The rich and varied art of Morocco

By Sarah Kuszynski

Moroccan art, culture and history is rich and varied, especially that of the Berber/Imazighen peoples who make up around three-fifths of Morocco’s population. Berbers are the indigenous people of North Africa, whose history stretches back thousands of years. The contemporary Berber communities are descended primarily from rural nomadic tribes who have been periodically occupied and colonised by groups including the Carthaginians, Romans, Byzantines, Arabs and also Europeans.

Notably, the artistic techniques of the Berbers have remained relatively unchanged and their influence on Moroccan art is strongly felt in the museums across Marrakesh, as well as in villages of the High Atlas Mountains. Even the etymology of the name Morocco itself is said to have its origins in the Berber word ‘Amerruk’ meaning ‘Land of God’.

For anyone interested in exploring more of Morocco’s Berber past, the Jardin Majorelle and the Berber Museum are staples. They are in the sleek former studio of the French artist Jacques Majorelle. The Jardin Majorelle is the culmination of over forty years of work which started in 1922 and opened to the public in 1947. It is painted from roof to foundation with a deep cobalt blue, which is reminiscent of the shade used in Berber houses and decorative titles. Walking around the garden this specific shade of blue is the constant that stitches together the garden’s lily-filled ponds, towering palms and exotic cacti — allowing the one-hectare garden to feel like a unified, coherent whole.

The creative output and customs of the ancient Berber people

Inside the museum are over six hundred pieces of textiles, jewellery, ceramics and clothing. The first thing encountered upon entry are information boards outlining the history of the major Berber tribes, such as the Zayanes and the Rifains. These explain that every tribe has slightly differing customs, artisanal output and graphic styles. Despite this, Berber art has many common features, chiefly bold geometric patterns, and motifs. These patterns often hold particular meaning and power such as the promotion of fertility or warding off evil, yet many are now purely decorative.

Throughout the museum, multi-sensory experiences are deftly incorporated. This is most notable in the display of figures wearing Berber headdresses and jewellery. The exhibition is arranged in a semicircle in a darkened room, framed by mirrors and illuminated by twinkling lights set into the ceiling. The lighting effectively illuminates and reflects off the metals, painted woods and stones of the bejewelled mannequins. The mannequins themselves are comprised of matte black material giving the impression that each headdress and set of jewellery is suspended. This exhibition cannot help but instil appreciation for historic dress and indigenous art.

Located among the winding, dusty red valleys

Moving into the ceramics, the distinctive customs of the Berber tribes acquire a further layer of complexity; in different regions and villages the creation of ceramics would either be practiced by solely by men or women. The ceramics themselves, when produced by women, also tend to take on the shape of the female form and other parts of the human body.

Lastly, the textiles and carpets are also striking. However, to gain an in-depth understanding of Moroccan textiles, the Dar Si Said Museum is far more comprehensive. The Dar Si Said is located among the winding dusty red valleys of Marrakesh’s Medina. Once found, you are greeted by videos of women immersed in weaving. Most interestingly, the colour combinations of the carpets are region specific, due to geographic variation in the abundance of dyes – namely saffron.

In summary, the gardens, galleries, and objects of all these Moroccan museums are sure to spark your curiosity in the creative output and customs of the ancient Berber people.

Illustration: Alena Fedulova