Historical Context:
Gnawa music itself has a rich history on the continent of Africa. Dating back to the years of slave trade in Morocco, the Gnawa music tradition has roots in slavery are not often mentioned due to the “reluctance to discuss issues of slavery and race in Morocco as a result of Islamic pride about the absence of prejudice and outright oppression in Islam” (Hamel 2008, 242). From West Africa, slaves were brought to Morocco from all over Africa and slowly became fully immersed and embraced by Moroccan society. “Both the religious and spiritual components of Gnawa practice are expressed through their music, which incorporates references to their origin and enslavement” (Hamel 2008, 243). Known for its ancient roots, “in spirit possession and trance rituals,” Gnawa music has experienced “increasing levels of commercial production for domestic and international consumption” since gaining popularity in the 20th century (Schaefer 2017, 70). Beginning in 1998, the festival put this genre of music center stage. Now known as the “mini-Woodstock” in Morocco, the festival has achieved major success. Earning “pop” level popularity, the festival now draws hundreds of thousands of attendees over the course of the four-day festival every year. Because folk musics are “typically cast at participatory- and elite musics are presentational...” the festival has become extremely successful (Schaefer 2017, 70). The festival incorporates many genres of music, but it most famous for its Gnawa performances which incorporate the spiritual aspect of their culture to the benefit of tourists in exchange for payment. The performances are sometimes prepaid and thus more for “show,” however, the legitimate lilas which
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