A Shared Wind
The Zookeeper: Caribe
The Guest:
The Expat:
The Stranger: Tarifa
The Resident:
Marjorie Kanter
Ms. Kanter brings to her creative writing her extensive experience as a Bilingual Speech and Language Pathologist, Intercultural Consultant and Trainer, and her experiences and introspections while living in different cultures. She holds degrees from
The act of creating is part of my reflective process. I am interested in understanding human behavior. My writings serve as a corpus for the sharing of points of view. What can we learn from looking at small bits of interaction and their connection to universal themes? I write for dialogue with myself and with others, for my own learning and development and for enhancing learning in others.
Conference Statements
NOTE: Additional statements are welcome: please email your contribution to the webmaster. This page is under construction, please check back later.
“The annual Tangier Conference, which was inaugurated in November 2004, has become a notable and progressively successful cultural event. The importance of this conference stems not only from the sheer regularity of its yearly occurrence but also from its international nature, the number of serious scholars who participate in it, the good academic quality of the papers presented in it, and the smooth and friendly manner of its organization. Moreover, the almost immediate publication of each year’s proceedings also contributes to make of this event a real success.
In my view, the Tangier Conference promises to remain a successful event for many years to come owing to two further important reasons. First, Tangier itself is a good guarantor of this success thanks to its rich and exceptional history as well as its strategic geographic location at the crossroads of diverse cultures and nationalities…The second guarantor is none other than Khalid Amine, together with a team of active co-ordinators and experienced academics like A. Hussey, H. Benziane, B. Tharaud, G. Roberson and S. Mokhlis. Indeed, without the honest and hard-working Professor Amine the conference might not be able to survive more than a couple of years…
My participation in the first conference, ‘Writing Tangier’, came as a result of my interest in the works of P. Bowles and the story of his long expatriation in his ‘magic city’. Dr Khalid kindly invited me to that conference, and since then I’ve found enough motivation to discover the different literary ‘voices of Tangier’: M. Choukri, M. Mrabet, A Beroho, A. Akbib, Z. Ben Bouchta, A. Majid and many others.”
Amy Friedman and son, Jesse, at the Chellah Hotel, reading the recently published Lalla J'mila, by Zoubeir Ben Bouchta, translated by ICPS archivist, Mustapha Hilal Soussi.
The journal [Bowles, Beats, Tangier - new ICPS book] looks terrific, and I am only sorry that I could not be in it - although I had long wanted to be a part of the Tangier-Beats conference, in the end I had to go to San Francisco at that time. Well, my turn will come again soon, I hope, as it has been a long while since I was last in Tangier (the early 1990s).
“It has been an honor to participate in these cultural conferences over the past four years. As Tangier is home to me for half the year, I delight in the intellectual and social enrichment -- for myself and for the city. As a participant, I join others who are thinking globally and acting locally as agents for cultural identification and promotion. Tangier has inspired writers and artists in the past and we need to share this heritage -- as well as encourage new Tangerine creativity. My first contributions were undertaken as a voice for women who have participated in the cultural development of this iconic city. This conference is an exciting forum for the investigation of the many faces of Tangier; it is a meeting place for people, literature, creativity, collaboration and ideas. I am fortunate to be a part of this process.”
Jeffrey Miller and Paul Bowles
“Regarding my collaboration with Khalid Amine on the Tangier conference project, I believe it indirectly stemmed from my Fulbright project. When I came to Abdelmalek Essaâdi University in Martil for the 2003-2004 academic year, part of my Fulbright project was to help to establish a scholarly journal in the department. However, as is well known, the English Department was undergoing a painful transition in leadership at that time, which made it impossible to accomplish much within the department during the time I was there. This disappointing situation turned out to be a blessing in disguise since it justified the renewal of my Fulbright award for a second year. Then Khalid Amine came up with the idea of the Tangier conference, and that became a kind of substitute for the original Fulbright project. The first Tangier conference took place in late November 2004 during that second Fulbright year. It was Khalid’s idea from the start, and it provided me with an opportunity to work on a project that would not have been possible within the English Department in Martil at that time. An important key to the conference that first year was a grant from the U.S. Embassy in Rabat through Terry White, who was the Public Affairs guy at that time. Terry provided us with around $6,500 for travel money for participants from the United States. This gave a real boost to the conference the first time around. The second year, I again managed to get a grant through Terry, this time for around $7,500. The third year we got no cooperation from the embassy during the normal rotation of personnel, but for this year’s fourth annual conference, with help from the new Public Affairs officer Mitchell Cohn, embassy support is back in force, along with support from the Fulbright Commission (the Moroccan-American Commission for Education and Cultural Exchange, or MACECE), which I had tried without success to enlist previously. The conference now has enough momentum to survive on its own, but support from the Fulbright Commission and the U.S. Embassy this year has resulted in the best conference to date, which is reflected in the American scholars who gave keynote addresses, including Dwight Reynolds from the University of California at Santa Barbara who was funded by a special grant from the Fulbright Commission, while Jonathan Curiel from the San Francisco Chronicle, Susan Miller from Harvard University, and Allen Hibbard from Middle Tennessee State University, all received travel money from the U.S. Embassy. In addition, there were also presentations by Fulbright fellows who were already in Morocco, including lecturer-research scholar Vanessa Paloma. As with previous Tangier conferences, this latest gathering provided high-powered scholarship in a low-key, friendly atmosphere.”
“The annual Tangier Conference, which was inaugurated in November 2004, has become a notable and progressively successful cultural event. The importance of this conference stems not only from the sheer regularity of its yearly occurrence but also from its international nature, the number of serious scholars who participate in it, the good academic quality of the papers presented in it, and the smooth and friendly manner of its organization. Moreover, the almost immediate publication of each year’s proceedings also contributes to make of this event a real success.In my view, the Tangier Conference promises to remain a successful event for many years to come owing to two further important reasons. First, Tangier itself is a good guarantor of this success thanks to its rich and exceptional history as well as its strategic geographic location at the crossroads of diverse cultures and nationalities…The second guarantor is none other than Khalid Amine, together with a team of active co-ordinators and experienced academics like A. Hussey, H. Benziane, B. Tharaud, G. Roberson and S. Mokhlis. Indeed, without the honest and hard-working Professor Amine the conference might not be able to survive more than a couple of years…
My participation in the first conference, ‘Writing Tangier’, came as a result of my interest in the works of P. Bowles and the story of his long expatriation in his ‘magic city’. Dr Khalid kindly invited me to that conference, and since then I’ve found enough motivation to discover the different literary ‘voices of Tangier’: M. Choukri, M. Mrabet, A Beroho, A. Akbib, Z. Ben Bouchta, A. Majid and many others.”
--- Mohamed Elkouche
April 11, 2008
Amy Friedman and son, Jesse, at the Chellah Hotel, reading the recently published Lalla J'mila, by Zoubeir Ben Bouchta, translated by ICPS archivist, Mustapha Hilal Soussi.“Performing Tangier 2008: Borders, Beats and Beyond” is the first ICPS conference I have attended, and I cannot commend the event highly enough for the level of shared scholarship, and for the spirit of academic collegiality the organizing committee has managed to foster. One could not have asked for a more perfect assortment of provocative, critically alert and cutting-edge presentations. Our main conference room in the charming Chellah Hotel was a rainbow of patterned tiles splashed across the floor and up the walls, and the inspired discussions sparked by panels in that chamber were equally kaleidoscopic:
How do we assess or even articulate the im/moral choices of revered Beat writers? Can the (subaltern) translator of literary works speak? And where will Tangier be in the future, amongst its many borders of myth, art, performance, narrative, legend, and International Zone?
Energetic conversations spilled out past the table laden with coffee and pastries in the garden, into the restaurant, and all the way to Dean’s Bar. At breakfast the next day debates continued over points made by Kurt Hemmer, Pociao, Antje von Gravenitz and Dwight Reynolds on art, history and aesthetics. And there were unexpected bonus moments of pure live culture, as Deborah Kapchan prompted jazz memories from musical great Randy Weston, as Regina Weinrich presented her Paul Bowles documentary, as Rebekka Kill donned electric tangerine overalls and slipped into character for a mad-cap, unpredictable drama on the streets of Tangier. There may have been precious little time to shop in the Kasbah on our guided tour with Rachid Tafersiti, President of the Al-Boughaz Association, and Abdel-Aziz Idrissi, Curator of the Kasbah Museum, but there was a cornucopia of intellectual souvenirs to bring home from “Performing Tangier.”
How do we assess or even articulate the im/moral choices of revered Beat writers? Can the (subaltern) translator of literary works speak? And where will Tangier be in the future, amongst its many borders of myth, art, performance, narrative, legend, and International Zone?
Energetic conversations spilled out past the table laden with coffee and pastries in the garden, into the restaurant, and all the way to Dean’s Bar. At breakfast the next day debates continued over points made by Kurt Hemmer, Pociao, Antje von Gravenitz and Dwight Reynolds on art, history and aesthetics. And there were unexpected bonus moments of pure live culture, as Deborah Kapchan prompted jazz memories from musical great Randy Weston, as Regina Weinrich presented her Paul Bowles documentary, as Rebekka Kill donned electric tangerine overalls and slipped into character for a mad-cap, unpredictable drama on the streets of Tangier. There may have been precious little time to shop in the Kasbah on our guided tour with Rachid Tafersiti, President of the Al-Boughaz Association, and Abdel-Aziz Idrissi, Curator of the Kasbah Museum, but there was a cornucopia of intellectual souvenirs to bring home from “Performing Tangier.”
--- Amy Friedman
May 2008
The journal [Bowles, Beats, Tangier - new ICPS book] looks terrific, and I am only sorry that I could not be in it - although I had long wanted to be a part of the Tangier-Beats conference, in the end I had to go to San Francisco at that time. Well, my turn will come again soon, I hope, as it has been a long while since I was last in Tangier (the early 1990s).
--- Oliver Harris
“It has been an honor to participate in these cultural conferences over the past four years. As Tangier is home to me for half the year, I delight in the intellectual and social enrichment -- for myself and for the city. As a participant, I join others who are thinking globally and acting locally as agents for cultural identification and promotion. Tangier has inspired writers and artists in the past and we need to share this heritage -- as well as encourage new Tangerine creativity. My first contributions were undertaken as a voice for women who have participated in the cultural development of this iconic city. This conference is an exciting forum for the investigation of the many faces of Tangier; it is a meeting place for people, literature, creativity, collaboration and ideas. I am fortunate to be a part of this process.” ---Carol Malt
March 24, 2008
Nadine visiting a shop near Grand Socco - at the end of the stairs that go up at the right of Cinéma Rif. She reports, "...when I played a few Arabic licks on their used (German!) electric guitar, (the guy) grabbed his Guembri and played a funky bass line over it."
"Borders, Beats and Beyond" was an event that truly reached across borders. It did not only engage local and international academics in fruitful dialogues beyond disciplinary boundaries, but also brought together theorists and activists, musicians, dramaturgues, film makers and performance artists in a uniquely inspiring and collegial atmosphere. The city of Tangier with its rich historical texture as a cultural crossroads proved a perfect and challenging site for the issues negotiated during the conference, and has something to teach to anyone engaged in the field of cultural studies today. To see Tangier's mosques, churches, synagogues and McDonald's every day on the way between the different conference locations, to daily converse in at least four languages, to see Europe a stone's throw away and talk to so many people for whom the few kilometers to Gibraltar or Algeciras constitute an insurmountable distance - all these experiences put the academic discussions on "borders and beyond" into a perspective that few other locations could so intensely purvey. Choukran djazilan to everyone involved in this event!
-- Nadine Milde
June 6, 2008
Jeffrey Miller and Paul BowlesTangier, 1993
PHOTO by CHERIE NUTTING
PHOTO by CHERIE NUTTING
"Contrary to the doggerel inflicted upon us in our youth, ' . . . and never the twain shall meet,' Khalid Amine, assisted by his merry band of scholars and poets---Hassan BenZiyan, Andrew Hussey, Said Koubrit, Barry Tharaud, José Manuel Goñi Pérez, Alfred Hackensberger, Allen Hibbard and young George Roberson---continues, against long odds, to pull proverbial rabbits out of the magic hat, a series of vital conferences (four and still counting) which bring together in Tangier (that charged geographical node, where Europe meets Africa, Latinity meets Semitism, Christianity meets Islam, par le detroit) scholars, writers and others from the world of culture so as to become acquainted and exchange ideas. Whereas that sounds simple, straightforward, and perhaps it is, the importance of these conferences in a highly volatile and polarized world cannot be overestimated. As William Burroughs presciently wrote a half-century ago (Early Routines): “Interzone [Tangier] . . . is in fact the listening post of the world . . .” These conferences facilitate just that, East listens to West, West listens to East, North listens to South, South listens to North, and all thereby are enriched, symbolically stitching the fractured world together."
---Jeffrey Miller
March 25, 2008
PERFORMING TANGIER: BORDERS, BEATS, AND BEYOND
• Overview of the conference •
• Overview of the conference •
The conference, “Performing Tangier: Borders, Beats, and Beyond” was characterized by an openness to varied scholarly interests and approaches related to Tangier and its influence on literature and art. It was analogous to treating Tangier like a musical instrument through which various scholarly and imaginative works could be played. Tangier has a long history of attracting American and European writers and artists. Among those who have been lured to Tangier are Samuel Beckett, Saul Bellow, Jane Bowles, Paul Bowles, William Burroughs, Truman Capote, Mark Twain, Alec Waugh, Edith Wharton, and Tennessee Williams. Diarist Samuel Pepys lived and wrote in Tangier in the 1600s. Henri Matisse painted Tangier from his hotel room in the Villa de France. Tangier and Morocco have been settings for numerous feature films. Most recently such films as Syriana (Casablanca), The Bourne Ultimatum (Tangier), and Babel were shot there on location. Bernardo Bertolucci’s film version of The Sheltering Sky by Paul Bowles was filmed in Tangier and environs. Parts of Alfred Hitchcock’s thriller, The Man Who Knew Too Much was filmed in Marrakech. Casablanca (1943) is considered by many critics to be perhaps the greatest American film and has added to the mystique of Morocco as a place of fascination and refuge for Americans and Europeans.
The conference demonstrated the growing interest in the historical and contemporary interactions between the cultures of Morocco, Europe, and the United States. It was also evident that there is an openness and willingness to examine and discuss both the differences and shared interests of the different cultures using literature, film, and music as points of departure. Numerous panels dealing with Tangier as “locale” or setting and focusing on the works of Paul Bowles, Jane Bowles, various Beat writers, and Moroccan writers helped give the conference a vitally diverse yet unified theme.
The renowned American jazz musician, Randy Weston, who has lived in Tangier off and on since the 1960s, performed with a group of Moroccan Gnaoua musicians, including the Gnaoua master, Abdellah. Randy Weston’s creative use of piano arrangements blended with the hypnotic Moroccan rhythms resulted in a unique style of fusion music. Other highlights included a multimedia art performance piece and the screening of two documentary films on Paul Bowles.
“It is a forum that aims at bridging the gap of difference and connecting cultures, as well as reaching across the divide to the Other. The setting of Tangier makes a perfect home for new intercultural encounters that celebrate and honor our essential humanity. It offers a glimmer of hope during a dark time marked by the gemony of the post 9/11 discourses of horrorism.” --Dr Khalid Amine, Conference Convener.
The conference demonstrated the growing interest in the historical and contemporary interactions between the cultures of Morocco, Europe, and the United States. It was also evident that there is an openness and willingness to examine and discuss both the differences and shared interests of the different cultures using literature, film, and music as points of departure. Numerous panels dealing with Tangier as “locale” or setting and focusing on the works of Paul Bowles, Jane Bowles, various Beat writers, and Moroccan writers helped give the conference a vitally diverse yet unified theme.
The renowned American jazz musician, Randy Weston, who has lived in Tangier off and on since the 1960s, performed with a group of Moroccan Gnaoua musicians, including the Gnaoua master, Abdellah. Randy Weston’s creative use of piano arrangements blended with the hypnotic Moroccan rhythms resulted in a unique style of fusion music. Other highlights included a multimedia art performance piece and the screening of two documentary films on Paul Bowles.
“It is a forum that aims at bridging the gap of difference and connecting cultures, as well as reaching across the divide to the Other. The setting of Tangier makes a perfect home for new intercultural encounters that celebrate and honor our essential humanity. It offers a glimmer of hope during a dark time marked by the gemony of the post 9/11 discourses of horrorism.” --Dr Khalid Amine, Conference Convener.
---Francis Poole
June 2008
From the President of PSi: Performance Studies International
This month I went to Tanger on behalf of PSi to attend Khalid Amine's ICPS: International Center for Performance Studies conference, Performing Tangier 2008. This is an amazing city as you may know and a great place for a conference. Khalid's conference brings together scholars in Literary studies, Ethno-musicology, Middle eastern studies and African studies. Papers were given in Arabic, English, French and Spanish. This is a truly international event and a very welcoming one. I would like to thank them for all their kindness and hospitality. Let me encourage members to think about this conference which is held in May every year as a possible venue for your own work.
---Edward Scheer
May 2008
“Regarding my collaboration with Khalid Amine on the Tangier conference project, I believe it indirectly stemmed from my Fulbright project. When I came to Abdelmalek Essaâdi University in Martil for the 2003-2004 academic year, part of my Fulbright project was to help to establish a scholarly journal in the department. However, as is well known, the English Department was undergoing a painful transition in leadership at that time, which made it impossible to accomplish much within the department during the time I was there. This disappointing situation turned out to be a blessing in disguise since it justified the renewal of my Fulbright award for a second year. Then Khalid Amine came up with the idea of the Tangier conference, and that became a kind of substitute for the original Fulbright project. The first Tangier conference took place in late November 2004 during that second Fulbright year. It was Khalid’s idea from the start, and it provided me with an opportunity to work on a project that would not have been possible within the English Department in Martil at that time. An important key to the conference that first year was a grant from the U.S. Embassy in Rabat through Terry White, who was the Public Affairs guy at that time. Terry provided us with around $6,500 for travel money for participants from the United States. This gave a real boost to the conference the first time around. The second year, I again managed to get a grant through Terry, this time for around $7,500. The third year we got no cooperation from the embassy during the normal rotation of personnel, but for this year’s fourth annual conference, with help from the new Public Affairs officer Mitchell Cohn, embassy support is back in force, along with support from the Fulbright Commission (the Moroccan-American Commission for Education and Cultural Exchange, or MACECE), which I had tried without success to enlist previously. The conference now has enough momentum to survive on its own, but support from the Fulbright Commission and the U.S. Embassy this year has resulted in the best conference to date, which is reflected in the American scholars who gave keynote addresses, including Dwight Reynolds from the University of California at Santa Barbara who was funded by a special grant from the Fulbright Commission, while Jonathan Curiel from the San Francisco Chronicle, Susan Miller from Harvard University, and Allen Hibbard from Middle Tennessee State University, all received travel money from the U.S. Embassy. In addition, there were also presentations by Fulbright fellows who were already in Morocco, including lecturer-research scholar Vanessa Paloma. As with previous Tangier conferences, this latest gathering provided high-powered scholarship in a low-key, friendly atmosphere.” ---Barry Tharaud
March 26, 2008
Tangier and Tétouan
City entries from: Rogozinski, J., ed. The City and Urban Life. 2007. Armonk, NY: M. E. Sharpe.
Tingis/Tanja/Tangier
Tangier was founded in the IVth century BCE as Tingis. An ideal trade center located on the borderline between Europe and Africa, the Atlantic Ocean and the Mediterranean Sea, the city is situated at extreme northwest of the Moroccan kingdom, facing across the Straits of Gibraltar toward the Iberian Peninsula. Tangier has long been at the crossroads of civilizations, a point of intersection for various encounters, coveted by different powers notably Phoenicians, Romans, Vandals, Spaniards, Portuguese, English. A few kilometers farther west of Tangier is Cape Spartel and precisely in the Hercules Caves where the legendary hero named Hercules struggled with Anteaus, history and legend are remarkably blended to give the city its mythical proportions. Its geographical location in proximity to Europe has largely affected its fascinating history, making it open to the outside world and traditionally liberal.
In 1471, Portugal invaded the city and made it a defensive fortress against piracy as well as occasional assaults from Western rivals. In 1661, right after the Restoration of the monarchy in England, Tangier was given away to King Charles the Second of Britain and Ireland on the occasion of his marriage to the Portuguese Princess, Catherine of Braganza. In 1684, the British were forced by the troops of Sultan Moulay Ismail to evacuate the city after destroying the mole and blowing up Yorke Castle in the Kasbah along with other forts. The old medina is still a rich archeological site that has been permanently occupied and even overpopulated. After the departure of the British, Dar el-Makhzen palace was built upon the ruins of Yorke Castle, and now houses the museum of Moroccan Art and Antiquities. Even the big Mosque of the medina is built upon the ruins of one of the oldest temples in the continent.
In 1912, the French Protectorate was established in Morocco while ceding the north and the southern Sahara to Spanish power. In 1923 Tangier became an international zone that was politically neutral and economically open. The new statute formalized international control over the 140 square miles that represented the city and its surroundings. For almost 23 years, Tangier became a notorious dream city and a congregation site for a number of important Western artists, writers, and politicians who fell captive to its magical spell including Henri Matisse, Eugene Delacroix, Walter Harris, Jean Genet, Paul Bowles along with his wife Jane Bowles. During the late fifties and sixties, the Beat Generation made a well-worn path to the underground life that marked the international city. Writers such as Brion Gysin, William Burroughs, Tennessee Williams, Allen Ginsberg, Truman Capote, Gregory Corso, Ira Cohen, Irving Rosenthal, Gore Vidal, and Alfred Chester all passed through in transit and marked the city’s collective memory.
Tangier’s urban tissue is characterized by a strong dualism that includes an old medina with narrow meandering streets around the big mosque and with quarters for bazaars and artisans organized according to activity and craft, and the modern city that has been constructed according to modern architectural norms since the internationalization of the city.
Tétouan/Titawin
The city lies on the sheer descent of Mount Darsa, stretching over the Oued Martil valley, with almost 5 km of historical walls surrounding the medina and with seven gates most of which are still intact. In 710, Tétouan emerged as a small town and transit point linking Morocco and the Iberian peninsula. By the 14th century, the city had acquired an important status as a defensive fortress, especially after the conquest of Ceuta and Tangier and other neighboring ports by Spanish and Portuguese, yet Spanish forces destroyed it. After the fall of Granada in 1492, Tétouan was gradually rebuilt by Andalousian refugees (Muslims and Jews) during the reign of Sultan Mohammed Cheikh al-Wattassi. From 1609 onwards, the medina was further expended toward the northwest with the overflow of Moriscus refugees. Between 1913 and 1956, the city served as the capital of the Spanish protectorate where the Spanish General Commissioner lived. The unique Andalousian aspect of Tétouan is well illustrated in the hybrid architecture of both the old medina and the new city, as well as in the art and culture of its population. In 1997, the medina was placed on the list of World Heritage sites. Tétouan is a home of Andalousian heritage that has been handed down by strong intellectual and commercial families, and as such represents a real cultural symbiosis. The urban distribution of districts in the city is related to social prestige. Al-Ayoun is a popular district compared to the Jama’ al-Kabir or even the Mtamar district that was constructed on an enormous underground labyrinth that served to shelter slaves and the Christian captives during the heydays of piracy.
-Dr Khalid Amine
Jazz Great in Tangier to visit ICPS
Randy Weston was the recent guest of the International Centre for Performance Studies (ICPS). Mr Weston was hosted by Dr Khalid Amine, ICPS President and Mustapha Hilal Sousi, ICPS Archivist.
Abdelmajed - musical group Gnawa Express (left),
Randy Weston (center), and Khalid Amine (right)
Randy Weston (left), Khalid Amine (center),
and Si Abdellah - Chief of Gnawa (right)
Mustapha Hilal Soussi (left) and Randy Weston (right)
Mohammed Karach - Alto Press owner (left), Randy Weston (center),
and Khalid Amine (right)
This page is still under construction, please check back later for additional information.
Abdelmajed - musical group Gnawa Express (left),Randy Weston (center), and Khalid Amine (right)
Randy Weston (left), Khalid Amine (center),and Si Abdellah - Chief of Gnawa (right)
Mustapha Hilal Soussi (left) and Randy Weston (right)
Mohammed Karach - Alto Press owner (left), Randy Weston (center),and Khalid Amine (right)
This page is still under construction, please check back later for additional information.
Qasbah Museum
- Click on any image to view it in a larger format -
New! A structural crisis is looming at Tangier's Qasbah Museum and medina walls, to view photos, click here
Conference Daily
Location changes
Saturday, May 17 and Sunday, May 18
All events scheduled for Sala Samuel Beckett will instead be held at the Dawliz Theatre.
Program changes and clarifications
Friday, Saturday, Sunday and Monday, May 16, 17, 18 and 19
There will be one performance daily of "A Tale of Tangier: Conversations with Ghosts " presented by Rebekka Kill, Keeley McDonnell, Michael Thorne in collaboration with Abdelilah Mchichou and Samira Tarjisti. There will be a maxiumum four "audience" members for each performance; the performance takes place during an hour long walk on city streets. To participate, sign up with the presenters on Friday morning at the conference registration desk beginning at 9am; first come first served (NOW FULL). A panel discussion about the performances will be held on Monday, May 19: 15: 45 (see below).
Friday, May 16, 19: 00/19: 30
The artistic exhibition “Frecuencias” will not be shown; instead, a show titled “Palabra manuscrita” will be offered in the same time period. Courtesy of the Instituto Cervantes de Tanger, “Palabra manuscrita” is a fascinating exhibition of the most important manuscripts of Spanish literature (right up to the present) including works of Noble Prize winners. For more information, click here
Saturday, May 17, Dawliz Theatre
Follow the schedule in the Spanish Program, but ALL events at Dawliz Theatre
16: 00/ 18: 00 Documental
"Let it Come Down: The Life of Paul Bowles"
18: 00/ 19: 00 Presentación de ‘Refermez la nuit’ and ‘Permettez-moi madame de vous répudier’ de Mokhtar Chaoui
19: 00/19: 30 Mesa redonda “New forms of Publishing: Print on Demand and e-book” a cargo de José Luis Delgado Guitart
19: 30/20: 00 Lectura de “Shared Wind” a cargo de Marjorie Kanter. Selección de textos inspirados en Tánger y sus alrededores
21: 00 Concierto
Homage de Randy Weston back to Tangier
The sessions for “Writing Off, Writing On: Tangier, Theoretically” by Nadine Milde and "Tangier sensing the city" by George Roberson and Khalid Amine have changed; instead, they will be presented on Monday, May 19, Session 9 at 9: 30/ 10: 45.
Monday, May 19, Session 10: 10.15/ 12.30
The session for “Solomon’s Successor: Saviour or Oppressor” by Ridouan El-Ayadi has changed; instead, it will be presented on Saturday, May 17, Session 1 at 11: 15/ 12: 45.
Monday, May 19: 15: 45/ 16: 45
There will be a panel session to discuss "A Tale of Tangier: Conversations with Ghosts " presented by Rebekka Kill, Keeley McDonnell, Michael Thorne in collaboration with Abdelilah Mchichou and Samira Tarjisti.
Program additions
Monday, May 19, Session 11: 14: 15/ 15: 45
Dr Claudia Esposito, Visiting Assistant Professor of French, College of the Holy Cross, USA, will present her paper: “Transnational Tangier: Ben Jelloun’s “Mirror Cities.”
Program corrections
Christelle Davis' listing is incorrect; it should read - Writer, University of Sydney, Australia. Proposed paper: “One Night in Tangier.”
Ridouan El-Ayadi’s title is incorrect; it should read – “Solomon’s Successor: Saviour or Oppressor”
Program cancellations
The following paper presenters will not appear: Regina Coragliotti, Younes El-Assad Ryani, Heather Folsom, Sonja Hedgepeth, Jim Long , Lucy Melbourne, Florien Vetch.
Last update
Sunday, May 18, 08.00
Have an announcement or correction? Please email the webmaster.
Check back later for further updates, changes and additions.
Appel à contributions
Approches pluridisciplinaires
Homage à Hassan Mniai
14-15-16 Mars, 2008
Homage à Hassan Mniai
14-15-16 Mars, 2008
Le spectacle suscite, actuellement, un grand intérêt de la part de différents milieux culturels et académiques, et ce en raison de son rapport étroit à la vie individuelle et collective de l'homme ainsi qu'à ses différentes représentations de son existence naturelle et culturelle.
Ainsi plusieurs perspectives se sont-elles élaborées traitant le spectacle en tant que moyen d'interaction et de réflexion sur l'expérience culturelle, soit en tant que reformulation d'un événement révolu mais qui a toujours ses prolongements et ses rayonnements dans la mémoire collective,soit entant reproduction de la société à travers des actes communicatifs, soit finalement en tant que concept qui tisse des relations avec des questions inhérentes à la dimension culturelle de l'existence humaine. Il s'agit, en l'occurrence, du pouvoir, de l'histoire, de la mémoire, du sacré et du profane.
Pour ce faire, le spectacle recourt à des expressions, des rites et des cérémonies. Aussi investit-il, entre autre, différents moyens à savoir: le mot, le geste, le corps et le rythme, sachant bien que ces moyens sont aussi divers que la sont les différentes cultures.
A la lumière de cette différence, s'inscrivent les multiples spectacles marocains que ce soit ceux qui sont profondément ancrés dans l'histoire du Maroc, ou ceux qui sont générés par le devenir de la société et ses mutations socioculturelles.
La spécificité des spectacles marocains réside, semble-t-il, dans le fait qu'ils reflètent l'image culturelle plurielle du Maroc en tant que carrefour ou s'entrecroisent les expressions culturelles d'origines arabes, amazighes, islamiques, africaines et méditerranéennes. C'est ainsi que les différents festivals et manifestations organisés dans les régions du Maroc, et afférents à des types de spectacles, sont l'expression de cette diversité de spectacles qui mérite, dés lors, d'être un objet de réflexion scientifique et ce dans la perspective d'élaborer des discours et des approches pluridisciplinaires du spectacle.
Dans ce cadre, nous proposons les axes de réflexion suivants:
- Spectacles entre les deux Rives de la Méditerrané
- Typologie des spectacles dans le Monde Arabe
- Origines socioculturelles des spectacles Arabes
- Spectacles et régions
- Approches des spectacles: bilan et perspectives
- Spectacles marocains et pluridisciplinarité
Performing Cultural Diversity: Mars 14-15, ASU/Tetouan
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