Young artists in Morocco work diligently to improve in their field of expertise. Be they painters, music producers, or photographers, amateur artists put in dedication to their work to engage with their creativity in multiple art sectors and share it with their community.

Young Moroccan Artists Lament Lack of Support, Opportunities

Morocco’s artistic scene has recently been blooming with creative minds and projects that are put on display either by the artists’ own means, through events organized by cultural institutions, or with the help of the Ministry of Youth, Culture, and Communication (MJCC).

The MJCC organizes various projects and expositions around Morocco to promote local contemporary artists’ talents and encourage them to pursue their passions in creating remarkable art pieces. The past few years have seen countless such projects being submitted for exhibitions and showcases.

According to a press release from the MJCC’s official website, the Committee for project support in the plastic and visual arts sector has allocated over MAD 3.84 million (nearly $398k) after receiving over 330 project applications from artists that hope to share their work with the public.

The number of applications received has increased by almost 187% compared to the number of submissions from 2017, which was 115 with an allocated budget of MAD 3.52 million ($364.6k). This difference highlights local artists’ growing eagerness to pursue their passions and push for their work to be noticed by the Moroccan community.

More support needed for Moroccan artists

While considerable efforts have visibly been made to offer resources to artists in Morocco, the current state of the country’s artistic scene indicates the need for more resources beyond exhibition opportunities, such as funding for projects. In fact, Moroccan artists of the current generation are calling for more representation in their respective art sectors and requiring better support for emerging local talents to be seen.

When asked about Morocco’s current establishments and institutions that are implemented in Morocco, Amine Houari, a photographer based in the northern city of Tangier and founder of the Norseen collective that promotes young Moroccan photographers globally, explained that despite the already available opportunities and resources, the support offered by public cultural institutions in Morocco to young artists, including financial aid and monitoring programs, remains insufficient.

According to the photographer, most of the existing opportunities in Morocco’s otherwise bursting cultural scene often appear to be more suited for established artists rather than those who are at the beginning of their artistic journey. “This situation creates a disparity where new artists are left with limited resources and support to develop their professional and artistic abilities, especially that a huge part of them are autodidacts,” Houari explained.
Also commenting on the matter, Mohamed Roshdi, a graffiti artist based in Casablanca who goes by the alias of “ROSH,” spoke of how the approach adopted by the government is “limited only to the acquisition of valuable items such as paintings, while we do not find support programs for artists such as musicians and performers.”

Contemporary dancer and performer Imane Elkabli has also come forward to give her take on the issue. As she sees it, there is a tendency for cultural institutions unrelated to the government to give more efficient results in terms of support for contemporary artists in the country. “These efforts need to be more substantial, as private institutions consistently outperform government institutions in their support for the arts,” Elkabli said.
Although support programs are available, local artists feel they are lacking in certain aspects such as the rates at which they are available.

ROSH stressed that the allocations are provided annually. “In my opinion, it should be seasonal, for example, every three months,” the artist said.

Several young artists in Morocco have been resorting to taking matters into their own hands by seeking opportunities abroad as they feel that this opens more doors to their goals than in their native country. “Many local artists, including myself, find ourselves waiting for opportunities abroad…even if it’s in Morocco, it’s generally a foreign institution who’s doing it,” Houari said. “This reliance on foreign opportunities can be disheartening.”

An unequal industry

The photographer also revealed that he partly struggled with limited recognition and appreciation for photography in Morocco, explaining that art galleries and institutions often prioritize plastic arts. ROSH echoed this sentiment, going into details to make the case that event opportunities dedicated to mural and graffiti arts are “scarce” compared to those for fields that are rarely heard of such as music.

For her part, Elkabli explained that there is a misconception about dancing being an effortless job that does not require much support from cultural institutions. “There are instances where dancers are not fully compensated for their work,” she said.” Preparing for dancing performances requires “tremendous commitment and preparation,” Elkabli explained, adding that the art of dancing or stage performance needs as much appreciation and recognition as music and other relatively more prominent art forms.

The dancer further took issue with the lack of infrastructure for her dance practices, denouncing: “As a dancer, I personally struggle to find suitable training venues and often have to settle for practicing at home… It is a continuous practice that demands both physical and mental endurance. Therefore, dancing deserves greater appreciation and recognition.”

The art scene in Morocco is primarily composed of creators such as photographers, filmmakers, and painters. This leaves little to no space in the Moroccan community for other forms of art appreciation. This trend seemingly stems from factors such as the public’s preferences and demand. “The prominence of certain art forms may be a result of a combination of factors such as historical and cultural preferences, market demand, and the availability of resources and infrastructure,” Houari explained.

ROSH agreed with that characterization, to which he . added that most people who are considered to be art enthusiasts in Morocco “tends to gravitate towards art styles that have a broad orientation and are more attractive to people.” As such, he suggested, the lack of interest in other art forms may be considered as “somewhat elitist.” Elkabli stretched this line of reasoning further from the lenses of contemporary dancing or stage performance. Only abstract art has been able to extend itself “beyond traditional forms and interpretations,” she said, almost ruefully adding that contemporary dancing involves sensitive topics such as social reality, making it “challenging to interpret or understand.”

The question of where the Moroccan public currently stands on the topic of art appreciation can be answered in different, somewhat contending ways. ROSH and Elkabli support the idea that Moroccan society is indeed appreciative of art.

“We have performed in many areas where contemporary dance was unfamiliar…people were incredibly receptive, open-minded, and curious about [dancing] …they were also inspired to explore dance themselves,”the dancer explained. According to Houari, the Moroccan public’ interest in art and creativity is undoubtedly growing, even if the sector is still largely considered as niche and not easily accessible.

Local artists in Morocco continue to persevere in their passions despite the daily, sometimes excruciating challenges or limitations they have to navigate. These creators keep pushing through the limits by making their voices more audible, celebrating their identities as artists of Gen-Z Moroccans, and connecting through social media to create a network.

Houari is optimistic that it is only a matter of time before the creative and artistic scene in Morocco starts thriving. “To foster a broader appreciation for art, artists can play a vital role by adapting their language and making it more clear and accessible to people,” the photographer explained. “Similarly, cultural spaces, including public museums, have a responsibility to go beyond the traditional approach of exhibiting works in a white cube.”

The Tangier-based artist concluded that any policy of support for the artistic industry should include artists from all ranges of popularity and backgrounds. “If resources and support are primarily directed toward certain art forms,” he argued, “it can limit the opportunities for artists working in other disciplines.” ’
Elkabli ended with a note of optimism, stressing: “I am optimistic that the state of art in Morocco will improve in the coming years, and as artists, we have a role to play in driving this positive change.”