Leïla Slimani: when words spoken to please betray the reality of an entire country civilisation...
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The recent statements by the writer Leïla Slimani, Moroccan to us, Franco-Moroccan on television programs, have not gone unnoticed at all. Leïla Slimani made a particularly pointed remark regarding Moroccan women and mothers that sparked a strong controversy going beyond simple differences of opinion. Leïla was among the guests on the show "Tout le monde en parle". A show that survived its creator Thiery Ardisson, in Quebec but not in France. The statements in question, perceived as condescending and disconnected from the social and cultural realities of Morocco, deeply offended many Moroccan women. Especially those who, like her, write in French and consume cultural programs in French. They did not let her remarks pass, far from it. Many responded to her. Some more harshly than others. She received backlash like never before in her life. The reactions were measured, reasoned, and blunt even if politely delivered. Some were real lessons addressed to someone who truly deserved a strong reminder. All reminded her that many mothers, constrained by difficult conditions, have raised their children with courage, dignity, and a keen sense of values, and today refuse that their commitment be reduced to simplistic clichés or one-sided judgments whose only purpose is to create buzz on television sets.
On social networks and in public spaces, the reaction was unanimous and passionate. Moroccan women, at least those who spoke, firmly rejected the stereotypical vision inflicted on them, denouncing a sometimes moralistic and westernized posture that ignores the complexity and richness of their experience. Their role can neither be reduced nor caricatured, as it is fundamental in the construction of Moroccan society, itself evolving but deeply rooted in its traditions, resilience, and unique identity.
The sentence where Leïla Slimani speaks of revenge as a value that mothers would teach their children, girls in particular, does not pass and will not pass. She cited her own grandmother as an example, absent to contradict her... This expression is truly inappropriate as well as misleading. The opposite is true: one of the fundamental values of Moroccan society is precisely forgiveness.
Forgiveness is taught and lived daily in social relations here. Life revolves around forgiveness. The word forgiveness in darija is uttered dozens of times a day by everyone here.
*Lalla Leila, do we really need to remind you that Moroccan culture is not nourished by resentment, and even less by revenge, but by a demand: a demand for respect and nuance.*
Today, Moroccan society is progressing, but it firmly rejects external judgments imposed without a deep understanding of the local context, whether religious or cultural. As a public figure representing Morocco on the international stage, if you please, you should show greater prudence and empathy in your remarks. Speaking a truth is one thing, inventing it is another, especially since the context was not fiction but a widely viewed program.
This controversy highlights a persistent symbolic fracture between a certain elite living abroad and the real Morocco, the one that lives, struggles, and moves forward at its own pace, certainly, but makes true progress. Criticism is legitimate, questioning is salutary, but it must always be done with rigor, responsibility, and above all respect. Public speech must never humiliate nor infantilize Moroccan women, and even less in their essential and vital role: raising new generations.
Morocco is not frozen in stereotypes. Moroccan women, whether lawyers, entrepreneurs, teachers, artists, workers, artisans, or stay-at-home mothers, lead every day, in the shadows of essential battles, based on a quiet strength worthy of admiration. Their modernity is an inner, patient, and authentic process that has nothing to envy from imported discourse. Their future lies in their hands and will not be shaped by words uttered here or there just to impress an audience eager for primitive orientalism.
Beyond that, this affair broadly reveals the difficulty some Moroccans of the diaspora face to reconcile distance and sensitivity towards their country of origin. This is the bridge needed for dialogue, based on sincere listening and respectful sharing of experiences. Through this misstep, Leïla Slimani showed how a disconnected word can deeply hurt, especially when it comes from one of our own.
And if the phrase pronounced by Leïla Slimani only reflected her personal feeling and perhaps a repressed desire for revenge linked to her family past. Her father, the late Othmane Slimani, a prominent economist who was once minister and bank boss, went through a real downfall, accused of malfeasance. He succumbed to lung cancer before the end of the judicial process, having appealed a first ruling condemning him in first instance. It must nevertheless be recognized that it was under his presidency of the Fédération Royale Marocaine de Football that the Moroccan National Football Team won the only African title it holds to this day. That was in 1976. Moroccans have never forgotten this epic and still thank Si Slimani, the selector Mehdi Belmejdoub, coach Mardarescu, and the players of the time led by Ahmed Faras.
Madam Slimani, who deserves respect for who she is, must simply understand that Morocco does not ask for lessons, but for genuine understanding and respectful dialogue to support its transformation and the great progress made. Spreading nonsense and ideas that don’t match its history, the values of its citizens, and even less those of its women, does not honor a writer who aspires to make history. Many before her have tried the same path in their quest to be more royalist than the king; none succeeded. Morocco can be left, but it never leaves us, and that is why it must be respected.
**Morocco is certainly about good food, good drink, but not about revenge.**
This is my response to Leïla Slimani, on behalf of my mother, my grandmother, and all the mothers and grandmothers, if they would allow me...
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Leïla Slimani: when words spoken to please betray the reality of an entire country civilisation...
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Quimbanda
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Quimbanda is a living, urban spirit-religion that took shape in Brazil’s port cities over the late nineteenth and twentieth centuries, drawing on Central-West African Bantu cosmologies, Indigenous American practices, popular Catholicism, and Kardecist spiritism. Where Umbanda is often described as the “right hand” (linha da direita) that emphasizes healing and moral elevation, Quimbanda is commonly called the “left hand” (linha da esquerda): it faces the gritty realities of desire, conflict, work, sex, money, and protection in the world as it is. Its spirits—above all Exus and Pomba Giras—are not devils in the Christian sense but powerful agents of the crossroads who negotiate paths, open and close roads, and mirror human passion with startling clarity.
Historically, Quimbanda emerged alongside rapid migration, police repression, and racialized poverty. In this setting, its spirits became specialists in boundary spaces: thresholds, bars, markets, street corners, cemeteries—places where rules bend and deals are made. A gira (ceremonial circle) is noisy and social: drums mark the cadence, songs call the lines of spirits, smoke and perfume signal shifts in presence, and mediums incorporate to dance, speak, and counsel. Offerings are direct and sensorial—cachaça (distilled fresh sugarcane spirit), cigarettes, red wine, roses, roasted corn, spicy foods—because Quimbanda is about exchange: you give, you ask, you fulfill what you promised.
Exu in Quimbanda is not the trickster-devil of missionary caricature, nor merely the messenger of Candomblé. He is a class of spirits with names, histories, and personalities—Exu Tranca-Ruas, Exu Sete Encruzilhadas, Exu Caveira—who work at specific “crossroads” (cruzamentos, encruzilhadas). Pomba Gira, often misunderstood through misogynistic stereotypes, is the sovereign of female desire, elegance, and cunning—Maria Padilha, Sete Saias, Cigana—teaching about autonomy, charisma, and the dangers and power of seduction. Together they deal with what is hard to sanctify in polite spaces: jealousy, breakups, court cases, job blocks, spiritual attacks, and the tangled ethics of obligation.
Quimbanda’s ethic is pragmatic and accountable rather than abstractly moralistic. The spirits are not fooled by pompous speeches; they expect clarity, reciprocity, and follow-through. If a petition succeeds, you pay your offering. If you promised a mass for a soul, you schedule it. If you sought a binding or a separation, you accept the web of consequences that comes with bending social ties. Because of this directness—and because outsiders often conflate “left-hand” with “evil”—Quimbanda has long been stigmatized. In Brazil, racist and classist stereotypes have linked it to criminality and evangelical demonization has fueled persecution. Practitioners preach that Quimbanda is a sophisticated technology of negotiation with the spirit world, grounded in community, memory, and results.
Lineages vary. Some houses are fiercely traditional, keeping a tight separation from Umbanda and Candomblé; others are “mixed,” with mediums who serve lines across religions. Some houses work almost entirely with Exu and Pomba Gira; others include male and female “people” of the cemetery, the sea, the forest, or the gypsy caravan—reflecting broader Brazilian spirit vocabularies. There are also differences in cosmology: a few lineages place Exu within a Bantu-inspired schema of forces (kalunga, the line between worlds; nkisi-like principles); others frame him more through Catholic and Spiritist lenses, emphasizing masses for souls, prayers, and moral counsel.
What unites these forms is a shared grammar: crossroads as cosmological hub, offerings as contracts, incorporation as communication, and the conviction that spiritual power answers the problems of daily life. The sacred here is not faraway transcendence; it is the friction and flow of human bonds.
In recent decades, global interest has created exported and hybrid forms of “Kimbanda/Quimbanda,” sometimes trimmed to a grimoire system for private ritual. Practitioners in Brazil often welcome exchange but worry about decontextualization—losing the songs, the humor, the streetwise etiquette that make the spirits feel at home. Many houses respond with public education: teaching that Exu is not the devil, that offerings belong in appropriate places and times, that consent and responsibility matter, and that tradition adapts without abandoning its roots.
To meet Quimbanda is to meet a mirror. It does not promise virtue; it promises clarity about what you want and what it will cost. Its spirits love laughter and flamboyance, but they are exacting accountants of exchange. If Umbanda teaches the balm of light, Quimbanda teaches the courage to walk at night: to stand at the crossing, name your need, make your pact, and carry your word. If you do, the road opens—not because the world became pure, but because you learned how to move through it.
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Quimbanda
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