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Orality, an Immaterial Heritage

A project by Katia Kameli

006 / 6 November 2013

Al-Halqa is a public gathering in the form of a circle around a performer in a public space. This temporary circular architecture contributes to the representation of historical consciousness and cultural identity, stages a script that is persistently rewritten, hovering between High and low culture, sacred and profane, literacy and orality. Its repertoire combines fantastic, mythical, and historical narratives.*

During my research, I discovered Abderahim El Maqori – known as 'Al Azalia' – a respected storyteller of the Djama el Fna square in Morocco. He began storytelling when he was young and was trained by one of the grand masters of Morroco, Al Hussein. My interest in his performances became stronger after I discovered his speciality was the storytelling of films.

 

Invited by Nadim Samman and Carson Chan, curators of the 4th Marrakech Biennale to produce a new contextual work, it seemed clear to me I had to meet and work with Al Azalia.

 

 

Al Azalia in a coffee shop at Djamaa el Fna square in Marrakech, 2012.
Al Azalia in a coffee shop at Djamaa el Fna square in Marrakech, 2012. © Katia Kameli.
 
 
Al Azalia, performing in the square.
Al Azalia, performing in the square.
 
 
Al Azalia, performing in the square.
Al Azalia, performing in the square.
 
 
Al Azalia and a friend, performing in the square.
Al Azalia and a friend, performing in the square.
 
 
Al Azalia in a coffee shop at Djamaa el Fna square in Marrakech, 2012.
Images of Al Azalia performing in the square, on a table, 2012. Katia Kameli.
 
 
Al Azalia in a coffee shop at Djamaa el Fna square in Marrakech, 2012.
Al Azalia and others storytellers.
 
 
Al Azalia, performing.
Al Azalia, performing.
 
 

Arriving in Marrakech we had a first meeting in one of the coffee shop of the square.
He showed me his archive, photographs of him when he was younger, performing alone or with other storytellers. Then, he explained his strong relationship with the Eden cinema, located a few metres from the square and where he got most of his inspiration. He used to go to the movie theatre and back to the square, so he could then tell the story of the film for people who couldn't afford the price of a ticket. In my research, I've been reading that Al Azalia's specialty was Peplum movies. I thought this was strange, as we don't have a strong culture for Peplum in the Maghreb. Al Azalia laughed and corrected me:


- Lala, Rani En'Chouff wa Nahki garr li Film Hindi
- No, I'm watching and storytelling Bollywood movies

 

 

Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 
 
Image from the Eden cinema, Marrakech.
Image from the Eden cinema, Marrakech. © Katia Kameli.
 

 

I asked him to interpret Satyen Bose's 1964 film Dosti. Just as Al Azalia makes his wage by gathering a crowd around him on Djemaa al-Fna, the characters in Dosti find sustenance and emancipation in the circles they draw through songs and music.


Here is the plot for the video work named The Storyteller filmed and presented at the Marrakech's Theatre Royale in 2012.

 

 

Images from the shooting of “The Storyteller”.
Images from the shooting of “The Storyteller”. © Khadija von Zinnenburg Carroll.
 
 
Images from the shooting of “The Storyteller”.
Images from the shooting of “The Storyteller”. © Khadija von Zinnenburg Carroll.
 
 
Images from the shooting of “The Storyteller”.
Images from the shooting of “The Storyteller”. © Khadija von Zinnenburg Carroll.
 
 
Images from the shooting of “The Storyteller”.
Images from the shooting of “The Storyteller”. © Khadija von Zinnenburg Carroll.

About the author

Katia Kameli

Katia Kameli is a French-Algerian artist based in Paris. Kameli's work is closely linked to her personal experience of dual identities, exploring multiplicity and the 'in-between'. Through video, photography, installation and drawing, she investigates intercultural spaces, intersecting identities and their construction. Thus she positions herself as a hybrid, using a 'third space' to enables the emergence of other visions, forms and positions. This 'third space' questions historical accounts and can generate a critical stance that allows the rewriting of history and narratives.

In 2006 and 2011, Kameli directed and produced 'Bledi in Progress' and' Trans-Maghreb' video platforms for young filmmakers from Algeria, Marroco and Tunisia in Algiers.Her work has found an audience and gained recognition on the national and international artistic and cinematographic scene such as: Centre Georges Pompidou (2008), French Cinematheque (2008), Manifesta 8 (2010), Cornerhouse, Manshester (2011), Bamako Encounters (2011), Marrakech Biennale (2012), Dakar Biennale (2012), Lubumbashi Biennale (2013), Museum of Marseille (2013).