Morocco Part 2: The Rich Cultural Heritage of Moroccan Arts and Crafts
If you’re as obsessed with locally produced handicrafts as I am, then Morocco is your Mecca. Even though I don’t normally enjoy shopping, my unusually high Sapphire card bill this month suggests otherwise.
Still, I have no regrets as now my home is filled with stunning examples of the country’s remarkable craftsmanship, each piece reflecting its rich cultural heritage. From a new bedroom rug to a collection of colorful ceramic tagines to argan oils for cooking and skin care, its clear Moroccan crafts can be very tempting. And for good reason too. They are exceptional.
The confluence of many cultures
The tradition of Moroccan handicrafts represents a centuries-old intermingling of Arabic, African and European influences including that of the Phoenicians, Romans, Spanish and Portuguese. The impact of this amalgamation is evident in the production techniques and designs used by artisans today in making Morocco’s strikingly beautiful textiles, rugs, leather goods, metalwork, pottery, and jewelry.
In terms of decoration, two styles dominate: Berber and Islamic. The use of images of animals and humans is derived from the indigenous Berber tribes, also called “Amazigh.” Similarly, the lack of any representation of living creatures—known as “aniconism”—is an ancient Islamic belief: the creation of sentient beings is God’s prerogative alone. In its place as far back as 750 BC Islamic artists have used a unique imagery called “arabesque.” This style of decoration incorporates an intricate interlacing of geometric figures along with spirals, foliage, and calligraphy.
This post will focus on weaving and pottery making. As a bonus, we’ll tip our toes into the art of negotiating prices, a much-needed skillset for any visitor to Morocco.
The tradition of Morocco’s magic carpet
Today, weaving is done in the same way as it was centuries ago: by hand, one knot at a time. With a few exceptions, weaving is done by female Berber artisans, most of whom live in isolated, rural communities in the Atlas Mountains. Aside from the functional purposes of producing textiles and rugs for their own use—clothing and home furnishings—weaving is also a source of much-needed income for a family.
The process of hand weaving is done by over 40 different Berber tribes, each with its own style and design. It’s long, complicated work, every step done by hand. As the weavers do not use any pattern, each object created is unique. Their know-how handed down from mother to daughter is based on a combination of technique, patience, and personal inspiration.
The many steps in weaving textiles and rugs
Weaving starts in the summertime when the winter wool of local sheep is sheared by the male shepherds. From there, it becomes the exclusive work of women. First, it is thoroughly washed, cleaned of any debris and sun-dried for several days. Next, it’s carded and laboriously turned into yarn using a handheld spinning wheel. Unless the yarn is left its natural shade of ivory, it’s dyed using locally available herbs. This means the specific colors will vary from village to village.
For example, in one village henna will be used for an earthy red, chamomile flowers for yellow, walnut peels for brown and madder roots for various shades of red and pink. In another village, cinnamon, paprika, saffron, turmeric, and pomegranate skins will be the base for the dyes. While artificial dyes are available, they are expensive and produce less vibrant colors. Furthermore, handmade rugs using raw wool and natural dyes command a higher price.
Next comes the long process of weaving using a handmade loom. Depending on the size and complexity of the design, it can take up to three months or longer to produce a rug or piece of fine textile. When a piece is large, several women will weave together. Not only does this lessen the burden of work but it also offers a chance to socialize and build community.
Storytelling through weaving
The choice of patterns is unique to each Berber tribe. Their motifs, each with its own symbolism and sometime even superstition, can represent different flowers, insects, animals, tools, and articles of food. Often, they tell a story of daily Berber life in the desert or mountains.
Morocco’s female weavers lead a hard life. In addition to spending hours at their looms, they also maintain their household and care for the children. As they live in rural areas, they are expected to tend to the animals —donkeys, sheep, and goats— in addition to doing other chores in the fields. Most weavers are illiterate and exceedingly poor.
Increasing your value through a skillset
In villages throughout Morocco, weaving is a basic skill set for all young girls. Those who are gifted become master weavers. In addition to getting a higher price for their work, they gain status as community leaders. In this capacity they are often sought out by other women for advice.
Fatima Fdil, a master weaver, likes to say that “A rug on the loom has a soul and when it is cut off, the soul dies and is reborn into a new life in someone’s home.” For her, working with her hands, to make a beautiful carpet or textile for a wedding robe, is a creative art form and expression of her imagination which provides tremendous satisfaction.
The exploitation of the middleman
Selling a carpet is normally the job of the weaver’s husband or male middleman. Their job is to take the carpet to the weekly village market, often by donkey. If they want to get a better price, they need to travel to the city where they must drive a hard bargain with savvy and strong-willed rug merchants. Despite their long hours of hard labor, the weavers are lucky if they receive 20% of the final cost of their rug or piece of woven textile.
How women are fighting for a bigger piece of the pie
While it is rare, women are slowly entering into the highly competitive world of male rug dealers. Additionally, cooperatives are being established where weavers can bypass the middleman. During Covid, the younger artisans discovered a new marketing outlet as well: the worldwide web. Now it’s possible for the women to receive a higher price for their work by selling directly to consumers on a website. For example, sites such as www.theanou.com and www.benisouk.com—an on-line cooperative formed to fight the exploitation of the middlemen—allow women more control along with a better chance at a fair wage.
The world of Moroccan pottery
Just like weaving, every step taken to produce a piece of Moroccan pottery is done by hand. From the extraction of the local clay from the ground, to crushing the stone with a hammer, to mixing it with water and kneading it first by foot, then by hand, to shaping it, drying it, painting it, glazing it and finally, firing it in kilns.
And, like weaving, the skill is passed down from generation to generation. However, unlike weaving, pottery is reserved for male artisans, with the exception of women who participate in the decoration process.
Clay: From cooking tagines to mosque decoration
There are two styles of pottery in Morocco: the unglazed, rustic Berber pottery from the countryside and the highly decorated, glazed ceramics made primarily in Fez, Safi and Tamegroute. Each city has its own unique designs and colors: Fez is best known for its blue and white motifs whereas Safi is known for its distinctive mustard color derived from its local yellow clay. Tamegroute produces green-glazed ceramics thanks to a clay rich in cooper.
Morocco is famous the world over for its artisanal ceramicists. The choice of what they produce is vast between ornate plates, jars, bowls and the ever-present tagine, a flat rimmed dish with a tall conical lid. The unglazed tagine can be used on a flame to slow simmer stews. The highly decorated glazed version, however, is used only for serving. Some artisans decorate their pieces with silver filigree which adds beauty and a hefty price!
A decorator’s dream: Zellige tiles
A discussion on native ceramics is not complete without a shout out to "zelij" or “zellige” (pronounced zell-idge) handicraft tiles, a staple in Moroccan architecture and interior decoration. This is where artisans meticulously hand chisel single colored, glazed tiles into smaller pieces of precise, geometric shapes like mosaics. Then, the individual pieces are put together in dizzying patterns to adorn everything from patio tabletops and fountains to mosque walls! (The most extraordinary example of this is Casablanca’s Hassan II Mosque which is constructed on a promontory along the Atlantic Coast.)
What is equally remarkable is that the artisans assemble the design—like a puzzle—with the pieces colored side down. This technique demonstrates unparallelled artistry, not to mention a serious grasp of geometry and memory.
Uncut, single-colored zellige tiles are currently fashionable for home use. Decorators outside of Morocco have discovered the appeal of the tiles’ one-of-kind look and luminous glaze which lights up any room. Ironically, when I got home after my foray in Morocco, I discovered I had zellige tiles in my bathroom!
An old zellige tile artisan said that making pottery is “a living art but dying tradition. Today people lack patience and inner peace. We struggle to find young people to train as it takes decades to learn the craft with its many signature designs.”
He lamented how the youth of Morocco no longer sees crafts as a viable source of income. Without a new infusion of talent, he worries, the cultural traditions of his country will vanish.
The struggle to keep a living art alive
As young people leave the countryside for the city to follow their studies (education is now compulsory) or seek out other job opportunities, maintaining the country’s crafts has become challenging. And yet, the government sees things differently. It is intent on increasing the impact of the handicraft sector which currently employs 20% of the Morocco’s workforce. Of the 2.3 million locals who work in the traditional craft industry, 80% are women.
Through workshops and seminars sponsored by municipalities and community engaged corporations artisans are learning modern ways to market their products. Increased exports are beginning to have an impact on the economy. For example, The US is keen to see that the country takes full advantage of its Morocco-US fair trade agreement.
Opening international markets through export knowhow and generating online sales are priorities for the country. These two initiatives work hand in hand with its rapidly expanding tourism industry. While native handicrafts currently represent just 7% of Morocco’s GDP, its future is promising. The current forward-thinking King Mohammed VI is committed to making it happen and to keeping his country’s handicraft tradition alive and thriving.
Bartering like a native
Even with tips and encouragement from our Tauck guides, I never mastered how to barter. While considered a sport by some, haggling is not in my DNA. Nevertheless, here is what we learned. Maybe your luck will be better than mine!
1. Never appear too eager as it gives the merchant the upper hand.
2. Once you decide what you want and what you are willing to pay, ask the vendor the price in dirhams. (Often prices are not posted.)
3. Be aware of the currency exchange and stick with one currency. Don’t allow the merchant to throw around US dollars, Euros and dirhams or you’ll drown.
4. Remember, the first price is never the last price. In fact, merchants expect you to bargain. Stay firm and always polite as you gradually raise your offer.
5. It may seem excessively daring but start your battering at 10% of the asking price. Then slowly work your way up to 15-30%.
6. Know when to walk away. Sometimes it encourages the merchant to settle for a fair price closer to what you had in mind.
7. Do not fall for theatrics. Even if the merchant makes a scene when you bargain for a lower price, keep your wits about you and stay firm on the price.
8. Before you go shopping, do your research on what an item should cost. A great trick is to first visit the local Ensemble Artisanal (Handicraft Centre). Most big cities have them. They are a government-sponsored complex of artisan workshops all under one roof. Their mission is not only to teach their trade to apprentices but also to sell their creations directly to the consumer at fixed prices that are judged as reasonable.
Next week we’ll end the series on Morocco with a discussion of the country’s cuisine and the roles of women versus men in the kitchen. Spoiler alert: The best food is made at home!