The Koutoubia

The Koutoubia
there have been plans over the years to do the same with the Koutoubia and the local press have recently been running a number of articles on various schemes, possibly involving a restoration of the whole mosque area. To date, however, the only parts of the structure that have been renovated are the three gilt balls made of copper at the summit.These are the subject of numerous legends, mostly of supernatural intervention to keep away the thieves.They are thought originally to have been made of gold and were possibly the gift of the wife of Yacoub El Mansour, presented as a penance for breaking her fast for three hours during Ramadan.

the absence of any architectural feature on Djemaa El Fna - which even today seems like a haphazard clearing -serves to emphasize the drama of the Koutoubia Minaret, the focus of any approach to the city. Nearly seventy metres high and visible for miles on a clear morning, this is the oldest of the three great Almohad towers (the others remaining are the tour hassan in Rabat and the Giralda in Seville)and the most complete.its proportions-a 1:5 ratio of width to height -established the classic Moroccan design. Its scale, rising from the low city buildings and the plains to the north, is extraordinary, the more so the longer you stay and the more familiar its sight becomes.
Completed by Sultan Yacoub El Mansour (1184-99), Work on the minaret probably began shortly after the Almohad conquest of the city, around 1150. It displays many of the features that were to become widespread in Moroccan architecture - the wide band of ceramic inlay near the top, the pyramid-shaped, castellated merlons rising above it, the use of darj w ktarf and other motifs -and it also established the alternation of patterning on different faces. Here, the top floor is similar on each of the sides but the lower two are almost eccentric in their variety; the most interesting is perhaps the middle niche on the southeast face, a semicircle of small lobed arches, which was to become the dominant decorative feature of Almohad gates.
If you look hard, you will notice that at around this point,the stones of the main body of the tower become slightly smaller. This seems odd today but originally the whole minaret would have been covered with plaster and its tiers of decoration painted. To see just how much this can change the whole effect - and, to most tastes, lessen much of its beauty - take a look at the Kasbah mosque (by the saadain Tombs) which has been carefully but completely restored in this manner.
there have been plans over the years to do the same with the Koutoubia and the local press have recently been running a number of articles on various schemes, possibly involving a restoration of the whole mosque area. To date, however, the only parts of the structure that have been renovated are the three gilt balls made of copper at the summit.These are the subject of numerous legends, mostly of supernatural intervention to keep away the thieves.They are thought originally to have been made of gold and were possibly the gift of the wife of Yacoub El Mansour, presented as a penance for breaking her fast for three hours during Ramadan.
Currently,the tower itself is encased in scaffolding, the purpose of which is not yet clear. At the same time ,archeologists are excavating the precincts of the mosque,possibly to verify that the original mosque, which predates the tower, had to be rebuilt to correct its alignment with Mecca.
Alongside the mosque, and close to Av.Mohammed V, is the tomb of Fatima Zohra, now in white koubba. She was the daughter of a seventeenth-century religious leader and tradition has it that she was a women by day and a white dove by night; consequently children dedicated to her,even today, never eat pigeons.

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The Djameaa El Fna is so effortlessly

The Djameaa El Fna

there's nowhere in Morocco like the Dejemaa El Fna - no place that so effortlessly involves you and keeps you coming back. By day it's basically a market, with a few snake charmers, storytellers and an occasional troupe of acrobats. In the evening it becomes a whole carnival of musicians, clowns and street entertainers. when you arrive in Marrakesh, and after you've found a room, come out here and you'll soon be immersed in the ritual: wandering round, squatting amid the circles of onlookers, giving a dirham or two as your contribution. If you want a respite, you can move over to the rooftop terraces of the Café de France or the Restaurant Argana to gaze over the square and admire the frame of the koutoubia.
what you are part of is a strange process. Some say that tourism is now vital ti the Djemaa's survival, yet apart from the snake charmers, monkey handlers and water vendors (all of whom live by posing for photographs), there's little that has compromised itself for the west. In many ways it actually seems the opposite . Most of the people gathered into circles round the performers are Moroccans - Berbers from the villages and lots of kids.There is no way that any tourist is going to have a tooth pulled by one of the dentists here, no matter how neat the piles of molars displayed on their square of carpet. Nor are you likely to use the scribes or street barbers or , above all, understand the convoluted tales of the storytellers, round whom are gathered perhaps the most animated, all-male crowds in the square.
Nothing of this, though, matters very much.There is a fascination in the remedies of the herb doctors, with their bizarre concoction spread out before them. There are performers, too, whose appeal is universal. The Jemaa Elfna square's acrobats, itinerants from Tazeroualt, have for years supplied the European circuses - though they are perhaps never so spectacular as here, thrust forward into multiple somersaults and contortions in the late afternoon heat. There are child boxers and sad-looking trained monkeys, clowns and chleuh boy dancers - their routines, to the climactic jarring of cymbals, totally sexual (and traditionally an invitation to clients).
And finally, the Djemaa's enduring sound - the dozens of musicians playing all kinds of instruments. late at night, when only a few people are left in the square, you encounter individual players, plucking away at their ginbris, the skin-covered two-or three-string guitars.Earlier in the evening, there are full groups: the Aissaoua, playing oboe-like ghaitahs next to the snake charmers; the Andalucian-style groups, with their ouds and violins; and the back Gnaoua, trance-healers who beat out hour-long hypnotic rhythms with iron clanging hammers and pound tall drums with long curved sticks.
if you get interested in the music there are two small sections on opposite sides of the square where stall sell recorded cassettes : one is near the entrance to the souks and the other is on the corner with the recently pedestrianized Rue Bab Agnaou. Most of these are by Egyptian or Algerian Rai bands, the pop music that dominates Morocco radio, but if you ask they'll play you Berber music from the Atlas, classic Fassi pieces, or even Gnaoua music - which sounds even stranger on tape, cut off only by the end of the one side and starting off almost identically on the other. These stalls apart, and those of the nut roasters, whose massive braziers line the immediate entrance to the potter's souk, the market activities of the Djemaa are mostly pretty mundane.

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Holidays of Marrakech

Holidays of Marrakech
Marrakech-"Morocco City",as early travellers called it -has always been something of a pleasure city,a marketplace where the southern tribesmen and Berber villagers bring in their goods, spend their money and find enter-trainment. For visitor it's an enduring fantasy - a city of immense beauty low, red and tentlike before a great shaft of montains-and immediately exciting. At the heart of it all is a square,Djemaa El Fna, really no more than an open space in the centre of the city, but the stage for a long-established ritual in which shifting cir-cles of onlookers and comedians. However many times you return there, it remains compelling. So, too, do the city's architectural attractions: the immense, still basins of the Agdal and Menara gardens, the delicate Granada-style carving of the saadian tombs and, above all the Koutoubia Minaret, the most perfect Islamic monument in North Africa.
Unlike Fes, for so long its rival as the nation's capital, the city exists very much in the present. After Casablanca, Marrakesh is Morocco's second largest city and its population continues to rise. It has a thriving industrial area which reflects the rich farmlands of the Haouz plain which surround it: notably flour mills, breweries and canning factories. And it remains the most important market and administrative centre of southern Morocco. None of this is to suggest an easy prosperity-there is heavy unemployment here, as throughout the country, and intense poverty, too -but a stay in Marrakesh leaves you with a vivid impression of life and activity. And for once this doesn't apply exclusively to the new city, Gueliz; the Medina, substantially in ruins at the beginning of this century, was rebuilt and expanded during the years of French rule and retains no less significant a role in the modern city.
The Koutoubia excepted, Marrakesh is not a place of great monuments. Its beauty and attraction lie in the general atmosphere and spectacular location -with the magnificent peaks of the Atlas rising right up behind the city, towering through the heat haze of summer or shimmering white of winter. the feel, as much as anything, is a product of this. Marrakech has Berber rather than Arab origins, having developed as the metropolis of Atlas tribes-Maghrebis from the plains, Saharan nomads and former slaves from Africa beyond the desert, Sudan, Senegal and the ancient Kingdom of Timbuktu. All of these strands shaped the city's souks and its way of life, and in the crowds and performers in Djemaa El Fna, they can still occasionally seem distinct.
For most travellers, Marrakesh is the first experience of the south and-despite the inevitable 'false' guides and hustlers-of its generally more relaxed atmosphere and attitudes. Marrakchis are renowend for their warmth and sociability, their humour and directness-all qualities that (superficially, at least) can seem absent among the Fassis. there is, at any rate, a conspicuously more laid-back feel than anywhere in the north, with women, for example, having a greater degree of freedom and public presence, often riding mopeds around on the streets. And compared to Fes, Marrakesh is much less homogenous and cohesive. The city is more a conglomeration of villages than an urban community, with quarters formed and maintained by successive generations of migrants from the countryside.


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