Morocco, Focusing on Unique Cultural Features Of
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Tunisia (Tunisian Republic)
CultureGramsTM World Edition 2018 Tunisia (Tunisian Republic) History BACKGROUND Early Civilizations Throughout its history, Tunisia was a crossroads of many Land and Climate civilizations. Tunisia's indigenous inhabitants are known Tunisia covers an area twice as big as Austria or slightly collectively as Berbers, but a more accurate indigenous term larger than the U.S. state of Georgia. Hundreds of miles of for them is Imazighen (Amazigh, singular). Phoenicians sandy beaches line Tunisia's Mediterranean coastline. The founded Carthage in 814 BC. The Romans fought Carthage in Atlas Mountains, which span Morocco and Algeria, extend three Punic Wars, eventually destroying it in 146 BC. into northern Tunisia from the west. The Jebel ech Chambi is Islamic and French Influence Tunisia's highest mountain, at 5,066 feet (1,544 meters). The two major influences shaping modern Tunisian society Tunisia's central region rises to a plateau and then gives way are Islam and the remnants of French colonialism. Islam came to the semidesert terrain of the Sahel. Further south, dry salt with invading Arabs in the seventh century AD. Indigenous lakes and scattered oases border the Sahara Desert. groups gradually adopted the Arabic language and customs, About 18 percent of Tunisia's land is arable, and 15 and Tunisia became a center of Islamic culture. The Turkish percent is used for permanent crops (such as citrus). Olives, Ottoman Empire ruled the area between 1574 and 1881. olive oil, and citrus fruits are major agricultural products. Economic difficulties and French colonial interests led to the Orange orchards are found in the Cap Bon (the northeastern Treaty of Bardo (1881), which made Tunisia a French peninsula). -
Marrakech Architecture Guide 2020
WHAT Architect WHERE Notes Completed in 2008, the terminal extension of the Marrakech Menara Airport in Morocco—designed by Swiss Architects E2A Architecture— uses a gorgeous facade that has become a hallmark of the airport. Light filters into the space by arabesques made up of 24 rhombuses and three triangles. Clad in white aluminum panels and featuring Marrakesh Menara stylized Islamic ornamental designs, the structure gives the terminal Airport ***** Menara Airport E2A Architecture a brightness that changes according to the time of day. It’s also an ال دول ي ال م نارة excellent example of how a contemporary building can incorporate مراك ش مطار traditional cultural motifs. It features an exterior made of 24 concrete rhombuses with glass printed ancient Islamic ornamental motives. The roof is constructed by a steel structure that continues outward, forming a 24 m canopy providing shade. Inside, the rhombuses are covered in white aluminum. ***** Zone 1: Medina Open both to hotel guests and visitors, the Delano is the perfect place to get away from the hustle and bustle of the Medina, and escape to your very own oasis. With a rooftop restaurant serving ،Av. Echouhada et from lunch into the evening, it is the ideal spot to take in the ** The Pearl Marrakech Rue du Temple magnificent sights over the Red City and the Medina, as well as the شارع دو معبد imperial ramparts and Atlas mountains further afield. By night, the daybeds and circular pool provide the perfect setting to take in the multicolour hues of twilight, as dusk sets in. Facing the Atlas Mountains, this 5 star hotel is probably one of the top spots in the city that you shouldn’t miss. -
Belly Dance: an Example of Cultural Authentication? Redacted for Privacy Abstract Approved
AN ABSTRACT OF THE THESIS OF Jennie L. Embree for the degree of Master of Science in Apparel, Interiors, Housing, and Merchandising presented on September 24, 1998. Title: Belly Dance: An Example of Cultural Authentication? Redacted for Privacy Abstract Approved: Elaine Pedersen Cultural authentication is a concept that was developed by Erekosima (1979), Erekosima and Eicher (1981), and Eicher and Erekosima (1980, 1995) to aid in the description of the transfer of artifacts from one culture to another. The purpose of this study was to investigate whether the development of belly dance costume in the United States is an example of cultural authentication and, in so doing, further test and refine the concept of cultural authentication. Contemporary belly dance costume in the United States was described after conducting field research of the belly dance community over a period of ten months. The history of belly dance and its associated costume in America was explored through the review of previous historical research. Belly dance and its associated costume in the United States was then analyzed in terms of cultural authentication by addressing a series of seven questions. These seven questions were formulated to determine whether the four levels of cultural authentication (selection, characterization, incorporation, and transformation) occurred, and whether they occurred in that order. Contemporary belly dance costume in the United States was classified into two categories: replicated and creatively interpreted. The dancer who wears replicated costumes believes that he/she is imitating, to the best of his/her ability, a documented style of dress worn by a specific ethnic group, at a specific time, within the areas of the Near and Middle East. -
Review Article
z Available online at http://www.journalcra.com INTERNATIONAL JOURNAL OF CURRENT RESEARCH International Journal of Current Research Vol. 7, Issue, 03, pp.13547-13558, March, 2015 ISSN: 0975-833X REVIEW ARTICLE CONTEMPORARY ARCHITECTURAL TRENDS AND THEIR IMPACT ON THE SYMBOLIC AND SPIRITUAL FUNCTION OF THE MOSQUE *Aida Hoteit Department of Architecture, Institute of Fine Arts Lebanese University – Beirut, Lebanon ARTICLE INFO ABSTRACT Article History: Since the dawn of history, mosque architecture has witnessed changes and developments to meet the Received 13th December, 2014 cultures and civilizations passing through; accordingly, modern contemporary architectural trends Received in revised form have presented bold innovative solutions that affect the stereotypes that have been attributed to 29th January, 2015 mosques over time. At this point, a discussion was initiated on the feasibility of maintaining certain Accepted 28th February, 2015 mosque elements that are considered to be essential for some in the process of going to the mosque, Published online 17th March, 2015 such as the minaret and the dome. However, some trends posed ideas that exceeded the spiritual function of a mosque, as well as the cause and essence of its existence; accordingly, the present Key words: research study was conducted to elucidate those various trends and to discuss and evaluate their conformity with the standards and principles in mosque architecture. The study begins with the Mosque, definition of a mosque and its fundamental elements, determines the most significant mosque styles in Contemporary mosque, the world while highlighting the relationship each has with the culture or civilization it produced, and Islam, subsequently addresses the function of the mosque and the requirements to be considered in Islamic architecture, compliance with the provisions of Sharia. -
Naser Hassan AI-Rifaei
The Principle of Movement in Moroccan Design; as a source of inspiration for contemporary artistic applications Practice-based research in Art and Design Naser Hassan AI-Rifaei A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2009 University of Brighton Abstract This project focuses on utilizing the principle of movement contained in traditional Moroccan design (PMMD) for the production of new and inventive artworks. The PMMD is one of the main concepts that rules the creation and construction of design elements; it consists of a group of advanced technical procedures applied to achieve the highest levels of unity, harmony, variation and rhythm between lines and shapes. Great consideration in the PMMD is given to the viewer's perception, as all parts are formed to be equally interesting and to work harmoniously together suggesting ways for the viewer's eye to interact with and move in and throughout the composition. The purpose of this research is to examine viable methods for stimulating new ideas by taking the aesthetic and technical significances of the PMMD as a source of creative inspiration. The work involved analyzing the relationship between form, method and perception in traditional compositions by exploring the role of PMMD in 1) the process of creating and shaping design elements separately, 2) methods of relating the lines and shapes of different design components. Data on PMMD was collected from recent literature on Islamic art and Moroccan design, from interviews with master-craftsmen, and from my personal analyses and observations. -
Andalusian Roots and Abbasid Homage in the Qubbat Al-Barudiyyin 133
andalusian roots and abbasid homage in the qubbat al-barudiyyin 133 YASSER TABBAA ANDALUSIAN ROOTS AND ABBASID HOMAGE IN THE QUBBAT AL-BARUDIYYIN IN MARRAKECH Without any question, I was attracted to the fi eld of Andalusian artisans are known to have resettled in Islamic architecture and archaeology through Oleg Morocco—it seems anachronistic in dealing with peri- Grabar’s famous article on the Dome of the Rock, ods when Andalusia itself was ruled by dynasties from which I fi rst read in 1972 in Riyadh, while contemplat- Morocco, in particular the Almoravids (1061–1147) ing what to do with the rest of my life.1 More specifi cally and the Almohads (1130–1260). More specifi cally, to the article made me think about domes as the ultimate view Almoravid architecture from an exclusively Cor- aesthetic statements of many architectural traditions doban perspective goes counter to the political and and as repositories of iconography and cosmology, cultural associations of the Almoravids, who, in addi- concepts that both Grabar and I have explored in different ways in the past few decades. This article, on a small and fragile dome in Marrakech, continues the conversation I began with Oleg long before he knew who I was. The Qubbat al-Barudiyyin in Marrakech is an enig- matic and little-studied monument that stands at the juncture of historical, cultural, and architectural trans- formations (fi g. 1). Although often illustrated, and even featured on the dust jacket of an important sur- vey of Islamic architecture,2 this monument is in fact very little known to the English-speaking scholarly world, a situation that refl ects its relatively recent dis- covery and its location in a country long infl uenced by French culture. -