Morocco’s heritage and cultural and artistic dynamism provide meaningful contributions to global culture. After a long period of political conflicts characterised by an absence of real cultural policies, Moroccan society was able to preserve its national heritage and renew cultural and artistic creativity. Through its contributions to tourism and culture, this heritage gives the Morocco of today the image of a nation rooted in history.


The country’s architectural and anthropological sites have eroded somewhat due to their lack of maintenance over the past decades. Oral heritage and “local implicit knowledge” also suffer the same problem. The arts and culture boom Morocco witnessed from independence to the early 1970s stagnated for more than two decades. Since the early 1990s, political openness and media development have ushered in new artistic and cultural features in literature production, contemporary architecture and arts, film and theatre.


In a speech by the Moroccan monarch, the establishment of a royal foundation to serve Amazigh language and culture was announced. It was to be called the Royal Institute of Amazigh Culture and would be entrusted with developing a national strategy for reconciliation between Moroccan society and the Amazigh. This institute now works in cooperation with government authorities and relevant institutions, and will result in the integration of this segment of society into the educational system, the media, cultural life and scientific research. The strategy of the Royal Institute of Amazigh Culture is based on four fundamental principles: (1) The Amazigh is an historic group, deeply rooted in  Moroccan history and civilisation. (2) The Amazigh are an essential element of national heritage, along with all other components of Moroccan society, without exception. (3) The promotion of Amazigh culture is a national responsibility. (4) To give attention to Amazigh culture in the context of ingraining a rule of law and institutions, and to build the democratic, modern society sought by Morocco.


And in another royal speech, given on 9 March, 2012, following the outbreak of the 20 February youth movement—which came in response to dynamic changes in the Arab region—the king called for the adoption of a new constitution, that would grant the Amazigh language constitutional status. This was confirmed in the new constitution, which Moroccans were invited to confirm in a referendum on 1 July, 2011.


As for literary production in Morocco, the publishing sector has witnessed remarkable development in the last two decades. About 12,400 books were published between 1985 and 2003, compared to the 3,113 books published between 1955 and 1984.



1.1.5. Democratic Practice

Two main challenges faced Morocco after independence: reclaiming land and establishing institutions and laws. After independence, most political powers gave priority to state-building and developing the most liberated regions, as well as struggling to liberate occupied lands. With the end of the struggle for independence, most political leaders adopted non-violent tactics for land reclamation. However, some leaders invoked violence to oppose lingering Spanish control. Consequently, Morocco was able to recapture Tarfaya in 1958, Ifni in 1969 and some Saharan regions in 1979.


After gaining independence, Morocco entered a period of lengthy constitutional debate, in which all political powers were regularly consulted. Basic laws were adopted while waiting for a full legal system to be completed. The full legal system eventually implemented is akin to a script (modouwana) for public liberties, associations and the press. The way the constitution was prepared initially evoked some political tension. The left wing supported the idea of establishing a general assembly to set forth basic laws for the country, while other political powers deemed it unnecessary. Morocco chose a democratic social monarchical system, wherein institutions represent the people, and the king plays a major role on multiple levels as head of state and chief executive. The majority of left-wing opposition wanted to reorganise power and give parliament more authority; executive power would be in the hands of the prime minister. The first Moroccan constitution has been altered to some extent, but remains partly unchanged. This constitution was adopted based on a public referendum on 7 December, 1962. It was supported by the political powers and boycotted by leftist opposition.


There have been several amendments to the 1962 Constitution, which came in response to popular calls over consecutive years: 1970, 1972, 1992, and 1996. However, in early July 2011, the Moroccan people—through a popular referendum—adopted a new constitution for the kingdom. Which, in the eyes of many Moroccan political observers, represents an important shift given that is a step towards laying the foundations of democracy and moving towards a constitutional monarchy. 


And while the new constitution does not alter what are known as nationally agreed upon constants—Islam, the emirate of the faithful, the monarchy, and national and territorial unity—on the other hand, it is focused on reinforcing the principle of separation and balance of powers. This is achieved by strengthening the role of the prime minister, who is appointed from the political party that leads in the elections of the House of Representatives. The leading party is directly elected by the people, which means respecting the results of the ballot boxes. 


Article 19 of the 1996 Constitution stipulates that the king is the commander of the faithful, the supreme representative of the nation, the symbol of its unity, and the guarantor of the perpetuation and continuity of the state. He is the defender of the faith and shall ensure respect for the constitution. He shall be the protector of the rights and freedoms of the citizens, social groups and organisations. He is the guarantor of the independence of the nation, and of the territorial integrity of the kingdom within all its rightful boundaries. In the new constitution (1 July,2011) this article has been divided into articles 41 and 42.


According to the preamble to Article 41 in the draft constitution, the king is the commander of the faithful, the defender of creed and religion, and the guarantor of the freedom to practise one's religion. He heads the Supreme Scientific Council, which is responsible for studying the issues brought to its attention. The council is the only body qualified to issue official fatwas on matters it deals with. These fatwas are issued on the basis of the principles, provisions, and noble goals of the sacred religion of Islam. These principles, provisions, and goals are what set the terms of reference and clauses of the council, by royal decree. The king exercises the powers related to the Emirate of believers, and these powers are exclusively vested in him, as defined in this article.


Article 42 notes that the king is the head of state, its supreme representative, the symbol of the nation's unity, the guarantor of the perpetuation and the continuity of the state, and the supreme arbitrator of its institutions. Moreover, he ensures that the constitution is respected, that constitutional institutions function properly, that democratic choice is maintained, he ensures the rights and liberties of citizens and groups, and that the kingdom respects its international agreements. The king is the guarantor of the country's independence and land, within all of its borders. He exercises these tasks through the authorities explicitly conferred upon him by the constitution. 


In addition to its political components, the new constitution seeks to ensure the pluralistic nature of Moroccan identity. It identifies the Amazigh as an asset to all Moroccans, and notes that, in addition to Arabic, the Amazigh language is an official language. The language is protected by regulatory departments and government agencies, which must respect and implement the language within their administration, the education system, and the media.


The new constitution also includes an entire article—Article 5—dealing with cultural and linguistic issues. It stipulates the establishment of a National Council for Languages and Moroccan Culture that protects and develops the Arabic and Amazigh language, and various other cultural expressions of Morocco. It considers these cultural expressions part of Morocco's integral heritage and contemporary creative scene. The Council oversees all institutions involved in these areas, defining their regulatory powers, composition and modes of implementation.


Concerning collective representation, Morocco, organised its first public direct-ballot election in 1960. While initially simplistic, elections have since witnessed profound development in accordance with the Collective Covenant of 1976. Passed in 2002, the covenant expanded the democratic experience to include electing local councils. Elections were carried out on a regular basis, and the resulting councils increased government efficacy by holding municipal debates and governing locally.


Despite discord following most elections, since 2002 the election process has become more democratic, in which power is shared between the National Democratic bloc and other parties. This was the result of a 1998 national accord between the monarchy and the nation’s progressive powers, which the left had been calling for since the 1970s.


Despite the Socialist Union of Popular Forces party, which was represented in their monopolised control over the Cultural Ministry between 1998 and 2011, the premature elections of 25 November, 2011, brought for the first time in its history the Islamic trend to power, represented by the Justice and Development Party. This represents  a new era in the modern history of Morocco.

1.2. Historical Perspective: Cultural Policies and Instruments

1.2.1. Post-Independence Stage

Moroccan society consists of two cultures, each with its own language or languages, its own way of thinking and style. There exists the traditional culture, which was prominent before Morocco became a protectorate and is still found today, although it has lost its vitality and original purpose. And there exists a “modern” culture that came with colonisation. Consequently, the authorities in charge of administrating culture must find a sort of proportionality between traditional heritage and Western culture while keeping an open venue for the development of traditions and the promotion of creativity.

Before the protectorate era, cultural activity was exclusively relegated to the Makhzen (Repository).[1]  The Makhzen established praying places, mosques, shrines, religious festivals and sharifs like Dr. Abdullah al-Aarwi’s book.[2] The cultural life of Morocco continued harmoniously within this traditional system until the protectorate era.

The protectorate system established the Fine Arts Service in 1912 in an effort to modernise Moroccan culture. The Fine Arts Service was the first administrative authority in charge of Islamic and modern archaeology and arts. In 1920, the service was annexed to the Department of Public Education, Fine Arts and Archaeology. It remained this way until independence in 1956, when the entire apparatus underwent organisational overhaul. Thus it can be said that formal arts institutions began in the protectorate era.

With the establishment of the first independent Moroccan government in 1955, the Department of Public Education, Fine Arts and Archaeology was transformed into the Ministry of Sciences, Education and Fine Arts. Ten months after its transformation, the Ministry vanished, taking fine arts with it. Fine Arts reappeared with the eighth government in 1963, under the Ministry of Tourism, Traditional Handicrafts and Fine Arts. When a government transition occurred again in 1963, the new government retained the same ministry, including fine arts.

Placing fine arts with traditional handicrafts and tourism reflects an implicit desire by officials to relate it to tourism and traditional handicrafts, priority sectors in the five-year plan of 1968-1972 for economic and social development.

In the tenth government, established in June 1965, fine arts was placed with the Ministry of National Education, Fine Arts, Youth and Sports in an attempt to put together all related cultural components. This lasted only for the government’s term, from June 1965 to May 1967. In the next government, fine arts fell under the Ministry of National Education. It was not until 1968 that culture appeared as its own ministry.

Culture was overlooked for 13 years after independence, during which time priority was given to spurring economic growth through founding governing institutions and implementing rules.

Before discussing the period of time in which the first Moroccan cultural institution was established, this report reviews the corresponding socio-cultural and political situation, in order to explain the conditions that led to its establishment.

Funding for Cultural Activities

During the first two decades post-independence, Morocco adopted a development strategy aimed at economic development and strengthening state control. This strategy emerged from the belief that economic development would increase standards of living and education, which in turn would spur cultural development. Therefore, culture was absent in the first two plans for socioeconomic development (1960-1964 plan and 1965-1967 plan).

In the five-year plan of 1968-1972, culture was allocated funding under both “cultural education and development” and “socio-cultural and sport activities”. The establishment of two cultural houses was listed in the plan. Morocco’s development plan did not fully incorporate culture until its fourth iteration (1973-1977), when a cultural work committee was created. The plan emphasised the task of extending cultural policy; it indicated that “cultural policy is a key element in socioeconomic development. It concerns many aspects of life—education, creation, media, work, entertainment, lifestyle, urbanisation, housing and environment. It also addresses the populace with no discrimination towards age or social status. All youth should be incorporated into the cultural policy”. Indeed, the plan stresses the notion of “encouraging everyone to participate in cultural life”, not just the cultural elite. “Culture should be incorporated into daily life as a basic element in developing citizens’ personalities”. Eleven cultural compounds, reading centres, higher institutes for music, and museums were established, as well as an expanded program for the rehabilitation of historical sites in Rabat, Fès, Marrakesh, Safi, Meknès, El Jadida and Tangier.

Since the Constitution of 1996, it was made incumbent on the Prime Minister of Morocco to present to both chambers of parliament, confirming the presence and importance of culture in government policy. Whether it was a matter for Professor Abderrahmane Youssoufi (Socialist’s Union for the People, 1998- 2003 ), Mr Driss Jettou (a technocratic, 2003 - 2007 ), or Mr Abbas El Fassi (The Independence Party, 2007 - 2011), they all, in spite of their different political and cultural persuasions, confirmed the importance of culture and its role in national development on both regional and local levels. Following this approach, Mr Abdelilah Benikrane, current President of the Government (Justice and Development Party), will pledge during his government the following three platforms:

1. Strengthening national identity and maintaining cohesion and diversity of its components and opening up to different cultures and civilisations. This can be achieved by adhering  to the kingdom’s religious authority and promoting individual responsibility, alongside strengthening Moroccan identity. This identity features Islamic religion at the forefront, as the guarantor of values inside a framework of openness and moderation, tolerance, dialogue and mutual understanding between cultures and civilisations of mankind as a whole. It also promotes the values of good citizenship and the rise of a dialogue based culture, a culture of cooperation and responsibility, work and production, sense of duty and guaranteed freedom.

2. Launching an integrated language policy to strengthen the fabric of national language and opening up to foreign languages. This includes strengthening national languages in the two official languages of Arabic and Amazigh, along with the adoption of a new approach to promote openness and foreign languages in order to promote scientific research for cultural economic cooperation and interaction.

3. Adoption of cultural, technical and media policies that promote Moroccan identity based on citizenship, freedom and responsibility, and creativity. In particular, through the Government's commitment to culture through: media infrastructure and services; maintenance of cultural and natural heritage (protecting and valorising it); improving corporate governance in cultural affairs; modernising cultural measures to take into account regional dimensions and keeping pace with creativity; caring for production conditions, creators, and producers; promotion of youth creativity;  development of a policy to support national production and dissemination; and activating international cultural cooperation, according to the rules of professional quality and competitiveness, transparency and partnership.

At the Political Level

Since the protectorate era, culture has been infused in political discussions, many of which focused on the role of Islam and the Arabic and Amazigh languages in political conflicts against the French-Spanish protectorate, and in defining citizen liberties post-independence.

At the Cultural Level

Moroccan cultural life witnessed a remarkable revival after independence: Arabic-French bilingualism, theoretical and cultural journalism developed spectacularly. Souffles magazine was established in 1966, aiming at creating a new cultural paradigm that reconsidered the sacredness of the past by connecting it to contemporary Western civilisation. In the same year, Lamalif was issued, addressing cultural issues. Less than two years later, the Cultural Research Association was established to provide critical analysis of Moroccan culture. The association’s preliminary manifesto stated that the “time has come to expose the temptation imposed on our society, and on all of the developing world, by the technological power of consumptive society… Highlighting this temptation will reveal that technological power and scientific development in the Western world will only become tools to displace man and impede his many creative abilities”.

In 1967, Al-Alam newspaper began issuing a weekly cultural addendum, a practice followed by other papers. The fields of history, fiction, poetry, painting, theatre and music also witnessed unprecedented prosperity. In plastic arts the Casablanca school, comprised of several well-known painters, established theories on the socio-cultural integration of Moroccan painting. This became known in Marrakesh as the “manifesto exposition”. Casablanca’s painters reconsidered colonial inheritance and tried to remove Moroccan painting from obscurity by presenting their work in public spaces rather than bourgeois galleries. In 1969, they held an exhibit in the yard of Al-Finaa Mosque. In the same year, Casablanca held another exhibit at 16 November Square. A decade later the approach was repeated during an exhibit at the Asilah festival.

Many theatrical groups were established following independence; by 1969 140 groups had been established. In 1959, the Moroccan Drama Research Center and the Amateur Theater Festival were founded. The latter was to be a yearly opportunity for unfettered theatrical expression away from any ministerial oversight.

The same period also witnessed a new wave of popular music emerging from theatre, led by the bands Nas Algewan and Jel Jalalah. Nas Algewan directed Moroccan singing toward its popular origins, reviving its poetry and musical heritage with deep Arab, Amazigh and African roots.

The period between independence and the early 1970s was characterized by the emergence of a new generation of intellectuals and writers who believed that no scientific, literary, or artistic awareness could be had without political awareness. These left-wing principles tore at the illusion of a single, uncontested cultural identity. They argued that Morocco’s political forces must support cultural progress if they intended to modernise. Confronted by this situation, the political authority that had remained silent on cultural issues since independence was forced to invest in culture as a means of asserting its control.



1.2.2. The Ministry of Cultural Affairs

Organisation and Tasks

On 8 July, 1968, the King announced the first ministerial change by appointing a State Minister for Cultural and Primary Education. This came as a result of his speech on 3 March, 1968, in which he defined culture as a complex phenomenon that includes not only arts and literature, but also modes of life, traditions and beliefs, and the interaction between them. 

The Ministry was charged with developing and coordinating cultural activities through the following tasks:

• Adopting appropriate approaches to support literary activities, including cultural, educational and artistic associations.
• Promoting literary and scientific production by establishing prizes.
• Publishing literary and scientific research periodicals.
• Managing cultural institutions (cultural houses and libraries) and creating activists in them.
• Arabising geographical names, alley names, banners and trademarks.
• Advancing popular culture.
• Working to implement signed agreements with other countries.

Following the first coup attempt on 10 July, 1971, the twelfth government was appointed on 11 August, 1971, which included the Ministry of Culture, High, Secondary and Primary Education and Training. Eight months later, when a thirteenth government was appointed, it was shortened to the Ministry of Culture High, Secondary and Primary Education. Following the second coup attempt (16 August, 1972) a new government was appointed on 20 November, 1972 that included the Ministry of Awqaf, Islamic Affairs and Culture.


Despite the hard political conditions the country has faced, the state is aware of its responsibility to intervene in cultural affairs. As ministries were created, culture usually accompanied Islamic affairs and primary education. This tendency derives in one part from the government’s eagerness to emphasise its Arab and Islamic origins, and also from the government’s hesitancy to adopt a clear cultural policy. Six years following the establishment of the first cultural institution, a government change on 25 April, 1974 (the fourteenth government) was made, establishing the State Ministry for Cultural Affairs.


A decree (number 2-75-443 on 25 August, 1975 published in the official gazette No. 3281 L, September, 1975) was issued organising the Ministry for Cultural Affairs and specifying its mission as follows:

• Preserve national cultural heritage and secure its integrity, using all possible means to develop it.
• Set up legislative and organising text to protect artefacts, archaeological sites and historical features.
• In addition to that, and within the scope of legislative and organising provisions, the Ministry shall run the internal institutions in its specialisations.
• The Ministry includes: the minister’s office, general clerk’s office, inspection division, central administration, and external cultural services.
• The central management includes: the division of cultural activities and artistic education; the division of museums, archaeological and exploration sites and historical features; the administrative service; planning and documentation service; and legal service.

In accordance with ministerial decision No. 78.430 (issued on 22 February, 1978), external services under the Ministry of Cultural Affairs were established in eight administrative regions in the kingdom (six municipalities, 1 region, 1 town).


The Ministry of Cultural Affairs remained operational until the end of the 20^th century, headed by six ministers in 12 government formulations. It was transformed to the Ministry of Culture at the beginning of this century.


During this period, several amendments were carried out to organise the Ministry’s departments. The most important of these is the 1985 amendment (decree No. 2.82.800 on 29 Jan, 1985 published in the official gazette No. 3779 L, on 3 April, 1985), in which the Ministry’s central administration includes: the Department of Cultural Activities and Artistic Education; the Department of Museums, Archaeological and Exploration Sites and Historical Buildings; the Cultural Heritage Inventory Division; Planning and Documentation Service and Legal Service.


In accordance with the ministerial decision No. 87.546 issued on 8 October, 1986 (official gazette No. 3884 L, on 8 April, 1987) deputies were established in 25 administrative area of the kingdom (23 regions and two prefectures).


In 1994, the Ministry witnessed the most important organisational amendment in decree No. 2.94.222 on 24 May, 1994 (official gazette No. 4277 L, on 19 October, 1994). The amendment cancelled decree No. 26 August, 1975 and stated that the Ministry shall assume the set up and implementation of policies related to cultural and artistic development through the following:

• Unifying directions and coordinating works aimed at strengthening national culture and preserving its distinctiveness.
• Utilising all possible means to guarantee its flourishing as well as following up any work or initiative seeking the preservation and maintenance of the national heritage.
• Setting up a precise strategy on local and regional levels to raise the national cultural level.
• Advancing and activating cultural work; establishing and managing cultural institutions for artistic education; and promoting creative work and research in the fields of culture, arts and literature.
• Drafting laws and regulations in related cultural and artistic fields and assuring their implementation.
• Making cooperative relations with the cultural and artistic institutions, associations and commissions inside and outside Morocco.

The general administration includes: the general clerk office; general inspection; the cultural heritage department; the cultural development department; the arts department; the book, stores and stocks department; and the department of human resources and general affairs.  The same decree organised and defined the tasks of departments and central administration services.

Cultural Dialogue

In 1975, the National Culture Committee was established (decree No. 2.74.549 on 3 July ,1975, published in the official gazette No. 3272 L, on 16 July, 1975) with the following tasks:

• Promote studies to be conducted by different ministries to disseminate culture.
• Coordinate, study, and propose all possible means to advance archaeological research and develop the heritage of national buildings.
• Propose any measures, especially legislative and organisational, that will achieve the aforementioned objectives.

This committee convened for the first time on 30 June, 1981, six years after its establishment. In 1986, a national symposium on Moroccan culture was held in the southern city of Taroudannt; a second symposium was held on the same topic in Fes in 1990. By 1995, this committee was replaced by the Supreme Council for Culture, which included branch councils. This council was an advisory body, designed to discuss cultural policy and to propose topics of priority to cultural work. But this consulting committee would be doomed to fail as it was started with immobility.


Except for the great national consultations that have been adopted in a debate form, consultation on issues of culture take a sectorial dimension, the Ministry of Culture or the Ministry of Communication acting as guardians for the film sector, and the Moroccan Authors’ Copyright Office holding bilateral meetings to study sectorial emergency issues, with its partners, professional associations and trade unions. This would lead to the adoption of joint draft laws and books that contribute to highlighting the nature of the consultation between the State and its partners from various concerned parties in respect to art and culture.


In 2014, the Ministry of Culture extended the invitation for a new national seminar to determine the priorities agenda for development beyond 2015, which is expected to replace the Millennium Goals Declaration adopted in 2000.


The selection of Morocco to engage in this pilot project began in a framework of cooperation between the Ministry of Culture and UNESCO. It came on the basis of growth achieved by new cultural practices and the development of the Cultural Dimension of National Initiatives for Human Development Strategy in 2020, the  Tourism Industry Strategy in 2015, and the experience of traditional Morocco as a beneficiary of the program of "Cultural Heritage in Creative Industries as a Stepping Stone for Development", funded by Spain.


Morocco was the only Arab country chosen to activate this national consultation. Among a group of five other countries, Morocco was tasked with compiling and analysing visions and trends which link culture and sustainable development concepts from 2015. The kingdom's progress report will be presented to the General Assembly of the United Nations in October 2016.


The city of Rabat launched the national consultation on "Culture and Development in Sustainable Development agenda, after 2015" with a view to pooling and analysing perceptions on the ways of integrating cultural elements horizontally, regionally, and nationally.


There will be, to this end,  six thematic workshops dealing with the contribution of culture in sustainable development, especially in the areas of education, combating poverty, gender equality and the empowerment of women, sustainable cities, urbanisation, the environment, climate change and reintegration and reconciliation. In addition to the workshops, the Ministry of Culture and UNESCO office in Rabat added a questionnaire on their websites for academics, civil society activists, and the general public to express their views on the culture of sustainable development in Morocco. The national council cover letter stressed the role of culture in the fight against poverty, through the preservation of cultural heritage, investing in activities with cultural direction, and encouraging contracts with culturally oriented small businesses. This would increase the effectiveness of anti-poverty programs and the empowerment of individuals, strengthening their capacities. It also highlights the many benefits that could be derived from the integration of a cultural dimension to  education where emphasis on a spirit of tolerance and positive values and attitudes can encourage creative development. The paper also points to the relevant role of cultural projects in women's empowerment and gender equality. It explains the role of women in passing on their traditions and heritage, and their significant role in traditional industrial production, which has a strong cultural relevance.


It is through culture that women can enhance their capacities and improve their living conditions through serious employment opportunities. It also considered cultural life, nature, and coexistence between the various components of the city (historic districts, cultural heritage of ancient cities, modern cities, public gardens, cultural facilities) as a key to sustainable urban development.


In this context, investing in infrastructure, theatres and museums, cultural facilities and in the role of culture, is the start to creating a civic space which promotes dialogue and social integration.


The document stresses the role of cultural initiatives in the advancement of the environment. There may be some resistance to abandon harmful practices which impact the environement. Improved  understanding of the cultural context of a number of practices can be the best response to dealing with resistance to change.


The influence of culture extends to reintegration and reconciliation, wherein Morocco presents a model of the role of culture in reconciliation with historical memory and its relevance in activating policy through a cultural understanding of the country’s situation and parties involved[3]. 


Culture in the Socioeconomic Development Plans
1968-1972 Plan: 2,800,000 dirham was allocated to fund the preservation of national heritage, especially historical sagas and archaeological researches. The money was also intended to promote culture by building two houses, one in Rabat and another in Tetouan. Due to financial difficulties, the project was postponed. Only small centres were established in cooperation with local groups by transforming deserted churches in El-Jadida, El-Hajeb and Ahfeir.


1973-1977 Plan: 3,350,000 dirham was allocated to establish 13 cultural houses, compounds and repositories in all major cities, to rehabilitate existing museums and establish new ones. These projects were confronted by several obstacles, including the difficulty of purchasing land and the lack of oversight needed to implement and supply the project. Studies reveal that only 6% of the allocated budget was used to supply cultural houses in Rabat and Tetouan.


1978-1980 Plan: 1,377,000 dirham allocated to rehabilitate eight museums in Fes, Marrakesh, Tetouan, Tangier, Meknes, El-Jadida and Safi. 5,986,000 dirham allocated to build two cultural compounds in Meknes and Tetouan. Several measures were taken to promote reading such as lowering publishing and book costs. Even though the eight museums were rehabilitated, there were delays in building the compounds.


1981-1985 Plan: Only the two uncompleted compounds from the previous plan were completed.


1988-1992 Plan: Emphasised that culture has become a basic element of the country’s socioeconomic development. The diversification of culture affects societal stability and coexistence. The aim of this plan was to intensify cultural activities across all sectors, to encourage local groups and the education sector to take the necessary measures related to publishing rights, to issue cultural investment law and to regulate artefact exports.


1993-1999: Morocco faced a difficult financial situation during this period and the economy was subjected to a Structural Evaluation Program from 1993 to 1994, with the support of the World Bank and the International Monetary Fund. Thus, it was satisfied with completing the two compounds. Still, new projects emerged such as the cultural press Al-Manahil, a network of public libraries, the rehabilitation of Bab Al-Rouh performance hall, the National Institute for Archaeology and Heritage and the Theatre Institute.


1999-2003 Plan: Sought to complete previously-launched projects such as cultural compounds in El-Aioun, Oujda, Fes, Asilah and El-Jadida. Sought to implement nine cultural house branches, build 250 cultural houses for urban groups and 250 for rural groups, and conduct studies on the cultural practices and production in Morocco. Sought to build a national library and some other projects addressed in chapter six of this research.


Following the adoption of the 1996 Constitution, the first government obligation for the Minister is to provide a statement in front of the two Houses of Parliament in order to get their confirmation. Since that date, the Ministry acts as a guardian to issues of culture, drawing special sectorial strategies. These strategies were immense in line with the new requirements of the Constitution of 2011:


Between 2012 and 2016, the Ministry of Culture designed a strategy for the following five key topics:

 

1. The policy of close proximity, which meant to expand cultural activities beyond big cities and bring them closer to villages and remote areas.
2. Support and keep pace with creativity and creative people. Expand the support to include creative youth, persons with special needs, social conditions and providing professional nurturing for creative people, giving legal status and motivating them to engage and effectively contribute to their development.
3. Maintenance of cultural heritage. Attention to cultural heritage in both its forms socially and materialistically to promote Moroccan culture, catalogue and classify the most important locations and historical sites in Moroccan humanitarian heritage, and maintain them to be used as locations for cultural activities.
4. To stimulate cultural diplomacy. Create a bond with Moroccans living abroad and strengthen their culture of connection to Morocco. Strengthen knowledge of Moroccan cultural production and technical skill. Strengthen ties and friendship with neighbouring and friendly countries and intensify cooperation and events, and stimulate Moroccan cultural centres abroad. Strengthen exchanges through international cultural events. Coordinate relations with international organisations and activate and implement the requirements of cooperation agreements.
5. Improve governance and management (restructuring and reorganising the Ministry). Revamp the Ministry’s structure and priorities, updating legal texts to match and reflect current developments, the capacity and rehabilitation of human resources, and to increase competency, ownership and accountability in the Ministry. Activate the role and involvement of civil society in the formulation, implementation and evaluation of programs, followed by increasing the Ministry's budget to 1 % in 2016, and expanding the involvement of private sector in supporting cultural affairs.

 

The principles for this scheme are as follows:

 

1. The principle of State involvement in cultural matters, which was shown in aspiring to provide basic conditions, practise linguistic and artistic creativity, bring prosperity and support to creative people, and rationalise a cultural market.
2. The principle of freedom of expression and artistic creation. Encourage cultural initiative individually and collaboratively.
3. The principle of linguistics and cultural diversity. The State shall provide protection for all manifestations of cultural diversity and languages in Morocco.
4. The principle of cultural exception, that culture is not a commercial commodity. This is what makes it exempt from the World Convention of the Organisation of World Trade.
5. The principle of democratic pluralism, starting from a pluralistic system of the political, the cultural and the linguistic.
6. The principle of decentralisation. Chapter 1 of the 2011 Constitution considers the Al-Turabi system a Moroccan decentralised system.
7. The principle of the right to culture, which allows all citizens of different segments and sensitivities to take advantage of the culture of public service through disseminating cultural structures through a plan to activate national cultural centres.
8. The principle of cultural cooperation between cultural representatives locally, nationally and internationally, including guarantees of freedom and promoting opportunities for dialogue.
9. The principle of the primacy of international treaties and covenants for those with relevant cultural policies and protection of cultural diversity, and maintaining the cultural rights of regional languages[4].

 

Ministry of Cultural Affairs Achievements
On the technical level, the following was established: 

• 1985: The National Institute of Archaeology and Fossils (official gazette No. 3776, issued on 16 March, 1985) in Rabat.
• 1993: The National School for Fine Arts in Tetouan (official gazette No. 4203, issued on 19 May, 1993).
• 1985: 21 Music and Dance Institutes (official gazette No. 3810, issued on 6 November, 1985) distributed as follow: three in Rabat; two in Meknes; two in Casablanca; two in El Araesh; one in Oujda; one in El-Jadida; one in Beni Mellal; one in Marrakesh; one in Essaouira; one in Safi; one in Asilah; one in Tetouan; one in Chefchaouene; one in Tangier; and one in El-Aioun.
• 1985: The Higher Institute for Theatre and Cultural Activities in Rabat (official gazette No. 3773, issued on 20 February, 1985).
• 1973: Mohammed IV National Theatre in Rabat (official gazette No. 3151 issued on 21 March, 1973).

 

The inventory of the Ministry of Cultural Affairs shows the following: 15 museums (as follows: four archaeological museums, seven anthropological museums and four specialised museums); 136 repositories; 20 theatres; 13 performance halls; 14 research centres and institutes; 20 cultural compounds and 31 regional representative offices.


On the legislative level in cultural activities, the most important achievements are: 

• Law No. 22.80, pertaining to the preservation of ancient buildings, scenery, writings and inscriptions, artefacts and antiques, that replaced the manifesto of 21 July, 1945 (official gazette No. 3564, issued on 18 February, 1981).
• Decree No. 2.81.25 on 22 October, 1981, pertaining to the implementation of Law No. 22.80 (official gazette No. 3601 issued on 4 November, 1981).
• Decree No. 958.97 on 20 May, 1997, pertaining to the establishment of the National Park for Rock Inscriptions.

 

The Ministry of Culture’s activities in the 21^st century will be dealt with in detail in Chapters 2 and 6.



1.2.2. Cultural Decentralisation and Contribution of Local Communities 

 

Moroccan Cinematography Centre
Moroccan cinema began in the protectorate era. The country’s first cinema opened its doors in 1934, and the Moroccan Cinematography (Bureau) Centre was established in 1944 and reorganised in 1977 (manifesto No. 1.77.230 as a law, on 19 September, 1977, published in official gazette No. 3387 on 28 September, 1977). The centre was in charge of the following:

• Overseeing laws pertaining to the cinematography profession, especially licensing laws, and regulation ofrelated institutions and cinemas.
• Acting within legislation to monitor films imports, exports, production, distribution and resource utilisation.
• Production, distribution and utilisation of films, in particular promoting the production and distribution of media films (Moroccan filmed news).
• Working directly or indirectly for public to produce films on their specific activities.

In 1987, decree No. 2.87.749 was issued, stipulating two types of tariffs to be levied on cinemas and paid to the Moroccan Cinematography Centre:

• Tariffs paid by theatre investors (owners, managers or operators) to support the Centre’s operations.
• Tariffs to be paid by theatregoers to advance cinema production and utilisation.

These instalments were to be paid equally into to two bank accounts of the Moroccan Cinematography Centre—an account titled “Funds to Aid in Utilising Cinemas” and one titled “Funds to Aid in Cinema Production”. The last modification of this decree was in 2003.


It should be noted that Morocco now has less than 40 cinema halls, while in 1985 there were 247, and the number of movie patrons has declined from 45 Million in 1980 to only 2 million in 2012. The centre annually hosts more than 53 activities between film festivals and rallies. Perhaps the most prominent is the Morocco International Festival, accounting for 40 percent of the total volume, the balance would be distributed between the other activities (less than 7 % of this volume was distributed to the 40 events in 2013).


An estimated 353 films have been produced between the early 1950s and 2000, including 95 motion pictures. During this period, over 185 cinema and video production companies were started. Production, too, has witnessed evident improvement since the beginning of this century (for details, see chapter 6).


The royal decree to participants in the National Cinema Conference that opened on 16 October, 2012, in Rabat, is seen as an important event surrounding the arrival of Islamists to power and their assuming of responsibility for the portfolio of the Ministry of Communication that oversees the film sector.


The decree represents a road map of the rise of film in Morocco. It calls for the development of the National Conference Centre to make it a suitable venue with continued support and sponsorship for production, initiatives, and film screenings. In this way, it was a clear signal to all bodies and constituents with religious or Salafi leanings that forbid art or call for clean art.

Also, an important event that shaped the recent Moroccan film scene was when the Council of Government appointed a new director on 2 October, 2014 succeeding Mr Nour al-Din Al Sail, Mr Sarem Fassi Fihri, the President of the Chamber of Film Producers who promised to provide annual funding of 100 million dirhams, and promised to adopt a new cinema policy based on " freedom of creativity, respect for the pluralistic constitution and the rehabilitation of the cinema sector.” It would include involvement from private sector producers, directors and representatives, and would support Moroccan film production.


The new Director encouraged the growth of a thriving film industry as a priority for the Centre’s future activity. Highlights of his policy would be "to review the privileges of foreign production companies, and enhance the attractiveness of Morocco as a location for film and TV production". He warned against the phenomenon of digital piracy confirming that he would work with the communications division to prevent the illegal downloading of movies, with the necessity of granting legal alternatives.

 

 

 

[1] The primary results for the time management study conducted by the Higher Commission of Planning in 2011/2012. Initial findings were presented in Rabat on 28 October, 2014.

[2] One of the most prominent Moroccan historians and thinkers who, through his cultural and intellectual presence, shaped modern Moroccan history.

[3] Found on Official website for the Ministry of Culture.

[4] Found on the Official website for the Ministry of Culture.