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Heritage and Capabilities at the Jemaa El Fnaa DISSERTATION

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Heritage and Capabilities at the Jemaa El Fnaa DISSERTATION Questioning Safeguarding: Heritage and Capabilities at the Jemaa el Fnaa DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Thomas Barone Beardslee, MA Graduate Program in Music **** The Ohio State University 2014 Dissertation Committee: Professor Udo Will (advisor), Professor Danielle Fosler-Lussier, Professor Dorothy Noyes Copyright by Thomas Barone Beardslee 2014 Abstract Is one of the most common approaches to intervention in the realm of culture in recent years – the safeguarding of tradition – the right path to take? In this dissertation, I argue that it is not, and that a different formulation of goals and methods is necessary. Using a case study of Jemaa el Fnaa Square in Marrakech, Morocco, I discuss the flawed concepts contained within the idea of safeguarding, outline their consequences, and put forth an alternative possibility for how things might be done differently. As a focus for criticism of the safeguarding approach, I will discuss UNESCO's Intangible Cultural Heritage program, arguably the most internationally powerful institutional voice in the area of the conserving cultural practices. Since the Declarations of Masterpieces in 2001, 2003, and 2005 and the highly successful 2003 ICH Convention, the UNESCO paradigms of Intangible Cultural Heritage and "safeguarding" have become influential concepts in international, national, and local cultural policy. However, this concept of safeguarding attempts to impose onto the flow of human activity a way of thinking better suited to physical sites: culture as a static edifice with clear boundaries that is under threat of erosion, with safeguarding as a process of "shoring up." This results in an awkward fit of both theory and practice that leads to projects with unattainable goals, poorly-directed resources, and limited benefits for their intended recipients. ii As an alternative framework for intervention, I will discuss the Capability Approach, initially developed by economist Amartya Sen. The capabilities approach seeks ways of enhancing the possible range of choices and abilities of individuals and communities, privileging it over the prescribing of particular activities as a goal and evaluative space. This approach is well-suited to projects relating to culture, which is a fluid and dynamic process resistant to static, prescriptive notions. I will discuss ways in which using the idea of capabilities as a starting point could better lead to interventions that address the real needs of those they concern, rather than the constructed needs of "heritage." To provide a case study to further explore this topic, I will focus on the performers at a particular place: Jemaa el Fnaa Square in Marrakech, Morocco, which was in many ways the site of the genesis of UNESCO’s Intangible Cultural Heritage project. The experience of the performers and others who work there serves as an example with which to discuss the effects of safeguarding on a community of performers, as well as ways in which the Capability Approach would lead to more effective evaluation and action. The discussion of the Jemaa el Fnaa is based on fieldwork conducted over the course of a year during 2010-11, an eventful year for the Square, Morocco, and North Africa as a whole. iii Dedication To the brilliant and kind ḥlayqiya of the Jemaa el Fnaa, and to Jenny, who was always there iv Acknowledgments In Morocco, first and foremost I would like to thank the performers of the Jemaa el Fnaa for their generosity, kindness, patience, and trust. Chukran bzaaf kif dima, ashaabi: the Ammra family, Hassan Hanitja, Abdelhakim Khabzaoui, Belʻaid Farouz, Mustafa Sema, Mustafa Musta'id, Mohammed Erguini, and many others. Dominique Benbrahim at the US Embassy in Rabat helped a great deal in obtaining research permission. I would like to thank Ahmed Skounti for his help and time throughout my fieldwork. And finally I would like to thank akhi Soufiane Lamiri, who helped in so many ways both in terms of the research but also in keeping happy and sane throughout. I would like to thank my advisor, Dr. Udo Will for his continued and unwavering support throughout all stages of this process, and for being such a good mentor and friend. I also owe a big thanks to the other members of my committee, Dr. Danielle Fosler-Lussier and Dr. Dorothy Noyes for their work and patience. I also owe a debt of gratitude to Dr. David Kraybill, who provided a great deal of advice on the topic of development studies and research. My family has provided essential support throughout all stages of research and writing: Jenny, Mom, the Igels, Delaneys, and Taylors. My wonderful partner Jenny has been a great companion and shoulder to lean on throughout. v I benefited greatly from the help, advice and resources of other scholars, artists, and lovers of the Square in my fieldwork and research: Thomas Ladenberger, Richard Hamilton, Steven Montgomery, and Dr Thomas Schmitt. Mounir el Alami also helped with his real-world knowledge of development projects in urban Morocco. The research for this dissertation was conducted with the financial support of a Title VI Foreign Language Area Studies grant, as well as an OSU Ethnomusicology Area Fieldwork Grant. Writing of the dissertation was funded significantly by the Joseph and Linda Igel Grant for Wayward Nephews. It was also greatly aided by the efforts of Dr. Lois Rosow to keep us all in teaching gigs whenever possible. vi Vita September 18, 1976.......................................Born in Charlotte-Amalie, St. Thomas, USVI 1999................................................................B.A. Music, Ohio State University 2002................................................................M.A. Musicology, Ohio State University 1999 to 2002, 2008 to 2010 ..........................Graduate Teaching Associate, School of Music, The Ohio State University 2002 to 2007, 2011 to 2013 ...........................Lecturer, School of Music, The Ohio State University Fields of Study Major Field: Music Area of Emphasis: Ethnomusicology vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Vita .................................................................................................................................... vii Table of Contents ............................................................................................................. viii List of Figures ................................................................................................................... xii A note on transcription and pronunciation of words ....................................................... xiv Introduction ......................................................................................................................... 1 UNESCO and Intangible Cultural Heritage Safeguarding .............................................. 3 The Capability Approach ................................................................................................ 7 The Jemaa el Fnaa ........................................................................................................... 8 Methodology ................................................................................................................. 10 Organization of the dissertation .................................................................................... 12 Part I: A portrait of Jemaa el Fnaa Square, 2010-2011 .............................................. 15 Chapter 1: A walkthrough of the Jemaa el Fnaa ............................................................... 15 Introduction ................................................................................................................... 15 A narrative snapshot of the Jemaa el Fnaa, July 2011 .................................................. 19 Chapter 2: The organization of the Square – Space, Sound, Genre, and Time ................ 61 Raisons d’être ................................................................................................................ 62 Mapping the Square ...................................................................................................... 65 Management of space – between emergent and imposed order .................................... 67 From travelers to residents ........................................................................................ 73 The most fundamental unit of space: the ḥalqa ......................................................... 75 viii Larger divisions of space............................................................................................... 85 The Jemaa l-kbiir and the Jemaa l-sghiir ................................................................... 88 The restaurants ........................................................................................................... 92 The main performing area ......................................................................................... 92 Soundscape .................................................................................................................... 96 Genres of performance ................................................................................................ 101 Berber Musicians
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