ContentsCollection Inventory Collection Concordance by Format |
Paul Bowles Moroccan Music CollectionAFC 1960/001Prepared by Michelle FornerAugust 1994
Administrative InformationRelated PublicationsBowles, Paul. Record notes to Music of Morocca From the Archive of Folk Song recorded and edited by Paul Bowles. Recording Laboratory AFS L63 and L64. Washington, D.C.: Library of Congress, 1972. 12 pp. A copy is in Box 1, Folder 10 of this collection. Bowles, Paul. " The Rif, to Music." In Their Heads are Green and Their Hands are Blue, 97-141. New York: Random House, 1957. Jabbour, Alan, and Joseph C. Hickerson. "African Recordings in the Archive of Folk Song." Quarterly Journal of the Library of Congress 27 (July 1970): 284-85. Leavitt, Donald, L. "Folk, Popular, and Art Music of Morocco." Library of Congress Information Bulletin 19 (October 17, 1960): 589-91. Melville, Annette. " Paul Bowles Collection." In Special Collections in the Library of Congress, 47. Washington, D.C.: Library of Congress, 1980. Sawyer-Laucanno, Christopher. An Invisible Spectator: A Biography of Paul Bowles. New York: Weidenfeld and Nicolson, 1989. Processing HistoryThe original processing was done and finding aid was prepared by Michelle Forner for a dance grant, therefore an appendix includes a list of dance related information. Scanned photographic prints and map on 2 CDs, created in June 2010 for reference purpose, are in Box 2. The collection includes correspondence and processing for the production of the album, Music of Morocco from the Archive of Folk Song. Preferred CitationPaul Bowles Moroccan Music Collection (AFC 1960/001), Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. AccessListening and viewing access to the collection is unrestricted. Duplication of the recorded materials may be governed by copyright and other restrictions. Duplication for publication purposes requires the prior written permission of the collector's estate. Address available in the American Folklife Center. Return to the Table of Contents BiographyPaul Bowles, an American-born writer, composer, and folk music collector, lived in Morocco beginning in the late 1930s. He has been described as the father of the Beat movement and a prominent figure in the American expatriate community in Tangier, Morocco. A well-known composer, his scores include the incidental music to such plays as Tennessee Williams' "The Glass Menagerie" and "Sweet Bird of Youth"; he worked with other artists such as Orson Wells, Elia Kazan, and Salvador Dali. As an author, he is best known for his novels such as The Sheltering Sky, Let It Come Down, and The Spider's House, and for his collections of short stories and travel essays. Extensive travel in Europe, North Africa, and South America provided material for his literary works as well as opportunities to collect folk music. He married novelist Jane Auer (1917-1973) in 1938. Paul Bowles died November 18, 1999 at the age of 88. Return to the Table of Contents Scope and ContentThe collection includes dance music, secular music, music for Ramadan and other Islamic rites, and music for animistic rituals. Berber and Arab music predominates, and Sephardic liturgical music and folk songs are included. Dance was often integral to the music events. Field notes and correspondence describe the recording events (including dance) and circumstances of the project. Manuscripts in English. Sound recordings in Berber languages, Arabic, and Hebrew. The Paul Bowles Moroccan Music Collection consists of audio recordings, photographs, and accompanying documentation that focus primarily on one recording project. With a grant from the Rockefeller Foundation and sponsorship from the Library of Congress, Paul Bowles spent the months of August to September of 1959 traveling throughout Morocco recording approximately 60 hours of traditional folk, art, and popular music. Bowles collected in 23 villages, towns, and cities along the Mediterranean and Atlantic coasts, from Goulimine in the Sahara to Segangan in the Rif country, and inland through the Middle and Grand Atlas ranges to Zagora in the Anti-Atlas. Due to the political situation at the time, Bowles was not able to record in the southeastern region. In 1963, the Library acquired five additional recordings of Moroccan music made by Bowles in 1960-19 62. In 1972, the Library issued a two-record set of selections from the collection. A nine-page descriptive booklet accompanies the set. The heterogenous recordings reflect the variety of Moroccan culture. From urban professionals and religious singers to rural and nomadic tribespeople, the musicians performed vocal and instrumental music. The collection includes dance music, secular music, music for Ramadan and other Islamic rites, and music for animistic rituals. Berber and Arab music predominates, and a considerable variety of styles emerges from the survey of different areas and tribes. Some selections exhibit traces of the antique Andalusian style, reflecting Morocco's historic relationship to Spain. Musical examples originally derived from Mauritania, West Africa, and the Sudan demonstrate the influence of migrations and cultural interchanges across the Sahara and along the Atlantic coast. In addition, there are examples of Sephardic liturgical music and other folksongs from the historic Jewish communities in Essaouira and Meknes. Several recordings feature the rare zamar, a double-reed instrument fitted with two mouthpieces and two bulls' horn resonators. Dance often was integral to the music events; as Bowles pointed out, usually "music and dance are one thing" to the peoples of Morocco, especially the Berber tribes. In the field notes on the music, Bowles often alluded to the concurrent dancing and sometimes gave movement description. He recorded, among other things, music that accompanied the guedra dance from the village of Goulimine, ahouache (music and dance events) of the Anti-Atlas and Grand Atlas, the aqlal (dance ceremony) in the Draa Valley, Pre-Sahara, and the sqel (sword dance) of the Draaoua people of Zagora, Moroccan Sahara. The appendix lists the field notes of recordings where dance was specifically described or alluded to in Bowles' notes or in the LP recording booklet. The manuscripts (correspondence and field notes) describe not only the content of the recording project, but also the bureaucratic, political, and cultural context of conducting ethnographic fieldwork in the late 1950s. They highlight the cultural and political situation in the newly-independent Morocco as well as the customs of different cultural groups. The correspondence between Bowles and LC staff during the project offers additional insight into the circumstances and content of the recordings, while the photographs of several performance events provide visual documentation that supplements those recordings. Field notes provide substantial information on the following dances: Guedra, Ahouach, Taskiouine, Gnaoui. Information is also found on the following dances: Aqlal, Ahmeilou, Tahouacht, and dances of the Haha tribe. Return to the Table of Contents Selected Search TermsPeople
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Return to the Table of Contents ArrangementOrganized by format into the following series: I. Manuscripts; II. Microfilm; III. Sound Recordings; IV. Photographs; V. Map. The index to recordings prepared by Bowles, arranged numerically by tape side in chronological order, includes AFS numbers, song titles, performers, and recording locations. The field notes, also arranged numerically by tape side in chronological order, provide more detailed description of each recording, including date, place, performers, song titles, musical instruments, and other pertinent information. Return to the Table of Contents Collection InventoryMANUSCRIPTSAdministrative, Correspondence, Index, Field Notes, and Articles AdministrativeOne folder consisting of the collection register, a copy of the contract between Bowles and the Library of Congress, a copy of the index to field recordings, a copy of Bowles' project correspondence, and a copy of the LWO log. CorrespondenceFour folders arranged chronologically (1957-1972) with the following subdivisions: pre-project, project, post-project, and LP production. Consists of correspondence primarily between Bowles and LC personnel such as Harold Spivacke (Chief, Music Div.), Edward Waters (Acting Chief, Music Div.), Rae Korson (Head, Archive of Folk Song), Alan Jabbour (Head, Archive of Folk Song), as well as several people from the Rockefeller Foundation and the U.S. Embassy and State Department; descriptive and financial monthly reports; and correspondence about the collection with researchers. The project correspondence includes progress reports from Bowles to the LC that augment the field notes. Index to LC project recordingsOne folder of typed index to project recordings arranged numerically by tape side (12 pp.). (Missing: pages with tape numbers 33-44). Consists of an original and two copies, one of which has hand-written corrections on it. Includes AFS numbers, Bowles' tape numbers, song titles, performers (tribes), and recording locations. (There is no index of the last five "sample" tapes from the project.) Field notes I (LC project recordings)Two folders (one original, one copy) of typed field notes (130 pp.). Includes an opening note and description of instruments. Arranged numerically by tape side in chronological order. Documents dates and locations of recordings, performers, leaders, tribes, song titles, instruments used, and comments about performance events, music/dance types, circumstances of recording, instruments, etc. (There is no log of the last five "sample" tapes.) Field notes II (non-project field recordings 1960-62)One folder (one original and one copy) of field notes of audiotape recordings made 1960-62 (8 pp.). The tape number order is not chronological. Written in a similar format to the project fieldnotes, and includes hand- written AFS numbers. LP record set bookletOne folder containing the 9-page booklet that accompanies the record set. ArticlesOne folder containing articles that describe the collection. One pageItem from tape box AFS 11623. MICROFILMMicrofilm of the LC project field notes and map: Music 0441, located in the Music division. SOUND RECORDINGS"Music of Morocco"Recorded and edited by Paul Bowles, 1972. Includes 9-page booklet with notes and bibliography of publications and documentary recordings. (Listening copy available in the AFC Reading Room.) LC project recordingsSixty-five DT 7" reels (the last five are samples from the 60 recordings); approximately 65 hours; approximately 220 pieces. preservation numbers LWO 8527 R93-100; LWO 12419 R1-19. (Listening copies available in the AFC Reading Room.) Accessioned in June 1960. Non-project field recordings (1960-1962)Five 7" reels (Listening copies available in the AFC Reading Room). Non-project field recordings accessioned in June 1963. PHOTOGRAPHSOne box containing 18 black and white photographs. Location information is written on the backs of most photographs. The photographs include scenes of performers at Essaouira, Amizmiz, Taza, and Segangan, and several shots of houses and casbahs. MAPOne folder containing original and copies of a map, hand-drawn by Paul Bowles, that documents recording locations and routes traveled during the field project. Collection Concordance by FormatAppendix A: SPECIFIC DANCE-RELATED MATERIALReturn to the Table of Contents Return to the Table of Contents |
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