‘Morocco is like a sponge. We absorb from Europe, Africa and the Arab world while retaining our own roots. It’s always been like that,’ says journalist Mouna Belgrini, who has been reporting on Casablanca’s fashion scene for a decade. ‘You can choose which culture you identify with and express that through the way you dress.’ Both geographically and spiritually, Morocco has been at the crossroads of trade routes and empires for centuries, giving its creative hub, Casablanca, a unique fashion landscape. Formerly a harbour town, the French Protectorate introduced urbanism to Casablanca in the early twentieth century, including European fashion trends that were adopted by the upper classes. The Nationalist Movement embraced Moroccan attire such as hayk (wrapper) and djellaba (hooded robe) as a sign of resistance. The moderate King Mohammed V led his country to independence in 1956 but was soon succeeded by his son Hassan II whose dictatorship demanded conservative dress. Nevertheless, the first generation of fashion designers emerged in the 1960s with a fresh take on Moroccan style. Casablanca was by now a cosmopolitan city and designers such as Zina Guessous, Zhor Sebti and Tamy Tazi understood that women here were living modern lives so could not wear heavy traditional robes that restricted their movements.
These designers therefore began to offer lighter takes on the caftan using haute couture fabrics. Tazi, who only retired in 2013, became renowned for her exquisite embroideries and textiles. She featured in US Vogue and also acquired the rights to represent Yves Saint Laurent in Morocco. Saint Laurent, who was born in Algeria and had a home in Marrakech, was famously drawn to Morocco during this period along with the A-list hippy set. The likes of The Rolling Stones, The Doors, Cat Stevens and Frank Zappa all visited the country while Moroccan silhouettes influenced global trends. This in turn helped to boost the popularity of Moroccan designers at home and abroad. By the 1980s and 1990s, a second wave of designers came to the fore. Karim Tassi, Zhor Raïs, Albert Oiknine, Simonohamed Lakhdar, Noureddine Amir, Fadila El Gadi and Salima Abdel Wahab all have their own personal takes on contemporary fashion ranging from overtly Moroccan to highly conceptual. Zineb Joundy studied at the Chambre Syndicale de la Haute Couture in Paris and worked for Karl Lagerfeld and Lanvin before returning to Casablanca to launch her first collection of cocktail dresses in 1992. In 1996 she was approached by lifestyle magazine Femmes du Maroc to create a look for its debut cover and fashion show, called Caftan, which has become the country’s most significant fashion event. ‘I switched to caftans to cater to the demand. And also because of my wanderlust appreciation of embroideries and handcrafts from different cultures,’ explains Joundy who has since shown in New York, London and Paris and become famed for her luxurious one-piece caftan.‘Today my collections are produced between Morocco and India and combine these two colourful, spicy worlds to create my brand identity that all women can wear.’
Morocco has its own inimitable art of caftan. One garment will pass through many hands and specialised crafts originate from different parts of the country. Tarz (embroidery), aqad (buttons), sfifa (loop braiding) and renda (needle lace) plus beads and sparkles can be used to embellish the robe and various metallic and silk cords including mftal, tarssan, dfeera and qetan are applied to decorate and finish the garment. They are no longer everyday attire but regardless of your religion or status, everyone wears caftan to special occasions such as weddings and Eid celebrations. The likes of Zineb Joundy and Zhor Raïs lead the way in caftan chic, by far the most lucrative and sizable segment of the local fashion market.
Since the current King Mohammed VI’s ascension in 1999 there has been a growing artistic freedom, spurred on by improvements in women’s rights, education, technology and the economy, and is reflected through the work of the new breed of designers. Amina Agueznay works with artisans to make spectacular contemporary jewellery, Said Mahrouf excels at fluid draping and Yassine Morabite makes edgy graphic T-shirts. The creative scene has found its spiritual home at the Boulevard Festival, an annual alternative music event co-founded by Momo Geroni and Hicham Bahou. What started out as a 400-person party in 1999 has blossomed into a ten-day spectacular attracting 100,000. ‘Boulevard is a free space where both artists and the public can come and do what they can’t do the rest of the year because of society and religion,’ says Geroni. ‘It is about rediscovering our roots. Colonialism and a move to city living caused us to disconnect from our heritage. We had a problem with our identity. But now we are using it to create something new,’ adds Bahou.
Intellect caught up with Gail Humphries Mardirosian (GHM) and Yvonne Pelletier Lewis (YPL) of from Arts Integration in Education to find out more about the book and the inspiration behind it.
How would you describe the book in a few words?
YPL: Arts Integration in Education provides a diversity of perspectives on the changed and changing world in which today’s students are learning and the impact that integrating the arts into the process of education – at all levels – can have in response to those changes.
GHM: This book represents a convergence of voices from multiple viewpoints – from psychologists to researchers to practitioners – to present a resounding case for the value and importance of arts education and arts integration
Where do your own personal and academic research interests lie?
YPL: Research interests – both personal and academic – lie in continuing and expanding on the work reflected in this book, e.g University – and classroom- level training in arts-based methodologies; greater involvement of teaching artist in the classroom; and collaborations with arts organization.
GHM: Throughout three decades of work in higher education, I have remained committed to the importance of research that captures and demonstrates the importance and potency of the arts education experience. I intend to continue that research and to demonstrate its value to generate a better world and truly cultivate global citizens.
How do you think this book changes the way we can weave art into education?
YPL: The book provides practiced and practicing successful examples of both the “why” the “how” arts can be woven into education – as arts for arts sake, but also as arts integrated across disciplines. The theories compel the mind-set that is the critical foundation for the practice of arts integration. The book also provides evidence that arts-integrated methodologies can be practiced while adhering to the standards of learning imposed by the educational system.
GHM: It provides concrete evidence of the value of the arts in education and in our lives. It is also a call to action for those of us directly involved in higher education to remain deeply convicted to the power and practice of the arts in education.
Where did you find the inspiration for your book?
YPL: The initial inspiration for this book is an arts-based teaching and learning model, imagination quest (IQ), developed by Gail Humphries-Mardirosian (and described in chapter 5 of this book). The model was used, over a period of 15 years, to train teachers and administrators in arts integration across the country. The success of this model, coupled with the growing national and international dialogue regarding the importance of maintaining the arts in our educational system, compelled us to move arts integration forward with this book.
GHM: This book is truly my life's work. I began working in arts education as a recent college graduate in inner city public schools in Pittsburgh, Pennsylvania. Here I am years later, with a plethora of interactions in different environments-both rural and urban and both internationally and nationally-making the case for the experiences that I lived as a young professional.
What did you enjoy the most when editing this book?
YPL: The most enjoyable aspect of editing this book was experiencing the enthusiasm with which our contributors responded to being invited to be a part of this important work - to say nothing of the quality of the work they submitted.
GHM: Interacting with exceptionally important colleagues in the field and knowing that our collective voice would have a resounding impact.
Do you have any future research projects or plans?
GHM : I am currently working on two different projects for publication:
1. A chapter in a book entitled the courage to fight violence against women.
This chapter investigates a performance project that I developed entitled traces in the wind. It is a docudrama telling the stories of three women who survived the holocaust through the arts. The research explores the possibilities for theatre to generate empathy, compassion and tell difficult stories that compel the audience to action. Audience surveys and interviews are part of the research. The performance has been presented in different venues - an international conference of psychoanalysts, on a college campus, and with a private invitation audience.
2. A chapter in a book entitled creative leadership which explores the values and skillsets cultivated through theatre training in higher education that can articulate to leadership skills.
To find out more about the book and how to buy a copy please click here
Special Issue: Cinemacity
Intellect is delighted to announce the new issue of Journal of Urban Cultural Studies 3.1, which is a special issue on Cinemacity. This special issue takes Deleuze’s conception of cinema as an autonomous thinking machine and the contributions to this issue variously serve to explicate the connections between city and cinema framed by this sense of cinematicity.
"'Hypocritical bullshit performed through gritted teeth'. Authenticity discourse in Nickelback's album reviews in Finnish media" featured on Buzzfeed Canada and Mental_Floss
Metal Music Studies 2.1 has been featured in both Buzzfeed Canada and Mental_Floss this week, links below:
Author of Locating the Audience
We decided to catch up with Kirsty Sedgman, author of our latest release, Locating the Audience: How People Found Value in National Theatre Wales to find out more about her book.
Could you tell us a bit about your new book, Locating the Audience.
Locating the Audience explores the very first season of National Theatre Wales. It studies how people throughout Wales and beyond developed relationships with this brand new national theatre, and asks questions such as: what do people think national theatre is for? How do they see the place of theatre in the nation, as well as within their own lives? As John McGrath (NTW’s founding Artistic Director) points out in his foreword, though, Locating the Audience actually focuses on two specific productions in detail: For Mountain, Sand & Sea, which took audiences on a walking tour of Barmouth, and The Persians, playwright Kaite O’Reilly's modern reworking of Aeschylus’ ancient Greek drama performed on a military range in the Brecon Beacons. My research investigated how different audiences understood and responded to the experience of taking part in these very different site-specific events.
What was the inspiration behind this book?
I come from a theatre studies background, where there is a real reluctance to research the experiences of diverse audience members - beyond the responses of professionally implicated commentators, that is. This book grew out of an increasing frustration with the tendency to talkabout audiences rather than to them. This critical myopia frequently leads to the production of big assumptions about ‘the audience’, with academics often resorting to making unqualified claims on behalf of the theatrical experience. Thankfully, I started this research at the same time as a cluster of researchers began to feel similarly dissatisfied. The influential cultural value projects that have come to fruition over the last half-decade or so are a clear sign that the way we think about value is changing. In this book I was keen to question the usefulness of a term like ‘value’ at all: in the sense that value is often positioned as intrinsic to the arts object, fixed and finite. Rather than value, perhaps we might instead think about ‘valuations’: because as I tried to show in this book, individuals drawing on diverse subject positions will necessarily understand and talk about the same arts experience in very different ways. This sounds obvious, perhaps – but I believe by studying howpeople articulate their responses to theatre, listening as they reach for words to describe the indescribable, we can get a sense of these various meaning-making processes in action. And in doing so, I hope we can begin to dismantle the idea that there are ‘right’ or ‘wrong’ responses to arts events: a concern I found to be very keenly-felt in the responses of less culturally confident audience members, as you’ll see.
Do you have a favourite chapter and if so, why?
One of the knottiest chapters, yet the one of which I’m probably proudest, is For Mountain, Sand & Sea. I say knotty because it’s admittedly pretty dense, weaving together dozens of questionnaire responses and interview quotations, and drawing out shared key features from a lot of scattered discourse. But I like it because this case study offers the clearest example of a tension I found between two kinds of expertise. In this chapter I show how local expertise, coming from residents’ extensive lived knowledge of Barmouth and its history, rubbed up uncomfortably against their parallel awareness of professional theatrical expertise, as National Theatre Wales sought to perform aspects of the town’s stories in creative, experimental ways. By going deep into audience talk, analysing how people frame their pleasures and disappointments, I’ve worked to uncover the difficulty some audiences face in articulating alternative hopes for what their national theatre might do. This tension was especially acute because the performance was not just a random play, but was specifically inspired by that location (albeit in oblique and artistic ways). I was therefore able to begin to ask what it means for audiences to feel themselves to be located in and through performance, and how this conflicts or coincides with their own understandings of place. But having said all that, I’m also pretty pleased with the Preface, if only because it starts with the immortal quote: “If you close theatres you become the Taliban!”. To me, that sums up just how passionately certain people believe in the importance of theatre – while as I go on to show, others are less invested in this idea…
What is your academic background?
I have a First Class degree in Drama & Theatre Arts from the University of Birmingham, and I then went on to do the Creative Writing MA at Warwick University. Both were great courses, but we spent a lot of time musing about what ‘the audience’ or ‘the reader’ might have thought about different cultural texts. It’s not until I met Prof. Martin Barker at Aberystwyth, my PhD supervisor and one of the most well-known audience researchers in the world, that I realised there was an alternative: the rich cultural studies tradition of using empirical studies to capture discursive information on actual audience response. It was serendipitous, really; right time, right place. I was very lucky.
Do you have plans for future books?
I love writing. It’s that simple; I just can’t imagine doing anything else. Something people ask me a lot is if I’m ever planning on ditching the academic stuff to go back to my creative writing roots, as per my MA. But one of the things this process has taught me is that, academic or creative, it’s all just telling stories. And of course, as an audience researcher I'm keenly aware that I can never truly know anyone else's response. In putting their reactions into words they’re interpreting that experience for me, and I am then in turn applying my own interpretation. But as I explain in the book, I’m most interested in word use; in listening not just to what people say but to how they phrase it, and in considering the implications of any gaps, slippages, hesitations, certainties and uncertainties of expression. It all stems from an enduring fascination with language. So yes, I can’t imagine not writing more books! Plus, there’s so much we still don’t know about our relationship with culture.
Are you attending any conferences or events?
I’ll be speaking at the Understanding Everyday Participation conference, 'Doing Research on Participation’. I’ll also be at Fan Studies 2016, as well as at Regency Theatre 2016, organised by the Society for Theatre Research (of whom I’m a Committee Member), plus the annual Theatre & Performance Research Association (TaPRA) conference.
Have you read any Intellect books? If so, which is your favourite Intellect book at the moment?
Intellect was always my first choice to publish Locating the Audience. The reason for this was primarily my admiration for The Audience Experience, the 2013 collection edited by Jennifer Radbourne, Hilary Glow, and Katya Johanson. This brought together a range of chapters by different authors, exploring varying approaches to audience research and engagement. Its focus is strongly methodological, offering insights into the different ways that audiences' reactions can be captured and understood, while in Locating the Audience I aimed to produce the first full-length study of people’s detailed engagements with one specific theatre company – but still, I was very inspired by the excellent chapters in this book. I’m also pleased to have had the chance to work with the same people who publish Studies in Musical Theatre and Journal of Fandom Studies. Although very different journals, what they share is a real drive to take seriously the pleasures produced by cultural texts. That’s where my work is situated: on the side of audiences, taking seriously their pleasures and disappointments, their investments and their resistance.
To find out more about the book and how you can order yourself a copy please click here.
Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, an aid to critical thinking, an interpretative medium and as a site of production.
DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.
Deadline: 1 June 2016
Submissions will be double-blind peer-reviewed and must be uploaded via the Drawing: Research, Theory, Practice webpage:
All enquiries should be addressed to the principal editor:
Intellect is delighted to announce the new issue of Design, Business & Society 2.1, which aims to promote transdisciplinary approaches to research in design, as well as examining design in all multi-faceted forms whether they are social, environmental, commercial or educational in nature.
If you have any questions about the journal click here
To subscribe to this journal click here
Deadline: May 6, 2016
About the Conference
The In Pursuit of Luxury conference provides an opportunity for academia and industry to come together to discuss issues that have a key impact on the global luxury and luxury brand market.
The conference aims to explore the concept of luxury from a variety of academic and commercial perspectives. It also provides an interdisciplinary forum to examine the subject of luxury from the disciplines of history, cultural studies, business studies, communication studies, branding, marketing, manufacturing, technology and economics. Academic and commercial delegates come from a global constituency who will bring a correspondingly wide range of perspectives to the subject of luxury.
The idea of luxury has secured a place in modern western culture as the term is part of common parlance. This conference will aim to explore the many issues and debates surrounding the idea of luxury. When and where did the concept of luxury emerge? What is its history? How does luxury relate to social class? Is luxury necessarily the preserve of the few and, if so, what are the qualifications to consume luxurious objects? How important is social status v the accumulation of money in luxury acquisition? How does an object or experience acquire luxury status? Is it through branding or high quality materials and craftsmanship? Is it possible to mass-produce luxury, and, if so, what are the ethical implications of this? In a global world of mass consumption, is luxurious consumption becoming politically and/or ethically suspect? Similarly, as the world's resources diminish, might we expect the political implications of conspicuous consumption to take on greater resonance? And, not least, what is the future of luxury in a world beset with financial turmoil? All of these questions stack up to make for a subject of pressing concern and febrile debate.
Find out more about the call for papers and the conference here
If you're attending the Cumulus Conference at Nottingham Trent University (27th April - 1st May) be sure to catch Katherine Townsend and Kristina Niedderer's - Editors of Craft Research - presentation on The Role of Craft in Creative Innovation.
For more information on this conference please visit http://www.cumulusnottingham2016.org/
Available to Pre Order Now!
The Beijing Film Academy (BFA) is one of the most revered film institutions in the world. Since 1984, the BFA’s Department of Film Studies has been publishing the Journal of the Beijing Film Academy, the only journal of film theory that integrates film education in higher learning with film theory studies. Now, coinciding with dramatically increased interest in Chinese cinema, comes the Beijing Film Academy Yearbook, showcasing the best academic debates, discussions, and research from the academy in 2015 - all available for the first time in English. Aimed at narrowing the cultural gap for cross-cultural research, the book contributes not only to scholarly work on Chinese cinema, but also to film and media studies more generally.
The Journal of the Beijing Film Academy, founded in 1984, is edited by the Beijing Film Academy’s Department of Film Studies.
More information on this publication can be found here: http://www.intellectbooks.co.uk/books/view-Book,id=5202/