Defense of heritage: When mosaic tilework polarizes intellectuals
The formal notice sent by Morocco to the Adidas company has unleashed an exciting societal debate. Two approaches to the defense of heritage are beginning to emerge in the context of a global context where the protected origin of products is becoming an intangible issue and a strike force in terms of soft power. The first approach is said to be universal and does not want to confine culture within borders. The second approach, being more nationalistic in nature, wants the world to recognize Morocco’s paternity on zellige (mosaic tilework). In reaction to the information, our journalist colleague Abdellah Tourabi reacted on Twitter: “And what to say about the Spaniards who will file a complaint against Morocco for a large portion of our cuisine (almond-based pastry for example), they who took it from the Arabs who themselves took it from the Persians who themselves took it from the Turks from whom we borrowed the Caftan (women’s dress) and other symbols… This is becoming really grotesque!”. This statement has unleashed the passions of what is called on social networks, the “Moorish”, a movement aimed at reviving the “grandeur of the empire of Morocco” and reclaiming the imperial history of the dynasties. It would be futile, however, to limit this opposition to a dichotomy between a bloc with narrow chauvinist ideas, and another block that is peaceful and open. The subject is inherently more complicated, because if we define Moroccan heritage as the one contained within the borders of the current national state, we run the risk of benefiting from only limited protection. On the other hand, if one refers to the historical natural zones of influence of the Kingdom, the subject becomes conflictual. Zellige, which is a ceramic art found mainly in Morocco, is actually present in two places outside Morocco s borders, namely in Andalusia and in Tlemcen. This is called Moorish identity. Is it Moroccan? Algerian? Spanish?
“Morocco is today the main depository of this civilization”, says historian Bernard Lugan (Editor’s note: born in Meknes and specialist in the history of Morocco). “The presence of remains of this architectural style in Algeria and Spain is more proof of the episodic presence of Morocco in these territories than any paternity of these countries on this heritage”. In the book “Le Maroc andalou” written by archaeologist and historian Abdelaziz Touri, the emergence of traditional ceramic craftsmanship was generalized by the Merinids (Moroccan dynasty) and the Nasrids (Andalusian dynasty of Umayyad origin) . “Used for the composition of polychrome marquetry, this technique is however not a creation of the Marinid dynasty since we note its presence in the civil and religious monuments of the city of Fez from the seventh century, a period prior to the main constructions of the Alhambra”, can one read in the book. After the various migrations of the Judeo-Muslim populations of Andalusia towards Morocco, because those populations were struck by the Edicts of Expulsion, the craftsmanship in all its artistic component would bear the mark of these craftsmen. Thus, the Cherifian dynasty of the Saadians took up the model of the pavilions of the Court of the Lions of the Alhambra, and endowed the Qaraouiyyine mosque with two pavilions attached to the short sides of the courtyard with a few variations.
Abdessamad NAIMI
