
Where Continents Converge: Fez Sacred Music Festival Kicks Off with a Renaissance of Spirit
Fez – As the sun set over the ancient walls of Bab Makina, the 28th Fez Festival of Sacred Music transported audiences into a realm where tradition and transcendence intertwined.
This year's opening night, curated under the visionary theme 'Renaissances: From Nature to the Sacred,' presented a meticulously crafted journey through sound, movement, and spiritual expression, bringing together an extraordinary ensemble of artists from across continents and traditions.
Morocco's Princess Lalla Hasnaa presided over the opening ceremony of the 28th annual Fez Festival of World Sacred Music.
The first day of the festival featured Le Deba, the mesmerizing Sufi ritual performed by women from Mayotte in the Comoros Islands, their chants and swaying movements invoking centuries of devotional practice.
From this foundation of African Sufism, the stage welcomed Omar Areej Mawlidi, whose soulful Omani Sufi chants bridge the Arabian Peninsula with North African spirituality.
Guiding the audience through this odyssey is Malian actor and storyteller Habib Dembélé, whose resonant narration wove together the evening's diverse performances with the timeless power of oral tradition.
West Africa's kaleidoscopic sacred arts took center stage as Le Zaouli de Manfla unfolded, its intricate masked dance embodying ancestral wisdom through breathtaking precision.
The rhythm intensified with the towering presence of Les Échassiers, their stilted movements creating a living bridge between earth and sky, followed by the Compagnie Méhansio from the Ivory Coast, whose ritual leopard dance channeled raw, primal energy through disciplined artistry.
The spiritual journey continued with Senegal's Kassaïdes mourides from Dahira Safinatoul Aaman, their devotional hymns celebrating the Sufi path of Sheikh Amadou Bamba.
Morocco's mystical heritage showed is real colors through Le Sama de Meknès, where whirling dervishes spun in celestial harmony, their movements a visual prayer.
A striking counterpoint emerged as Corsican mezzo-soprano Battista Acquaviva breathed new life into Renaissance sacred music, her crystalline voice echoing through the courtyard like a revelation from another age.
The evening reached its crescendo with the thunderous Tambours du Burundi, whose polyrhythmic mastery transformed the space into a pulsating temple of sound.
Behind this multisensory masterpiece stands a team of visionary creators: Alain Weber's masterful conception and staging, Jean-Paul Méhansio's evocative choreography, Christophe Olivier's luminous lighting design (assisted by Gaël Boucault), and Spectaculaires' immersive mapping projections.
As the final notes faded into the Fez night, this opening ceremony stood as a living testament to the festival's enduring mission to show, through the universal language of sacred art, the profound connections that bind humanity across cultures, eras, and beliefs.
With eight more days of programming ahead, the 28th edition promises to be a true renaissance of the spirit, inviting all who attend to rediscover what it means to be human in an ever-changing world. Tags: Fez World Sacred Music FestivalMorocco culturesacred musicSufi music
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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


Morocco World
20-05-2025
- Morocco World
Senegal's Mouride Brotherhood Brings Spiritual Power Fez Festival
Fez – On the fourth evening of the Fez Festival of Sacred Music, the serene Jnan Sbil garden echoed with the deep, devotional sounds of Senegal's Mouride brotherhood. Represented by Cheikh Ahmadou Bambandaou and his ensemble, the performance offered an intimate look into one of West Africa's most influential Sufi traditions; rich in rhythm, reverence, and rooted spirituality. Hailing from Dakar, Bambandaou and his group are spiritual artists devoted to the teachings of Cheikh Ahmadou Bamba, the 19th-century founder of the Mouride order and the holy city of Touba. Their performance was far more than a concert, it was a living form of prayer. Through layered chants and lyrical praise, they brought to life panegyrics dedicated to the Virgin Mary, written by Bamba himself. The result was a powerful blend of devotion and musical mastery that captivated both seasoned festival-goers and newcomers alike. 'We were responsible for delivering this sacred chant,' Bambandaou told Morocco World News 'to honor a moment of shared reverence through the lens of our tradition.' The Fez Festival, now in its 27th edition, is known for bringing together diverse spiritual voices from across the globe. Yet there was something especially moving about this Senegalese performance. The Mouride brotherhood's deep-rooted Sufi philosophy, centered on surrendering to God, renouncing material excess, and emulating the Prophet's example, resonated strongly with Morocco's own Sufi heritage. 'Fez is a magnificent city,' Bambandaou said to MWN. 'We were touched by the warmth and openness of the people, and by the cultural similarities between our communities.' Jnan Sbil, with its fountains, ancient trees, and twilight atmosphere, was the perfect setting for such an encounter. As the chants rose into the night air, they seemed to dissolve borders: geographical, linguistic, and even religious. This kind of performance is what the Fez Festival does best: it reveals common ground through sacred sound. Bambandaou and his group didn't just share their music, they invited the audience into a living tradition, one shaped by spiritual discipline, artistic continuity, and cultural pride. And they left an impression. As the final chant faded and the applause echoed through the garden, it was clear that something meaningful had transpired, something that spoke not only to the past and present of Senegalese Sufism, but also to the future of global spiritual exchange.