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Articles de revues sur le sujet « Morocco Art »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco." Review of Middle East Studies 42, no. 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.

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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sic

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Hassa, Samira. "The rise and fall of French in a context of art and immigration." Contemporary French Civilization 50, no. 2 (2025): 127–44. https://doi.org/10.3828/cfc.2025.7.

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This article presents the results of a study on the value of the French language and culture for Moroccan artists working and living in New York, a dynamic, competitive, multilingual, and multicultural city. In this environment, these artists must promote their arts, which rely on originality, contacts, and branding. This empirical study examines the role and value for these Moroccan artists of the French language, a language with a complex status in Morocco due to its colonial past, its position as the first foreign language learned in schools, and its wide presence in administrative fields,

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Alaoui, Fatima-Zohra Sbihi, and Susan Searight. "Rock Art in Morocco." Proceedings of the Prehistoric Society 63 (1997): 87–101. http://dx.doi.org/10.1017/s0079497x00002383.

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Rock art in Morocco is widespread and varied, but little known in English-speaking circles. The present paper aims to present a broad outline of this art — almost entirely represented by engravings — as it is known today. A brief survey of past research is given. The distribution of sites is indicated, showing the country to be roughly divided into two areas: the High Atlas mountains and the sub-Saharan regions to the south. Four major groups of engravings are identified, according to theme, technique, and, to a certain extent, style. In the absence of radiocarbon or other datings, the only cl

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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.

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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional

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Larocca, Alberto. "Rock art conservation in Morocco." Public Archaeology 3, no. 2 (2003): 67–76. http://dx.doi.org/10.1179/pua.2003.3.2.67.

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Bennani Othmani, M., S. Diouny, and O. Bouhaddou. "Medical Informatics in Morocco." Yearbook of Medical Informatics 22, no. 01 (2013): 190–96. http://dx.doi.org/10.1055/s-0038-1638855.

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Summary Objectives: Informatics is an essential tool for helping to transform healthcare from a paper-based to a digital sector. This article explores the state-of-the-art of health informatics in Morocco. Specifically, it aims to give a general overview of the Moroccan healthcare system, the challenges it is facing, and the efforts undertaken by the informatics community and Moroccan government in terms of education, research and practice to reform the country's health sector. Methods: Through the experience of establishing Medical Informatics as a medical specialty in 2008, creating a Morocc

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Dornhof, Sarah. "Street Art out of Time." Manazir Journal 4 (October 24, 2022): 74–97. http://dx.doi.org/10.36950/manazir.2022.4.5.

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The small town of Asilah in the north of Morocco holds an annual international festival of visual and performance arts, including exhibitions, workshops, conferences, and other parallel activities. However, it is best known for the murals that are painted every year anew by invited artists on the facades of old town houses. Founded in 1978, the Arts Festival or Cultural Moussem of Asilah qualifies as the first street art festival in Morocco and has significantly shaped the cultural context for arts to interact with public spaces. It has, in particular, linked street art manifestations to ideas

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Saoura, Zakia, Ahmed Abriane, and Aniss Moumen. "Digital entrepreneurship in Morocco: measurement model validation." SHS Web of Conferences 119 (2021): 03004. http://dx.doi.org/10.1051/shsconf/202111903004.

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According to the 2017 Global Entrepreneurship Monitor report, there are 6.5 million adults aged 18-64 planning to start an entrepreneurial career by 2020. However, the gap between attempt and effective creations remains one of the largest within Arab countries (40% versus 9%). Given these statistics, we ask the question about the profile of the Moroccan entrepreneur. In this paper, we opted for a quantitative research methodology on an exploratory sample. We distributed a questionnaire to a sample of eighty Moroccan entrepreneurs representing different regions of Morocco. The objective of our

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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.

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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article conclud

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Abudaya, Mounia Chekhab. "Inner Visions: Art Practice and Sufi Devotion in Morocco at the Turn of the Fourteenth/Twentieth Century." Journal of Material Cultures in the Muslim World 3, no. 2 (2023): 267–98. http://dx.doi.org/10.1163/26666286-12340030.

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Abstract This article examines a large calligraphic panel from Morocco preserved in the Harvard Art Museums (2016.206). The artwork features stylized representations of Mecca and Medina alongside Prophet Muhammad’s sandals and a selection of religious texts praising the prophet. This composition is characteristic of Islamic devotional imagery, highlighting artistic transfer from Moroccan illustrated copies of the Dalāʾil al-Khayrāt by the ninth/fifteenth-century Sufi mystic al-Ǧazūlī. This article aims to contextualize the production of this specific panel artwork within the Wazzāniyya Sufi Br

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Sabar, Shalom. "The Preservation and Continuation of Sephardi Art in Morocco." European Judaism 52, no. 2 (2019): 59–81. http://dx.doi.org/10.3167/ej.2019.520206.

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While it is widely known that the Jews of medieval Spain carried with them their language, literature and other traditions to the countries in which they settled following the Expulsion in 1492, little research has been conducted on the preservation of their material culture and the visual arts. In this article, these aspects are examined vis-à-vis the Judaic artistic production and visual realm of the Sephardi Jews in Morocco, who adhered to these traditions perhaps more staunchly than any other Sephardi community in modern times. The materials are divided into several categories which serve

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Rosser-Owen, Mariam. "Andalusi Spolia in Medieval Morocco: “Architectural Politics, Political Architecture”." Medieval Encounters 20, no. 2 (2014): 152–98. http://dx.doi.org/10.1163/15700674-12342164.

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Abstract Traditionally, art historians have viewed the art of medieval Morocco through the lens of Islamic Iberia, which is regarded as the culturally superior center and model for the region. However, more recent studies are beginning to show that, rather than Moroccan patrons and artisans passively absorbing an Andalusi model, the rulers of the Almoravid and Almohad regimes were adopting aspects of this model in very deliberate ways. These studies suggest that Andalusi works of art were part of a conscious appropriation of styles as well as material in a very physical sense, which were imbue

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Lourenço, Isabel, and Jorge Teixeira. "The Saharawi Arab Democratic Republic, the Art of Resistance and How to Constitute a Country While Under Occupation." Uchenie zapiski Instituta Afriki RAN 63, no. 2 (2023): 117–31. http://dx.doi.org/10.31132/2412-5717-2023-63-2-117-131.

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The Frente POLISARIO, a liberation movement that aimed to achieve freedom of the then Spanish Sahara, was funded in 1973. In 1976, one year after the invasion of Morocco and Mauritania of Western Sahara, POLISARIO proclaimed, in the name of the Saharawi People, the Saharawi Arab Democratic Republic (SADR). Western Sahara has been on the United Nations’ list of Non-Self-Governing Territories under Chapter XI of the UN Charter, since 1963. Forty-seven years later, the fight for the future of Western Sahara still ensues. Despite all judicial decisions against its claim, Morocco still occupies Wes

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Himmi, Mariem, and Youssouf Amine Elalamy. "Walls of Many Colors: The Celebration of Mural Art in the Moroccan City." International Journal of Linguistics, Literature and Translation 6, no. 8 (2023): 183–90. http://dx.doi.org/10.32996/ijllt.2023.6.8.17.

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The history of walls in Morocco is extremely rich. Walls have played a powerful role throughout history, recounting stories of protection, resistance and encounter. They stand as historical palimpsests bearing traces of former times. However, in our modern times, walls have now embraced new functions. They have become spaces for creative communication and artistic performance. As a survivor of the Arab Spring revolutions that swept the MENA region by the end of 2010, Morocco has adapted to the transformations that have altered the political landscape in the region by answering the national dem

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Maraini, Toni. "Some Observations on Traditional Popular Art in Morocco." Journal of Modern Craft 13, no. 1 (2020): 107–14. http://dx.doi.org/10.1080/17496772.2020.1735131.

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Zineb, BENNIS NECHBA, BOUJIBAR Adnane, and ALJ Abdelkamel. "Good governance and digitalization in Morocco: State of the art." International Journal of Business and Technology Studies and Research 4, no. 1 (2022): 9 pages. https://doi.org/10.5281/zenodo.6458333.

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<em>New technologies and the modernization of public services tend to change the relationship with citizens, businesses, and industry, posing new challenges in terms of how the governance system should function in a way that meets the needs of users and global development issues.  According to the World Bank, good governance has two roles: the economic role of the government in implementing policy reforms and the non-economic role, such as transparency, accountability, efficiency, etc. In this paper, we will examine the relationship between digitalization and good governance in the Morocc

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Sbai El Idrissi, Zineb, and Maryam El-kssiri. "Zainab Fasiki’s Feminist Artistic Practice: A Semiotic Study of the Exhibition Hshouma at Le Cube – Independent Art Room." International Journal of Linguistics, Literature and Translation 5, no. 12 (2022): 84–95. http://dx.doi.org/10.32996/ijllt.2022.5.12.11.

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Moroccan feminist activist Zainab Fasiki has become a prominent contemporary artist. After the publication and success of her graphic novel Hshouma, Fasiki has gained international popularity. Nevertheless, Fasiki 's artistic practice is seldom thoroughly explored and analyzed. This article attempts to conduct a deep-level analysis of her work utilizing a Moroccan repertoire of symbolism. To reach this aim, this paper provides a semiotic analysis of Hshouma, Fasiki’s first exhibition in Morocco. The analysis of the different components of the exhibition is undergirded by the artist’s own state

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MOUMEN, Aziz. "The Role of Informatics and Didactics in Enhancing Education in Morocco." International Journal of Scientific Research and Innovative Studies 3, no. 4 (2024): 90–93. https://doi.org/10.5281/zenodo.14179132.

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<strong>Abstract</strong> In the context of modern education, the integration of <strong>Informatics</strong> and <strong>Didactics</strong> plays a pivotal role in improving teaching and learning processes. In Morocco, the combination of these two domains—informatics, which refers to the use of computer science and information technology in education, and didactics, which focuses on the science and art of teaching—has emerged as an essential strategy for reforming the national education system. This article explores the synergy between informatics and didactics in the Moroccan edu

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Taibi, Moulay Abdellah, and Fatima-Zohra Iflahen. "Cinema-induced Tourism in Morocco: A narrative review." Environment-Behaviour Proceedings Journal 8, no. 23 (2023): 223–37. http://dx.doi.org/10.21834/ebpj.v8i23.4507.

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A leading destination for both tourists and filmmakers, Morocco - specifically the province of Ouarzazate - has the potential to be a cinema-induced tourism (CIT) cradle. Branded as the "Hollywood of Africa," this province is privileged due to its diversified landscape. Through a narrative review approach, this article explores the development of (CIT) in Morocco. It identifies research areas and trends by providing state-of-the-art knowledge and highlighting gaps. The results unveil the dearth of research in this field despite Morocco's pioneerism as a (CIT) destination. Furthermore, this nic

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El Ouakili, Ahmed, Fatma Talha, and Amelie Artis. "State of the art of Islamic finance in Morocco." International Journal of Financial Accountability, Economics, Management, and Auditing (IJFAEMA) 2, no. 3 (2020): 16–21. http://dx.doi.org/10.52502/ijfaema.v2i3.34.

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Islamic finance is now an essential component of global finance. It knows vertiginous growth in several Muslim countries like the Gulf and Southeast Asia countries. It has shown innovation and has been able to set up in several non-Muslim countries where it coexists with conventional finance. Indeed, the increased demand for Islamic financial products has made it nowadays a primordial player that no country can no longer neglect. This is how we will try to focus on the ethical dimension of Islamic finance. Before explicing any issues that it would present for all socio-economic operators in Mo

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Bachleda, Catherine L., and Asmae Bennani. "Personality and interest in the visual arts." Arts and the Market 6, no. 2 (2016): 126–40. http://dx.doi.org/10.1108/aam-02-2014-0012.

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Purpose The purpose of this paper is to explore the relationship between personality and interest in the visual arts in a sample of Moroccan workers. Design/methodology/approach Data were gathered from 210 respondents to an online survey. Findings Results indicate that interest in the visual arts is associated with openness and sensation seeking, even after controlling for income and education. Practical implications This study suggests that to increase consumption of visual arts products or experiences, arts marketers should focus on the personality traits of openness and sensation seeking ra

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Bensalah, Ghita Ait. "The Representation of the Moroccan Culture in the Works of Ayoub Normal." International Journal of Arts Architecture & Design 3, no. 1 (2025): 19–39. https://doi.org/10.62030/2025janpaper2.

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Ayoub Abid, also known as ‘Normal,’ is a highly esteemed graphic designer, illustrator, and muralist hailing from Agadir, Morocco. His artistic prowess is evident through his distinct style characterized by complimentary colours, intricate compositions, and captivating forms, garnering him a devoted following within the Moroccan art sphere. This study delves into the visual components that contribute to Normal’s widespread appeal, dissecting his visual compositions, analyzing his meticulous colour selections, the deliberate arrangement of forms, and the profound cultural significance embedded

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Ammari, Nada, and Abdellah Gantare. "The development of nursing professional identity in morocco: state of the art and avenues for research and education." SHS Web of Conferences 119 (2021): 05003. http://dx.doi.org/10.1051/shsconf/202111905003.

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Nursing is a major pillar for the achievement of national and global health goals, with a plethora of research documenting the effect of the state of nursing professional identity on different outcomes such as the quality of care, worker retention, and work satisfaction. This present paper examines the current state of professional nursing identity in the Moroccan context and introduces critical priorities for its progress. Using a logical inductive analysis, this article concludes that significant developments have occurred in Moroccan nursing in recent years, mainly the shift to universityba

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AL-HARTHI, TURKI. "The Robbery Events in Morocco During the Nineteenth Century." Journal of King Abdulaziz University-Arts and Humanities 7, no. 1 (1994): 115–46. http://dx.doi.org/10.4197/art.7-1.6.

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Pinto Ferretti, Alexia. "Regards croisés sur les mondes de l’autoportrait : le cas des artistes d’origine marocaine Hicham Benohoud, Mehdi-Georges Lahlou et Zakaria Ramhani." Muséologies 9, no. 1 (2018): 61–78. http://dx.doi.org/10.7202/1052628ar.

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This article takes a contemporary look at the practice of self-portraiture by three artists from Morocco: Hicham Benohoud, Mehdi-Georges Lahlou and Zakaria Ramhani. The career trajectories of these creators illustrate the various dynamics of institutional opposition and integration mechanisms that belong to the new geographies of art, in the era of globalization. The article's goal is to investigate the manner in which individual, local and global concerns are expressed in their understanding of an imaginary projection of corporality. The works are studied through the lens of local characteris

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Durmelat, Sylvie. "The Art of Saving Food: Preserving Gestures in Ymane Fakhir's Video Installation, Handmade (2011–12)." Gastronomica 19, no. 3 (2019): 60–66. http://dx.doi.org/10.1525/gfc.2019.19.3.60.

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If food is transient, so are the techniques, gestures, and know-how required to preserve it and extend its lifetime. “There is a life and death of gestures,” Luce Giard (1998: 202) suggests with a tinge of nostalgia. Casablanca-born and Marseille-based visual artist Ymane Fakhir (b. 1969) documents this transition with a sense of urgency. In Handmade (2011–12), a series of five minimalist videos titled Grains, Bread, Wheat, Vermicelli, and Sugar Loaf, Fakhir captures her Moroccan grandmother's technical gestures as she transforms raw ingredients into basic staples such as couscous. Documentary

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Powers, Holiday. "Reading Modern Art in the Arab World from Morocco and Qatar." Review of Middle East Studies 54, no. 1 (2020): 5–13. http://dx.doi.org/10.1017/rms.2020.24.

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AbstractModern Art in the Arab World is a collection of approximately 125 primary documents dealing with the debates around modernism in the Arab world dating between 1882 to 1987. This essay responds to the book from two perspectives: first, as an academic researching modernism in Morocco, and second, as a Qatar-based professor that teaches undergraduate courses about modern and contemporary Arab art. The book highlights a broadly defined and heterogeneous Arab world that extends from Morocco to the Gulf, and the selected texts create new conversations between these varied movements. It is ev

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Ganivet, Elisa. "Outline & Depth of Otherness: An Interview with Randa Maroufi." Borders in Globalization Review 3, no. 1 (2021): 96–103. http://dx.doi.org/10.18357/bigr31202120445.

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In this interview, as part of the special section Art & Borders, Art Editor Elisa Ganivet talks with the artist Randa Maroufi. The shore between Morocco and Europe is particularly questioned, along with Maroufi’s fine work around the more structural, societal and gender boundaries. Her research is synthesized by stagings where a strong and clear-sighted image predominates.

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Idhssaine, Abdellah. "The evolution of the status and teaching of Amazigh in Morocco: From marginalization to institutionalization." Journal of Language Teaching 2, no. 12 (2022): 1–7. http://dx.doi.org/10.54475/jlt.2022.016.

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The present paper provides a critical review of the trajectory of the status and teaching of the Amazigh language in Morocco in an attempt to contextualize its state of the art following the recent changes in the Moroccan language policy. The assumptions herein discussed are not based on fieldwork, but rather on previous literature, document analysis, and numerical data reported by the Ministry of Education between the years 2003 and 2010. Such an approach is expected to pave the path for future fieldwork research by investigating the extent to which some of the claims advanced tend to align w

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Vogl, Mary. "Art journals in Morocco: new ways of seeing and saying." Journal of North African Studies 21, no. 2 (2016): 235–57. http://dx.doi.org/10.1080/13629387.2016.1130936.

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Powers, H. "Katarzyna Pieprzak: Imagined Museums: Art and Modernity in Postcolonial Morocco." Nka Journal of Contemporary African Art 2011, no. 28 (2011): 140–41. http://dx.doi.org/10.1215/10757163-1266747.

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Thalal, Abdelmalek, Youssef Aboufadil, and My Ahmed Elidrissi. "Construction of quasiperiodic patterns in the Moroccan ornamental art." Acta Crystallographica Section A Foundations and Advances 70, a1 (2014): C1430. http://dx.doi.org/10.1107/s2053273314085696.

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The similarity between the structure of Islamic decorative patterns and quasicrystal, aroused the interest of several crystallographers. They analyzed these patterns, by different approaches, various kinds of ornamental quasiperiodic patterns encountered in the Morocco and Alhambra (Andalusia) as well as in the eastern of Islamic world. In this work, we are interesting in the quasiperiodic patterns found in several Moroccan historical buildings constructed in the 14th century. We first describe the Zellige panels (fine mosaics) decorating the Madrasas (schools) Attarine and Bou Inania in Fez i

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Yaiza, Hernández Casas. "Arqueología medieval en el noreste de Marruecos: principales resultados del estudio arqueológico y documental en el Rif oriental." Arqueologia Iberoamericana 45 (April 21, 2020): 55–63. https://doi.org/10.5281/zenodo.3757894.

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En este artículo se presentan los principales resultados obtenidos de nuestras investigaciones y prospecciones arqueológicas en los yacimientos medievales de Ghassasa (Cazaza), Tazouda (Tazuda) y Bādīs, en el Rif oriental (norte de Marruecos). ENGLISH: Medieval Archaeology in Northeast Morocco: Main Results of the Archaeological and Documentary Study in the Eastern Rif. In this paper we present the main results obtained from our research and archaeological surveys in the medieval sites of Ghassasa, Tazouda and Bādīs, in the Eastern Rif (northern Morocco).

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Benkhaldoun, Zouhair. "A project of a two meter telescope in North Africa." Proceedings of the International Astronomical Union 10, H16 (2012): 558. http://dx.doi.org/10.1017/s1743921314012137.

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AbstractSite testing undertaken during the last 20 years by Moroccan researchers through international studies have shown that the Atlas mountains in Morocco has potentialities similar to those sites which host the largest telescopes in world. Given the quality of the sites and opportunities to conduct modern research, we believe that the installation of a 2m diameter telescope will open new horizons for Astronomy in Morocco and north Africa allowing our region to enter definitively into the very exclusive club of countries possessing an instrument of that size. A state of the art astrophysica

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سناء, اومغار, та اسبري كمال. "تطور الثقافة عبر الاعلام الرقمي، الفن التشكيلي بالمغرب أنموذجا". مجلة الاقتصاد و المجتمع 1, № 3 (2022): 33–55. https://doi.org/10.5281/zenodo.7232357.

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 <strong>THE DEVELOPMENT OF CULTURE THROUGH DIGITAL MEDIA: MODEL OF FINE ART IN MOROCCO</strong> <strong>ملخص: </strong>تهدف هذه الدراسة الى تسليط الضوء على الدور الذي يلعبه الاعلام في ترقية الثقافة من وجهة النظر التشكيلية وذلك من خلال تسويق المنتج الثقافي والفني وتوثيقه وتتخلص الإشكالية المطروحة في التعرف على حدود مساهمة الإعلام الرقمي في تطوير الفن التشكيلي بالمغرب، باستخدام المنهج الوصفي التحليلي على عينة من (100) صحفي وفنان تشكيلي، باستخدام أداة الاستمارة. وقد توصلت الدراسة الى النتائج التالية: يلعب الإعلام المغربي، عبر وسائله المتعددة، دورا مهما في نشر الوعي الثقافي والفني وتوصي

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Essafir, Hind. "Houcine Slaoui’s Song ‘Lmarikane’ or ‘The Handsome Blue-eyed Ones’: A Postcolonial Perspective." International Journal of Linguistics, Literature and Translation 7, no. 9 (2024): 228–32. http://dx.doi.org/10.32996/ijllt.2024.6.9.24.

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The present paper is a retrospective journey/ ‘voyage back’ in Moroccan popular art, an invitation to cast a new perspective on its lyrical heritage, to uncover hitherto overlooked dimensions, and ultimately to rethink in novel and original ways Moroccan popular culture. Read through the prism of Postcolonial theory with its arsenal of conceptual tools, Houcine Slaoui’s Lmarikane or ‘The Handsome Blue eyed Ones’ is invested with unsuspected revolutionary potentials in so far as it erects itself as a genuine anthropological document unravelling the deeply ambivalent condition of subalternity. W

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Benani, Hicham, Lalla Amina Ouzzaouit, Larbi Boudad, et al. "Topographic Survey with Disto x and 3D Representation of the Caves by Laser Grammetry, Case of the AZIZA Cave, Errachidia, Morocco." Iraqi Geological Journal 55, no. 1D (2022): 21–34. http://dx.doi.org/10.46717/igj.55.1d.2ms-2022-04-18.

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From the middle of the 19th century, speleological topography became a discipline, if not an art, which supported the work of both explorers and scientists. Underground explorations in Morocco remain an area to be discovered and developed. The Moroccan 99,890 km² limestone surface, represents 14% of the total surface which potentially contains a large number of caves, only 3 of them are developed. This under-exploitation is explained by the lack of evaluation of the richness of Morocco’s karst and cave heritage, the topographic maps of Moroccan Caves are poorly carried out or absent, the last

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Khyatti, Meriem, Fouzia Radouani, Ichrak Benamri, et al. "Precision medicine in Morocco: State of art and challenges for implementation." Journal of Cancer Policy 45 (September 2025): 100598. https://doi.org/10.1016/j.jcpo.2025.100598.

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Moumane, Adil, Jonathan Delorme, Adbelhadi Ewague, et al. "Jbel Bani Rock Art: Newly-discovered Shelters along Mountain Paths suggest a Significant Link between Central Sahara and North Africa (Zagora, Southern Morocco)." Journal of African Archaeology 17, no. 1 (2019): 36–52. http://dx.doi.org/10.1163/21915784-20190002.

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Abstract The authors, with the help of a team of researchers, have discovered twelve rock shelters with inside paintings on the southern slopes of the Jbel Bani Mountains in southern Morocco. The paintings vary in subject and time period and span multiple rock art styles. Majestic creatures that once inhabited southern Morocco are depicted next to hunters, pastoralists, and warriors. The shelters and paintings cast upon their walls illustrate a transfer of culture, beliefs, technology, and ideas between people groups of the Meridional and Central Sahara and the Jbel Bani region. These discover

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Gaspar Rodrigues, Vitor Luís. "The Portuguese Art of War in Northern Morocco during the 15th Century." ATHENS JOURNAL OF HISTORY 3, no. 4 (2017): 321–36. http://dx.doi.org/10.30958/ajhis.3-4-4.

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AL-HARITHI, TURKI. "Examples of Foreign Encroachments in Morocco During the Second Half of the Nineteenth Century." Journal of King Abdulaziz University-Arts and Humanities 6, no. 1 (1993): 103–34. http://dx.doi.org/10.4197/art.6-1.6.

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Azzouz, Khaoula, Jabir Arif, and Mohamed Badr Benboubker. "Exploratory Study of the Role of Logistics Service Providers in Terms of Traceability in the Process of Outsourcing of Logistics’ Activities: Case of Moroccan LSP." International Journal of Engineering Research in Africa 54 (June 2021): 187–208. http://dx.doi.org/10.4028/www.scientific.net/jera.54.187.

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The paper focuses on Information and communication technologies (ICT) deployed by Logistics service providers (LSP), particularly for the monitoring and companies. Indeed, nowadays ICT are essential for any implementation of efficient traceability, notably for the outsourcing of logistics activities. This paper is structured around two parts: the first part presenting the state of the art in terms of outsourcing logistics activities and traceability. The second part concerns a comparative study combining a set of LSP operating in Morocco and those operating abroad through several criteria. The

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Powers, Holiday. "Jilali Gharbaoui and Decolonization." Nka: Journal of Contemporary African Art 2023, no. 53 (2023): 44–55. http://dx.doi.org/10.1215/10757163-10904048.

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This paper proposes a new reading of Moroccan abstract painter Jilali Gharbaoui through the lens of decolonization. Gharbaoui fits uncomfortably into the narrative of modernism in Morocco. Unlike other painters, interested in direct connections between their shapes or abstractions and traditional visual culture or Islamic art as a postcolonial claim of local identity, Gharbaoui’s work is more elusive. Many critics have framed his abstraction primarily through his schizophrenia, as Gharbaoui died from suicide in 1971; this continual recourse to biography over the actual art objects puts Gharbao

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Bokbot, Youssef, Corisande Fenwick, David J. Mattingly, Nichole Sheldrick, and Martin Sterry. "Horses and Habitations: Iron Age Rock Art from Fortified Hilltop Settlements in the Wadi Draa, Morocco." Journal of African Archaeology 19, no. 2 (2021): 159–86. http://dx.doi.org/10.1163/21915784-bja10008.

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Abstract The article presents important results from the Middle Draa Project (MDP) in southern Morocco related to two mid-1st millennium CE hilltop settlements (hillforts) that were associated with significant rock art assemblages. The combination of detailed survey and radiocarbon dating of these remarkable sites provides a unique window on the Saharan world in which the pecked engravings, predominantly of horses, were produced. As the horse imagery featured on the walls of buildings within the settlement, the radiocarbon dating around the mid-1st millennium CE can also be applied in this ins

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Ghallam, Aziza, Leila Bouasria, and Hayat Zirar. "The law of medically assisted procreation-the history of a legal framework to boost fertility in the face of environmental constraints in Morocco." E3S Web of Conferences 412 (2023): 01012. http://dx.doi.org/10.1051/e3sconf/202341201012.

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For the first time, the Moroccan legislator officially regulated the use of medically procreative techniques in 2019, allowing couples affected by infertility to conceive outside the ordinary biological process. Aspiring relatives are betting on Law 47-14 on medically assisted procreation (ART) to facilitate access to infertility care. This article aims to demonstrate the contributions and limitations of this law and to understand its impact on the lives of infertile couples. In addition, this work highlights the position of the various parties involved in the implementation of this legislatio

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Bahji, Zineb Bahji. "Présence Commune, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 28.03.2017 - 31.09.2017." Museum and Society 15, no. 3 (2018): 359–62. http://dx.doi.org/10.29311/mas.v15i3.2520.

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The present review focuses on the temporary exhibition Presence Commune that was held at Museum Mohammed VI for Modern and Contemporary Arts (MMVI) of Rabat, Morocco, from 28 March to 31 September 2017. The review contextualizes the exhibition Presence Commune and examines the communicative strategies it used to convey its messages. It also explains how this artistic event adds to the various artistic and cultural programmes and events that the Moroccan National Foundation of Museums organizes in the course of democratizing access to culture and promoting harmony and tolerance through the univ

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Tripathi, Ameya. "Bombing Cultural Heritage: Nancy Cunard, Art Humanitarianism, and Primitivist Wars in Morocco, Ethiopia, and Spain." Modernist Cultures 17, no. 2 (2022): 191–220. http://dx.doi.org/10.3366/mod.2022.0368.

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This article examines Nancy Cunard's later writing on Spain as a direct legacy of her previous projects as a modernist poet, publisher and black rights activist. Cunard was a rare analyst of the links between total war, colonial counter-insurgency, and cultural destruction. Noting the desire of both the air power theorist and art collector to stereotype peoples, from Morocco to Ethiopia to Spain, as ‘primitive’, the article brings original archival materials from Cunard's notes into dialogue with her journalism, and published and unpublished poetry, to examine how she reclaimed and repurposed

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Boullata, Kamal. "To Measure Jerusalem: Explorations of the Square." Journal of Palestine Studies 28, no. 3 (1999): 83–91. http://dx.doi.org/10.2307/2538309.

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A Palestinian artist, in discussing his work, cuts back and forth between his past and the present, retracing his itinerary from Jerusalem to the United States, from Morocco and Andalusia to France, linking each place to stages in his artistic explorations. In so doing, he sheds light on the ancient roots of his art and says as much about the condition of exile as about painting.

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Hilali, Majdouline, Fatima Zahra Achour, and Fatima Zohra Dehbi. "Factors Affecting Women Entrepreneurship in Morocco: The Moderating Role of Public Policies and Institutional Support." International Journal of Accounting, Finance, Auditing, Management and Economics 1, no. 3 (2020): 342–57. https://doi.org/10.5281/zenodo.4282314.

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Entrepreneurship is an opportunity for Moroccan women to gain access to income-generating activities. However, the participation of women in the Moroccan economy is only 26%, which remains very low according to the World Bank. For the Organization for Economic Co-operation and Development (OCDE, 2005), women represent a potential for nonvaluated enterprise creation in both developing and developed countries.  In Morocco, several legal and tax reforms focusing on the support for entrepreneurship have been adopted as part of national economic restructuring programs. As a result, the impleme

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Forss, Matt. "Maroc: L’art du samā à Fes (Morocco: The Art of Samā in Fez)." Ethnomusicology 52, no. 2 (2008): 333–34. http://dx.doi.org/10.2307/20174595.

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