The Postcolonial Malaise in Narration

Sawt, Bodies, Species.

“…15 (Goodman 2005). This early phase was followed by a "New Song" movement in the 1970s, combining vernacular elements with a modern western sound, and politically oriented lyrics (Simour 2016). Tradition was literally "re-invented" as part of the modernizing project in which the new singers were engaged, thus perpetuating "colonial stereotypes" about oral cultures (Goodman 2005).…”

“…Tradition was literally "re-invented" as part of the modernizing project in which the new singers were engaged, thus perpetuating "colonial stereotypes" about oral cultures (Goodman 2005). The repressive "Years of Lead" of Hassan II's regime in the 1980s led to the emergence of a largely "de-politicized" fusion music scene in the mid-1990s (Simour 2016). Stimulated by a booming "world music" market, musicians were experimenting further with formal hybridizations, celebrating "multiculturalist visions, coexistence, and tolerance.…”

Moroccan subaltern voices narrated: the historical imaginary of race and the legacy of slavery in Rabbaj’sLe Lutteur[The Wrestler] and El Hachimi’sDhākirat al-narjis[The Daffodil’s Memory]

“…104–106) . The Gnāwa, stigmatized on the basis of their dark complexion, are musicians historically known as former slaves whose musical rituals celebrate significant mystic figures from the Bilād al-Sūdān and involve trance and possession by various divine spirits that bestow their experience with spiritual dimensions (Simour, 2016 , pp. 126–128).…”