic heritage and pass it on to future generations,” revealed Naila Tazi, director and producer of the Essaouira Gnaoua and World Music Festival.

In her following interview with Hespress, Tazi stated that, in cooperation with the Mohammed VI Polytechnic University, a Gnawa chair will be established at Ben Jarir University, noting that Gnawa culture is not just music; Rather, they are rituals and lyrical texts that deserve social, anthropological, and spiritual study.”

The Hespress guest added: “In this context, many researchers, Moroccans and foreigners, have taken an interest in studying Gnawa culture and have published books in different languages. Today, there is a noticeable increase in the number of students and doctoral students who have chosen Gnawa culture as a research topic within important theses.

Dialogue text:

We are talking about the 25th edition of the Gnaoua and World Music Festival, and the first thing we can inquire about is the previous editions. Is this event, in fact, what brought the Gnawi heritage out of the “shadow” and made it a global art?

A quarter of a century after the first edition of the “Gnaoua and World Music Festival,” I can say that we are very proud of this successive success that the festival achieves every year. This festival has contributed greatly to moving the Gnaoui horizons from local to global. We notice, now, that this type of music has turned into a tune that is widely known internationally. Over the course of 25 years, thanks to the musical fusion of Gnaoui teachers and artists from all over the world, other artists, journalists, music lovers and specialists have been able to learn about authentic Gnaoui culture.

The Gnaoua Festival’s programming over the years has been distinguished by its diversity, as it includes a range of international artistic styles; such as blues, jazz, reggae, African music, Latin music, flamenco, Cuban Santería, Pakistani Qawwali, in addition to hosting artists from India, Korea, Georgia… the list goes on. These cultural exchanges have enabled Gnaoua music to gain fame that has gone beyond the festival, landing on major international stages.

You know that Gnawa music was confined to homes, corners, and narrow places, so this traditional music was released into theaters specially erected to receive lovers of this type of music, which attracted them to the city of Essaouira to enjoy the tunes of an art that preserved its essence and authenticity.

Today, each Gnawa master is known by his name, his city and his distinctive style. The Gnawa Festival has allowed Gnawa masters to gain more experience and interact with an adoring audience and media that transmit the city’s songs to the world. These “masters” have become more familiar with platforms and technical equipment, which has enhanced their performance and made them international stars. Today, Gnawa music has become a source of inspiration for great guitarists and musicians, both Moroccan and international, who have exploited the notes of this ancestral music to compose their own musical creations.

It is clear that the “cultural struggle” was to ensure the sustainability of Gnawi art, based on its recognition as intangible heritage by UNESCO in 2019. After achieving this demand years ago, where is the interest directed at the present time?

Thank you for this question, which accurately describes our work through your use of the term “cultural struggle”. The inclusion of Gnawa music on UNESCO’s list of intangible heritage came after tireless efforts and hard work in preparing and defending the file. There is no doubt that, given the rich history of this music and its cultural contributions, Gnawa deserves this great recognition.

But we must understand that including Gnawa music on the UNESCO list is not the end, but rather an important step in a long path. This path requires all of us, Gnawa teachers, sector professionals, and cultural and artistic institutions in the country, to make more efforts to preserve this authentic heritage and pass it on to future generations.

At the Yerme Gnaoua Association, we strive to preserve and disseminate the Gnaoui heritage. Our work did not stop with UNESCO recognition; Rather, we aspire to establish new projects in cooperation with the Ministry of Culture and supporting institutions. We believe that the Gnaoui culture deserves a museum and a training institute. Indeed, we have preserved the Gnaoua record and produced a Gnaoua anthology, which constitutes an important step in documenting this heritage.

I would like to point out that the “Yerma Gnaoua” Association is responsible for transmitting the Moroccan popular Gnaoua culture to future generations. Today, we have nine regional branches that provide support to Gnaoua masters, listen with love to the masters of this music who have grown old, and honor the pioneers who have left this world in body; but their voices still echo in the corners.

It seems to me that international recognition is not just about celebrating Gnawa music; it also includes ongoing efforts to promote this rich heritage, and ensure its sustainability and protection for future generations. This recognition confirms that Gnawa music is not just an art; it is a deep-rooted cultural identity that deserves all support and care.

I referred to training, and we know that “Gnawa art” is ancient and legendary and involves a great sensitivity to mysticism, spirituality, superstition, etc.; however, it still suffers from a clear deficiency in academic authentication, and all that exists are attempts here and there by researchers.. Doesn’t this “global momentum” that this art has reached require further in-depth research?

Absolutely, and that is why we decided, in cooperation with the Mohammed VI Polytechnic University, to establish the Gnaoua Chair at Benguerir University. Gnaoua culture is not just music; Rather, they are rituals and lyrical texts that deserve social, anthropological, and spiritual study. In this context, many researchers, both Moroccan and foreign, were interested in studying Gnaoui culture and published works in different languages. Today, there is a noticeable increase in the number of students and doctoral students who have chosen Gnaoui culture as a topic of research for important dissertations.

Gnawa culture historically links Morocco to sub-Saharan Africa, and is a musical heritage shared by many world cultures with common origins. The traditional celebrations, songs, chants, and historical rituals of Gnawa culture are an integral part of our cultural and social life.

Thanks to this rich heritage, Gnawa culture can enjoy a comprehensive academic framework. However, there remains a spiritual aspect to this exceptional music that can only be learned or studied through the direct practice of “Taknawit” with the masters. This spiritual aspect is what gives Gnawa music its unique character and strengthens its place in the hearts of people around the world.

This international recognition of Gnawa culture is not just a celebration of the past; it is an invitation to deepen understanding and research into this wonderful art. Through academic collaborations and research projects, we seek to preserve this heritage and pass it on to future generations, ensuring its continuity and brilliance on the world stage.

On the other hand, there are young people who are “fantastically” eager to learn to play the “hajouj” and are chasing the dream of becoming a “teacher” over time, which raises the question of the need in Morocco for schools and institutes that support the continuation of this art and its transmission with all the elements that the first ones were keen on.. Don’t you agree with the idea?

Like I said, Gnaoui culture has human and spiritual dimensions that can only be acquired through direct interaction with professional Gnaoui teachers who provide lessons in accordance with Gnaoui rules, laws and values. As for academic institutes, they remain essential for musical training and aspects of professional practice. The Gnaoui culture acquired through teachers is essential for young people, as it helps in learning not only the instrument, but also rhythm, the text of lyrical pieces, sound, and emotions. I stress here an idea that I mentioned previously, which is that “Teknawit” is a spiritual art above all else, and no matter how important the musical schools are, the actual mastery of this heritage will only be achieved through field interaction with the “teacher” who transmits his experience to other generations.

There is a note that the Essaouira Festival still gives “priority” to the city’s Gnawa; the fact is that the Gnawa colours that are fresh in the villages also furnish the scene, even if they are mixed with local Amazigh cultures and a kind of fusion occurs between them… I mean “Gnawa Khamlia” or “Gnawa Tinghir”, etc. Could, for example, the festival management consider opening up to this signature of “Taknawit” on stage?

Of course; it is no secret that diversity, mix and cultural formation are among the most important features of the festival. During the successive sessions, the Essaouira Festival has been keen to support and promote Gnaoua art by welcoming Gnaoua teachers, groups and talents from different regions of Morocco. Since the registration of Gnaoua art on the UNESCO list, the number of teachers participating in the festival has increased from 23 to 35 teachers.

Since 2009, the Yerme Gnaoua Association has worked hard to preserve and promote Gnaoua culture throughout Morocco and among all age groups. The majority of Gnaoua in Moroccan villages are from the Ganges; The keenness was to organize performances for them in places that were compatible with their traditions, which were completely different from presenting performances on large theaters and platforms for a period that often exceeded an hour. To enhance the cultural and artistic diversity of the Gnaoua Festival in Essaouira, fans of this music will be able to discover Gnaoua Tinghir for the first time.

The artistic administration of the Gnaoua Festival communicates continuously with all Gnaoua groups, and shows openness to all suggestions and developments. However, it retains its freedom to make its own decisions, as is the case with all other prestigious festivals.

The female presence in “Tamaalmit” also differs between the Gnawa of the villages and their counterparts in the city; and we know that the festival was opened to “Taknawit women”.. but, isn’t there a “cultural concern” to protect the presence of the female voice within the world of Gnawa first and on the platforms of Mogador second?

Let me mention that women have been a fundamental pillar of Gnawa culture throughout history, although they are less visible than men. It took Gnawa women more than 20 years to master the threads of “Kembri” and be able to keep up with the festival stages; this is natural because a significant number of women are interested in “Taknawit”.

A Gnaoui woman is like a Gnaoui man. She must persevere and work hard until she proves that she is capable of leading a musical group on stage in a professional manner. The doors of the festival are open for them to show their Gnaoui talents in the feminine language. We also encourage them to participate in international concerts, and the best example is the teacher Asmaa El Hamzaoui with her band.” “Girls of Timbuktu” and teacher Hind Al-Nayra.

Finally, based on a “successful” festival, such as the Gnaoua Festival, according to many… what reveals that we have begun to succeed in building a “cultural industry” in Morocco, given the many events that we have begun to “organize professionally” in the country?

The Gnaoua Festival is a pioneering model that highlights how a cultural project can contribute to local economic and social development, create job opportunities, and give Morocco international exposure. This festival is constantly evolving, and with each session it leaves clear imprints at the local and international levels.

Today, thanks to the visionary vision of King Mohammed VI, we notice a growing awareness in Morocco of the importance of cultural and creative projects, sectors that are witnessing rapid growth globally. Therefore, we see the organization of various cultural projects in various regions of the Kingdom, including music, theater, dance, humor, cinema, literature, plastic arts, audiovisual, and even the world of games.

Cultural projects in Morocco have become more organized and professional, offering great opportunities for growth and development. These cultural events, which are organized with great professionalism, as you mentioned, contribute to strengthening Morocco’s cultural identity and expanding our country’s cultural influence locally and internationally. Our success in building a thriving and sustainable cultural industry is clearly demonstrated by the high professionalism and rich diversity of these events, which strengthens Morocco’s position as a global cultural destination.