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University of California Riverside UNIVERSITY OF CALIFORNIA RIVERSIDE Youth Transformations in Storytelling: Transmutability, Haunting, and Fen al Hikaya in Marrakech, Morocco A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Anthropology by Erin E. Gould December 2019 Dissertation Committee: Dr. Susan Ossman, Chairperson Dr. Christina Schwenkel Dr. Jonathan Ritter Copyright by Erin E. Gould 2019 The Dissertation of Erin E. Gould is approved: Committee Chairperson University of California, Riverside Acknowledgements As is true for any research project, a lot of individuals and groups were pivotal in helping to get this dissertation under way and completed. I’d like to start by thanking my adviser, Susan Ossman, and my other committee members, Christina Schwenkel and Jonathan Ritter. Their support and input on my ideas and my writings (not to mention the number of letters of recommendation they have all submitted for me) has made this project what it is today. Thank you all for challenging me, and I will always be grateful for all of you bestowing upon me pivotal sections of your collective expertise. This project would not have been possible without the funding I received for language training, conferences, research, and writing up my findings. Through the help of the Fulbright Student Research Fellowship and the Fulbright Critical Language Enhancement Award, I was able to spend necessary time in Morocco from 2017-2018, while also incrementally increasingly my proficiency in darija. I began my journey learning Arabic with the help of a Foreign Language Area Studies (FLAS) Grant, with which I took a summer intensive Arabic course with the Arabic, Persian, Turkish Language Intensive Institute (APTLII) through the University of Wisconsin-Madison. I have to thank the Department of Anthropology at UC Riverside, the Graduate Division at UC Riverside, and the Graduate Student Association at UC Riverside for travel and tuition funding which allowed me to both spend more time in the field and also present my original fieldwork at a variety of different conferences throughout my graduate career. iv A special thanks to everyone I worked with in Morocco. I can’t name everyone, but know that everyone I worked with, spoke with, or happened to meet on the street was influential and an aspect of this project. Morocco and the people I’ve met there have a huge place in my heart. Marrakech will always be one of my homes. Special thanks go out to Abdelhamd, Adil, Mohamed, Mehdi, Lori, Sara, and Abderrahim for being some of the first people I met in the city, and all of you have played such a supporting role in my work and my life. Dr. Amina Aouchar and Dr. Khalid Amine were influential and patient mentors during my time in Morocco, and their support and comments always helped to solidify and critique my own assumptions and conclusions. Thank you all for letting me become part of your lives. I am fortunate that I started graduate school with the best cohort (and one honorary cohort member). Between core cards and just mutually commiserating, celebrating, and finding great spaces for taco Tuesdays, I could not have done it without all of you. A cohort that sticks together…Take it away, Jenn! Also, I am grateful to have met so many people at UC Riverside who have given me great feedback or mentorship over the years. Taking courses or working in different departments, including Dance Studies, Music, Global Studies, and GradSuccess, have given me opportunities to expand my thoughts in many directions, all while solidifying my own ideas for forward movement. All of the fellow graduate school colleagues I have had the opportunity to take classes with, work with, serve on committees with, or simply share perspectives with have all helped me feel at home and supported in Riverside. v Thanks to my parents and family who supported but never fully understood why I wanted to be so far away—not only in graduate school in California, but also going away to Morocco for almost 2.5 years. Thank you to my parents, cousins Michael and Do Quyen, and my aunt Marlene for making the trek to Morocco and bringing some of my US family to meet my families in Morocco. My parents put up with me enough to help me drive from Indiana to California twice, and my sister, Jenny, drove from California to Indiana with me once—I could not have (and would not have wanted) to make the trip without you all! Thanks Terminator, Terminator Jr., and the woman in the front seat who always sleeps. Luckily, if I was ever feeling too far away from family, my cousins Michael and Do Quyen were in the Bay Area for laughs, adventures, and always sending me home with home-made meals. Thanks to Brian and Mary for keeping me updated with the girls and sending me their drawings when I was away for my fieldwork. Spencer Gould helped ground me after returning from fieldwork by asking, “What took you so long to get back?” Elliotte Gould helps me remember to take “uvenchrs,” and I hope she continues to remember this throughout her life. vi ABSTRACT OF THE DISSERTATION Youth Transformations in Storytelling: Transmutability, Haunting, and Fen al Hikayat in Marrakech, Morocco by Erin E. Gould Doctor of Philosophy, Graduate Program in Anthropology University of California, Riverside, December 2019 Dr. Susan Ossman, Chairperson Fen al hikaya, the famous form of oral Moroccan public allegorical storytelling, is being “revived” by youth in Marrakech, Morocco at the same time as the general public discourse states that fen al hikaya is “disappearing” and that youth are suffering from lack of opportunity during the “youth bulge.” I argue that this youth revitalization of storytelling practice is haunted by the disappearing figures of older storytellers, but also that as youth move through the transmutable role of storyteller, they transform storytelling to fit their contemporary, internationalized, and economically precarious lives. While youth precarity, particularly in artistic spheres, is not unique to Morocco, my research provides a case study from which to examine how young people, influenced by the haunting of time-honored forms of expression, transform contemporary practices vii of cultural expression, “reviving” these forms but also innovating and changing conceptions of these practices. Through two and a half years of ethnographic fieldwork in Marrakech with over 40 storytellers and community members, this research examines how youth transform and innovate creative expression, one of the myriad of strategies youth employ to find belonging and meaning in their contemporary, precarious lives. I use conceptions of haunting and specters to examine how the figure of the storyteller and Marrakech’s Jemaa el Fna Square, the most famous location for storytelling performance in Morocco, haunt transformations Moroccan youth are making within their contemporary storytelling practice in Marrakech through elements such as performance configuration, language choice, and the use of costumes and props. I discuss how skills like public speaking and fluency in English through storytelling can lead Moroccan youth to different career paths both within and outside Morocco, contributing to their flexibility but also to their role as internationally influenced individuals. viii Table of Contents Acknowledgements .................................................................................................................................................. iv ABSTRACT OF THE DISSERTATION ........................................................................................................ vii List of Figures .............................................................................................................................................................. x Transcriptions note .................................................................................................................................................. xii Chapter 1: Introduction: Storytelling Youth in Marrakech Today ............................................................. 1 Chapter 2: Literature Review ............................................................................................................................... 35 Chapter 3: Methodological Reflections ............................................................................................................ 64 Chapter 4: Narratives of the Storyteller: The Historical Figure and His Decline in Jemaa el Fna Square .......................................................................................................................................................................... 86 Chapter 5: If not in the Square, Where?: Transitions in Place of Youthful Storytelling ............... 113 Chapter 6: Language and Cultural Translation in Storytelling .............................................................. 150 Chapter 7: The Storyteller: Economic Precarity and Transmutability ................................................. 170 Chapter 8: Conclusion ......................................................................................................................................... 190 Bibliography ........................................................................................................................................................... 198 ix List of Figures Figure 1: Mehdi performing at KE'CH Collective. Note the planters interspersed in the performance area and the popcorn fountain on the right side. Photo taken by author.
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