Morocco was a culture shock. I was white. I was alone. I was a woman. I didn’t speak Arabic, or French, and I didn’t come with my own rolls of toilet paper. It was a little overwhelming that first day in Meknes, as I realized what all of this meant. After dropping off my stuff at the hostel, I went out to explore the city. Soon, I had a male contemporary at my side, refusing to take hints like, “I’d like to walk around alone,” and thinking that “I’m going to go back to my hostel” was an invitation for him to spend the night. After walking around together for awhile, I invented a boyfriend and successfully started back toward the hostel alone, only to find myself suddenly blocked by a large man speaking Arabic at me. I tried to tell him in French that I only spoke English (the truth for all practical purposes), but that only got me two men speaking at me, neither one of which I could understand. I have no idea what the deal was. I just wanted to cross the street. Finally they gave up and let me pass. I bought some bread and fruit on the way back to the hostel, ate it, and went to bed. It was 7 p.m., but I’d had enough.
When I was in Meknes, as in San Marino, I felt a little like I was the only tourist. I was surprised and pleased when two French women came to breakfast the next morning, relieving me from being the only western woman among a whole soccer-team of boys who were scarfing down bread, juice, and tea, and casting occasional glances my way. Talk about feeling conspicuous. Marrakech was better, namely because there were more tourists. This meant that taxi costs were severely inflated and that there was a little more beckoning from vendors to come look at their stuff, but it was not nearly as bad as I had expected. No one went beyond a greeting or invitation to see what they had (except at dinner time in the market square, when the waiters would actually follow you around for awhile). And frequently, the vendors didn’t say anything at all. Far less pressure than the tourism-tip websites led me to expect.
Walking through the souqs (markets) here was amazing. The streets were maze-like, and you could walk for hours, getting lost and finding your way again, seeing a lot without actually stopping long to look. Since the city was touristy, I expected most people with something to sell to speak at least a little English. This wasn’t always the case. I ordered lunch by pointing and got the prices for groceries with held-up fingers. Speaking of food: it was amazingly cheap. My pointing-lunch consisted of a large sandwich, fries, and drink for the grand total of 13 dirhams, or about 1.30 euros. Just the half-liter bottle of soda would have cost more than that in Europe.
If you don’t mind long bus rides, it’s something to do on your honeymoon: ride on a camel, water the sand with your urine. Stand underneath a black dome of sky on a plane that probably extends forever; stare at the white spots twinkling through. Unless you’re an astronomer, the Sahara’s got more stars than you knew existed—more than you’ve ever seen—more than anyone could count. It’s got wind, too. Stand and feel it swirl past you, feel it brush the sand against your legs, feel the chill. Forget about restrooms and any sort of modern conveniences. Poop in the desert behind a dune. Wrap yourself in a blanket and stand by the campfire. Clap to the music. Walk away from it all and make yourself feel small, and then big—elated, and then peaceful. Feel your heart beat. Feel free.
Any long road trip requires music, and the trip from centrally located Marrakech to the edge of the Sahara was, by any modern standards, long.* We started the day with radio broadcasts in French—news, as you could tell from the intonation of the speaker’s voice. By mid-morning, we’d transitioned to local music. I wish I knew just what we were listening to, for one so I could do some research on it, for two so I could listen more myself, and lastly because I’m not going to be able to adequately describe it here. I’m pretty sure the music was “modern;” at least, it contained some “modern” elements. It often sounded like the voice was electronically distorted, for example, though it was a little hard to tell. Maybe they just have an unusual way of singing. Anyway, the modern music was also fairly traditional in terms of instrumentation and singing style. Vocal lines were full of trills and Arab-influenced intervals and harmonies. Texts were in Arabic—or maybe a Berber language. (Actually, they could have been anything North African or Middle Eastern, for all I knew.) The songs were generally quick, but long and repetitive. Somehow, they perfectly fit the scenery, fit the uphill and downhill and around-mountain winding we were doing, and helped the 10 hours to flow by pretty well. Occasionally, after we made our last rest stop and got closer and closer to the desert, our van driver (short and stocky, sweatered and stocking-capped) started singing along. Not in tune, exactly, but Moroccan music doesn’t seem to be about being in tune—at least not like “traditional” western music generally is. Nothing about the run-down villages we were driving by was perfect; nothing about the poor-looking kids and bored-looking men would have fit a soprano aria. This called for some wailing, called for some sliding on the pitch. This was real, and I was glad the music was, too.
*Of course, no comparison to the “52 days to Timbuktu” that some sign in some Moroccan town famously proclaims.
Some music examples that come pretty close to the style were were listening to:
http://www.youtube.com/watch?v=AG8NxCf5NeM (The female singer between 0:20 and 1:30)
http://www.youtube.com/watch?v=3neKACV6-6w&feature=related (This video is weird. But the music is a pretty good example.)
http://www.youtube.com/watch?v=b8Ffq-FOFqM&feature=related