As the historical realm of Morocco echoes, love stories resonate through time, weaving an intricate tapestry of passion, sacrifice, and enduring commitment. This Valentine’s Day, Barlaman Today embarks on a journey that explores the profound narratives of Morocco’s most captivating love stories–from the ancient legends steeped in folklore–to royal unions that have left an indelible mark on the nation’s cultural landscape.
The love story of Moulay Idriss I and Kenza is primarily rooted in Moroccan folklore, oral traditions, and local legends. While historical records from the 8th century are limited, the details of their personal lives and the romantic aspects of their relationship are often transmitted through generations via storytelling and cultural narratives.
Moulay Idriss I’s arrival in Morocco, his encounter with Kenza, and the founding together of Moulay Idriss Zerhoun is largely derived from Moroccan cultural heritage and popular beliefs.
The Moussem of Moulay Idriss, an annual pilgrimage to the city of Moulay Idriss Zerhoun, is a living tradition that celebrates the legacy of Moulay Idriss I.
As a love story that brought together an Andalusian maidservant named E’etemad al-Rumaikiyya and Muhammad bin Abbad, Prince and ruler of Andalusia (1040-1095), passion–which caused the prince to change his name to Mutamid Billah, a derivative of her name–reached its zenith.
The tale chronicles the glory of palaces to the humiliation of prisons, as Mu’tamid bin Abbad was captured by Youssef Ibn Tachfin for cooperating with the enemy, Alfonso VI, King of Castile. Ben Tachfin subsequently emprisoned him, along with his wife and children in his castle. E’etemad died in 1095, and he was buried with her four months later in Marrakesh.
Against the tumultuous backdrop of political intrigue, the epic romance of Nafzawia and Ben Tachfin ensued. Daughter of Ibrahim Nefzaoui who was a wealthy merchant from a small village called Aghmat. At that time, there were none more beautiful, more intelligent, nor more intellectual than her. She was married to Youssef, who built Marrakech—or Mur Akush, which means the land of God in Amazigh– after having been married to three men before.
Zaynab Nefzaouia’s enormous impact on the creation of the dynasty and its traditions greatly advanced the status of women in Almoravid Morocco. After that, she took part in political affairs and in reflection upon crucial issues, and there were even a handful of female doctors at the time. Clearly, this was a society ahead of its time.
Khnata Bent Bekkar was able to steal the heart of one of Morocco’s Sultans, Moulay Ismail (1672-1727), thanks to her wisdom and high-quality education, and became the Sultan’s wife after being offered to the king’s Harem.
Nicknamed “Mother of Princes,” she became her husband’s wise political advisor, as she was a diplomat and ambassador in charge of several strategic diplomatic missions in Tripoli.
She was the only one out of Moulay Ismail’s harem who would eventually be buried next to her husband for eternity, an act described as an “honor” and proof of love.
Away from royal love stories, the Amazigh people say, “How can you speak about love, you who do not speak the Amazigh language,” because of the eloquence, wisdom, and statement of this language, said Moroccan historian Hassan Aourid in one of his articles in Zamane magazine. This language combines love and desire, where the word “I love you” (Kanbghik) means I love you and I want you literally. Love, or “Tayri,” and passionate love,”Badad,” were expressed through consolation and dance, while the following terms–“Ahidous,” “Ahwash,” and “Ghnaj,”–have flirtatious as well as warlike and enthusiastic connotations.
The Moroccan art of Melhoun is rich in love and passionate poems, and “Qsida” carries miraculous lexical connotations, in which the poet alternates between existence and imagination, expressing the lover and his feelings.
The poet savors the moment in which he/she lives, attaching himself firmly to it; he/she doesn’t want it to escape him, as he/she wants this moment to last for years. The semantics of a linguistic unit do not constitute an autonomous entity. The meaning of a word can therefore only be grasped in relation to other words, as “flame” can signify sadness, misfortune and grief. Likewise, Qsida can describe the beauty of the beloved, including her body, face and hair, as she can express deprivation and loneliness, as well.
Sahrawis, especially Sahrawi women, also mastered the art of expressing love and spinning, using a style of poetry called “al-Tabra’a” as referenced in Sahrawi slang. These poems are circulated by women at gatherings and events, and as they are expressed orally, they do not reach the level of codification and are therefore disclosed in a secret manner.
Al-Tabra’a generally describes the passionate love that the woman-girl has for her lover and her suffering from loneliness, thereby expressing desire on occasion but never mentioning the name of the beloved.
These love stories and the form of expressions of this feeling are not merely historical footnotes; rather, they constitute the beating heart of Morocco’s cultural identity. As the world celebrates Valentine’s Day, let us immerse ourselves in these centuries-old narratives which embody the timeless spirit of love that continues to shape the soul of every Moroccan.