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Barbara Ross

Storytelling Traditions Across the World: Morocco

Stories have special powers. Not only are they entertaining but they are also ways to communicate morals, lessons and culture. They use magic in the form of oral and written tales to transport the listener to a new world that will stay with them forever. 

In this series, we explore the importance of traditional storytelling and the storytellers that tell them, across various cultures.

Moroccan culture

In Marrakech’s famous Jamaa-el-Fna square there is a rich variety of storytelling traditions. The halca is the circle of listeners and spectators that forms around the halaiqui (storyteller) as he starts his tales in the hustle and bustle of the night market place. 

The Moroccan tradition of storytelling dates back over 1,000 years to a time when Marrakech was a young city. Berber general-kings governed the land and Morocco was growing rich from the gold and spice trade. Storytelling was a way to pass on cultural beliefs, teach children moral lessons and serve as a form of entertainment on long winter nights. 

People’s interests have been changing due to globalisation and the influence of technology. It seems as though no one is interested in family gatherings after dinner, which is traditionally when the hikayat took place. Grandparents or parents would tell tales to each other and their children during this time. 

Previously, the art of storytelling (Hikayat) was found in cities all over Morocco, but today Marrakech’s Jamma el-fna’s square is one of the last places to find these old stories. 

Ahmed Ezzaghani is a master of storytelling in Marrakech and began collecting Moroccan traditional fables during his youth as a travelling salesman. He joined the crowds gathered around storytellers until one day he had studied the craft long enough to tell stories himself. Today, he trains a group of youth apprentices so they may keep their rich Moroccan heritage alive. 

Morocco

Learning from the Masters

Young apprentices are learning from Master Storytellers and plying their craft at local establishments and through cultural programs. Master Storytellers spend decades collecting stories, fine-tuning their craft and performing at squares around Morocco. 

But with Marrakech’s legendary square filling up with vendors, juice stands and traffic, there is less room for the great storytellers to hone their craft. With public spaces around Morocco becoming more difficult locations in which to perform, these artists are shifting to cafés and cultural programs. The new locations are bringing Moroccan stories to a wider, more diverse audience.

Many young Moroccans are determined to reinvigorate the tradition. There’s a saying in Morocco that when a storyteller dies, a library burns. To prevent these living libraries from being lost as the older generation retires or passes away, these younger apprentices are learning from Master Storytellers at apprenticeship groups. Later, they’ll take the stage to share traditional tales with foreigners and Moroccans alike. These young people understand the importance of celebrating the tradition of hikayat.

A Respected and Honoured Tradition

Moroccan stories have simple names reflecting the oral tradition. The King and The Thief; The Lion, the Hedgehog and the Donkey; The Teacher and The Woman are three very common stories. They’re similar in style to parables, illustrating moral or spiritual lessons. Throw in a good dose of drama to keep it entertaining and a couple of Moroccan jokes to keep it light (they do sometimes get lost in translation), and storytellers can keep crowds entertained for hours.

It’s Not (Just) About the Story

A traditional storytelling evening is not just about the story, it’s also about the listener’s experience. Because Moroccan storytelling developed as both a form of entertainment and a way for elders to teach their children, it’s an intimate affair. Whether at the square or in a café, listeners huddle close around the storyteller to catch every word and gesture.

At the Jamaa el-Fna, you can still catch many of the sage Masters working their magic to crowds of transfixed listeners. Storytellers work nightly at the square. All stories are told in Arabic and it’s customary to tip the teller a few dirhams.

Here at All Good Tales, our CEO delivers inspirational keynote addresses to audiences, teaching them how to tell powerful stories. To find out more or to arrange a consultation you can call us on (01) 454 0090. For more information click here. 

 

Storytelling Traditions Across the World: New Zealand

Storytelling isn’t just entertainment, it’s a way to protect your heritage and culture. A lot of cultures have rich storytelling traditions that are unique to their culture.

In this series, we explore the importance of traditional storytelling, and the storytellers that tell them, across various cultures.

New Zealand culture

New Zealand carries a rich heritage with its indigenous people. More than 1,000 years ago, the Maori people came to New Zealand from the tropical Polynesian islands. Over time, the Maori culture evolved in New Zealand until they adopted their own distinct race, apart from other Polynesian people; the Te Maori. Throughout these years and up until today, traditional oral storytelling has been an important part of the Maori culture. The Maori culture relied heavily upon oral storytelling practices passed down through the ages.

In pre-European times the Maori preserved tribal lore by teaching it to a certain number of young men. The institution was known as the whare wananga and whare kura. They were the people of the Maori that were responsible for keeping and reciting the oral history of the tribe.

These men were tasked with sharing the lore to the young men selected as pupils. The subjects taught may be classified as high-class ritual and lore; historical and other matters of less importance; and the arts of black magic. 

Those taught what was termed as high-class matters, such as the higher form of ritual and old cosmogonic myths, would have nothing to do with black magic. The teaching of the art of the warlock was taboo, and no person not engaged in either teaching or learning was allowed to be present. 

In some cases the instruction was given at some secluded spot away from the village. In others the lessons were conducted in a house that the public had no access to. 

Storytelling houses

The whare wananga, or house of occult lore, was an ancient institution. The original one, known as “Rangiatea,” was situated in the uppermost of the 12 heavens. The first one on earth was erected by Rua-te-pupuke, the personification of knowledge, and was situated in the original homeland of the Maori. 

The name of this house of learning was “Whare-kura,” a name which is often used as a synonym for whare wananga. This house kept all the tapu knowledge of the three “baskets” of the wananga, or esoteric lore obtained by Tane from the Supreme Being. 

Another house constructed by Whiro, and named “Tai-whetuki,” was devoted to the conserving of all noxious ritual, arts of black magic, all arts and knowledge pertaining to evil and death. 

The Maori believe that man has always constructed and utilised these houses of knowledge, even when the arrival of Europeans broke down ancient customs and practices. In whatever lands the Maori of yore travelled to, such places were utilized, and the priestly experts who presided over them became the keepers of tribal records and national history. 

In the settlement of Polynesia the Maori was compelled to dwell in isolated far-sundered communities, and then each one had to preserve its own lore as it best could. Some communities seem to have succeeded much better than others. 

In New Zealand the institution was kept up faithfully by the principal tribes. The Takitumu folk of the eastern side of the North Island were perhaps the most advanced in regard to this mode of preserving knowledge: Some of the whare wananga were famous for many generations; such as the “Ra-wheoro” at Uawa. 

In such cases the actual house was rebuilt when it fell into disrepair, for it was not a Maori custom to repair a house. In other cases the whare wananga was but a name and a system; no special house bore the name, and the knowledge to it might be taught in the open air or in any house set apart for the purprose.    

Oral Storytelling–Maori Culture

New Zealand

Oral storytelling is where history, religion, myth and art come together. The myths and heroics of their gods are brought to life with extravagant performances drawn from song, chants, props, traditional garb and more. It’s a very deeply emotional experience to witness traditional Maori storytelling.

The most critical components of Maori oral storytelling often involve the delivery of voice, gestures and facial expressions which convey the tone and emotion surrounding the story. Telling a story was almost never direct, but a drawn-out and complicated process, often involving many speakers. 

Oral storytelling was often performed in a traditional tribal meeting place, such as a central building or open area in the village. It was an important place and new guests would often be welcomed in with a song (the karanga).

Like many native peoples, the culture of the Maori people was highly oratory. Much of their storytelling revolved around composing, memorising, and performing all different kinds of poems, war chants, laments, and prayers. They were often thought to have a highly figurative and often rare poetic beauty. The oral production also had a definite religious element to it–seeing as it was believed that both language and knowledge had been acquired from the gods, religious ritual often played a large part in these productions. Within all of these poems, songs, chants and prayers, they formed and cultivated their own mythology to record their past and tell the legends and stories of their gods and tribal heroes, like the story of Kupe discovering Aotearoa. 

The storytelling methods of the Maori were rarely direct. They did not rely on or use solid concepts and direct ideas. Instead, they used all kinds of imagery and fantastical elements to both understand their history and convey it to others. Therefore, their songs, myths, and prayers endure as a living record of their collective tribal memory. 

Traditional songs

In Maori, traditional songs are called waiata. There are three different kinds of waiata: the waiata tangi, laments for the dead or lost; waiata aroha, songs about the nature of love, as well as familial love and kinship; and waiata whaiaaipo, songs for courtship and romantic love. 

As well as these, there are songs of lesser importance: pao, which were songs of gossip; poi, songs that accompanied traditional dances; oriori, songs of heritage composed for those children who would be heirs; and karanga, a chant sung or performed by the women of the tribe in order to welcome visitors to their tribe. 

Apart from traditional songs, there are also various types of chants that are recited as opposed to performed. The karakia, invoked the power of the gods to assist or protect the chanter; the paatere, chanted by women in order to address or rebut against slander or gossip; and kaioraora, chants directed at an enemy to express abuse, hatred, and promise of terrible revenge. The most famous of all is a war chant accompanied by fierce gestures, expressions, rhythmic movement, and stamping. The haka sometimes included stylized violence, and the stunning and intimidating nature of these chants has made them some of the most famous among the Maori oral traditions today. 

Here at All Good Tales, our CEO delivers inspirational keynote addresses to audiences, teaching them how to tell powerful stories. To find out more or to arrange a consultation you can call us on (01) 454 0090. For more information click here. 

 

Storytelling Traditions Across the World: Mauritania

Stories play an important role in the majority of cultures. They teach us how to behave, how to deal with specific situations and most importantly right from wrong. However, a story is only as good as the storyteller.

If the storyteller is ineffective, the true message of the story will be lost to the audience.

In this series, we explore the importance of traditional storytelling and the storytellers that tell them, across various cultures.

Mauritanian culture

The Northwest African country of Mauritania has a unique culture. The cultures of its various indigenous groups blend seamlessly and also reflects influences of various foreign cultures. The French and Moorish cultures helped to shape the art of storytelling in this country, a reminder of the country’s colonial past.

While written literature in Mauritania is limited, the country has a rich repertoire of oral literature including epics, riddles, folk tales and legends, Islamic poetry and prose. Storytelling is an age-old Mauritanian tradition.

The artists and craftsmen of the country are experts at many art and craft forms. Different ethnic groups are associated with distinct artistic traditions whose skills are passed down from generation to generation.

Traditional Storytellers: Ighyuwn

The ighyuwn is the entertainer caste of the Moors of the Western Sahara and Mauritania. They number probably a few hundred and work in small family groups, travelling between their patron tribes. Traditionally they recounted stories for events such as weddings, circumcisions or for visitors among the warrior or hassan tribes.

Both the men and women participate in the entertainment as singers, dancers, clowns and storytellers. The latter will include recounting the history of the tribes or individuals and giving a political commentary on recent events. In this way they were the “media” before the advent of radio and the press.
Until recently Moorish society has had a strict hierarchical class system with entertainers—ighyuwn—occupying the lowest rung beneath the warriors (hassans), merchants and others. Being a hereditary caste, the skills of the entertainers are handed down from father to son, or mother to daughter…
One traditional task of the ighyuwn was to follow the warriors into battle singing of their bravery and encouraging them in their fight. At other times they would entertain their patrons with praise songs about the great deeds of their ancestors or act as social historians, poets and jokers.

This is much like the role of the griots or jali elsewhere in West Africa. Before the days of radio, it was also their job to act as news broadcasters, touring the villages reciting news from the outside world to musical accompaniment. They also sang epic songs which were used as teaching stories for the entertainment of children and adults alike.

The tales told by ighyuwn are accompanied by a drum, a Mauritanian guitar called a tidinit, or with a harp-like instrument called an ardin. Poetry is often sung by minstrels and ballad singers. At social events, poetry praising the host or the guests is commonly sung. The stories told are often short fables.

The Moors, like the Arabs and other peoples of Africa, despise the ighyuwn and fear them as sorcerers, representing dubious aspects of the Moorish character. They are seen as political schemers, spies and extortioners for fees. They are also thought to have occult powers and to be able to curse anyone who offends them including tribal leaders. The ighyuwn are essentially animists, being laxer in Islamic practice than their Moorish patrons.

In the second half of the twentieth century, they moved to urban areas, for greater commercial opportunities. The possibilities of recording traditional music and stories are being pursued but they face much competition from Western entertainment.

 

Here at All Good Tales, our CEO delivers inspirational keynote addresses to audiences, teaching them how to tell powerful stories. To find out more or to arrange a consultation you can call us on (01) 454 0090. For more information click here.