Showing posts with label Morocco. Show all posts
Showing posts with label Morocco. Show all posts

Monday, October 7, 2013

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.

Tuesday, April 16, 2013

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.

Tuesday, January 31, 2012

Sharon Johnson-Tennant: Diffusion & Magical Mystery Tour

Pilgrimage Home (Ladakh)- © Sharon Johnson-Tennant-All Rights Reserved

Kitchen , Stok Monastery-© Sharon Johnson-Tennant-All Rights Reserved


Morocco-Photo © Sharon Johnson-Tennant-All Rights Reserved


Morocco- Photos © Sharon Johnson-Tennant-All Rights Reserved

di·aph·a·nous/dīˈafənəs/

Adjective:  Light, delicate, and translucent.
Here are a number of photographs by Sharon Johnson-Tennant, a multi-faceted award winning photographer in Los Angeles and a participant in my 2010 Tribes of Rajasthan & Gujarat Photo~Expedition.

These photographs are part of a larger number she sent me in connection with her forthcoming exhibition named DIFFUSION; a compilation of 9 years of Sharon's work from travel all over the world. She describes the photographs in this exhibition as "images that seem to have stopped in time, things in plain sight but not always seen" such as the two top ones made in Ladakh, a remote area of India. Apart from India, her travels have taken her to Malaysia, Burma, Borneo, Papua New Guinea, Thailand and the Philippines.

The exhibition's opening night is March 3, 2012 (7-10 pm) at the Robert Berman Gallery, in Santa Monica, Los Angeles. The exhibition will continue until March 31st.

As for the lower photographs, they're part of Sharon's larger body of work (still in progress) which she calls Magical Mystery Tour. Those were recently made in Morocco at twilight. That time of day in terms of light, coupled with the natural reticence of Moroccans to being photographed pushed Sharon to alter her techniques to meet these challenges.

On my blog, I frequently describe photographs as powerful, emotive, and/or well composed.  For Sharon's new photographs, I happily add diaphanous and ethereal to all these adjectives.

For further examples of Sharon's talents, visit her new website...you'll see the versatility of her work.

Tuesday, January 10, 2012

Jelle Oostrom: Morocco

Photo © Jelle Oostrom-All Rights Reserved

Jelle Oostrom is a travel writer and photographer based in the Netherlands, and has interesting photo galleries of his journeys to Morocco, Andalucia, Thailand, Portugal, Italy and Indonesia.

In common with most photographer who travel to Morocco, Jelle's gallery of this country is predominantly of streetscapes, landscapes and, with a couple of exceptions, of people from a distance (as most Moroccans dislike being photographed for cultural reasons).

I especially liked Jelle's photographs of Chefchaouen; the well known "indigo blue" town close to Tangier and the Spanish enclave of Ceuta. Aside from Chefchaouen, the Morocco gallery of 45 photographs features Marrakech, Essaouira, Ouarzazate and possibly Fez.

Jelle also authors a Tumblr blog.

Monday, February 28, 2011

Leila Alaoui: The Moroccans

Photo © Leila Alaoui - All Rights Reserved
Leila Alaoui is a young French-Moroccan portrait and documentary photographer living in both Morocco and Berlin. She received a B.S. degree in photography from the City University of the New York Graduate Center.

With a number of international exhibitions under her belt, Leila has also featured her portraits of Moroccans at the Palais Es Saadi in Marrakesh.

One of my favorite in her small gallery of Moroccan portrait is the one above of a traditional "guerrab"...or water-seller. This one is from a souk in Boumia (near Meknes), but most people who visited Marrakesh's Souk el Fna have met these water-sellers who now make a living by posing for the cameras. They are a ubiquitous presence in other Morocco's cities.

I'm especially glad when I discover the work of promising (and established) Arab photographers, especially if they're women...and they'll always figure prominently on this blog.

Friday, April 2, 2010

Aaron Vincent Elkaim: Jewish Morocco

Photo © Aaron Vincent Elkaim-All Rights Reserved

On the occasion of Passover, I thought of posting an interesting visual-historical-religious photo essay relating to the long Judeo-Muslim history of Morocco by Aaron Vincent Elkaim.

Jewish history in Morocco dates back to over 2000 years, and Jews have lived in the country as a protected minority. Prior to the arrival of the French in 1912, the currency and flag of Morocco carried the star of David, a recognition that it represented a prophet revered by Jew and Muslim (as Dawood) alike. During the Second World War, the king of Morocco famously declared to the Nazis (who wanted a list of Jews) that there were no Jews in Morocco, only Moroccan citizens.

Following the establishment of Israel, most of the Moroccan Jews have left their country of birth for the USA, France, Canada and Israel itself.

Aaron is an emerging documentary photography who initially studied Film and Cultural Anthropology at the University of Manitoba. His work was awarded on numerous occasions and published in newspapers and magazines across Canada.

His photographs in the mellahs of Marrakesh and Essaouira remind me of my own at the synagogues in these two cities last summer, during the Essaouira Gnawa festival.

Friday, March 5, 2010

Clive Evans: Morocco


Timeless Morocco - Images by Clive Evans

Born in England, Clive travels the world (especially Europe) from his homes in Southern France and Ireland. His years of traveling and documenting Europe and its people result in images expressing individuals, their cultures, and their environments--often with a visual twist.

Clive is also a founder member of Lumen, an international photographer's cooperative with members in Norway, France, Switzerland, Ireland, Germany and Estonia.

His website, hosted by Photoshelter, has 20 galleries but I chose the one of Morocco, which usually provides enormous difficulties to street photographers wishing to capture its people. One of the photographs in the gallery (#5) perfectly expresses the reaction of people when a photographer attempts to take their picture. However, in many cases the reaction is not as good-humored.

From looking at Clive's well composed photographs of Chefchaouen, I realized that the slideshow seems to have somewhat washed out the colors of the photographs, since Chefchaouen's blue is not as vivid as I've seen them in others.

Wednesday, February 24, 2010

Sean Gilligan: Morocco


In my experience, Morocco is one of the most difficult places for people photography. One not only needs the technical skills of photographing quickly and unobtrusively, but also have an enormous reservoir of patience. I think that Sean Gilligan managed to pull it very well with his gallery titled God, King & Country . The title is from the 3rd image of the gallery which shows a mound of dark sand in which the words God, King, Country are inscribed in white.

Sean Gilligan is a photographer based in New York City, whose objectives are to document cultural diversity, unexpected beauty, intimacy, landscape, and individuals personalities. He has a deep connection with Africa and Ireland and has, over the years, been documenting traditional life as it coexists with modern living.

His work has been featured by CNN, Wall Street Journal, Adidas, Fortune, ESPN, Forbes, among others.

His website has been recently updated and apart from his Morocco gallery, features galleries of Paris, Mexico, Namibia and Ireland.

Monday, November 2, 2009

Nacho Hernandez: Children of the Clouds


Nacho Hernandez is a Spanish photographer who takes assignments worldwide, and has easy access to the Southeast Asia and Asia-Pacific regions from his current base in Manila. Nacho graduated from the Washington School of Photography and also holds a MA in International Relations and Development from Georgetown University.

His interest is in international documentary, travel photography and photography with a humanitarian focus. As an example, he produced a long-term project on the Sahrawi people, and which was exhibited at the US Congress in Washington DC. It is this Children of The Clouds which I chose to highlight on TTP.

According to Wikipedia, Hassaniya Arabic speaking tribes, of Arab-Berber and pure Berber/Tuareg heritage, mainly living in Mauritania, Western Sahara southern Morocco, western Algeria, Mali and surrounding territories, form a large part of the population of countries in the area of the Western Sahara.

Western Saharan pro-independence groups have utilized the term Sahrawi to give a their movement a nationalist connotation. Morocco controls most of the territory as its Southern Provinces, but the legality of this is not internationally recognized, and is disputed militarily by the Polisario Front.

Thursday, September 3, 2009

Sandra Chandler: Moroccan Impressions


Following her return from our Gnawa Photo Expedition in late June, whose principal objective was to photograph the legendary Gnawa musicians during the 12th Essaouira Music Festival, Sandra immersed herself in working on her Moroccan Impressions, a collection of photographs that are to be shown at Tufenkian on September 3, 2009.

The venue's address is:

Tufenkian Artisan Carpets
515 NW 10th Avenue (in the Pearl District)
Portland, Oregon
503.222.3428 Ext: 105

Sandra is a photographer and interior designer based in San Francisco. She tells us that color, smells and sounds drew her to world travel. Her city's Asian culture first enticed her to China in 1978 when the People’s Republic first opened. She then continued her exploration of Asia by traveling to Bhutan, India, Japan, Singapore, Nepal, Thailand, Tibet, and on to South America and Europe. Her website is here (LINK).

The Travel Photographer blog had a previous post on Sandra here. (LINK)

Wednesday, August 12, 2009

Larry Larsen: Gnawa Photo Expedition

Photo © Larry Larsen -All Rights Reserved

I organized the Gnawa (or Ganoua) Photo Expedition in late June, which was joined by a number of talented full-time and part time photographers, whose principal objective was to photograph the legendary Gnawa musicians during the 12th Essaouira Music Festival.

Photo © Larry Larsen -All Rights Reserved

This is the fourth of a series of posts which showcase a sample of the participating photographers' work, and it is by Larry Larsen, a Seattle-based artist and photographer. Larry's biography tells us that he was a boilermaker welder for 30 years, but now retired, he's following his true passion in fine art. He learned how to turn on a computer in 2000, began learning Photoshop, and acquired a digital camera and never looked back. He learned that digital photography is very liberating and wide open for experimentation. He has made Photoshop composites and he has played with HDR.

Photo © Larry Larsen -All Rights Reserved

Despite the difficulty of street photography in Morocco, Larry was able, in his unobtrusive way, to make a number of interesting spontaneous photographs, which are on his website. Have a look at his first image in the Morocco series; for those who read Arabic, you'll understand its tongue in cheek humor. For those who don't...ah, well, you'll have to ask Larry.

Thursday, July 23, 2009

My Work: Maghreb Still Life

Ancient cameras (Marrakech)-Photo © Tewfic El-Sawy-All Rights Reserved

Water gourd (Ouarzazate)-Photo © Tewfic El-Sawy-All Rights Reserved

Allah (Ouarzazate)-Photo © Tewfic El-Sawy-All Rights Reserved

Shelf & Door(Marrakech)-Photo © Tewfic El-Sawy-All Rights Reserved

Door (Essaouira)-Photo © Tewfic El-Sawy -All Rights Reserved


Here's a collection of photographs made in the medinas of Marrakech, Essaouira and Ouarzazate, during my Gnawa Festival Photo~Expedition last month. Some of the old cameras are the very popular Kodak 55X Instamatic; one of which I still have in perfect working order!

Monday, July 20, 2009

Oliver Weber: Marrakech


Oliver Weber is a German photographer who currently lives and works on the Canary Island of La Gomera. He specializes in reportage, portrait and street photography.

It was his 2007 photo exhibition “Humans” in Bredevoort, Netherlands, that Oliver Weber became more broadly known to an international audience, and his first book of photographs was published and nominated for the German Photo Book Award.

His interest in street photography is based on spontaneity and the awareness of situations and moods. He seeks to grasp the right moment since once the moment is over, it's gone forever. His black & white street photography of Marrakesh interested me the most amongst his galleries, since I've just returned from there, and I've posted about the immense frustration facing anyone photographing in Morocco. And yet, Oliver seems to photograph with such ease and fluidity.

Monday, July 13, 2009

My Work: Multimedia GNAWA!


At long last, here's the multimedia photo essay on the Gnawa (or Gnaoua) Festival in Essaouira, which includes photographs made in situ during performances and processions. It includes audio clips of live recordings, as well as a short interview with a master "maalem".

Just click on the above photograph or here. This will open a new window and automatically start the multimedia slideshow, so if at work, you'll need to turn down the volume of your speakers.

I originally planned to have this posted in a few days, but the multimedia slideshow was recently "leaked" on Twitter...so as it's out there already, it also ought to be on TTP blog!

Sunday, July 12, 2009

My Work: A Gnawa Smile

Photo © Tewfic El-Sawy -All Rights Reserved

One the highlights of the Gnawa Photo-Expedition was the procession of Gnawa troupes through the streets and alleys of Essaouira, which started at Bab Doukkala and ended at Mohammed El Qorry near Bab Marrakesh. The procession signaled the start of the 12th Festival of Gnawa Music.

The procession started off by a Gnawa carrying a tray of incense, and was followed by the troupes, possibly in a certain order of hierarchy. There was quite a presence of administrators and police, but I wasn't prevented from photographing as I wished. I suppose they took me for an accredited photojournalist.

The most prominent Gnawa troupes were the Houara de Taroudant, Ganga de Zagora, Ganga de Tamanar, and Gnaoua Agadir. Each of the troupes wore distinctive costumes, ranging from a flamingo pink to black, while others such as the Ganga de Zagora only wear the traditional white.

The Gnawa in the above photograph wears a multicolored tunic, probably based on a traditional belief that there are seven colors which represent 7 jinns (spirits) in Islamic numerology. Click on it for a larger version.

A multimedia feature including my photographs of various Gnawas and ambient recordings of their music and performances will shortly be posted on this blog.

Friday, July 10, 2009

Gnawa Festival: What Worked/What Didn't

Photo © Tewfic El-Sawy -All Rights Reserved

To end the recent string of post-expedition navel-gazings, here's what I think worked and didn't in terms of gear during the Gnawa Festival photo-expedition. As readers of this blog know, I opted for a minimalist equipment load, and stuffed my Domke F-3X with the following:

* Canon EOS 5D Mark II
* Canon G10
* Canon 17-40mm f4.0
* Canon 28-70mm f 2.8
* Canon 24mm f1.4
* Marantz PMD 620 Audio Recorder
* Acer Aspire One 8.9-inch Mini Laptop (w/LR2 and SoundSlides)
* A 250gb G-Tech Mini G-Drive External Hard Drive

I used my 5D Mark II fitted with the Canon 28-70mm f2.8 about 70% of the time, the 70-200 f2.8 about 20% of the time and the 17-40mm f4.0 the balance. The 24mm f1.4 never left the bag this time. Wherever I went, I felt I needed the flexibility of zooms, and a prime wouldn't be useful in the situations where I photographed. I experienced initial difficulty in focusing on moving subjects, and blamed my 70-200 lens until I realized that I hadn't turned on my camera's AI Servo AF mode!

I have to say that my beloved 70-200 f2.8 is on its last legs. I guess it dropped too many times in Orissa, on Angkor Wat's stone slabs, in Bali's rice paddies and elsewhere. It now wobbles and rattles and, while it still works, it also earned a well deserved retirement...maybe as door stop.

My experience with the G10 was an unhappy one, and I left it aside after a few tries. I had high hopes that it would be a perfect street camera for the alleys of the medinas, but it frustrated me and I gave up after a while. Larry Larsen, a member of the photo-expedition, used his as a point & shoot and seemed reasonably content with its images. Perhaps he managed his expectations better than I did. I have no doubt that in the right hands and used in the appropriate conditions, it's a fine little point & shoot. However, in my case I expected something more...but I didn't have the time nor patience to work at it.

I thought the PMD 620 recorder performed quite well in the rather extreme situations I put it through. Since most of the Gnawa performances were held in small zaouias, the din of the iron querqab (castanets) used by the Gnawa caused significant distortion in the recordings. Moving around to better positions was impractical, so I had to choose a spot where to stand or sit, record and photograph...not exactly an easy thing to do. I tried using Audacity's filters, but the distortion on some of the sound tracks is still too harsh. As one expert told me when I complained, distortion happens and we have to live with it (or not) sometimes.

Both the Acer and the G-Tech Mini G-Drive performed flawlessly. No complaints there.

Thursday, July 9, 2009

Sandra Chandler: Gnawa Photo Expedition

Photo © Sandra Chandler -All Rights Reserved

Photo © Sandra Chandler -All Rights Reserved

Photo © Sandra Chandler -All Rights Reserved

I organized the Gnawa (or Ganoua) Photo Expedition in late June, which was joined by a number of talented full-time and part time photographers, whose principal objective was to photograph the legendary Gnawa musicians during the 12th Essaouira Music Festival.

This is the first of a series of posts which showcase a sample of the participating photographers' work, and is by Sandra Chandler, a photographer and interior designer from San Francisco. Sandy uses a Nikon D300 usually fitted with a 24-70mm 2.8 lens.

Despite the difficulty of street photography in Morocco, I'm glad that Sandy managed to capture wonderful human expressions in one of the above photograph. She is drawn to world travel because of the the cornucopia of colors, smells and sounds, and I think these requirements were more than met in Morocco.

Sandy recently published a wonderful book ‘Carnevale, Fantasy of Venice' of her beautiful photographs of Venice and its magical Carnevale, and I sense she may well follow suit with a book on Morocco. We'll have to wait and see.

Tuesday, July 7, 2009

Wendy Connett: Images of the World


I "meet" Wendy Connett daily through her interesting and entertaining Escape From New York blog which is on my Google Reader whatsit. Although she lives in New York City, her website also tells us that she considers the UK and India as her second homes....and I thought I was the only one who felt that way!

Wendy is a journalist and photographer, who travels the world to photograph its people, its places and its unique celebrations. Her photographs are licensed around the globe for commercial and editorial use, and are published in over 25 countries. Her work appears on a regular basis in magazines, newspapers, brochures, textbooks and travel guidebooks. Travel & Leisure, The Guardian, The Times, Rough Guides, Fodor's, Frommers are some of the publications where to see her work.

She has just announced a major redesign of her website Wendy Connett Travel Photography, which I urge you to visit. Her opening images of her Morocco portfolio are of Essaouira famous blue fishing boats. This a favorite spot for photographers to capture the very essence of Essaouira which, despite its recent fame as a tourist destination, is still a fishing village. In fact, for fans of grilled sardines, drop by Chez Sam, a lovely restaurant a few steps further into the harbor area.

Monday, July 6, 2009

Gnawa Festival: Afoxé Loni

Photo © Tewfic El-Sawy -All Rights Reserved

One of the highlights of the Gnawa Festival was to be able to photograph three of the famed Afoxé Loni dance troupe during their rehearsal at the Lalla Riad in the medina of Essaouira. Afoxé Loni is considered to be one of the most beautiful and musically sophisticated Blocos of Berlin’s “Carnival of World Cultures”, and its history is closely tied to that of the carnival’s.

Amongst the three dancers was one of Afoxé Loni's founder, Murah Soares who is considered to be one of the greatest talents of Afro-Brazilian dance in Germany. Unfortunately, I didn't get the names of the remaining two phenomenal female dancers.

What I didn't know is that in Bahia, Afoxé processions are closely tied to the Candomblé religion; their purpose is to ritually purify the streets and calm down latent violence before the actual carnival parade. Here in Essaouira, the trio rehearsed with the virtuoso Gnawa Maalem Mahmoud Guinea, and produced a fusion of frenetic Brazilian and Gnawa music.

My Work: Marrakech's Streets

Photo © Tewfic El-Sawy -All Rights Reserved

I deem this typical street scene to be a decisive moment kind of photograph. I thought that Hassan, the Berber storekeeper, was about to get the playing children's bicycle wheel in the shins, but it missed him by a whisker. One of the very few that I met in the medina who was relatively amenable to being photographed, Hassan's dry wit and no-nonsense approach to life, along with eyes rimmed with kohl, and a couple of missing teeth, brings quite a number of buyers to his souvenir shop.

Photo © Tewfic El-Sawy -All Rights Reserved

Here's a juxtaposition of traditional and antique mirrors for sale in the medina. Larry Larsen, one of the photo~expedition's members, wearing his Panama hat is visible in the mirror on the top right.

Photo © Tewfic El-Sawy -All Rights Reserved

Here's a street life photograph, in which the store keeper is asleep next to his wares. Not an unusal sight in the labyrinthine alleys of the medina, where stores are open till very late at night.

I recall a scene, which I haven't dared photograph, of four or five of men, who in a deferential nod to the police, were seated in a side alley smoking kif, otherwise known as cannabis or hashish frequently smoked in the Maghreb. I spent a few minutes discussing soccer with them, and while one was seriously stoned, the others were lucid, friendly and unconcerned. It seems that kif is viewed as a recreational substance among some in Moroccan society.

The bottom line is that photographing people and street scenes in Morocco is extremely difficult. One can either photograph from the hip, or surreptitiously and very quickly. The usual street photography techniques also apply. One has to be infinitely patient, try to blend in (or at least wait until people get tired of you) and have a sense of humor. Finally having a lot of dirham coins helps if caught.

I normally carry my main camera using a Black-Rapid strap which, in the Moroccan streets, hasn't work well for me. Whipping the camera up to my face is as noticeable (and possibly threatening) as Clint Eastwood flipping his poncho and revealing his .44 caliber six-shooter in The Good, The Bad, The Ugly. Dangling it tourist-like from my chest wasn't an option, so I resorted to carrying it in my right hand secured by small strap. It wasn't too comfortable but it sure beat the alternatives.