
Fez Festival of World Sacred Music Celebrates Africa's Spiritual and Cultural Renaissance
Fez – The 28th edition of the Fes Festival of World Sacred Music opened tonight night at the historic Bab Makina, launching nine days of performances that honor Africa's enduring spiritual legacy and contemporary creative energy.
This year's theme, Renaissances, reflects the continent's ancient traditions and their eclectic evolution in modern times.
For centuries, Fez has stood as Morocco's spiritual and intellectual capital – a crossroads of Sufi mysticism, Islamic scholarship, and Andalusian musical heritage.
Its ancient medina, home to the world's oldest university, Al Quaraouiyine, has long been a sanctuary for sacred arts, where music serves as prayer and bridge between cultures.
The Fez Festival of World Sacred Music draws from this legacy to transform the city into a global stage where traditions converge.
The festival's artistic director noted Africa's central role in this year's programming. 'We are celebrating Africa as a living civilization,' said Abderrafia Zouitene, President of the Fondation Esprit de Fès.
'From Morocco to Mayotte, from ancestral rituals to contemporary fusions, these performances show how tradition breathes new life into our global cultural landscape.'
Friday's opening ceremony set the tone with a spectacular production that put together North African and sub-Saharan influences.
Bridging eras through sacred music
Over the coming days, audiences will experience everything from the devotional Sufi chants of Senegal's Mouride brotherhood to the earth-shaking drum ceremonies of Burundi's master percussionists.
Each evening at Jnan Sbil garden, different spiritual musical traditions will take place, including Morocco's Aissawa and Hamadcha brotherhoods and Mali's legendary Master Musicians of Jajouka.
Several artists, if not all, consider the festival as a connecting bridge between generations and genres.
Malian musician Adama Sidibé, perhaps the last living master of the sokou, a traditional one-stringed instrument, will perform alongside French jazz violinist Clément Janinet in a groundbreaking collaboration.
Haitian-Canadian saxophonist Jowee Omicil will present his unique fusion of Afrobeat, jazz, and Caribbean spiritual traditions, while Ghanaian harp virtuoso John Kwame Osei Korankye demonstrates how ancient instruments can speak to contemporary audiences.
The festival culminates on May 24 with 'The Great Night of Griots,' featuring Mali's Ballaké Sissoko Orkestra alongside artists from across West Africa.
These hereditary musicians and storytellers will perform epic narratives that have been passed down through centuries to connect modern audiences to the grandeur of the Manding Empire and Ashanti Kingdom.
South-South unity
Beyond the formal concerts, the streets surrounding Bab Boujloud will pulse with free performances, including the mesmerizing Zaouli mask dances from Ivory Coast and spectacular stilt-walking displays.
The festival transforms all of Fez into a living celebration of sacred artistry and prove that these traditions remain as vital today as when they first emerged centuries ago.
The Fez Festival of World Sacred Music continues through May 24, with performances daily at multiple venues throughout the city.
The festival's celebration of Africa's cultural renaissance aligns with Morocco's longstanding commitment to South-South cooperation, a cornerstone of King Mohammed VI's foreign policy vision.
By featuring artists from across the continent and its diasporas – from Senegal and Mali to Burundi and Mayotte – the festival creates a dynamic platform for cultural exchange that strengthens ties between African countries.
This cultural diplomacy mirrors Morocco's broader efforts in economic and developmental cooperation across the Global South, particularly in Africa where the kingdom has invested significantly in infrastructure projects, educational exchanges, and interfaith dialogue.
This African-focused edition reinforces the festival's and Morocco's roots in the continent while advancing a vision of cooperation that transcends geographical and linguistic boundaries. Tags: Fez sacred music festivalsacred musicSufi music
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Ya Biladi
24-05-2025
- Ya Biladi
Diaspora #390 : Mohamed Aadroun, reviving Andalusian music in the Netherlands
Born in Amsterdam to Moroccan parents, Mohamed Aadroun built a successful career in public service in the Netherlands. Armed with a degree in business administration and management, his personal and professional skills opened many doors, leading him to work for several years at the Ministry of Economy. Yet, he never let go of his artistic passion or his curiosity for the historical narratives of his ancestors' homeland. Aadroun is a passionate student of Al-Andalus, drawn to its cultural and artistic heritage. He is especially interested in historical travelogues, the evolution of musical traditions, and the documented customs, etiquette, and culinary practices of the era. «I see Andalusian music as the ultimate expression of the Andalusian way of life, its knowledge, art, science, and intellectual legacy. Without falling into nostalgia, the more you learn about Al-Andalus, the more you want to know, and the more you realize how advanced that region was for its time—even in the Middle Ages», says Mohamed Aadroun. A Family Story Revisited Through History For Aadroun, Andalusian music is more than just an art form; it's a connection to his personal story. «My father, a police officer in Amsterdam, and my mother, who dedicated her life to raising me and my three brothers, are from El Jebeha in northern Morocco. That region is known for welcoming many Andalusian, Jewish, and Muslim families during the Reconquista (722–1492)», he explains. Through his research, Aadroun even traced an ancestor who was part of those families that crossed the Mediterranean. «By exploring the broader historical and cultural context, I found myself reconnecting with my own history, my ancestors' story, and the shared heritage of many from that region». Together with childhood friend Mohamed Chairi, a musician specializing in Andalusian music, Aadroun began to explore ways to bring these stories to life on stage. «We didn't know exactly where it would lead at first, but we wanted to create a concept that would appeal to venues and audiences, blending these historical stories with music». From Public Service to the Stage: The Birth of the AAO Always drawn to creative fields, Aadroun shifted his career towards the performing arts in the 2010s. He honed his skills in video design and visual storytelling, and began writing scripts for stage productions that blend theater, historical narratives, and live music. In 2011, he joined forces with Mohamed Chairi, Yassine Boussaid, and Dwight Breinburg to create the Amsterdam Andalusian Orchestra (AAO). «My first script told the story of an Andalusian poet forced to flee during the Reconquista. Combining acting and Andalusian music was well-received, and we went on to produce our first multidisciplinary performance», says Aadroun, who now has five such works to his name. His themes explore personal and collective stories set against the backdrop of Caliphal Andalusia, weaving together heritage, memory, coexistence, cultural diversity, and identity. «The historical narratives of Al-Andalus are an endless source of inspiration for us, as heirs of diverse cultures. They remind us that we belong where we are—we can be Dutch, Moroccan, and custodians of multiple histories that don't exclude but enrich each other». Aadroun's works delve into a variety of historical figures and themes: Leo Africanus, also known as Hassan al-Wazzan, who embodied a triple identity—Andalusian, Moroccan, and Italian. Another piece centers on Abul-Abbas, the white elephant gifted to Charlemagne by Abbasid Caliph Harun al-Rashid in the 9th century. «Combining music and theater helps us connect with audiences across languages and cultures», Aadroun explains. For him, research and documentation are key. «It's essential for both the scripts and the music itself. We provide context that grounds Andalusian music in its ancestral roots while opening it to contemporary experimentation. Performances should be festive, of course, but also historical, educational, and accessible». This approach, Aadroun believes, is crucial for the personal development of younger generations—and even older ones, who may rediscover positive aspects of their heritage through art. «For me, it's the best way to share these ideas». The AAO has steadily grown its musical repertoire, developing a core group of artists who explore Andalusian music's journey from Granada to Baghdad. The orchestra's multidisciplinary vision also embraces dance, photography, intimate concerts, and large-scale performances. The creation of the Maqam Cultural Center in Amsterdam has further expanded this vision, offering workshops, training sessions, rehearsals, thematic gatherings, and talks. A Decade of Creativity and Cultural Exchange For over a decade, the AAO has also organized the International Oud Festival, a biennial event that brings together oud players from across the globe—from North America to the Middle East, Asia, Africa, and Europe. "It's been a challenge to find musicians in the Netherlands who are well-versed in Andalusian music. But as we've grown, we've built a strong base of artists—some from jazz or classical backgrounds, from Germany, Spain, and beyond. We give them time and space to explore different styles over several years», Aadroun explains. Today, he expresses pride in the collaboration. «The artists' talent, curiosity, and flexibility enrich the project. It shows a new dimension of Andalusian culture—one that's universal and open to experimentation». Artistic Confusion, Not Fusion Staying true to its inclusive approach, the AAO offers Andalusian music workshops to young people of all backgrounds—Dutch, Moroccan, and beyond. This spirit of openness extends to annual performances in other Dutch music festivals, including Musica Mundo – Rhythms of the World in Amersfoort, where festival founder Hassan Elammouri invites the AAO to present innovative projects pairing guest soloists from diverse musical traditions. «In the city of Amersfoort, we participate annually in the festival. It's an opportunity to propose fresh, boundary-pushing projects in collaboration with invited soloists who come from different musical backgrounds», Aadroun says. The Andalusian music soloist Zainab Afailal and soprano Aylin Sezer with the AAO / Ph. Peter Putters - Musica Mundo - Rhythms of the World As Hassan Elammouri puts it, the result is «artistic confusion, not fusion»—a creative process that allows artists to perform authentically, beyond their usual musical genres. For audiences and performers alike, the experience is unforgettable. For Aadroun, it reaffirms the rich, open, and experimental nature of Andalusian music, both historically and today. The upcoming edition of the festival, set for June 26–29, 2025, will feature a co-production with the AAO and guest artists Tony Overwater, Mark Tuinstra, Aziz Ozouss, and Esinam. «At the AAO, we speak six languages, reflecting the cultural diversity of our members. This shows that music is a true language—honest in its expression, feelings, and emotions. It's the core philosophy of our orchestra. And it's also the thread running through all our stage productions». A Future in Morocco Looking ahead, Aadroun hopes to strengthen partnerships between the AAO and cultural institutions in Morocco to stage more performances there. «We've performed concerts in the Netherlands with artists like Nabila Maan, Zainab Afailal, Youssef Jrifi, Leïla Gouchi, Omar Metioui, Jamal Eddine Ben Allal, Hamid Bouchnak—our king of raï—and our gnawa master, Hind Ennaira. We've also played with local artists in Tangier and Rabat», Aadroun recalls. He looks forward to new opportunities to share these moments with Moroccan audiences, whether through the AAO's immersive Hadra experience or their Maghreb Icons show, which pays tribute to regional musical legends through a staging set in the 1980s—blending theater, music, and personal stories of artists who shaped their era.


Morocco World
24-05-2025
- Morocco World
Naghash Ensemble Brings Armenian Spirituality to Fez in A Soulful Dialogue Across Time
Fez – The Naghash Ensemble is a musical phenomenon that resists easy classification . On the Jnan Sbil stage of the 28th edition of the Fez Festival of World Sacred Music, the Armenian ensemble took the audience on a journey that transcended geography and time. Led by composer and pianist John Hodian, the group sang a spiritual conversation between past and present, East and West, sacred and secular. Blending Armenian folk traditions, classical minimalism, jazz, and even Western pop, the group breathes new life into the sacred poetry of Mkrtich Naghash, a 15th-century Armenian priest and poet. At the heart of the ensemble are three classically trained sopranos, whose soaring voices intertwine with the haunting tones of the duduk (Armenian wooden flute), the rhythmic pulse of the dohol (double-headed drum), the nuanced textures of the oud, and the synchronized depth of the piano. In an exclusive interview with Morocco World News (MWN), Hodian delved into the soul of the ensemble's work, the deep labor of creativity, and what it means to bring Armenian mystical texts to life in a Moroccan context. 'This is our first time performing in Morocco,' Hodian said with visible excitement. 'One of the things I'm so thrilled about is the very nature of this festival… it's very inclusive. Armenians obviously are Christian people, and what a wonderful thing that they would ask us to come here and be part of it.' Performing in a country where Islamic culture deeply informs its musical and spiritual traditions, the ensemble's presence is a symbol of interfaith dialogue and cultural exchange. 'We're thrilled to be here,' Hodian emphasized. 'I really am.' The spiritual power of ancient words, reimagined The ensemble takes its name from Mkrtich Naghash, a 15th-century Armenian priest and poet whose meditative, mystical texts form the backbone of the group's repertoire. Mkrtich Naghash's texts, written in the aftermath of political turmoil and exile, explore themes of faith, suffering, and transcendence. The Naghash Ensemble amplifies these emotions through a sound that is at once ancient and strikingly contemporary. Hodian, the group's founder and creative force, composes original music inspired by these centuries-old writings. But this is no museum piece. 'The music we do is all new music that we've created,' Hodian explained. 'But it's based on ancient texts… That's why we're called the Naghash Ensemble.' What makes this synthesis remarkable is the intuitive way Hodian brings together disparate eras and musical styles. 'I don't consciously think this is old, this is new, this sounds Armenian, this sounds contemporary,' he said. 'It is just me responding to these words… I have to trust that I just use my intuition. That's all I have.' An ensemble without borders The musical configuration of the ensemble itself speaks to its boundary-crossing ethos. 'There's many different traditions of oud playing,' Hodian noted. 'Arabic, Turkic… same thing with dhol. But the dudukis the one instrument that is truly the voice of Armenian music. It has a very soulful, poignant sound.' This careful instrumentation creates a powerful sonic mosaic, complex, dynamic, and deeply emotive. 'It's hard to talk about music,' Hodian admitted. 'But we have three really wonderful singers doing this very kind of complicated counterpoint sometimes. And that's what the music is.' Musical kinship across cultures When asked whether Moroccan or broader Arabic music has influenced his work, Hodian was thoughtful but candid. While he is no scholar of the region's musical traditions, the musician expressed a deep appreciation for its authenticity and emotional power. 'I am somewhat familiar. Certainly not any kind of scholar on Arabic or Moroccan music,' he admitted. 'But I've always loved it. The only other time I was in Morocco, I specifically came to go to the Essaouira Festival, which was just wonderful. So I love the music.' However, Hodian's artistic compass is less about geography and more about sincerity. 'I love any genuine music from all over the world,' he continued. 'Whether it's Arabic or American or Armenian or whatever it is, as long as it's sincere, as long as it's honest.' This pursuit of honesty in composition often requires painful scrutiny. 'Sometimes I work on something for weeks, and I look at it and go, 'You know, this isn't really… this could be better.' And that's how I work.' In this way, his affinity for Moroccan and Arabic music isn't about imitation or fusion, but about a shared reverence for emotional truth, a quality that transcends language and tradition. Crafting the sound of the spirit When asked about his creative process, Hodian described it as both spiritually driven and painstakingly methodical. 'I write and I write and I write, and then I rewrite and I keep taking away and adding and taking away,' he explained. 'It takes me a long, long time… Sometimes the music is very simple, but it takes a very long time to get to the genuine stuff.' This sculptor-like approach reflects a deep respect for the material. 'Anything that is worthwhile is something that you have to work for,' he said. 'There are moments of great inspiration, but then to get it in its proper form… it is work.' Sacred, but not sentimental Though their work is rooted in sacred texts, Hodian avoids sentimentality or superficial spirituality. 'I just don't like anything that has artifice,' he said. 'You develop an instinct for what is honest and genuine and what is artificial. And I'm always just chipping away to get to that.' He draws a line between true creativity and pastiche. 'I love any genuine music from all over the world,' he added. 'As long as it's sincere, as long as it's honest.' The connection between music and spirituality is central to Hodian's vision, but not in the way one might expect. 'Something that is easy, something that is just sat in your lap, you can lose it just as easily,' he said. 'Maybe if I was Mozart, it would come to me easily. But it isn't for me. I have to work quite hard.' That struggle, however, is also the path to transcendence. 'For me… it's as close to an otherworldly experience as I get in this world,' he said of performing live. 'I am transfixed for the 45 minutes, hour, whatever it is.' Letting go of expectations While the Ensemble's music is meticulously composed, Hodian approaches performance with humility and openness. 'I have learned not to have any expectations,' he said. 'And when I do, they're usually wrong… I just know every time we perform, we are in it completely.' In this way, each concert becomes a spiritual exercise, and not just for the audience, but for the performers themselves. 'Whether the audience comes along with us… they usually do. So we hope they will tonight.' Between worlds The performance of the Naghash Ensemble at the Fez Festival is not only an artistic contribution; it is a gesture of spiritual unity. In a world that often fractures along lines of faith and culture, their music reminds us that there are deeper connections to be found in the shared human search for meaning. By setting the words of a medieval Armenian mystic to music that speaks to modern ears, the Naghash Ensemble has created a new sacred tradition, one that invites the world in, rather than shutting it out. Tags: Fez World Sacred Music FestivalNaghash Ensemblesacred music


Morocco World
23-05-2025
- Morocco World
Fez Celebrates 44 Years of UNESCO Heritage with Music at the World Sacred Music Festival
Fez – Yesterday, the historic Bab El Makina in Fez became the stage for a transcendent musical experience, marking the 44th anniversary of the city's inscription on UNESCO's Intangible Cultural Heritage list. This special event was part of the 28th edition of the Fez Festival of World Sacred Music, a gathering that unites artists and audiences in a shared celebration of spiritual and cultural heritage. A grand convergence of tradition and spirituality Under the guidance of renowned Moroccan maestro Mohammed Briouel, 44 virtuoso musicians specializing in Moroccan Andalusian music, known as 'Al Ala', joined forces with 44 Moussamiines (Sufi singers) from various Moroccan zaouias, led by Sheikh Ali Rebbahi. Together, they embarked on a musical journey through the 11 'Noubas' and all the 'Toubous' of 'Al Ala,' enriched by the 'Mayazines' and 'Al Adrajs', compositions originating from Moroccan zaouias that have expanded the 'Al Ala' repertoire. This collaboration culminated in a unique Sufi musical experience and presented a unique spiritual journey that resonated deeply with the audience. The performance was further enhanced by the presence of 20 Foukaras, who accompanied the ensemble, adding rhythmic depth to the 'Hadra', a collective Sufi ritual. The repertoire featured the profound words of great Sufi masters such as Omar Ibn al-Farid, Abu al-Hassan al-Shushtari, and Mohammed al-Harrak, whose poetry and philosophy have long inspired spiritual seekers. A tribute to Fez's cultural legacy This event was not merely a concert but a tribute to Fez's rich cultural and spiritual heritage. The city, with its centuries-old traditions and status as a UNESCO World Heritage site, has long been a center of learning and spiritual reflection. The 44th anniversary of its UNESCO designation is a poignant reminder of the importance of preserving and celebrating intangible cultural heritage. The performance also put to the forefront the enduring legacy of Moroccan Andalusian music, a genre that blends Arab, Andalusian, and Amazigh influences, reflecting the diverse cultural tapestry of Morocco. By bringing together master musicians and Sufi singers, the event showcased the living tradition of 'Al Ala' and its capacity to adapt and thrive in contemporary settings. A night to remember As the evening unfolded, the audience was enveloped in a soundscape that transcended time and space. The intricate melodies of 'Al Ala', the soulful renditions of Sufi poetry, and the rhythmic accompaniment of the Foukaras created an atmosphere of profound spiritual connection. The performance was a testament to the power of music to unite people across cultures and generations, while also fostering a shared sense of reverence and awe. The 44th-anniversary celebration at the Fez Festival of World Sacred Music was more than a commemorative event; it was a living expression of the city's commitment to preserving and promoting its cultural heritage. Through such initiatives, Fez continues to serve as a beacon of spiritual and cultural dialogue, inviting the world to experience the depth and beauty of its traditions. As the festival continues, it remains a testament to the enduring power of music and spirituality to bridge divides and foster a deeper understanding of our shared human heritage. Tags: Fez World Sacred Music Festivalsacred musicSufi musicUNESCO Fez