18109569
Description
Mind Map by talya soni, updated more than 1 year ago
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Created by talya soni
about 7 years ago
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Morocco
- Normative culture of Morocco Interlinked culture – with mostly Berber and Arab origins -follow principals
of Islam -official languages Berber and Arabic -protect Berber culture (original culture) and its traditions
-dress: djellaba, caftan Daily life- family unity is important ( this includes extended family) kids will take
care of their elderly parents -conservative culture, revealing arms and legs disrespectful -swimwear,
shorts, sleeveless shirts and clingy clothes for the beach and pool -it is disrespectful to drink in sight of a
mosque -difficult to get liquor licenses -hospitable, will feed strangers, no business until after enquiries of
person(health, family, etc.) -food shows Moroccan multiculturalism -women have rights to education,
custody -have a king who has power over constitution -modern buildings keep balance of Arabic
architecture, Persian zellige, southern Spanish architecture and some French.
- Moroccan culture: - Homes had plain exterior lest to show the owners wealth - Kasbahs, fortresses in valleys ,
however had plain interiors and detailed exteriors - Lavish palaces with same style: Hispano-Moorish.
Pinnacle of architecture between 1500’s & 1800’s - Berbers lived in shepherd tent when sheep are taken to
pasture. Men will drive the first peg women will then set up the tent - Tents divided in two women on one
side men and important visitors, herbs scattered on ground for protection and prosperity - Makhzens,
festival tents, put up traditionally by chiefs for own use during tribal gatherings. - Mint tea is traditional,
never refused and expected. Served when at first meeting, when together and when saying goodbye.
Important part of social behavior - The souk, market, is important part of social dynamic. It is everything in
one.
- Moroccan culture: - Homes had plain exterior lest to show the owners wealth - Kasbahs, fortresses in valleys ,
however had plain interiors and detailed exteriors - Lavish palaces with same style: Hispano-Moorish.
Pinnacle of architecture between 1500’s & 1800’s - Berbers lived in shepherd tent when sheep are taken to
pasture. Men will drive the first peg women will then set up the tent - Tents divided in two women on one
side men and important visitors, herbs scattered on ground for protection and prosperity - Makhzens,
festival tents, put up traditionally by chiefs for own use during tribal gatherings. - Mint tea is traditional,
never refused and expected. Served when at first meeting, when together and when saying goodbye.
Important part of social behavior - The souk, market, is important part of social dynamic. It is everything in
one.
- Berber women are artists. They weave brightly colored carpets, and they adorn their faces, hands, and ankles with
tattoos, dye their hands and feet with henna, and paint their faces with saffron). They embroider brightly colored
motifs on their indigo head coverings and on special occasions wear elaborate silver and amber jewelry Women both
create and wear the artistic symbols of Berber identity, making the decorated female body itself a symbol of that
identity Textiles hold a predominant place in Amazigh art all across Morocco. Amazigh women are renowned for their
brightly colored carpets, blankets, and clothing Women dominate the weaving process, metaphorically giving life to
textiles. In rural areas they comb, spin, and dye wool for the blankets, shawls, and carpets that they weave on upright
vertical looms. Wool has considerable baraka, or "blessing," and some of this baraka is transferred to the weavers.
- . Amazigh women who work wool are highly respected, and it is said that a woman who makes forty
carpets during her lifetime is guaranteed passage into heaven after she dies. Wool itself, is related to
fertility and ultimately to motherhood. When the warp threads are attached to the vertical loom, the
textile is said to be born and have a "soul" or ruh, echoing women's role in human reproduction. In
some areas of Morocco, weavers physically straddle the warp threads and beams of the loom before
they are raised, symbolizing the birth of the textile. The colors used in Amazigh textiles also
correspond to the aesthetic of symmetry. For example, they are organized according to Amazigh
conceptions of light and dark hues. This color balance can be seen in the most common type of textile
woven in southeastern Morocco, called the taberraknut or "flat-woven textLight colors, said to resemble
sunlight, include any hue of red and yellow, while hues of green and black are considered dark colors.
- Light and dark colors are typically placed near each other to balance a textile and a solid band of white
wool separates the balanced colors. Although tattooing is no longer practiced by most Amazigh
women, in the recent past, when a girl reached puberty, sometime between the ages of eleven and
fourteen (a time that generally coincided with her first menstrual cycle), her mother, aunts, or family
friends would tattoo her face and wrists, Tattooing was a rite of passage, marking a girl's transition
into womanhood. Usually small groups of girls were tattooed at the same time, making it a very social
activity, shared and passed on among women.
- Women often tattooed a single line, sometimes bordered with small dots, from the bottom of their lips
to the bottom of their chins Some women compared the design to the tracks a beetle or lizard makes
in the sand. Amazigh motifs typically divide a canvas, whether a woman's face or ankles or a woven
textile, into two equal halves, reflecting the nomadic aesthetic of bilateral symmetry already
discussed. Tattoo and textile motifs resemble each other, and the act of humanizing textiles with
motifs similar to those tattooed on their own bodies equates women's physical reproductive powers as
mothers with their artistic reproductive powers as conservers of tradition. Hence, tattoos are gendered
symbols of women's creative powers, and in this way, tattoos create a correlation between women's
bodies and Amazigh identity.
- With the decline of tattooing as a means of conveying expressive and social functions, its artistic forms
and symbolism have been transferred to the embroidered "veils" or head coverings, called tahruyt,
worn by Amazigh women in some areas of southern Morocco. In the early and middle twentieth
century, these long, sparsely decorated, indigo-dyed cotton cloth head coverings were worn simply as
modesty garments.
- With the decline of tattooing as a means of conveying expressive and social functions, its artistic forms
and symbolism have been transferred to the embroidered "veils" or head coverings, called tahruyt,
worn by Amazigh women in some areas of southern Morocco. In the early and middle twentieth
century, these long, sparsely decorated, indigo-dyed cotton cloth head coverings were worn simply as
modesty garments.
- Women often tattooed a single line, sometimes bordered with small dots, from the bottom of their lips
to the bottom of their chins Some women compared the design to the tracks a beetle or lizard makes
in the sand. Amazigh motifs typically divide a canvas, whether a woman's face or ankles or a woven
textile, into two equal halves, reflecting the nomadic aesthetic of bilateral symmetry already
discussed. Tattoo and textile motifs resemble each other, and the act of humanizing textiles with
motifs similar to those tattooed on their own bodies equates women's physical reproductive powers as
mothers with their artistic reproductive powers as conservers of tradition. Hence, tattoos are gendered
symbols of women's creative powers, and in this way, tattoos create a correlation between women's
bodies and Amazigh identity.
- Light and dark colors are typically placed near each other to balance a textile and a solid band of white
wool separates the balanced colors. Although tattooing is no longer practiced by most Amazigh
women, in the recent past, when a girl reached puberty, sometime between the ages of eleven and
fourteen (a time that generally coincided with her first menstrual cycle), her mother, aunts, or family
friends would tattoo her face and wrists, Tattooing was a rite of passage, marking a girl's transition
into womanhood. Usually small groups of girls were tattooed at the same time, making it a very social
activity, shared and passed on among women.
- . Amazigh women who work wool are highly respected, and it is said that a woman who makes forty
carpets during her lifetime is guaranteed passage into heaven after she dies. Wool itself, is related to
fertility and ultimately to motherhood. When the warp threads are attached to the vertical loom, the
textile is said to be born and have a "soul" or ruh, echoing women's role in human reproduction. In
some areas of Morocco, weavers physically straddle the warp threads and beams of the loom before
they are raised, symbolizing the birth of the textile. The colors used in Amazigh textiles also
correspond to the aesthetic of symmetry. For example, they are organized according to Amazigh
conceptions of light and dark hues. This color balance can be seen in the most common type of textile
woven in southeastern Morocco, called the taberraknut or "flat-woven textLight colors, said to resemble
sunlight, include any hue of red and yellow, while hues of green and black are considered dark colors.
- Summary of traditional Moroccan clothes Islamic Arabic cultural and religious influence on clothing.
Conservative clothing that is long and flowy. Headscarves wrapped into turbans. Bright colours and detailed
geometric patterns. Traditional slippers. Djellaba – common every day wear, a long flowy hooded garment
that is unisex and is worn throughout the year. Made in cotton for summer and wool for winter. Caftan –
worn by women only on formal occasions as it is glamorous with jewels and can have shorter sleeves.
Takchita – similar to the Caftan but instead is double layered as there is a transparent dress on top of the
caftan. Can be worn with a belt made of gold or silver. Luxurious fabrics used e.g. velvet/kashmir with jewels.
Haik - a white robe worn by women, generally found in the colder areas of Morocco. Made from silk and
wool. Symbolizes modesty and hides the body of the woman, besides the face and hands.
- Gandoura – worn in summer by women, robe with pockets and embroidery on the front. Deraa – worn by
men, the male version of the gandoura with open sides, embroidery on the front, baggy pants (harem style)
called qandrissi trousers can be worn underneath, white Deraa’s are reserved for weddings and blue Deraa’s
are for everyday wear. Melhfa – popular in south Morocco in the desert region as women would wear this to
protect themselves from flying sand and heat. It is a 4 metre long shawl that wraps around the whole body.
- Summary of modern Moroccan clothes Western influence of graphic t-shirts, sneakers and jeans. Most
Moroccan’s will mix their traditional clothing with western concepts. Djellaba’s commonly worn with
converse sneakers or sneakers in general by both men and women and the popular Birkenstock sandals
worn too. Headscarves worn with large earrings and sunglasses. Djellaba’s in animal print is trending. Neon
colours on Moroccan prints is trending, especially colourful wool tassels on clothing. Formal clothing is not
limited to traditional robes as more men wear suits in funky prints. Pastel coloured robes are trending.
- Traditional Moroccan Architecture Geometric patterns and bright colours dominate the architectural
design. Mosaics are popular and highlight traditional African and Arabic patterns. Islam has influenced
Moroccan architecture with dome like shapes that originate from mosques and Arabic ornamental
calligraphy. Riads- which are open courtyards, are lavish and colourful. They are also an Islamic influence and
are meant to be private locations in the centre of the home. They are decorated with fountains, pools and
orange and lemon trees, zellij and stucco work. Another culture that is prominent is the Hispano-Moorish
(Northern Africa and Iberian Peninsula) and can be seen with the white walls, stucco roofs among dome
shaped ceilings and arches.
- can be seen with the white walls, stucco roofs among dome shaped ceilings and arches. Mosques – “With
walls and fountains covered in green and white zellij and a beautifully adorned mirhab (a niche
indicating the direction to Mecca) in stucco and marble.” Kasbahs – “fortified city built for defensive
purposes.” Huge outer walls that are tan coloured. Simple materials used, not fancy. Medersa’s – Islamic
religious schools, law, philosophy and astrology are studied in this building. Rooms are made of carved
wood, many decorated arches and detailed stucco. Islamic calligraphy adorns the walls and geometric
Islamic motifs in zellij.
- can be seen with the white walls, stucco roofs among dome shaped ceilings and arches. Mosques – “With
walls and fountains covered in green and white zellij and a beautifully adorned mirhab (a niche
indicating the direction to Mecca) in stucco and marble.” Kasbahs – “fortified city built for defensive
purposes.” Huge outer walls that are tan coloured. Simple materials used, not fancy. Medersa’s – Islamic
religious schools, law, philosophy and astrology are studied in this building. Rooms are made of carved
wood, many decorated arches and detailed stucco. Islamic calligraphy adorns the walls and geometric
Islamic motifs in zellij.
- Traditional Moroccan Architecture Geometric patterns and bright colours dominate the architectural
design. Mosaics are popular and highlight traditional African and Arabic patterns. Islam has influenced
Moroccan architecture with dome like shapes that originate from mosques and Arabic ornamental
calligraphy. Riads- which are open courtyards, are lavish and colourful. They are also an Islamic influence and
are meant to be private locations in the centre of the home. They are decorated with fountains, pools and
orange and lemon trees, zellij and stucco work. Another culture that is prominent is the Hispano-Moorish
(Northern Africa and Iberian Peninsula) and can be seen with the white walls, stucco roofs among dome
shaped ceilings and arches.
- Summary of modern Moroccan clothes Western influence of graphic t-shirts, sneakers and jeans. Most
Moroccan’s will mix their traditional clothing with western concepts. Djellaba’s commonly worn with
converse sneakers or sneakers in general by both men and women and the popular Birkenstock sandals
worn too. Headscarves worn with large earrings and sunglasses. Djellaba’s in animal print is trending. Neon
colours on Moroccan prints is trending, especially colourful wool tassels on clothing. Formal clothing is not
limited to traditional robes as more men wear suits in funky prints. Pastel coloured robes are trending.
- Gandoura – worn in summer by women, robe with pockets and embroidery on the front. Deraa – worn by
men, the male version of the gandoura with open sides, embroidery on the front, baggy pants (harem style)
called qandrissi trousers can be worn underneath, white Deraa’s are reserved for weddings and blue Deraa’s
are for everyday wear. Melhfa – popular in south Morocco in the desert region as women would wear this to
protect themselves from flying sand and heat. It is a 4 metre long shawl that wraps around the whole body.
- Arts and Crafts of Morocco Arabic calligraphy engraved on silver jewellery such as Berber talisman
rings. Symbols such as eye, star and snake motifs engraved on silver jewellery. “The Berber eye
symbol, believed to avert the evil eye, with the central cross deflecting such forces in four directions”.
Pg 19 Turtle/tortoise shaped design symbol represents the saints, protection against evil. Pg 19 Bird
symbol is a messenger between heaven and earth. Pg 19 Snake is a symbol of fertility represented in
wavy lines or zigzag lines in textiles and jewellery Pg 19 “Amulet believed to have prophetic powers
and contain Baraka (positive power of the saints and Sufi brotherhood). Such designs are common in
textiles, pottery and leather.” Pg 16
- “The presence of Baraka can also be achieved by transference through direct contact with the holy
men- textiles or wool are often taken to them for blessings either by women who wove the piece or
by the one who has received them. The textiles are sometimes draped over the tombs of saints or
sprinkled with surrounding earth.” Pg 14 “Embroidery shows influence from Italian renaissance
(filtered through Spain) in the depiction of ancient goddess figures.” Pg 17 “The symbols and motifs
representing animals appear frequently in textiles, embroidery, pottery, ceramics, woodwork and
jewellery. However, they tend not to receive the artistic recognition they deserve, mainly because of
the restrictions in Islam against human and animal representation…often incorporated into floral
and geometric designs” Pg 19
- The khamsas – a hand – signify the umber 5- represent a protective hand in Islam of Fatima, the
daughter of the prophet Mohammed. Pg 38 “Popular pieces of Moroccan jewellery include fibulas/pins
for garments, with chains, brooches, headdresses, breastplates, rings, bracelets, anklets and pendants.”
Pg 73 “Jewellery communicates wealth, social status, love, tribal identity, fecundity and religious beliefs.”
Pg 73 “Jewellery making is as distinguishable by the two traditions of rural and urban work as other
traditions in Morocco. Urban jewellery is primarily Arab…as well as being influenced by Jewish
traditions…pieces made of gold and glided silver. Rural jewellery is always silver…The popular belief
among Berbers was that gold was evil.” Pg 74
- “The significance of an item of jewellery goes beyond mere decoration. A necklace…will be received at
birth and worn by Berber girls and boys.” Pg 75 “After the initial first necklace, a boy will never wear
jewellery again, except for a silver ring given to him by his father” pg 75 “Female child will receive
amulets and beads for necklaces from her mother until her marriage.” Pg 75 “Smaller necklaces worn
every day but more elaborate necklaces would be worn during pilgrimages, funerals, visiting neighbour,
journeying too moussems” pg 75 “The practice f certain techniques can characterize different areas.” Pg
75 “The garnets, emeralds, rubies and pearls used were often brought back from Mecca” pg 77 “For
Berber woman, jewellery is an expression of herself and her creativity…the pieces enhance the woman’s
individuality, while acting as a means of identification within her tribe.” Pg 77
- “In Berber tradition, the value of jewellery is not determined by age, as it is in the West…the protective,
medicinal and magical properties the wearers ascribe to the materials…Berbers loved silver, believed to
cure rheumatism, favoured by Allah.” Pg 79 “Coral is also praised by Allah…Berbers used it for its
curative powers long before the Arabs arrived.” Pg 79 Berber culture used animism which is opposed by
Islam. “Moroccan jewellery thus lives on through the 20th century as a legacy of popular, collective and
sacred traditions, as a means of adornment and a symbol of wealth, and as a source of supernatural and
religious power for women. It reveals something of the social, religious and geographic background of
the wearer, as well as of Morocco’s artistic heritage, past and present.” Pg 80
- “In Berber tradition, the value of jewellery is not determined by age, as it is in the West…the protective,
medicinal and magical properties the wearers ascribe to the materials…Berbers loved silver, believed to
cure rheumatism, favoured by Allah.” Pg 79 “Coral is also praised by Allah…Berbers used it for its
curative powers long before the Arabs arrived.” Pg 79 Berber culture used animism which is opposed by
Islam. “Moroccan jewellery thus lives on through the 20th century as a legacy of popular, collective and
sacred traditions, as a means of adornment and a symbol of wealth, and as a source of supernatural and
religious power for women. It reveals something of the social, religious and geographic background of
the wearer, as well as of Morocco’s artistic heritage, past and present.” Pg 80
- “The significance of an item of jewellery goes beyond mere decoration. A necklace…will be received at
birth and worn by Berber girls and boys.” Pg 75 “After the initial first necklace, a boy will never wear
jewellery again, except for a silver ring given to him by his father” pg 75 “Female child will receive
amulets and beads for necklaces from her mother until her marriage.” Pg 75 “Smaller necklaces worn
every day but more elaborate necklaces would be worn during pilgrimages, funerals, visiting neighbour,
journeying too moussems” pg 75 “The practice f certain techniques can characterize different areas.” Pg
75 “The garnets, emeralds, rubies and pearls used were often brought back from Mecca” pg 77 “For
Berber woman, jewellery is an expression of herself and her creativity…the pieces enhance the woman’s
individuality, while acting as a means of identification within her tribe.” Pg 77
- The khamsas – a hand – signify the umber 5- represent a protective hand in Islam of Fatima, the
daughter of the prophet Mohammed. Pg 38 “Popular pieces of Moroccan jewellery include fibulas/pins
for garments, with chains, brooches, headdresses, breastplates, rings, bracelets, anklets and pendants.”
Pg 73 “Jewellery communicates wealth, social status, love, tribal identity, fecundity and religious beliefs.”
Pg 73 “Jewellery making is as distinguishable by the two traditions of rural and urban work as other
traditions in Morocco. Urban jewellery is primarily Arab…as well as being influenced by Jewish
traditions…pieces made of gold and glided silver. Rural jewellery is always silver…The popular belief
among Berbers was that gold was evil.” Pg 74
- “The presence of Baraka can also be achieved by transference through direct contact with the holy
men- textiles or wool are often taken to them for blessings either by women who wove the piece or
by the one who has received them. The textiles are sometimes draped over the tombs of saints or
sprinkled with surrounding earth.” Pg 14 “Embroidery shows influence from Italian renaissance
(filtered through Spain) in the depiction of ancient goddess figures.” Pg 17 “The symbols and motifs
representing animals appear frequently in textiles, embroidery, pottery, ceramics, woodwork and
jewellery. However, they tend not to receive the artistic recognition they deserve, mainly because of
the restrictions in Islam against human and animal representation…often incorporated into floral
and geometric designs” Pg 19
- The Berber are a major ethnic group of North Africa. They are not referred to as Berber but are a
pre-Arab ethnic group that has adopted to an Arab identity. The population resided across Africa’s
mediteranean long before the arrival of the Arab language population and it is generally considered to
being ancestrally native to the religion The Berber population in Morocco is divided into many tribes of
varying sizes spread across the country. The main Berber language which was known as Tamazight was
the standard version of the Berber language, which had its own letter systemin no relation to Arabic in
any form. It was estimated to 40% of the Moroccan speaks the language.
- Traditional clothing in Morocco The kaftan in Morocco appeared in the 16th century, it was worn across
the middle East and Persia before this time. It was during the resign of the garment called abbasides.
The Western Islamic religion that was ruled by the Morocco Berber Almohad dynasty resulted
experience the force to convert to Christianity, Muslims, Jews from Andalusia. The Morocco
representatives of the diverse culture identities and culture heritage men where uncommon to see them
preparing the colourful treads, women than sold their buttons they made, every garment required a
finishing on workshops. The Berber people trace their roots to a minimised amount. Over the years the
dress has changed with influence on invading cultures by the past colonization of ancient romans. Many
Berber continued wearing a Haik, which was a large cloth wrapped around the body in a fashion similar
to a Romans toga,
- Traditional clothing in Morocco The kaftan in Morocco appeared in the 16th century, it was worn across
the middle East and Persia before this time. It was during the resign of the garment called abbasides.
The Western Islamic religion that was ruled by the Morocco Berber Almohad dynasty resulted
experience the force to convert to Christianity, Muslims, Jews from Andalusia. The Morocco
representatives of the diverse culture identities and culture heritage men where uncommon to see them
preparing the colourful treads, women than sold their buttons they made, every garment required a
finishing on workshops. The Berber people trace their roots to a minimised amount. Over the years the
dress has changed with influence on invading cultures by the past colonization of ancient romans. Many
Berber continued wearing a Haik, which was a large cloth wrapped around the body in a fashion similar
to a Romans toga,
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