Ethnographic Research in Morocco: Analyzing Contemporary Artistic Practices and Visual Culture
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ETHNOGRAPHIC RESEARCH IN MOROCCO: ANALYZING CONTEMPORARY ARTISTIC PRACTICES AND VISUAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maribea Woodington Barnes, B.A., M.A. The Ohio State University 2008 Dissertation Committee: Approved by Dr. Patricia Stuhr, Adviser ________________________ Adviser Dr. Christine Ballengee-Morris Art Education Graduate Program Dr. James Sanders III Copyright by Maribea Woodington Barnes 2008 ABSTRACT Over the last several decades numerous scholarly articles and books have been published on Moroccan art forms. Yet, these studies have consistently examined Morocco’s traditional works or its older forms of artistic practices. Specifically, Morocco’s ceramics objects and textiles are among the most commonly examined works. As a result of this emphasis, only a partial view of Morocco’s rich artistic production has been presented. Currently, Moroccan Art is consistently viewed as static and the 19th century western Orientalist image of Morocco has more or less remained. Visual Culture within the country and beyond its border continues to reinforce these antiquated perceptions. To identify the range of works of art produced within Morocco, a multi- method ethnographic approach was utlized. Using information drawn from fieldwork conducted in Morocco in 2002, 2004, and 2006, contemporary artistic practices were examined and anylzed within a social and historical context. Personal narratives from my fieldwork in 2006 added layers of information to enrich my study of Moroccan art and culture. My findings revealed that Morocco’s rich historical past includes a multiplicity of cultures and influences. As a result, the country’s contemporary artistic production mirrors the complexity of this past and reflects its current social ii and political situation within the global world. Moroccan Art is not static, but diverse and fluid. By studying a range of contemporary works of art and visual culture produced within the country, perceptions about Morocco’s art forms and its people will be redefined. iii DEDICATION To my mother, who unabashedly illustrated her love for teaching and was my constant support throughout my teaching career. And To my husband, who supported me in each and every endeavor and has truly been my champion at my weakest moments. iv ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Patricia Stuhr, my adviser and dissertation chair for her assistance and support. I am also thankful to my committee members, Dr. Christine Ballengee-Morris and Dr. James Sanders III, who provided their insights and guidance throughout my dissertation writing. Additional thanks to Dr. Terry Barrett for his assistance during my Ph.D. studies and for his writing guidance during my dissertation. Financial support for research and travel was essential to complete my study. I would like to thank the College of the Arts and the Department of Art Education for a Student International Travel grant, the American Institute for Magrheb Studies for a short term research grant, and the Middle East Studies Center for a Foreign Language and Area Studies (FLAS) summer award and the opportunity to attend their summer workshop for educators. I must also thank all the participants in this study, who provided their time and assistance throughout my research. During my research travels a number of Moroccan residents offered me their guidance and graciously opened their doors to their homes and shops. The experiences that I encountered have left endearing memories. v Lastly, I must acknowledge the numerous educators who have extended their assistance and offered words of encouragement. My appreciation must also extend to my first art education professor, Orland Rourke, who unknowingly changed my career path and hence, the course of my professional life. vi VITA 1968 .....................Born - Lancaster, Pennsylvania 1991......................BA in French Concordia College, Moorhead, Minnesota 1994 .....................Licensure Program in Art Education Concordia College, Moorhead, Minnesota 1995 - 1996 ..........Art Teacher Oak Grove Lutheran, Fargo, North Dakota 1996 - 2003 ..........Art Teacher Glencoe Silver Lake School District, Glencoe, Minnesota 1998 - 2003 .........Art Teacher - Youth Public Programs, Minneapolis Institute of Arts, Minneapolis, Minnesota 2003 .....................MA in Art History University of St. Thomas, St. Paul, Minnesota 2003 - 2004 ..........Graduate Administrative Assistant, Teacher Programs & Graduate Museum Studies - Education Department Wexner Center for the Arts, The Ohio State University, Columbus, Ohio 2004 – 2007..........Graduate Teaching Assistant, University Supervisor of Student Teachers The Ohio State University, Columbus, Ohio 2007 – present .....Assistant Professor, Art Education, Department of Art & Design Marshall University, Huntington, WV vii FIELDS OF STUDY Major Field: Art Education viii TABLE OF CONTENTS Page Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iv Acknowledgments ...............................................................................................................v Vita.................................................................................................................................... vii List of Figures.................................................................................................................. xiii Chapters: 1. INTRODUCTION..................................................................................................1 Brief Introduction to the Kingdom of Morocco...........................................1 Morocco’s Contemporary Artistic Practices................................................2 Lessons Focusing on Non-western Art Forms.............................................3 Conceptual Framework for the Research.....................................................5 Primary Research Questions........................................................................8 Significance of the Study ............................................................................9 Relevance of my Study to the Field of Art Education.....................9 Defining Postmodernism ...................................................11 Postmodernist Pedagogy in Art Education .......................13 Multicultural Concepts in Art Education ..........................15 Relevance of Examining Morocco’s Art Forms to the Field of Art Education.................................................................................17 Helping Pre-Service and Practicing Art Teachers ........................19 Organization of My Dissertation Findings ...............................................21 2. REVIEW OF LITERATURE.............................................................................25 Introduction................................................................................................25 A Brief Description of Morocco and its Peoples.......................................27 Morocco’s History: The Protectorate of Morocco (1912-1956)....29 Introduction: Artistic Production within Morocco ....................................32 Indigenous Amazigh (Berber) Art Forms......................................32 Amazigh Designs and the Evil Eye ..................................33 Amazigh Textiles...............................................................35 ix Amazigh Jewelry ..............................................................39 Amazigh Pottery ...............................................................43 Defining Islamic Art .....................................................................47 Islamic Clay Vessels and Tile Embellishments ................52 A Historical Overview of the Organization of Ceramic Production..........................................................................69 Artistic Production: Contemporary Art ........................................71 Museums and Museum Education.............................................................80 Effects of Colonialism ...............................................................................85 French Art Education.....................................................................89 Visual Culture: Print Media, the Internet, and the Tourist Industry ..........................................................................................91 Contemporary Narratives and Personal Experiences ....................96 3. METHODOLOGY ..............................................................................................99 Introduction ...............................................................................................99 Design of Study..........................................................................................99 Description of Fieldwork ........................................................................102 Location of Study ........................................................................104 Participants...................................................................................106 Interviews as a Research Method ...........................................................107 Photography and Video as a Research Method .......................................110