A lush and cozy Botanical Garden, the Majorelle Garden is located in the Guéliz neighborhood of Marrakech, Morocco.One of the most well-known gardens in the world was made by Jacques Majorelle, a French explorer and orientalist painter who resided in Morocco in 1917.Learn the tale of this fabled, ageless Garden and how it nearly vanished. The Structure of the Majorelle Garden in Marrakech In October 1917, when Marrakech was still under French rule, Jacques Majorelle made his first trip there while recovering from illness and at the request of General Lyautey, a friend of his father.He fell in love with North Africa and eventually made his home in Marrakech’s medina.He purchased a 1.6 acre area on the fringe of the palm grove, northwest of the medina, in 1923.The Moorish villa he would have constructed will be called “Villa bou saf saf.” The ground is partially covered with poplar trees, known in Arabic as “saf saf.”He also constructed a tower-and-Berber structure known as a “borj” to serve as a painting and craft studio.In order to build a Garden, Jacques Majorelle, who had a deep love for botany, bought 2 more plots of land next to his own in 1928, bringing the total size of the site to 4 hectares.The cubist home was constructed on the new property by architect Paul Sinoir two years later, in 1931, along with a long, narrow basin with a shallow depth.The villa’s first floor studio and painting studio are located on the ground level.The cubist home was enhanced by Jacques Majorelle in 1933 with the addition of balconies, an arabic pergola, and a rich garden filled with plants brought in from all over the world, including bamboos, coconut trees, cactus, banana trees, bougainvilleas, water lilies, yuccas, and water lilies. The Majorelle Blue Jacques Majorelle painted the cubist home of an intense and gentle Bleu Outremer in 1937, swiftly drawing inspiration from the Lake Tasgah waters in the Moroccan atlas.Blue always remains very strong in Jacques Majorelle painting, electric or intense. Particularly on his landscape paintings below: In the park of the villa workshop, on the gateways, pergolas, and jars of the titular garden, Jacques Majorelle will use this Blue a little bit everywhere.The iconic Majorelle Blue will be made from this ultramarine cobalt blue, which is so upbeat and soothing.This color’s current registered name is made of 86.3% blue, 31.4% green, and 37.6% red. Its saturation is 64% and its clarity is 86%. With its asymmetrical walkways and singular shade of blue, the Majorelle Garden in Marrakech stands out as the work of an architect and painter rather than according to any established standards of organization or design. The Majorelle Garden Jacques Majorelle, the Painter Gardener, toiled for 40 years to transform his garden into “an impressionist garden,” or “a temple of forms and colors.”Hundreds of plants, including bamboos, cactus, coconut trees, willows, palm trees, thuyas, jasmine, water lilies, agave, bougainvilleas, daturas, cypress trees, and ferns, are brought back by him from his trips by fellow botanists or exchanged with them.“The painter has the modesty to hold this pen of green flowers for his most beautiful work,” observed Jacques Majorelle.“The immense splendor in whose harmony I choreograph (…) This garden is a horrible task, to which I devote myself totally,” he says of it.After giving him all of my love, he will take my final years, and I will collapse, tired, under his branches.Winston Churchill frequently visits the Majorelle garden while visiting Marrakech.Majorelle Garden in Marrakech was similarly a “voracious ogre garden” in 1947, requiring expensive care that made it necessary to charge visitors an admission fee.Jacques Majorelle was compelled to partition his property in 1956 after a protracted period of disagreement with his wife Andrée Longueville and his divorce a few years later.A sizable portion of the property, including the villa Bou Saf Saf on a hectare, is reclaimed by his ex-wife, along with other items including half of the garden and one of the homes.He lost his left leg as a result of a severe car accident in 1955, which also negatively impacted his financial status.He is compelled to forfeit his ownership interest in the villa workshop and the Majorelle Garden in Marrakech.A second car accident in 1962 resulted in death.In France’s Nancy, he is buried.After being abandoned, the garden starts to deteriorate. the French Couturier Yves Saint Laurent In February 1966, the French Couturier Yves Saint Laurent and his friend Pierre Berger arrived in Marrakech aboard an Air France caravel.They stayed in La Mamounia, at the time an obsolete luxury hotel.They don’t particularly enjoy the city, and the weather is dreary.Then the sun emerges, the atlas reveals its snow-capped peaks, jasmine scents fill the air, and the sun drenches the city in brightness. It surprises me.In “une passion marocaine,” Pierre Bergé’s book devoted to YSL, he writes: “Yves Saint Laurent’s discovery of Marrakech in 1966 was so shocking that he decided to acquire a Moroccan property and come back frequently.In reality, they fled after purchasing Dar El Hanch, often known as “the home of the snake” in Arabic, in the medina next to Bab Doukkala. Majorelle Oasis and Moroccan Colors From their initial trip to Marrakech in 1966, YSL and Pierre Bergé frequently return and fall in love with the Majorelle Garden.“We were enchanted by this paradise where Matisse’s colors blend with those of natureWe grew accustomed to this garden very fast; we rarely went without seeing it.Although it was accessible to the public, hardly anyone was there.In reality, Morocco was a tremendous cultural shock for the artist, evoking Algeria, where he was born in 1936 and resided in Oran until he was 17 years old.He later rediscovered Africa, and it was the same continent.The solar earth is bathed in light, and Marrakech is a riot of color.The designer believes that he has tamed color despite being pitted against orientalism.He’ll visit Marrakech twice a year, between June and December, to create his haute couture lines.Morocco’s light makes the hue visible to him.It

The Koutoubia Mosque is one of the most popular and well-known tourist destinations in Marrakech. It is regarded by some as one of the most stunning structures in all of North Africa, and it has been imitated numerous times for its aesthetic and architectural features.The Koutoubia is commonly shown in photographs as the visual representation of Marrakech because of its location and allure for tourists and Muslims who come to worship. magnificent and located in the centre In the older section of Marrakech’s Medina, the Koutoubia Mosque is situated near the start of Mohammed V Avenue (Southwest).It can be reached by the El Koutoubia Trek, where all of Marrakech’s horse-drawn carriages park, and is also less than 200 meters from the renowned Jemaa El Fna Square.The Mosque additionally tucks on its right an old mosque next to the Sidi Ali Belkacem cemetery and the Lalla Hasna garden (free access) at the back (struck by deconstruction for non-alignment with Mecca).The former French Consulate and the French Consul’s residence are to its left, inside the Dar Moulay Ali Museum’s new cultural area (opened in May 2017).The Mosque is a mandatory landmark on any stroll through the Medina or the modern section of Gueliz; it is impossible to miss.It is also available to tourists from the terraces of the Riads, hotels, and restaurants of Medina. It is visible from the main roads of Gueliz and Marrakech.Even 25 kilometers from the Ourika Road, it may be visible. History of the Koutoubia Mosque : a path of journeys Because it was initially constructed in the souk of manuscript merchants, it is occasionally also referred to as the Mosque of Booksellers.Another version makes the false claim that several bookstores moved there once it was built (according to legend).We are given information about its past through a number of testimonies.Emir Almoravide (Berber dynasty), Ali ben Youssef who extended his influence from Mauritania to the south of the Iberian peninsula through all of Morocco, fortified the city of Marrakech and began building the Koutoubia Mosque in 1120.His successor Abd al Mumin, the first Caliph of the Almohad dynasty (a sworn enemy of the previous dynasty), resumed building the mosque on the site of his predecessor’s former palace from 1141 to 1154 due to an alignment issue further east of the mihrab (prayer sanctuary indicating the direction of Mecca).As a result, it is still possible to see the remnants of the earlier alignment strike adjacent to the modern mosque (primitive mosque of the Koutoubia).In accordance with the customs of his dynasty, the Mosque underwent its last transformation under the rule of his successor grandson, the renowned Abu Youssef Yacoub El Mansour (about 1196) both on the outside and in its interior adornment.Additionally, it should be noted that two other well-known mosques in Marrakech were constructed during the reign of Yacoub El Mansour and at the same time, the Koutoubia was completed: the mosque with the golden apples in the Kasbah neighbourhood close to Bad Agnaou and the mosque of El Mouassine in the Mouassine district.The Moroccan Ministry of Culture oversaw the Mosque’s most recent repair in 1990, and more recent exterior installations were made in 2017.Following the refurbishment of the Medina, work was done on the plaza leading to the entrance and at the back of the building in order to provide access to the garden.respect of traditions and grandeur dimensions : – 90 meters long – 60 meters wide – 77 meters high (at the highest point of the spire) or 69 meters high at the top of the minaret – capacity of more than 20,000 prayers The Koutoubia Mosque’s design, which will be replicated for the Giralda Mosque in Seville (Andalusia Spain) and the Hassan II Tower in Rabat, Morocco, also serves as an illustration of its construction in hewn stone from the schistose sandstone hills near Marrakech (especially in the new part of Gueliz). Construction Reference It adheres to the T-shaped design (also known as the hypostyle plan or arabic plan), which was the same building plan used for the Great Mosque of Kairouan in Tunisia, which was built in 670 and served as a model at the time.– large interior courtyard – peripheral portico of columns surrounding the courtyard – large prayer room with 17 naves perpendicular to the qibla wall (giving a sense of the direction of Mecca) – mihrab, a deep sanctuary at the bottom of the qibla wall indicating the direction of the Kaaba (Mecca) – minaret with a square section accessible by an inside staircase to the top Koutoubia Minaret : It should be emphasized that the meaning of the lantern at the summit of the minaret, which is topped by a jamur (in the form of an arrow penetrating 3 gilded brass balls), is open to debate. – the golden balls would be under the power of different geniuses to protect them from theft. pure asceticism of Almohad art The Koutoubia Mosque’s décor is exceedingly drab and austere, in keeping with the Almohad dynasty’s architectural principles, demonstrating the asceticism of the location. Indeed, everything breath the stripping inside the building – arches of the naves are not carved, remaining bare – columns of the portico and the materials of the inner courtyard are raw – the white color prevails everywhere – the furniture is made of a simple minbar The presence only of causes a difference in color: Composed of intricately carved white marble slabs that extend from the mihrab to the back of the prayer hall, the dome’s upper portion is covered with colored earthenware tiles.The minbar, a narrow stairway leading to the preacher’s platform that is exclusively utilized on Fridays, the day of prayer, is formed of various pieces of wood that have been inlaid with silver and pieces of inlay that have varying colors according to the variety of the species employed (this one is now visible in a corner of the El Badi Palace since its recent renovation).Due to the color of the hewn stone

The El Badi Palace is a reminder of Marrakech’s heyday when it was a bustling caravan hub and the capital of Morocco’s mighty empire.This monument, made up of more than 300 parts, was erected by Sultan Ahmed El Mansour after he returned from exile to commemorate the Saadian army’s crushing victory over the Portuguese occupation.El Badi Palace is a work of Islamic art that is hailed by many as a paradise on earth.It was intended to serve as a representation of the might of a vast sultanate that stretched from the Mediterranean to Niger.However, Antonio Almagro, a researcher at the EEA in Granada, Spain, has been instrumental in bringing it back to life in virtual reality. Incomparable Arabo Islamic Jewel Sultan Ahmed El Mansour constructed El Badi Palace, often known as “the palace of the incomparable,” after the Saadians defeated the Portuguese during the Battle of the Three Kings.The works started in 1578 (986 CE – AH anno hegirae) and lasted until 1594.Even after the Sultan passed away in 1603, some construction projects continued.El Badi Palace’s interior design was influenced by Grenada’s Alhambra. The Saadian Palace El Badii Splendor and Richness The meaning of the term El Badi, one of the 99 names ascribed to God, is “the incomparable.”In the Mellah neighborhood of Marrakech, close to the Sultan’s private palace, lies the palace complex known as El Badi, or Ksar Badii in Arabic. It is situated to the northeast of the Kasbah of the Almohad.El Badi Palace serves primarily political purposes; to demonstrate the Sultan’s dominance, it must be lavishly decorated and enormous in scale, impressing both Moroccan royalty and foreign ambassadors in Morocco at the time of the trials. The Alhambra Palace in Granada, Spain served as inspiration for the construction of the Palace, which was made of the most exquisite materials, including cedar wood from the Atlas Mountains, Carrara marble from Italy, ceramics from Spain, gold from Sudan, jade from China, onyx from France, and ivory from black Africa.On the Palace site, the best Moroccan artisans are at work.The project also involves foreign artisans and architects.According to rumors, the Sultan was kind in his use of labor.The bab al rokham, a marble door, which opens in the southwest corner of the palace on the Kasbah side, is the main entrance to the palace complex. The servants were able to move around invisibly because of a network of underground passageways and apartments.A prison, a kitchen, and hammams were also located in the basement. The pavilion floors had a central heating system put in.Masterpiece of 360 Pieces Fountains and CourtyardsThe inner courtyard measures 135 meters in length and 110 meters in width, with a 90-meter pool in the middle.A colossal fountain stands in the center of it.The Fruit tree below has four flowerbeds planted in it.There are 4 30m x 10m pools located in the four corners of the palace. Green and heliotrope pavilions Two substantial pavilions have been built around the courtyard of the palace el Badi, one on either side of the two crystal pavilions and audiences.The heliotrope and the green pavilion.These pavilions included the areas designed for the lodging of guests and diplomats, and they were surrounded by a lengthy, open gallery with a sizable surface area. Audience pavilion and crystal These two pavilions, which were hung over an ornately painted wooden dome and flanked by tiny ground-level cooling basins, were frequently used by the Sultan.The visitors’ and ambassadors’ pavilions are for public use, while the crystal pavilion is for private use.They both have zellige flooring and two rows of marble columns on either side, and their styles are nearly identical. Sultan’s Private Residence This building, known as a summer house, served as the Sultan’s private lodging.The summer apartment was annexed to the palace along its southern façade, much lower in scale than the opulent palaces of el badi.Minbar Inside one of the chambers of the palace el badii, one can see the minbar, the imam’s preaching chair, from the enormous mosque of the Koutoubia in Marrakech.900 years ago, in the 12th century, in Cordoba, Spain.It is made up of a thousand pieces that have been intricately carved from cedar wood with silver inlays and ebony and sandalwood inlays as decorations.Due to a significant degradation of the wood by wood-boring insects, the minbar was repaired in an attempt to restore it to its original appearance. El Badi Palace’s beauty and the Saadian dynasty’s influence Portugal lost its freedom when the Kingdom of Spain seized it, and its nobles were forced to pay high ransoms to buy back their soldiers who had been captured by Morocco.Thus, Sultan Ahmed El Mansour (the conqueror) adopted the moniker El Dahabi (the golden one).Morocco has gained enormous respect in Europe by growing to be a major force along its borders.In the style of the Ottoman Empire, the army was upgraded to uphold law and order and collect taxes.A viceroy serves as the sultan’s representative in Fez.Marrakech hosts a lot of embassies.The Cherifian kingdom and the Ottoman empire’s hostilities ceased.Morocco stretches into the sub-Saharan region from Tangier to Niger.Rich gold reserves in Western Nigeria Sudan, which were taken control of in 1590 and used to make coins, flow through Marrakech and greatly benefit Morocco.Finally, resources are provided by the sugar cane trade in the Souss Valley, which runs from Marrakech to Chichaoua.Then, one kilogram of sugar is swapped for one kilogram of marble.The Trade Company of Barbaria (Moroccan) imports a lot of commodities from Morocco into England.Sultan Ahmed el Mansour holds absolute power over the nation and the kingdom as a whole.Many sub-Saharan, Turkish, and European influences are allowed to penetrate due to foreign policy.Numerous lavish and ambitious initiatives are being attempted in the realms of culture, the arts, and architecture.El Badi Palace, the administrative hub of a vast kingdom, exhibits a grandeur and beauty unmatched by the splendour of Sultan El Mansour in this setting.

In the past, several countries have experienced nomadism.It is a way of life that has been abandoned in certain nations but is still practiced in others.Despite Morocco’s rapid progress, the nomadic way of life still prevails there.The last remaining nomads in Morocco continue to lead traditional lives.identical to the kind of life they had 100 years ago.They travel from one area to another with the herd in search of the greatest pastures and conducive weather for the two of them.These two factors continue to compel these little human populations to live in the wild of the Atlas Mountains, engage in transhumance, and maintain what they perceive to be a type of freedom.  Due to the drought and the development of the world around them, Nomads of Morocco become less and less every single year, some tribes Like AIT ATTA IN THE ATLAS MOUNTAIN use to be 500 families 50 years ago, while only about 50 exercise the nomadism nowadays While some emi-nomads chose to dwell in the valleys and villages to practice agriculture or take up any other jobs available, others chose to maintain their nomadic lifestyle but to live permanently in a tent or a cave.  Over 90% of the Amazigh nomads practice Islam in a deeply personal way.They observe all other Muslim obligations while also celebrating Islamic festivals, keeping the most of their distinctive culture and language.  Where do Moroccan nomads live? Moroccan courts only became established 50 years ago.Every tribe has its own land and pastures, which they roam from from season to season in search of better water and herbs for their herd.Like the Ait Atta tribe, the majority of nomads in the Atlas Mountains live in goat-hair tents.  Goats and maybe a few camels would be the major sources of income.Although they have pastures in the High Atlas, where they go during the summer, Ait Atta’s original home is the Jbel Saghro mountain.Every May, families would travel over 15 days on foot from the Saghro highlands to the High Atlas with their camels, goats, and other livestock.They would make the same journey back to their home in the Saghro highlands by the time the first snow fell.  In small settlements that are frequently separated from one another, nomads also inhabit Morocco’s Sahara desert.They coexist peacefully with the arid Saharan environment.Sahara nomads can still be seen in large numbers in the western Sahara and in the vicinity of the Erg Chebbi dunes, where they dwell in various locations.Similar nomadic practices are practiced by Touareg nomads in northern Mali. Some nomads in Morocco also reside in caverns, and they used to travel from one cave to another.similar to the other nomads, for similar reasons.The majority of cave families may be found in the Boutghrar region, the Dades river, and the vicinity of the Todgha gorges.Fortunately, we may refer to this kind of life, which still relies primarily on animals for food, as semi-nomadic.  The life of nomads in the wild under tents or inside the caves is definitely a harsh lifestyle, In this case, it’s not always nomads who choose their way of living, but often it’s the other way around. Where they get food and daily supplies: Every district has a central souk market where nomads shop for provisions for a week or two.As an illustration, Nkob Village continues to be the main market where all the nomads in Jbel Saghro purchase their food and sell their goats.Every Saturday, there is a chance to see nomads in this village at the goat market.Since most nomads live in the wild, souks or weekly marketplaces are crucial to their way of life—not just for buying and selling, but also for visiting their relatives and learning the latest information.  In most areas, local transportation is offered to carry nomads to the market. The same local transportation is typically offered to convey nomads’ goats to the souk.As they did hundreds of years ago, Nomads frequently ride their mules to the market and then back to their camp the next day.For several members of the family, this weekly trip is their only connection to the outside world.  What do the nomads in Morocco wear? The clothing of the Moroccan Nomads varies slightly depending on the mountainous area.Jellaba or Tajellabiyt is still a staple piece of clothing.The scarf, or shesh, is crucial for protecting both men and women from the heat of the summer and the cold of the winter, whether they are in the highlands or the desert.  Nomads in some Saharian regions dress in Draia, a blue complete dress that covers the entire body in a similar manner to a Djellaba.The Touareg nomads who live in southern nations like Mali and South Algeria are thought to be the originators of this style of attire.  Women in the nomad’s lifestyle: A lady in the nomad civilization is a noble queen who faces daily challenges with her family.In addition to caring for the camp and the kids, women perform any task that males perform.Nevertheless, the authority of women differed from one tribe and clan to another.  In the Amazigh culture, as with all Berber nomads in Morocco, the woman is the artist. She creates carpets, blankets, and tents to shelter her family from the harsh conditions of their life in the desert, in addition to experimenting with Henna’s colors for special occasions.  For ages, Amazigh nomad women have practiced the art of tattooing.On their faces and in their hands, you can see tattoos.This behavior is currently uncommon among the younger generations as a result of religious and cultural pressures.  The father’s or the husband’s employment typically justifies travel for souk and other reasons.Due to the numerous tribal disputes that existed in the past, it was once a perilous expedition.Therefore, in order to keep women and children safe, it is usually best to stay in or close to the tribal region where the tribe has made its seasonal home.  Nomads daily life: Young children typically camp out with an adult, who will look after them and perform camp chores

It can be quite beneficial to know what to anticipate if you’re getting married in Morocco or travelling to attend a wedding there. The Formalities of Marriage in Morocco The bride and groom sign the marriage contract as the first step in a normal Moroccan marriage.Contrary to the west, less individuals attend the wedding ceremony itself.Typically, only the couple and the bride’s wali are present.Getting the paperwork and marriage certificates starts a few days before the wedding.Depending on whether both partners are Moroccan or if one is foreign, this will appear differently. Following the completion of the necessary documentation, the bride, groom, wali, and witnesses appear before an imam to sign the marriage contract and the necessary documents to conclude the wedding. The details of the marriage contract have already been determined by the couple and their families, so this process is essentially just a qui ck formality. The pair is legally and spiritually married as soon as the paperwork is signed, yet frequently the marriage is not seen as “official” until after the wedding party. A Three Day Party Moroccan marriages have historically lasted seven days.Before the day the bride and groom actually meet, the families of the bride and groom used to throw receptions in their own houses. Naturally, each and every member of the two families was invited, which resulted in numerous days of celebration.Today, though, doing this is hardly ever practical.There are either simply one or two large parties—one at the bride and groom’s homes, or one large party for both.There are further celebration evenings. The Hammam Day The women’s hammam day kicks off the wedding festivities.The bride assembles all of the female family members, friends, and neighbors and goes to the hammam with them (public bath).The hammam may occasionally be rented out for use by the bridal party.The bride is prepared for the wedding night by having her body cleaned, massaged, scented, and waxed in addition to having her hair washed with ghassoul (a form of clay). Moroccan Henna Party The henna ceremony is the following day.The bride is surrounded by a group of women who will be applying henna tattoos to her hands and feet.Although henna is temporary and fades over time, it offers the bride a very attractive traditional look. For Moroccans, henna symbolizes beauty, fertility, and hope.For “fal,” or to wish the bride much success in her marriage, henna is applied to her body.When the bride is finished, all the female friends and family members also have tattoos, and there is a wonderful party when everyone dances and chants for the bride. The males occasionally go together for their own party during the henna party.Much more modest, in fact.Usually, they come together to eat, recite verses from the Quran, and celebrate the man’s impending marriage. Who is in the Wedding Party On the day of the wedding celebration, the bride relaxes throughout the morning and starts getting ready with the hairdresser and makeup artist in the afternoon.Before the bride enters the ceremony, the wedding guests assemble there.Everyone waits for the bride as the groom and his family arrive.The arrival of the bride is crucial to the Moroccan ceremony.Typically, she is carried by four or six men in a beautiful platform called a “amaria” (they usually come with the Neggafa).The bridegroom and the Amaria carriers walk in front. The bride then exits the amaria and is seated next to the groom on an elevated, ornate couch.All evening long, people would gather to sit next to them and take photos. The dinner is served after the bride changes into a new outfit.The pair dines at a family table alongside their parents and other close relatives.The pair occasionally used the time after dinner to visit each table and introduce themselves to the guests. The bride then leaves once more to don a new attire.The name of it is “Labssa fassia.”It is gorgeous but heavy because it almost completely encloses the bride’s body, with the exception of her face.This suit was designed specifically for the tour of the “mida” platform (unroofed this time). The groom switches his clothing at this time for a more conventional jabador and djellaba ensemble.Typically, there are two Midas—one for the bride and one for the groom—and they are both raised simultaneously. Following one last costume change, the bride and husband leave for the wedding cake and return.The bride wears a standard white bridal gown or a white takshita, while the groom puts his suit back on.After one final dance together and cutting the cake, the bride and groom depart for the wedding night. Choosing a Wedding Venue Finding a lovely location is crucial, especially if the wedding is in the summer, which is “wedding time” in Morocco!You should book as soon as you can for your desired date because many places fill up up to a year in advance (and sometimes longer). All around Morocco, there are stunning locations where a wedding might be held.Large beach rooms and opulent hotel ballrooms that any Moroccan would find extremely sophisticated and stylish.Additionally, there are typical Moroccan settings with large crystal chandeliers, zellige walls, and ceiling sculptures (Nakch).When choosing a venue, keep in mind how many guests you’ll have and make sure it can accommodate them all comfortably. What to wear to a Moroccan Wedding The bride is the center of attention on the day of every wedding.The bride is unquestionably king or queen of the ceremony in Morocco.A specific woman known as a “negafa” is used (usually she also has assistants).She is completely focused on the bride’s outfit, including customs, gold accessories such jewelry and crowns, make-up, and other details. The neggafa typically sends a few special bridal outfits—three or four, maybe more—and helps the bride embellish her takshitas (Moroccan dresses).The bride must therefore ensure that the neggafa is fashionable and that her accessories blend well with her clothing. Before the ceremony, the bride selects the takshitas.The many Moroccan regions are often represented by these garments.They come in a variety of hues.The sofa

Moroccan handcrafted jewellery and craftsmanship have a long history that continues in the present day. One of the most cherished assets Moroccan women own is jewellery. In the past, Morocco’s Jewish population was largely responsible for the traditional craft of creating authentic Moroccan jewellery. Jewish artisans and craftspeople were recognized as the top designers and makers of these objects. We go into the many types of jewellery, their places of origin, the occasions they are designed for, as well as where one may get genuine pieces in our in-depth introduction to Moroccan jewellery. Moroccan Jewelry by region Your mind immediately conjures up pictures of those thick and ornate Berber necklaces or those lavish bridal ornaments that drape the hair, arms, and neck when you hear about Moroccan jewellery. The two traditions of jewellery making that stand out the most are Berber and Tuareg.Berber jewellery serves as an example of ethnic traditions and customs. As a result, it becomes a crucial component of a woman’s dowry.Berber women typically. often seen in pictures wearing big amber necklaces, layers of silver coin headbands, and hinged metal bracelets with different symbolic patterns. The astonishing variety of semi-precious stones and talismans used in bracelets and necklaces is typical. The hand of Fatima, the prophet Muhammad’s daughter, is one of the most well-known symbols for fending off the evil eye. This heritage’s majesty and magnificence are still evident today, and it continues to be one of the richest manifestations of Moroccan culture. Additionally, we can observe how the Tuareg and Berber traditions blended to create the jewellery they created, combining two strong and vivacious traditions. The jewellery from southern Morocco typically comprises various mixtures of silver and copper embellished with geometric or floral motifs. Women might use a fibula as a brooch to complement a dress or their hair, for instance. One of the most noticeable emblems is the fibula, which is a silver triangle that is sometimes carved or embellished with bright stones and used as a decoration or to hold together an outer layer. On the other side, the “Nbala” is a traditional hinged bracelet that is frequently etched to display endearing and quirky designs in the south Atlas region. Types of Moroccan Jewelry Khalkhal Another piece of jewellery that draws strongly from Arab, Andalusian, and Ottoman influences is the Khalkhal.Ankle bracelets or anklets are accessories that are frequently crafted from gold, silver, or a combination of the two metals. The khamsa, or hand of Fatima, as well as a representation of the evil eye were traditionally included in the Khalkhal’s collection of charms and talismans. It could be delicate or hefty, like the Fassi Khalkhal, which resembles a cuff and is adorned with engravings in various floral shapes and a silver chain that transforms it into a double-layered anklet. Mdama Mdama, a type of traditional belt, is frequently used to tighten takchitas or caftans.This accessory comes in a wide variety of materials, designs, and styles.Most significantly, the genuine mdama formerly made up a woman’s dowry. The mama may be constructed of pure gold with various engravings and gemstones, depending on the family’s riches and the social standing of the intended spouse (mostly red and green). It might also be created out of silver in the form of several hinged buckles with arabesque etchings. As time goes on, the mama begins to change into a belt formed of a rigid, almost cardboard-like material that is subsequently covered in the fabric of the dress it is intended to be worn with (whether it be silk, brocade, velvet, or cotton). Silver Bracelets Silver bracelets from Morocco are yet another essential component of any traditional jewellery collection.To add thickness to the wrist, these items are typically worn either alone or in layers. Even though 925 silver bracelets are the most popular, many bracelet sets are made of gold (these are usually worn at weddings or special occasions). Authentic silver bracelet sets are now frequently imitated, and despite being much less expensive than the originals, these imitations nonetheless manage to convey the beauty and spirit of Moroccan jewellery history. Khamsa A hand with the power to ward off evil and shield the bearer from negative energy is symbolized by the Khamsa, also known as the Eye of Fatima or the Hand of Fatima, and it is of Moroccan-Jewish ancestry. This is a traditional motif in Moroccan jewellery and is present in the majority of items, including necklaces, pendants, bracelets, earrings, and anklets. Most Moroccan ladies carry at least a few things with this lovely and distinctive emblem because it is such a common element of Moroccan culture. Antique Moroccan Jewelry Moroccan jewellery from the past is typically far more expensive than contemporary pieces.Not only that, but it can be difficult to even locate an actual item of jewellery that dates back a long time. Finding antique Moroccan jewellery will be a difficult effort, whether you are looking online or in the Souks of old Medinas. Most Moroccan women got those accessories from their mothers and grandmothers; therefore, it is impossible to part with them due to their sentimental importance. Despite how difficult it is to locate vintage jewellery stores in Morocco, you may still purchase genuine items in old-world locales like Marrakech, Fez, Tangier, and Chefchaouen.

Dar Moulay Ali In the Dar Moulay Ali French consular residence in Medina, Dar Moulay Ali Maison de la France in Marrakech first opened its doors in May 2017.The facility, which is run by the Institut Français de Marrakech, provides a venue for exhibitions, history, and recreation. History of Dar Moulay Ali Beside the Koutoubia Mosque and Jemaa El Fna Square, this 19th-century mansion was the home of Prince Mulay Ali Prince. During the French protectorate, the generals of the French army resided at Dar Moulay Ali, a building France purchased in the so-called “Princes zone.”The residence has served as France’s consular HQ since 1958.In March 2007, the French consulate general was relocated to Gueliz, and Dar Moulay Ali was left as the consul general’s home.The former consulate building, which is next to the consul’s home, has been closed since March 2007 but has received significant repair by Moroccan and French benefactors during the past three years.The brand-new Espace Dar Moulay Ali Maison de la France was launched on May 22, 2017. The Institut Francais de Marrakech now has partial public access to the former consulate grounds, including the former consuls’ hall and the former wedding hall. French Embassy and the French Institute In the presence of His Excellency Mr. Jean-François Girault, Ambassador of France to Morocco, Eric Gérard, Consul General of France, and Christophe Pomez, Director of the Institut Francais (French Institute) of Marrakech, were able to recall on May 22, 2017, that this magnificent palace represents the long friendship between France and Morocco and upholds the spirit of this exceptional place by continuing to be a place for encounters and meetings.In addition to an exhibition gallery, a tea parlor, and a travel shop, La Maison de la France has a room designated for the diplomatic home. The two authors, Professor Hamid Triki and Richard Edwards have also written the book “Dar Moulay Ali, voyage au Coeur de la mémoire” which retraces the history of this historic residence. French Institute The French Institute exists everywhere in the world.It is governed by the Ministries of Foreign Affairs and Culture of the French Republic. Its goal is to exert influence and use cultural diplomacy.Worldwide, there are 445 French alliances and 96 French institutes.One of the main goals of the French Institute is to teach the language, but it also has an impact on the diffusion of the arts and cultures (music, literature, theater, dance, architecture, digital, etc.), as well as on relationships between France and other countries. The biggest French cultural organization in the world is located in Morocco, a nation with a long history of French language and culture. It has 12 branches in Casablanca, Tangier, Marrakech, Rabat, Fez, Meknes, Tetouan, Oujda, Essaouira, Agadir, Kenitra and El Jadida.  No less than 800 cultural events are organized every year. In Marrakech, the French Institute is located on the Targa road, at the northwest exit of Gueliz, close to the Lycee Victor Hugo called Lycée Français.

Moroccan Carpet & Weaving Museum in Dar Si Said Dar Si Said Moroccan Carpet & Carpets Museum replaces the former Dar Si Sad Museum. It just had a significant makeover and was given the name of its former owner and designer. On June 28, 2018, it opened its doors to host the national exhibition of Moroccan Weaving and Carpets. It is now run by the National Foundation of Moroccan Museums. History of Dar Si Saïd Marrakech: The Dar Si Said Marrakech Palace, a palace from the second half of the 19th century, was constructed on Said Ben Moussa, the Minister of War’s, instructions. Said Ben Moussa was the brother of Ahmed Ben Moussa, also known as Ba Hmad, who served as Chamberlain for Sultan Moulay Hassan I before becoming Grand Vizier and regent of the Sultan of the Kingdom of Morocco under Sultan Moulay Abdel Aziz (1984 to 1908). The Bahia Palace, which is close to Dar Si Said, was constructed by Ba Hmad.In Arabic, “Dar” means “House,” while “Si” is the diminutive form of Sidi, which means “Sir.”Therefore, Dar Si Said might be interpreted as “Mr. Said’s home.”The National Museum of Moroccan Carpets and Weavings is now housed in the Dar Si Said Palace in the Medina of Marrakech after a number of missions. Formerly known as the Museum of Indigenous Arts, the Dar Si Said Marrakech Museum of Moroccan Weaving and Carpets : The Dar Si Said Palace received the regional rulers of Marrakech during the French protectorate.It was replaced in 1932 by the General Directorate of Public Education of Fine Arts and Antiquities, which also featured a museum of Indigenous and Ancient Arts and demonstrations by craftspeople.Marechal Lyautey, a general living in the French protectorate, was indeed interested in promoting and safeguarding Moroccan arts and crafts. Prosper Ricard was hired by him first as an inspector and afterward as a curator of indigenous artworks.The Muslim Art Museums in Marrakech, Meknes, and Fez were founded by the latter. Under his leadership, the output of carpets surged tenfold.As a collector himself, he published a book on Moroccan rug typology and created the “artisanal label,” which attests to the handmade nature of carpets. In 2018, Dar Si Said will become the National Carpet Museum : Following extensive renovations, the Dar Si Said Marrakech Moroccan Weaving and Carpets Museum reopened its doors on June 28, 2018.The Museum is under the direction of the FNM, or National Foundation of Moroccan Museums. With 400 carpets on exhibit and a new designation as the Carpet and Weaving National Museum, Dar Si Said now provides an ideal setting for promoting the rich heritage of the Moroccan and Berber carpet and weaving collections. The space presently reserved for the vintage Moroccan and Berber carpets brings back all the splendor of this 2,000-year-old craft. The Moroccan Carpet and Weaving Museum at the Dar Si Said Marrakech Collection: Haouz Marrakech, the High Atlas, the Middle Atlas, and the Oriental areas of Morocco are all represented in the museum, along with a temporary display of modern rugs from Chabia or Belkahia.Dar Si Said  The Moroccan Carpet Museum in Marrakech has divided the country’s carpet collection into two categories: the urban carpet from Rabat and Casablanca, which has a lavish floral design, and the rural carpet from the High Atlas, Marrakech, or Eastern Morocco.

History of Essaouira Originally known as Amogdul Bereber (meaning “well guarded”), Essaouira was eventually given the names “Mogador” by the Portuguese and “Mogador” by the Spanish. It still goes by its Arabic name today. Up until the Vth century A.D., the Carthaginians and the Phoenicians ruled Essaouira. The Romans eventually took over and ruled until the year 25 a.C.The province of Mauritania Tingitana was the name of the Moroccan portion of the Roman Empire. The nation’s capital was Volubilis.Essaouira enjoyed particular notoriety during the Roman era for producing purple pigment. In the year 429, the province was taken over by the vandals just before the Empire fell.In the year 533, General Bizantino Belisario vanquished the Vandals.In a significant portion of the nation, the Bizantium empire rose to become the dominant power. Berbers fought for independence from the Omeya Arab Dynasty, who ruled over the Iberian portion of the kingdom, from the VIIth to the Xth centuries, and took control of Essaouira. yusuf ben Tasfin gained prominence during the XI century and later became the founder of the City of Marrakesh. In search of the far-off earth, Portuguese, other tourists, and the “In the XV century, “vanguardists” invaded the Moroccan coats.They retook control of the African nation.The cities of Essaouira, Sebta (Ceuta), Agadir (Santa Cruz of CAP of Gué), Melilla, Asilah, Larache, Casablanca, and El-Jadida were seized in that order.The first defensive structures, including the well-known Scalas, were built by the Portuguese “that are still in place. The mythological king Sebastián I was killed in the Portuguese and Spanish army’s defeat (the Battle of Three Kings) in 1578.Once more, the Alau dynasty ruled as the sole Arab force in the nation. In 1764, Sultán alaoui Sidi Mohammed Abdallah fully renovated Essaouira.The Museum of Moroccan Arts, which has an intriguing collection of weapons and carpets along with many other marqueterie, is still strongly associated with his royal name. The XVIII century was the city of Essaouira’s golden age.Trade with Europe played a major role in this.Essaouira underwent significant change and became Timbuctu’s primary fishing port, becoming the most significant commercial hub in the Moroccan kingdom. This was a time when different ethnic groups—such as Berbers, Jews, Arabs, Portuguese, and Saharan people—coexisted peacefully.The most significant gateway between Africa and the rest of the world thereafter emerged as Mogador. This was a time when different ethnic groups—such as Berbers, Jews, Arabs, Portuguese, and Saharan people—coexisted peacefully.The most significant gateway between Africa and the rest of the world thereafter emThe latter decline in this Atlantic city’s prominence contributed to the industrial and maritime growth of Casablanca Port. which emerged as Mogador. Essaouira had an unanticipated renaissance with the turn of the 20th century.This was mostly caused by the entrance of well-known explorers, pop musicians, and artists who were all looking for inspiration…With some of the best surf conditions on Morocco’s Atlantic coast, Essaouira is now regarded as one of the best tourist destinations in the nation.

Morocco’s Asilah: Healing the Past Through the Present Asilah is a really intriguing fusion of the relaxed and the urban, the touristy and the cultural, and all the lines in between.The town of Asilah was formerly very famous and important in Morocco, but over the course of several decades, it has labored to establish itself as one of the cultural epicenters of the entire Muslim world, restoring the town to its current relevance. A little fishing community called Asilah has a roughly 3,500-year-old history.This is because Asilah, which is already well-known for its beaches, is also a natural harbor that has been utilized throughout history by several peoples, including the Phoenicians, Carthaginians, Byzantines, Romans, Arabs, Normans, and Portuguese. The massive walls, ramparts, and fortifications that the Portuguese constructed are what still give the town its characteristic appearance today.Near the end of the 17th century, Asilah was fully unified with Morocco and became a significant sanctuary for pirates for the following 200 years. Despite the fact that Asilah is now much more peaceful and that the days of pirates and battle are long gone, the city walls and ramparts are still in excellent condition as a result of restoration efforts. Due in part to the aptly called Paradise Beach, a laid-back lifestyle, and a number of cultural festivals that have helped Asilah become one of the major cultural hubs of the Muslim world, it is now a well-liked tourist attraction. Throughout the year, there are numerous festivals that support Muslim artists and the development of their culture and art. Due to August being regarded as “the cultural festival,” August is a particularly significant month for these events. These festivals, which were first held in the late 1970s, had a vital role in transforming Asilah from a run-down town with little significance in contemporary Morocco into a popular tourist and artistic destination. Asilah’s entire city appears to be transformed into an art gallery during the August cultural festival. The Pasha Raissouni Palace will host exhibitions of artists’ work, but it is not limited to that location. On the town’s walls as well as in the streets, the painters will exhibit their work. There are many different activities—including music, art, and art—that are intended to promote a creative culture. Asilah has evolved into a popular destination for Moroccan artists, living up to the city’s expectations when the festivals and anticipated restorations first started in the late 1970s. Asilah is a popular location for travelers to enjoy a few calm days to recuperate after viewing the wonders of a busy tourist city because it is simply reachable from the nearby city of Tangier by train or bus.Asilah offers a nice selection of lodging options, from luxurious to affordable yet clean, as well as numerous campsites designed especially for adventure-seeking backpackers and tourists. The majority of campgrounds are situated on or near beaches by the water, providing guests with a stunning view to wake up to in the morning and the tranquil sound of the ocean to fall asleep to. Given that Asilah is a coastal community that has long been a port and fishing community, it should not be surprising that some of its restaurants make claims to provide the best seafood, as we explore in our Morocco travel guide. If you enjoy seafood, it is well worth coming by to see what’s on the local menu. Asilah has once again become a significant cultural and artistic center, making it a popular tourist destination.The town has invested a large portion of its newly discovered wealth back into the community, and the results are evidently beneficial. Even when the building is booming, all designs attempt to maintain the traditional appearance of their ancestors’ homes. Frequently, this involves incorporating salvageable components and materials from previous structures that had to be demolished due to disrepair. Asilah was seen as nothing more than a run-down stopover in the late 1970s on the road to Tangier. That is far from the situation now, thanks to the cultural festivals, which two locals began with the hope of bringing their town back to prominence and glory. Moroccans are proud of Asilah’s efforts to restore order, and their cultural celebrations rank among the best in the entire Arab world.Asilah has developed into a lovely town that visitors and travelers of all kinds may enjoy, from the long walks by the sea to the vividly painted ornamental paintings on building walls. Asilah should be a required stop on any Moroccan tour because it is a relaxed, easygoing town with a lot to offer tourists in Morocco, whether they are artists or not. This village is a fantastic illustration of how a small group of people can transform a community for the better and create something incredible that may have beyond even their greatest expectations.