kvarterakademisk - Akademisk kvarter - Aalborg Universitet

akademiskacademic quarterkvarterThe Rise of the UndergroundMoulay Driss El Maaroufor sameness, like being vulgar all the time, regardless of alertness tointention and opportunity, context and selectivity. While dirtymindednessis libidinal (controlled and minded and performed bythe body), excre-mentality is triggered first by a mental code, thensecond performed by the body. Far from being solely product ofphysicality, excre-mentality is physical language contaminated andmotivated by intention and purpose, and not the opposite.In other words, it should be conceded that while excre-mentalmust not be disparaged in overly romantic provisos, as pigeonholedby the excesses of the body, we should agree, and at least recognizethe presence of brain power. The social condemnations of the excrementalas obscene should be at any case be taken with a pinch of salt,for as Justice John Marshall Harlan’s reknown line that ‘one man’svulgarity is another’s lyric,’ indicates the clumsiness and absurdityof managing a sober criticism of vulgarity could maintain a sharpand trenchant sense of objectiveness and preciseness. Vulgarity inmusic festivals, especially that sprawling from musics is a productmore of the cognitive, less of the emotive, though both of them makethe language of the exre-mental. In brief, vulgarity is meant to disruptthat which is sacred. Especially in a the festival context, markedby resistrance, it is taken for granted at some point that vulgarity isrudimentarily indispensable to the proposed message, and for latterto have the desired impact, excre-mentality has to be deliberate, theexcre-mental agent premeditating its consequences, regulating itsrepercussions. Presumably, an extreme fit of excre-mentality is assacrosanct as its underlying objectives (change, expression, criticism,revolution, revenge, etc). Most of the time they perform thevery khsoriya (vulgarity) expected of them, by performing thatthrough art, as in the case of Bigg lkhasar ( Bigg the vulgar, this beingthe original name for Big the Donn), who cannot be polite, becauseto do that is to lose his aura.The orations of politeness can not only be found in the generalbehaviour of an audience during the spectacle, but is firmly establishedin the rituals of singing in Moroccan culture as a form ofdependability on and praise of the status quo. In rap music, commercialrappers, those who seek money and fame and the blessingof the system, eulogize the order of things, singing forever, in someform of neo-patriotism, about the “white” side of the country, andthey call it ‘lface zwin (the nice side). This would demand the gra-Volume03 43