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POST-INDEPENDENCE CULTURAL ODYSSEY

Morocco's cultural development followed a unique path distinct from Western models. Positioned at the strategic crossroads of North Africa and Europe, the country has always been a melting pot of ethnicities—including Arabs, Sephardic Jews, Sub-Saharan Africans, and especially Amazigh—each with their own distinct cultures, languages, and beliefs. This diverse heritage has created a culturally dense landscape, rich in artistic expressions such as textiles, music, cinema, carpentry, silversmithing, artisanal crafts, dance, poetry, literature, cuisine, and much more. Although these are the products of a century-long interplay of influences between continents, the commitment to actively nurture and engage with these cultural assets only began about 70 years ago. Under colonial rule, cultural priorities were often sidelined, and post-colonial Morocco faced the enormous task of reshaping and rethinking its entire cultural identity. But where to start when building a country up from the ground, while also hosting so many different cultural groups?

King Hassan II, who ascended to the Moroccan throne in 1961, played a pivotal role in shaping modern Moroccan identity. He brought guidance and a visionary approach to the table as the first to set the tone. Tasked with uniting a melting pot of cultures within the newly independent nation, he launched the policy of Moroccanization, emphasizing the country's unity through nationalist sentiment and Islamic heritage. International politics also played a part, as the nation needed to project a unified and stable image to facilitate diplomatic and economic engagements. In pursuit of this image, the diversity of its people was somewhat downplayed, prioritizing stability and unity to present Morocco as a cohesive entity on the international stage. King Hassan II elevated Morocco through grand events and compelling national narratives that all Moroccans could relate to, cultivating a profound sense of pride and belonging among the populace and establishing a distinctive national identity that endures to this day.

However, despite this nationalistic approach to culture, true recognition of its cultural wealth on a national scale took time. Initially, the nation prioritized economic stability and growth, typical concerns for a newly independent country. King Hassan II focused on shifting Morocco towards a market-based economy, increasing Moroccan ownership of previously foreign-owned lands (from 18% to 55%) and spearheading the construction of hundreds of dams across the Kingdom, enhancing irrigation, flood protection, and energy conservation. The shadow of past authoritarian regimes also loomed, with a top-down governance style that often diverted funds from essential public services to the monarchy, delaying the development of the cultural sector. Ministerial shuffling caused the dispersion of cultural policies, often disconnected from cultural life and local needs. Quality healthcare, education, and other essential public services remained out of reach for many, widening the gap between rich and poor. Unlike Western countries, a strong middle class did not emerge during these years, limiting the consumption of public culture. This led to culture being somewhat neglected as an investment area in post-independence plans.

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THE 1970S CULTURAL RENAISSANCE

The 1970s ushered in a new wave of cultural dynamism in Morocco, akin to a cultural renaissance, particularly in urban areas. A new generation of Moroccans too young to have participated in what is widely called the nationalist movement entered cultural and political scenes. This generation didn’t invest money. They brought to the landscape something different: ideas, energy, and most of all, disruption. Seen as progressive, elitist, avant-garde, and sometimes radical, these young artists and intellectuals challenged Morocco's traditional or stagnant cultural views. They argued that the building of a nation is not only a matter of appearances to others outside the country but also what happens right within it. This shifted the cultural landscape of the kingdom from one mainly oriented toward a “glorious” past to one embracing social, international, and more artistic realities. Music, literature, and art became mediums through which this younger generation voiced a clear message to their leaders: to broaden, deepen, and most importantly, invest in Morocco's cultural identity.

From this vibrant period in Moroccan cultural history, notable heritage includes bands like Nas Algewan and Jel Jalalah, who mixed traditional Arab, Amazigh, and African elements with contemporary music. The rise of Arabic-French bilingualism spurred a surge in cultural journalism, with intellectuals and artists sharing their insights in influential magazines like "Souffles" (1966-1971) and "Intégral" (1971-1978). Additionally, modern artists began blending high art with popular culture, challenging traditional Western art norms and establishing new cultural standards. The 1970s cultural renaissance in Morocco had a ripple effect into the 1980s, prompting leaders to rethink the blueprint for national success. They recognized that a robust economy needed the backbone of a thriving culture. This realization led to a strategic rethinking: what if embracing Morocco's diverse cultures was itself a modern approach? What if showcasing Morocco as an inclusive melting pot of cultures in its rich heritage projected an image of openness and progress, enhancing Morocco’s international reputation, attracting investors, and bolstering its geopolitical stance? Shifting from a focus on unity to celebrating diversity, this new perspective fostered a dynamic fusion of cultural depth and economic strength, propelling Morocco into a new era of cultural perception and influence.

The moment one values something, the responsibility starts in thinking about what to do with it. And so the Moroccan cultural industry was born. Culture became a domain to invest in. Moroccan authorities started strategizing about how to effectively utilize resources and create a vision for culture in Morocco. This involved strategic planning and the allocation of funding so it could meet broader government objectives. As a result, culture evolved into an industry regulated by the government. Morocco followed the example of European nations that underwent that process decades before, like the Netherlands, France, Germany, and England, where culture is recognized as an asset, prompting governmental collaborations. These countries exemplify comprehensive governmental policies on culture, which include the creation of cultural policies. Experts are annually tasked with putting onto paper how, on various levels, from national to local, culture should be lived—both its tangible and intangible aspects. Who gets to participate, who doesn’t? What is deemed important, and what is not? This new consciousness initiated a vibrant chapter in Morocco's arts and cultural history. It was a period characterized by increased political openness and media expansion, reshaping and broadcasting Morocco's rich and diverse cultural landscape onto the global stage and, most of all, investments in culture all across the country.

And so it happened that in a period of four decades, starting from the 1980s up until now, a constellation of cultural institutions came into being. Literature, contemporary architecture, cinema, and theater became expressions of cultural hardware dotting the Moroccan landscape, including fifteen museums of archaeology and anthropology, over a hundred repositories, a score of theaters, and numerous performance and research centers, embedding culture into the Moroccan zeitgeist. Prestigious institutions like The National Institute of Archaeology and Fossils and The National School for Fine Arts became beacons of learning and creativity, with music and dance institutes sprouting across the country—from Casablanca to Chefchaouen—culminating in the prestigious Mohammed IV National Theatre in Rabat.

During this transformative era, Morocco introduced new laws to safeguard its rich cultural heritage, turning it into a key area for investment. This strategic focus included the preservation of ancient buildings, landscapes, manuscripts, inscriptions, artifacts, and antiques. Efforts to rejuvenate historical sites in Rabat, Fès, and beyond were intensified under a new law, which served as a pivotal foundation in these endeavors. Moreover, the designation of Morocco's medinas as UNESCO World Heritage sites in 1980 profoundly awakened national consciousness about the importance of heritage, catalyzing a renewed commitment to preserving Morocco's historical ethos for future generations.

A side note here is that the foundation for protection still had to rely on a colonial relic of the past: the extensive research and documentation conducted by the French Army general and colonial administrator Marshal Lyautey. After serving in Indochina and Madagascar, Lyautey became the first French Resident-General in Morocco from 1912 to 1925. Generally regarded as the creator of modern Morocco and a colonial hero, his architectural insights and detailed colonial inventories significantly influenced subsequent restoration efforts. This legislative framework was informed by these colonial inventories, providing a base for Morocco's first cultural preservation initiatives.

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CULTURE IN 2024: CULTURAL HARDWARE AND GRASSROOTS CURRENTS

Culture as an investment domain from the 1980s to the 2020s: where do we stand today? Over the past forty years, Morocco has seen significant cultural growth. If you plan to visit, you'll find a rich array of experiences, from exploring diverse locales to diving into the vibrant Moroccan culture. The cultural scene is booming, filled with opportunities to engage with Morocco's rich heritage. However, it's important to recognize the nature of the investments made in culture over these decades—significant financial backing. And with big money comes big visions and motives. As a result of prioritizing international appeal, the focus has been on turning culture into prestigious, highly visible showcases—more like trophies displayed for external appreciation than expressions of daily life. This approach prioritizes culture that is easily consumable by outsiders, the people that don’t participate in it in the first place.

For example, the latest reign of King Mohammed VI, who strongly supports the arts and culture, prioritizes high-profile cultural events and major infrastructure projects. Notable examples include the Grand Théâtre in Rabat, designed by the renowned Zaha Hadid, which stands as Africa's largest theater, and the Grand Théâtre in Casablanca. Additionally, the Mohammed VI Museum of Modern and Contemporary Art in Rabat exemplifies Morocco's grand cultural aspirations on the global stage. This is high culture that measures itself with the realms of contemporary Paris, Amsterdam, Berlin, and other global cultural capitals.

The nice side of this is the mirrored trend seen in Western countries: the professionalization of culture. Over the past decade, efforts have focused on networking arts institutions globally through collaboration agreements. Notably, the National Foundation of Museums, established in 2011 under royal leadership, oversees fourteen Moroccan museums. Its aims include modernizing museums, increasing accessibility, and boosting international appeal. Partnerships with prestigious institutions like the Centre Pompidou, Musée d’Orsay, and the Louvre have been formed.

The downside here is who actually benefits from these cultural investments. Despite good intentions, the whole cultural show on Moroccan culture unfolds against a backdrop of significant socioeconomic disparities. According to an Oxfam report from October, Morocco was named the most unequal country in North Africa in 2019—including ongoing struggles in meeting basic cultural, educational, and heritage needs—a problem that has persisted since Morocco's independence. The fact that this type of investment mainly advantages the urban elite, foreign professionals, and tourists, makes it a bit painful.

This brings us to another aspect of Morocco's cultural landscape worth discussing: its international interactions over the past seventy years, especially the influx of overseas money, ideas, and international networks. Although the deeper political motivations behind these movements are complex, the impact on Morocco's global presence is undeniable. Notable collaborations with European cultural institutions like the French institutes, the Goethe-Institut, American Language Centers, and the Cervantes Institute have markedly enhanced the visibility of Moroccan arts on the world stage. These partnerships have expanded audiences for local artists and introduced fresh ideas and resources into the Moroccan cultural scene, including educational programs and residencies that elevate local talent to meet global artistic standards.

However, the arrival of these institutions also brought challenges. The inherent top-down approach often imposed Western concepts on a Moroccan culture whose richness and uniqueness exceed the confines of these external influences. The influx of Western standards risks overshadowing traditional Moroccan cultural expressions, causing cultural homogenization that favors "globally appealing" art forms over indigenous ones. This dynamic divides how Moroccan culture is marketed internationally and experienced locally, often neglecting lived culture that embodies the true essence of Moroccan life.

Ironically but also predictably, as seen in other cultural capitals, there's a silver lining to the heavy top-down approach: the thriving underground cultural movements. This is where culture happens organically, not through crafted investment-driven policies seeking an audience. While the government's cultural policy often fails to connect to what's truly alive in local communities—due to its slow pace and rigid structure—there's a dynamic undercurrent of culture brewing in the urban centers of Tangier, Rabat, Casablanca, and Marrakesh. In the past twenty years, Morocco has seen the rise of numerous independent, grassroots initiatives that operate completely outside the government's focus on prestigious, subsidized cultural sites. The absence of norms and regulations means that culture isn't boxed in, allowing it to be more authentic and closely connected to the people who drive it.

Behind these initiatives is a new generation of educated Moroccan artists and cultural workers, along with returning migrants and foreign creatives drawn to Morocco's burgeoning arts scene. International interest in African arts and culture further fuels this momentum. Examples abound, from music clubs (Boultek in Casablanca), design collectives (Houna, L’Atelier L’Observatoire), cultural centers (Les Étoiles, Racines, L’Uzine in Casablanca; Le 18 in Marrakesh), schools and educational places (Esav in Marrakesh, residency in Tangier), and much more—all driven by a mission to express and connect. It can be expected that this landscape will extend to smaller cities fueled by youthful energy and tourism.

Of course, this grassroots cultural movement is not unique to Morocco; you'll find similar scenes in other cultural capitals like Berlin, often thriving in neglected buildings and areas beyond strict governmental oversight. What distinguishes Morocco's grassroots scene is its deep sense of connectedness and authentic reliance on communal support—a trait deeply ingrained in Moroccan culture. These grassroots initiatives often operate without official recognition or significant government funding, relying instead on collaboration with partners. Collectivity is not only prized, it is necessary. This necessity fosters genuine interdisciplinary collaborations that arise from mutual dependence, contrasting with the often obligatory nature of such collaborations in the West. Local cultural entrepreneurs depend on each other, creating interconnected networks throughout Morocco's urban landscape.

TOURISM IN THE CULTURAL LANDSCAPE

Then there are the investors not to miss in the landscape: tourists. The surge in international visibility since the 1980s has dramatically transformed Morocco's cultural landscape, attracting a global middle class to the country for both its beautiful beaches and cultural products. Tourism has escalated as a leading economic force in Morocco, attracting over thirteen million visitors in 2023 alone, with 60% drawn specifically to the nation's cultural and historical sites. This influx of tourists has significantly impacted how culture is both perceived and promoted within Morocco. The global middle class's interest in the kingdom can be attributed to its unique blend of accessible exoticism, affordable travel options, and a wealth of diverse cultural experiences—from ancient medinas and bustling souks to the serene landscapes of the Atlas Mountains and lively urban life that is very different from Western cities. This combination makes Morocco a particularly appealing destination for those looking to enrich their travel experiences with cultural depth and historical context.

Every tourist visiting Morocco can be seen as an investment in the culture, generating entirely new economies and driving authorities to pay attention to cultural heritage in the first place. Historically rich sites that tap into Morocco's Roman and Islamic heritage, along with its diverse landscapes, have received substantial investments for preservation and development by both governmental funds and international institutions, fueled by tourism revenues. This has not only helped safeguard these cultural treasures but has also made them more accessible and appealing to an international audience. As a result, these sites are no longer just static relics of the past but have become dynamic venues for cultural exchange and learning. A great example is the restoration of Fez Medina, a UNESCO World Heritage site. Tourism euros and dollars have helped keep one of the world's best-preserved medieval cities in good shape. Also, initiatives like the "Plan Azur," initiated by King Mohammed VI, have aimed at enhancing coastal regions and overall infrastructure, further boosting tourism and stimulating economic growth.

Yet, the tourism industry's approach often stands in stark contrast to grassroots cultural movements. Grassroots efforts are lived culture—the tourism sector curates culture. This tends to commodify this heritage, transforming it into mere entertainment and relegating locals to the role of service providers. Although this aspect of culture significantly boosts the nation's economy in some areas, there's a risk it portrays Moroccan culture as an exotic garden, to keep with the metaphor—a superficial and picturesque version of a much more complex reality. This can disconnect locals from their own traditions, a challenge not unique to Morocco but prevalent in many countries. Across the globe, from the souvenir-laden streets of Paris to the bustling markets of Bangkok, the same pattern emerges, where vibrant local customs are often repackaged into simplified, consumable formats for tourists, diminishing the authentic cultural experience and the depth of traditional practices.
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Finally: grassroot but not local - foreign but not tourist - the more business-oriented individuals entering the garden, shaping the landscape. The environment for a European individual looking to engage in cultural entrepreneurship in Morocco is not entirely ideal. But that is okay, as there is space to participate. It can be challenging to be taken seriously, partly due to the lingering trauma of colonialism, which can make foreigners feel unwelcome to establish new ventures. The priority is often on "locals first." It is generally more effective to operate in contexts where local people lead. Without local leadership, cultural initiatives may struggle to gain acceptance or support, no matter how well-intentioned they are. In cities like Casablanca, Rabat, and Tangier, cultural initiatives are predominantly bottom-up, driven by local artists and citizens, where international participants are invited but do not establish the projects themselves. The situation in Marrakesh is different—likely due to the city's integration into various global structures, including economic and tourism sectors. Here, foreign cultural professionals often launch new initiatives, engaging deeply with the city and its cultural development. This indicates that Marrakesh is more international in nature, providing greater support for foreigners in cultural entrepreneurship.

CONCLUSIONS

Over the past decades, Morocco's cultural transformation beautifully exemplifies how culture, like a garden, requires both intellect and emotion, planning and spontaneity, care and vision. This evolution highlights culture’s reach beyond mere aesthetics or economic utility, emerging as a dynamic space that captures the imaginations and aspirations of all interacting with it through time - from tourists to national leaders. Lots of notes can be taken on the process that the country has gone through, culturally. For example, the cultural shift in Morocco underscores that nation-building is a dual venture. It’s driven not just by economic imperatives but also by the emotional and experiential dynamics that occur in daily life. Each generation molds the cultural fabric in its own unique way based on contemporary needs, allowing the cultural vision to organically evolve among the people, often independently of government agendas or financial objectives.

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Money, resources, ideas, foreign influences, and life itself: all of these can be seen as investments that shape culture. However, in the past 70 years, financial investment has been particularly noticeable within the Kingdom, bringing with it both positive and negative impacts. While those have been crucial for establishing the cultural and foundational infrastructure—the "hardware" of the nation—they are not essential for cultivating a national identity. This deeper essence of culture emerges naturally and is influenced by both tangible and intangible elements. The growth of these elements is fostered by a synergy between top-down initiatives and grassroots involvement, showcasing a complex interplay between structured governance and the spontaneous contributions of the people, daily life and other influences. 

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Looking ahead, Morocco’s cultural policies need to adapt to continue nurturing the diverse voices within its borders. As strategic investments have shaped Morocco’s cultural scene, the country has witnessed a blossoming of its cultural environment, enhancing both local pride and international appeal. However, the ongoing challenge is to balance these impressive developments with the nurturing of grassroots movements that are the true essence of Morocco's cultural identity. The garden metaphor is apt: while flowers draw the eye, it is the health of the soil—enriched by the diverse and sometimes hidden roots of local culture—that ensures sustainability and growth. This approach will ensure that cultural investments benefit not only international audiences but also the local communities who are the true stewards of Morocco’s rich cultural heritage. By fostering this balanced ecosystem, Morocco will not only preserve its cultural richness but also encourage a thriving environment where cultural expression and innovation can flourish organically, where both mind and heart is involved in the process of investing into the culture. 

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