Morocco: Voices of Rebellion, From Najat Aatabou to El Grande Toto... 11897

Aziz Daouda, 9 mon.

- Art - Society - Philosophy -

3.1 min read.

The recent edition of Mawazine Music Festival did not go unnoticed and will be remembered. There were, of course, tens of thousands of citizens from all over Morocco and beyond enjoying the various stages, with Boutchart’s record simply making them sing along, as well as that great diva singing in playback, provoking the anger of those who cried scam. But above all, there was El Grande Toto. This great star of Moroccan and global urban music, whom many dislike, or dislike intensely. El Grande Toto packed the audience, but also sparked a large number of articles and reactions, mostly unfavorable, with only a few exceptions. The majority of these reactions were rather critical, some almost scathing. *Let me say it straight away: I am not a fan of El Grande Toto nor of his type of music. At my age, it would be an insult to my musical tastes, as I can only be soothed in my Arabic version by Doukkali, Abdelhalim, Belkhayat, Samih, Farid, Oum Kaltoum, and Abdelwahab; in my French version by Brel, Reggiani, Piaf, Barbara; and in my English version by Dylan, Clapton, BB King, James Brown, and many others.* That said, I cannot judge those who dislike him, nor those who love El Grande Toto’s musical genre—that is, all the youth who identify with this style, who resonate with his intonations and rejoice in absorbing his lyrics. It is their time and their music. This reminds me that about thirty years ago, Najat Aatabou could only be heard by accident, passing by a cassette seller’s stall in a souk or secretly in one’s car. Her music seemed annoying and her lyrics vulgar. It took a long time before she was finally accepted, and later adored. What brings me to this topic is that there is something in the artistic trajectories of Najat Aatabou and El Grande Toto that resembles a broken mirror: the shards oppose and scatter, yet, upon closer look, they reflect the same reality. That of a multiple, rebellious Morocco, torn between its traditions and its desires for modernity. A Morocco that thinks it is what it is only little or not really. What it has never truly been except in a falsely constructed imagination. Najat Aatabou is the hoarse voice of the Zemours, the one who emerged in Khémisset, carried by the winds of the Middle Atlas and the whispers of a society still constrained by honor, the gaze of others, and the strictness of conventions. In the 1980s, while the Kingdom was taking its first steps toward social openness, Najat dared to sing what so many women whispered in silence: thwarted loves, betrayal, emancipation, wounded pride, desire—all in rather raw language. Her “Hadi Kedba Bayna” (“It’s an obvious lie”) resonates like a cry, soft but firm, in popular weddings, shared taxis, and the cozy living rooms of the Moroccan diaspora in Europe. With her, chaâbi, the music of the people par excellence, becomes a vector of affirmation. Najat does not apologize for being a woman, an artist, Amazigh, a rebel. She disturbs, sometimes shocks, but she imposes herself. Her music was even used in a global advertisement. Forty years later, it is another Moroccan who shakes the walls of certainties: El Grande Toto, child of Casablanca’s suburbs, dyed hair, tattooed face and arms, and sharp tongue, imposes himself as the bard of an uninhibited Moroccan youth. With him, words snap in darija, intertwine with French and English, flirt unabashedly with taboos: drugs, money, sex, and challenge social hypocrisies. Where Najat Aatabou denounced half-words, Toto displays, claims, provokes. Certainly, the forms differ: Najat draws from the ancestral repertoire, her melodies reminiscent of village weddings and the ululations of yesteryear. Toto, on the other hand, drinks from the sources of global rap, trap, and social networks, where punchlines matter more than silences. But behind these differences, the same sap nourishes their works: the thirst to speak, whatever the cost, without feeling guilty about anything. Najat Aatabou paid a high price for breaking taboos. We still remember the harsh criticisms, the heavy judging looks, the outraged fathers. But time proved her right: she is now respected, even adored, seen as one of the great voices of popular Morocco. El Grande Toto, meanwhile, is still in the midst of the storm. It will take him a long time before he is finally tolerated and accepted. Repeated controversies, court summons, accusations of indecency… Yet, his success does not wane. The numbers speak: millions of streams on platforms, growing international influence, a Moroccan youth that recognizes itself in his anger and dreams. They sing their reality and find themselves in him, whether we like it or not. Ultimately, from the 1980s to today, across centuries, Morocco has never stopped telling its story through its most unsettling artists. There were others before: Zahra Elfassia, Fatna Bent El Houcine, and many known or unknown Chikhates, female voices of the frustrations and hopes of a silenced generation. El Grande Toto, the insolent spokesperson of an urban youth in search of recognition, space, freedom, embodies this spirit today. We must not forget there were others before him: Faddoul, Nass El Ghiwane, Ach Kayne, Rebel Moon, and Lbig, among others. There was also a tradition of rebellion and bold language in malhoun with qassidas that one would no longer dare to sing nowadays, even in the most intimate circles. Between them all, decades and universes, but also this invisible thread that connects those who dare to say out loud what others still keep silent. Perhaps that is what it means to be an artist in Morocco: to shake the established order, to hold a mirror to society, and to accept to pay the price, even if it is too high...

Aziz Daouda

Directeur Technique et du Développement de la Confédération Africaine d'Athlétisme. Passionné du Maroc, passionné d'Afrique. Concerné par ce qui se passe, formulant mon point de vue quand j'en ai un. Humaniste, j'essaye de l'être, humain je veux l'être. Mon histoire est intimement liée à l'athlétisme marocain et mondial. J'ai eu le privilège de participer à la gloire de mon pays .

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Eternal Morocco, Unbreakable Morocco: The Identity That Triumphs Over Exile... 372

Aziz Daouda, 1 d.

- Politics - History - Society -

2.1 min read.

There are affiliations that geography dissolves over time, and others that it strengthens as distance sets in. The Moroccan experience undoubtedly falls into the second category. Across generations, sometimes up to the third or fourth, a phenomenon intrigues. Women and men born far from Morocco continue to recognize themselves in it, to feel attached to it, to project themselves into it. They have left the country or never lived there long-term; they were born far away, but Morocco has never left them. How to explain such persistence? Why does this loyalty cut across social classes, faiths, degrees of religiosity, and even nationalities acquired elsewhere? How is a memory so indelible? How does it withstand the test of time, distance, and new cultural acquisitions, if not through the profound weight of national consciousness? Morocco is not merely a modern state born from 20th-century recompositions. It is an ancient historical construct, shaped by centuries, even millennia, of political and civilizational continuity. Dynasties like the Almoravids, Almohads, Merinids, Saadians, or Alaouites forged a stable political and symbolic space whose permanence transcends apparent ruptures. This historical depth irrigates the collective imagination. It gives Moroccans, including those in the diaspora, the sense of belonging to a history that precedes and surpasses them. Being Moroccan is not just a nationality. It is an inscription in a continuity, a composite identity forged by inclusion. Moroccan identity has been built through sedimentation. It is Amazigh, African, Arab, Andalusian, Hebraic. These are layers that coexist in a singular balance, complementing and interweaving without exclusion. This ancient plurality explains Moroccans' ability to embrace diversity without identity rupture. Thus, a Jewish Moroccan in Europe or a naturalized Muslim elsewhere often shares a common affective reference to Morocco, not out of ignorance of differences, but because they fit into a shared historical and geographical framework. This inclusive identity enables a rarity: remaining deeply Moroccan without renouncing other affiliations, with the monarchy serving as a symbolic thread. In this complex architecture, the monarchy plays a structuring role. Under Mohammed VI, it embodies historical continuity and contemporary stability. For Moroccans abroad, the link to the Throne goes beyond politics. It touches the symbolic and the affective, a dimension fully grasped only by Moroccans. It acts as a fixed point in a shifting world, offering permanence amid changes in language, environment, or citizenship. This transmission occurs invisibly in the family, in rituals. It is not a memory but living, sensitive memories. The diffusion and transfer also manifest in cuisines with ancestral recipes, in music and sounds, in living rooms echoing with Darija, through summers "back home," gestures, intonations, moussems, or hiloulas. Moroccan identity is transmitted less through discourse than through sensory experiences: tastes, smells, rhythms, hospitality. Thus, generations born abroad feel a belonging not formally learned, an active loyalty blending affection and claimed will. The diaspora does not settle for abstract attachment. It acts. Financial transfers, investments, public commitments, and defense of Moroccan positions internationally bear witness. This operational patriotism extends affection into action, a duty to the nation, a Moroccan loyalty. Moroccans may be exiles, but never uprooted. For the Moroccan diaspora, attachment transcends oceans. Even in political, economic, or academic roles abroad, Moroccains carry their country of origin explicitly or implicitly. The otherness of host societies reinforces this identity. The external gaze consolidates this sense of belonging to a culture so distinctive that it crystallizes, is claimed, and magnified. This phenomenon, intense among Moroccans, compels us to name what went without saying in the homeland: a continuity at a distance. Neither frozen nostalgia nor mere inheritance, this relationship is a profound dynamic. Morocco is not just a place; it is the bond that spans generations, adapts without diluting, reminding us that exile does not undo all affiliations. Morocco is in our daily lives, in a perennial, solid, and unyielding memory that defies borders and time.

My Pain Qualifies Me 485

Julius Melien, 2 d.

- Health - Philosophy -

1.3 min read.

At an immersion meeting for psychoanalysts, I heard the phrase: “My pain qualifies me,” and immediately, like a lightning bolt, it struck deeply within me and, with the speed of a thought, made complete sense. I was able to perceive it with a clarity that, honestly, I don’t recall ever experiencing before in my entire life. It was so intense that I felt certain I was in the right place, investing in a career that, until not long ago, I couldn’t have imagined myself pursuing even in my dreams. Although this discovery is recent, given the fascination it caused me, perhaps it had been stored in my unconscious all along, likely as a repressed desire, even due to my own prejudice regarding matters of the human mind. Because of unsuccessful past experiences, I had come to doubt the effectiveness of psychotherapy, even considering it at times as a way of making easy money at the expense of others’ suffering. I believed that a person in distress could simply rely on friends and family to vent, share their problems, and relieve tension, while medications prescribed by doctors would do their part. However, upon hearing that my pain qualified me, now, of course, with a different mindset and studying psychoanalysi, I felt as though I was experiencing a kind of gnosis. I know my pain, or rather, my pains, and I fully understand this statement. When we set out to help someone who carries their own pain, we can even through a simple look, convey to the analysand that we understand what they are going through. This phenomenon is what we call countertransference: emotions, feelings, and thoughts that arise in our unconscious in relation to the analysand. These feelings and emotions are developed by the therapist during a therapy session. In that space, we become aware that there are two souls facing each other, one pouring out their thoughts, anxieties, and traumas, and the other offering attentive listening, care, and guidance, helping them find their path and providing tools to manage their struggles and move forward in life as best as possible. And for the therapist who has experienced, or still experiences pain, it also becomes an opportunity for self-analysis, which undoubtedly gives full meaning to the exchange that takes place between two souls standing face to face with their pains.