From Marrakech to Essaouira and Back: A Journey Through Memory and Cultural Encounters in Morocco
By Aliyana Bailey
After having my daily dose of authentic Moroccan mint tea, we had an early morning start, leaving Marrakech at 7:30 a.m. for Essaouira. During the first half of the ride, some people slept while others enjoyed the rural scenery of sand dunes and the occasional farm animal. Then, after a quick rest stop and grabbing some coffee or snacks to fuel us, Professor Rabinovitch began his lecture on how Islam became dominant in Morocco over time. We learned about the impact of the Reconquista on both Spain and Morocco. In Spain, the period following the Reconquista involved deliberate efforts to suppress and erase many Jewish and Islamic cultural and religious influences. Moreover, we learned that under Islamic rule, Christians and Jews were generally tolerated as “People of the Book,” although their status remained legally and socially unequal. We gained further insight into these historical dynamics after entering Essaouira, where we observed how different religious and cultural communities had historically lived alongside one another and how memories of that coexistence remain visible in the city’s culture, architecture, and historical identity today.
Before arriving, Professor Rabinovitch also gave us a pamphlet containing examples of European Orientalist paintings, such as Jewish Wedding in Morocco by Eugène Delacroix (1839) and Jewish Women at the Balcony, Algiers by Théodore Chassériau (1849). He explained that European artists often exoticized and sexualized Jewish women in their paintings for a variety of reasons. For example, while many Muslim women would not sit for portraits due to social and religious norms, Jewish women were sometimes more willing or permitted to do so. In addition, Jewish communities in North Africa often participated in more mixed-gender social gatherings than many Muslim communities at the time, which made Jewish women more visible and accessible to European painters. Moreover, although many European painters were already familiar with Jewish communities in Europe, they viewed the Jewish communities of North Africa as culturally and aesthetically distinct, which further contributed to their fascination with depicting them. Professor Rabinovitch also explained that while we now interpret these paintings as “Orientalist,” particularly through the influence of Edward Said’s Orientalism, before the publication of his groundbreaking book they were often viewed by both artists and audiences as more documentary or descriptive representations of the regions they depicted.
After arriving in Essaouira, we encountered a medina that was flocked with seagulls, painted in an array of blues, and much calmer compared to the other medinas we had visited in Rabat and Marrakech. When we first arrived, our tour guide directed us to the port, where the local population fishes a variety of seafood, ranging from snappers to sharks. I was also surprised by the structure of this medina and how wide the streets were compared to the other medinas we had visited. We were able to shop, eat lunch, and find our way back because of the layout, which includes a main street that runs through most of the medina. This is a beautiful city dating back to the 18th century, with stunning scenery. One of the shop vendors I spoke with told us that he has lived in Essaouira all his life and would not change it for the world because of the “slower life” it allows.
At the entrance of the medina, there were three symbols representing the three monotheistic religions: Judaism, Christianity, and Islam. This immediately highlights the romanticization of Morocco’s religious tolerance, a theme we encountered repeatedly during this program. Our guide explained that he played with both Jewish and Muslim neighbors as a child; they did not care about each other’s religion and saw each other simply as neighbors. At Bayt Dakira, which translates to the “House of Memory,” the museum emphasized the importance of remembering the presence of Jewish communities in Morocco and their impact on Moroccan culture. The museum and library highlighted cultural exchange between Jewish and Moroccan society, including books written in Hebrew and Darija. Another tangible example of this inclusive framework is the Moroccan King’s role as Commander of the Faithful, which signifies his responsibility to protect all people of the monotheistic faiths, who are understood within this framework to worship the same God. Although the medina and the museum reflected a sense of harmony, it is important to remember that while there was general tolerance and integration among different religious communities, there was also discrimination and a lack of legal equality.
On our way back to Marrakech, we visited an association of Amazigh women producing argan oil. I was amazed by the amount of hard work and meticulous effort the process requires. The women work five or six days a week and do everything by hand to produce high-quality argan oil. The “miracle product” can be used for both cooking and cosmetics. This is also where the black soap that we used at our hammam last week is made. Our guide mentioned that many of the women who work there are widowed or single parents without formal schooling, and that producing argan oil helps support their families. This reminded me of the talk we had at the High Atlas Foundation, where the speaker discussed the challenges of girls’ education in Morocco and how many rural girls are unable to attend school due to a variety of reasons, including financial constraints and limited access to resources such as water. Visiting the argan association was definitely my favorite part of the day, because I value witnessing the material impact that ecological and economic systems continue to have on women’s livelihoods today, especially Amazigh women.
