Appendix 6 - International Music Council

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Oujda) with the aim of protecting Arab music, Andalusian music, melhun,
mouachah and gharnati.
- The Ministry of Culture grants subsidies to music associations in order to
promote certain musical genres and provides material support for the
realisation of big thematic festivals (as do also the wilayas and the City
Councils).
- A copyright law has been in existence since 1916. As a member of WIPO (World
Intellectual Property Organisation) and of UNESCO, Morocco ratified all
international treaties (Bern Treaty, GATT Treaty of Marrakech in 1984). The
July 1970 law was modified (with effect as of 16 November 2000); it stipulates
that copyright must be managed by a committee of authors; this committee does
not exist yet however, and the national Moroccan heritage is still managed by
SACEM in Paris. The “status of artist” has been voted by Parliament but is not
in force yet.
12. The tendency to favour a uniform and non-pluralistic interpretation of the notion of
identity hindering the manifold and free expression of cultural diversity
- In Morocco, the Arab character (‘Arabity’) has been preferred to the Berber
one throughout the centuries. This was a historic mistake which has been
addressed; it resulted in reforms to the advantage of the Berbers as to equality
and human rights; the Tifinaqh dialect has been introduced in a few primary
schools. This is a positive step towards the recognition of the Berber identity.
At present we are witnessing a true artistic and cultural Amazigh revolution
which enriches the Moroccan heritage and its cultural diversity in all its
aspects.
- For many reasons and for major economic and geopolitical arguments,
Morocco can only accept to ratify the UNESCO Convention for Cultural
Diversity, and this all the more as the country has opted for the creation of the
Maghrebin Union, which is possible only in a climate of tolerance towards
other cultural identities. This is why we think that all Maghrebin countries
ought to ratify the UNESCO Convention.
13. The manner in which musical diversity is addressed by music workers and expressed
in various forms of musical creation; the relationship to identity
The cohabitation of Arabs, Berbers, Jews, Andalusians and Africans made it possible to
develop hybrid musical forms which have enriched the contemporary Moroccan heritage.
Whereas a great number of artists combine ethnic music and Western pop, as shown e.g. by
the experience of the African gnawa Blues, the ra’i, the chaâbi, etc., these musical styles
are rooted in their original identity.
14. The obstacles or challenges to be overcome in order to ensure better protection and
promotion of musical diversity
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