Lalla Essaydi | Les Femmes Du Maroc

Image © Lalla Essaydi-All Rights Reserved

"There is some evidence that the Orientalist perspective has had an impact on the actual lives of Arab men and women, and especially that the rules for Arab women became much stricter as a result of Western influence." Lalla Essaydi

It's rare that I feature work that is more art and mixed-media than pure documentary photography, but the interesting fusion of women portraiture, Arabic calligraphy, and henna in Lalla Essaydi's images encouraged me to show her work on my blog.

Moroccan born, Ms. Essaydi sets up her models inspired by 19th century Orientalist paintings, and adds layers of hand-written Arabic calligraphy with henna to the walls and fabrics that her models wear, as well as to their exposed skin. Her decision to merge the calligraphy (traditionally a male-dominated art form) and henna (a feminine occupation, particularly to celebrate weddings and other joyous occasions) is to try to dissolve the restrictions and fluidity of Islamic traditions.

Lalla A. Essaydi currently lives in the United States, where she received her MFA from the School of the Museum of Fine Arts/TUFTS University. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. 

According to her biography,  her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography.

Leila Alaoui | Les Marocains

Photo © Leila Alaoui-All Rights Reserved

I recall featuring the portraits of Moroccans by Leila Alaoui in a 2011 post, and was very glad to see them again featured in Slate's Behold (its photo blog) with the title of Capturing The Stunning Faces of Morocco.

Morocco is, in my estimation, one of the most difficult countries in which to photograph people. Ms. Allaoui agrees with that, saying that Moroccans are especially apprehensive about being photographed due to their belief in witchcraft, the evil eye and as an Islamic country, espouse a belief that image-making is a direct contravention of Islamic tradition.

However, she persevered and went on about 20 road trips across the country in the last few years, traveling through the Atlas Mountains, the Rif Mountains, the Sahara, and a variety of coastal and inland regions of Morocco including Essaouira, Tangier, and Marrakech. She would set up a portable studio in public places, markets, and other private gatherings after spending a few days getting to know the locals. Eventually, some people would agree to pose and be photographed by her.

Leila Alaoui is a French-Moroccan multimedia artist working on cultural diversity, identity and migration using video installations, studio and documentary photography. After studying film and photography in New York, she moved back to Morocco in 2008. Her work has been exhibited internationally since 2009 and has been published in newspapers and magazines, including in The New York Times. She now lives and works between Marrakech and Beirut.

Rachel Carbonell | Moroccan Medinas

Photo © Rachel Carbonell-All Rights Reserved

One of the most difficult countries for people photography is -in my experience, at least- Morocco. This is caused by the local combination of traditional beliefs and the Islamic distaste for the reproduction of the human form. The latter is known as aniconism, which is the practice of or belief in the avoiding or shunning of images of divine beings, prophets or other respected religious figures...and in the case of some Islamic countries, is also misinterpreted as images of all human beings.

Notwithstanding that difficulty, talented travel photographer Rachel Carbonell has just featured Moroccan Medinas: The Colors And Shadows of Life; a photo gallery of more than 40 photographs of the medinas from the blues of Chefchaouen, Larache, Essaouira to the ochres of Meknes and Fez, and from the pinks of Marrakech and Tiznit to the whites of Azemmour, Moulay Idriss, Tetuan and Asilah.

This is a project that took more than two years to complete, over many voyages to Morocco. It's also how Rachel tells us how the atmosphere of its bustling streets and alleys hopelessly caught and seduced her.

The word medina is the Arabic for city or town, and are generally found in many North African cities. They are typically surrounded by a wall, and contain many narrow and maze-like streets, and can also contain historical fountains, small palaces (or riads), and mosques. Some medinas were also used to confuse and slow down invaders because of how narrow and winding their alleys were.

Rachel has also published a book Moroccan Medinas which is available on Blurb.

Rachel Carbonell is a Spanish photographer who graduated from the University of Deusto, and studied Photography at IDEP (Barcelona). She is a Getty Images Contributing Photographer, and her images have been published in press, books, magazines, websites etc. such as The Washington Post, The Guardian, MC Ediciones, Random House Mondadori S.A, Glamour France, Iberia, Nulle Parts Ailleurs Productions and others.

John Horniblow | Imilchil Wedding Festival

The Imilchil moussem (festival) is held in Morocco's High Atlas, and is all about livestock and finding a partner. It's also known as Souk Aamor Agdoud N’Oulmghenni, which is a tongue-twister for most of non Berber speakers. It represents the annual meeting of the large and important tribal Berber families of Aït Haddidou, Aït Morghad, Aït Izdeg and Aït Yahia.

There are two versions of stories explaining the birth of the festival. The Berber version tells the legend of two young people from different feuding tribes who fell in love but akin to Romeo and Juliet, they were forbidden to see each other by their families. The grief of unrequited love led them to their deaths. The legend tells that they cried themselves to death, creating the neighboring deep alpine lakes of Isli (his) and Tislit (hers), near Imilchil.

Another version is that the lovers drowned themselves in the separate lakes. The Imilchil Marriage Festival was founded as a commemoration of the lovers' death, and provides the opportunity to unmarried Berbers, particularly women trapped at altitude for most of the year, to look over and mingle with prospective spouses. They sing, dance and flirt, and available men must wear white turbans and their female opposites wear the family silver.

Another version, but much less romantic explanation, is that Morocco's French past colonial administrators assembled the transitory Berbers to register their births, deaths and marriages.

John Horniblow tells us "small groups of young Berber women dressed in traditional finery and roughly, woven woollen robes distinctive to each family tribe, some with berber fibules (amulets), eyes rimmed with heavy black kohl, and intricately hennaed hands, amble through the commerce of the souk talking, flirting with or being approached by the potential bachelors trying to strike up meaningful conversation. The wary eyes of elder relatives, looking on, following them protectively at a furtive distance."

John Horniblow is the founder and editor of Photojournale and publisher of Photojournale Connections Across A Human Planet. John is both photographer and film maker with his photographic work featuring in Geo Mundo, Penguin books and People ( Time Inc.) . He also has worked on production managing and assisting Frans Lanting on assignment with National Geographic and has also produced directed and shot documentary and short films featuring on SBSTV , Channel Seven and at International Film Festivals.

Sufi Soul | William Dalrymple

In anticipation of my soon to start The Sufi Saints of Rajasthan & Kashmir Photo Expedition-Workshop, which I described in an earlier post as  the first and only photo expedition-workshop whose objective is to record the commemoration of the death anniversary of a Sufi saint, I thought I'd feature the first part of William Dalrymple's Sufi Soul which appeared on Channel 4 in Britain, and which traces his personal journey into the mystical and musical side of Islam as he describes traditions of Sufi music in Syria, Turkey, Pakistan, India and Morocco.

It starts rather brusquely and clumsily with snippets of Western media reports on radical Islam; presumably to highlight the disparity beween this and the pacifist nature of Sufism.

For the followers of Sufism, music is a way of getting closer to God. The documentary traces the shared roots of Christianity and Islam in the Middle East, and presents Sufism as a peaceful and intellectual offshoot of Islam. It features many acclaimed performers, including the legendary Abida Parveen and Youssou N’Dour. 

Sufism is deeply rooted in Islamic cultures across the globe -- the Middle East, North Africa and the Indian subcontinent particularly -- and in each region has local characteristics.

Islamists ban singing, dance and musical instruments and regard them as diversions from devotion and subservience to Allah. In contrast, Sufi cultures are rich in these traditions, and few are better qualified to present this than writer, historian and longtime resident of New Delhi, William Dalrymple.

My thanks to Stephanie Ravel for having shared this with me.