Whispers of Moroccan Oral Tradition: An Interview with Richard Hamilton

Right from the first encounter with Marrakech, Richard Hamilton felt he had travelled back in time. Indeed, the British Journalist was completely enticed by the storytellers at Djemaa el-Fena, as he observed the enduring details of the ancient city, unchanged over time. The urgency, let us note, of rescuing Moroccan oral tradition galvanized Hamilton into action of collecting various oral tales in his book The Last Storytellers: Tales from the Heart of Morocco as he states in his book, “I [Hamilton] saw it as my mission to save the stories from impending doom and extinction and I had become, as my wife testify, slightly obsessed” (15).

Undeniably, this ancient public space is one of the most captivating squares not only because one could sense in it the ancient Moroccan society, but for providing the stage for storytellers to recount tales that, for generations, grandfathers and grandmothers passed on through oral tradition. Of course, this space was built in the Almoravids era in the eleventh century for, as it has commonly been believed, executing criminals as the Arabic word El Fena suggests; but one is also constantly reminded that this antique spot had been used not only for entertainment, but also for commercial, military and social purposes. That said, these ancient oral tales, which Hamilton saw performed on the square, are transformed into English written texts for the very first time. His collection documents no fewer than 39 oral tales, each of which has been narrated by a storyteller whose name is given below the title of the tale. Perhaps, what might draw the reader’s attention is the fact that Hamilton did not simply translate the tales, but he adds a western touch to every story by avoiding repetitions. He notes that he “would take the liberty of adding a touch more colour or flesh on the bones” and that he also made sure to stay “true to their original message and meaning”. In brief, Hamilton’s book is a fascinating journey to collect and preserve a variety of Moroccan folk narratives that for centuries have been facing the threat of becoming a mere shadow across time.

Interview with Richard Hamilton

Mohamed Rouichi: Of course, you have read what other Western travel writers wrote about Marrakech in general and Jame el Fenna in particular (Elias Canetti’s Voices of Marrakech for example). What was it like to experience living in such a place yourself? And what is it that attracted you to this city?

Richard Hamilton: I lived in Morocco in 2006 and 2007 as a BBC correspondent, based in Rabat. I did not actually live in Marrakech itself but I made several visits to the famous Red City. I was attracted by its history and the sense that things have not changed there for hundreds of years. When I first arrived in the city, I felt I had been transported back in time. I had heard that there were storytellers who performed in the Jemaa el Fna and this was another sign of Marrakech’s strong connection with the past. I was also attracted to the idea of doing a BBC report about the storytellers. So that is how it all started.

MR: I can’t help but remember when Abderrahim said, “Once upon a time in ancient Baghdad” and you immediately stopped him, saying, “I want to hear Moroccan stories, ones that are known right here in Marrakech.’” Why the Moroccan folktale?

RH: I wanted to collect Moroccan tales for my book, so I was a bit disappointed when Abderrahim started telling me one from Baghdad. The point I go on to make though is that many of these stories have travelled across the world and are adapted to different local cultures.

MR: Is there anything you find particular about the Moroccan oral tale?

RH: Carrying on from my previous point, many Moroccan tales are similar to ones from other countries but the particular cultural references are specific to Morocco. For example, there is a Berber story called “Blilija” which is almost identical to the Rapunzel story, except that there is polygamy and the names of the characters and places are Moroccan.

MR: According to you how do tales reflect, if at all, the identity of Moroccan communities?

RH: I am not sure that I can really answer this question. I think each storyteller will put some of his own personality and local knowledge into his stories. In my book I suggest that in the old days storytellers were an early form of news media in that they would tell people what was going on in different parts of the country. They would also sometimes ridicule people from certain places.

MR: Would you agree that Morocco has preserved its oral culture, and if yes what in your opinion are the reasons for this?

RH: I don’t think that Morocco has completely preserved its oral culture. The premise of my book is that the oral tradition is dying out. Having said that, since the book’s publication (in 2011) there have been several very successful attempts to revive the oral tradition, such as the storytelling sessions at the Café Clock in the Casbah. There is also a new venture about to open up in Marrakech called The World Storytelling Café, north of the Jemaa el Fna (near the Fondouk restaurant).

MR: You said you saw it as your mission to save the stories from ‘impending doom and extinction, and that you had become, ‘slightly obsessed’. What did you exactly seek by documenting these tales? Can you elaborate?

RH: I wanted to make sure that these very rich and beautiful stories are passed on to the next generation and that people from other countries can also appreciate Moroccan tales. I was also trying to write an entertaining and readable book for visitors to Morocco. It was not intended as a work of academia.

MR: Can you comment on the growing interest in folktales these days?

RH: I sense that there is a real hunger for storytelling across the world. I have been to several international festivals and I’m excited and optimistic that there is a genuine revival. I am not sure what the reason for this is, but I feel there is a yearning for a purer, simpler form of entertainment in what has become an increasingly complicated and technology-reliant world. I think the pandemic has also made us think about the importance of family, spending quality time together and how much we miss large cultural events where we can enjoy shared experiences.

MR: After you learned about the storyteller who was run over by a passing car, you wrote a powerful statement: ‘Modernity had killed the Storyteller.’ Were you disappointed that the number of storytellers grows thin?

RH: Yes – in the four or five years that I spent writing the book I could see the decline in the number of storytellers. Two of the tellers who I interviewed have since passed away, so it was something that I was acutely aware of.

MR: You have spent quite a while running after storytellers who perform on the square, how did you feel about that?

RH: I enjoyed researching the book and see it as a privilege to have met the storytellers and pass some of their tales onto new audiences. Sometimes it was hard work and at other times it was frustrating, but on the whole, it was a wonderful experience.

MR: It must have been an irksome task. What was your work schedule like when you were writing and amending the tales?

RH: I made several trips to Marrakech in which I recorded many hours of stories. When I got home I wrote up the stories and made some improvements to the English. However, I made sure that I stayed true to their original message and meaning.

MR: You have stated that the tale The King and His Prime Minister appealed to you despite its simplicity in terms of plot. May I ask why this tale in particular?

RH: I have found that this tale works on several levels. It appeals to children because it is fairly easy to understand and also quite funny. On the other hand it is also fairly profound and philosophical. It ties in with a sense that mankind is ultimately vain and foolish and only God has a true understanding of what we might consider good or bad. It is also a morality tale about imperfection and patience.

MR: In what way is the oral tale a translatable narrative? What is missed in the translation?

RH: I still think that it is more powerful to listen to the words than to read them. Inevitably the richness of the language may also be lost in translation. The immediacy, intimacy and atmosphere of the live experience can also be lost on the page. That is why going to a storytelling festival or listening to a storyteller in the Jemaa el Fna is more powerful and exciting than reading a book.

MR: It is incontrovertible that you have successfully preserved and documented 36 Moroccan oral tales. Do you think much work needs to be done? If so, what do you suggest?

RH: There is a lot more that can be done. Everyone can play a part in whatever way they can. I am hopeful that the younger generation of Moroccans are proud of their heritage and would like to be involved in both performing and preserving stories in the future. I have met many young Moroccans who feel this way and so, although my book was written at a time when the oral tradition seemed to be dying out, I feel less pessimistic about the future now, and hopeful that the younger generation of Moroccans are proud of their heritage and would like to be involved in both performing and preserving stories in the future. I have met many young Moroccans who feel this way, and so, although my book was written at a time when the oral tradition seemed to be dying out, I feel less pessimistic about the future now, hopeful.

Interview of Richard Hamilton by Mohamed Rouichi, a Ph.D. researcher in New Trends in Literary Linguistic and Cultural Studies at the University Abdelmalek Essaadi, Tetouan, Morocco.