THE ARCHAEOLOGY OF SPACE IN MOROCCAN ORAL TRADITION THE CASE OF "MALḤŪN"POETRYAuthor(s): SAID ENNAHIDReviewed work(s):Source: Quaderni di Studi Arabi, Nuova Serie, Vol. 2 (2007), pp. 71-84Published by: Istituto per l'Oriente C. A. NallinoStable URL: http://www.jstor.org/stable/25803019 .Accessed: 13/07/2012 13:14

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SAID ENNAHID

THE ARCHAEOLOGY OF SPACE IN MOROCCAN ORAL TRADITION THE CASE OF MALHUN POETRY*

1. Moroccan Malhun: an Introduction1

Malhun refers to a form of "dialectal [popular] poetry in the Maghrib (...) chanted by amateurs or professionals with a momentary musical accompaniment".2

Etymologically, the term malhun originates from the Arabic word lahn meaning 1)

"melody" and 2) "speaking ungrammatical Arabic." While there is no consensus

among scholars as to which of the two etymologies to trace malhun to, one is

tempted to combine them and defines malhun as a melodic dialectal Arabic (i.e., not

conforming to classical Arabic grammar).3 In terms of structure, a typical malhun

poem consists of the following three components:

1) al-sarrdba or prelude with its own sub-sections (dkhiil, nacura, and radma); it sets the rhythm (iqac) and metrics (wazri) of the poem.

2) al-qsida or the poem proper composed of several qsam (sing, qsem, a strophe or stanza) introduced by a harba; this latter is also chanted in chorus to introduce

each of the poem's qsam. The last qsem of the poem usually include, among other

things, the name of the poet and the date of composition; in many cases the poet's name and/or date of composition are encrypted in Maghribi abjad).4

* The author wishes to express his gratitude to Hammad Berrada and Hicham Loubane of

Publiday-Multidia for their valuable help with the maps and to Abdellah Ramdani, Abdelali Lebriki and Sadik Alaoui for allowing me access to their kunndsh.

1 In Morocco, research on malhun started in early 1940s with Dermenghem and El Fasi

(1940). For a detailed account on the origin, poets, subjects, language, metrics, structure and forms of malhun, see Pellat (1987); for an ethnomusicological study of Moroccan music including malhun see Chottin (1999); In Arabic, the key references on malhun remain al-Qasida of al-Jirari (1970) and maclamat al-malhun of al-Fasi (1986-1997). 2 Pellat 1987: VI, 247-148.

3 With a few exceptions (e.g., al-Tuhami al-Mdaghri, d. 1856), the majority of malhun

poets had a very rudimentary knowledge - if any at all

- of classical Arabic and its

grammar since many of them were illiterate, e.g., Sidi Qaddur al-c Alarm of Meknes (d. 1850) (Pellat 1987: VI, 249; al-Fasi 1992: 291-294). For a detailed discussion on the difference between the terms malhun and zajal, see al-Jirari 1970: 46-61.

4 Basically giving a numerical value to a letter following its position in the Arabic

g&4n.s.2(2007),pp.71-84

3) al-dardlka usually chanted in an accelerated and rhythmic way to indicate the

end of the poem. 5

In Morocco, malhun was essentially an urban working class (mostly artisans)

poetry which flourished in cities such as Tafilalt - its birth place -

Fez, Meknes,

Marrakech, and Sale. Malhun poetry was almost exclusively composed, chanted, and transmitted by men,6 although ethnographic evidence mentions groups of

ghannayat (women singers) in weddings and nzaha (excursions).7 Malhun poetry, as was generally the case for other genres of Moroccan popular

culture, was transmitted orally and only rarely preserved in writing. Once

composed, the poem is entrusted to the memory of a hafiz (pi. huffaz memorizers; in

Moroccan dialect hqffad) or rawi} Usually, in malhun circles, there is a shaykh al

huffaz, someone whose authority, as a reference in malhun , is recognized by his

peers. Some of the huffaz supplemented their memory by recording the poetry in

kunndsh or majmuc (notebooks). Several of these notebooks are now at La

Bibliotheque Nationale du Royaume du Maroc (BNRM) and in private libraries of

malhun enthusiasts. Since the publication of al-Qasida of al-Jirari (in 1970) more

and more malhun poetry collections came out in a printed format in spite of many

problems with vocalization (al-shakl) especially before the use of computers and

Arabic word processing software. The al-harraz (The Guardian) of Muhammad ibn

cAli al-Sharif Uld al-Razm (d. 1822)9 was one of the first poems to be translated in

French by Eugene Aubin.10 Today, with the growth and accessibility of Information

alphabet, see Weil 1986: 97-98. Moroccan malhun poets used Abjad, in its Maghribi version, as an encrypting device by using a set of numerical values instead of the actual

poet's name and/or reversing the operation for date of composition. During the colonial

period, al-Tsawi al-Fallus used to recur to this technique to sign his nationalist poems (al-Jirari 1970: 160-165, 672-673). 5 For further discussion of malhun poetry structure, see al-Jirari 1970: 147-173; Pellat 1987: VI, 255-256; El Fasi 1965: 39.

6 Of 588 malhun poets whose biographies were listed by El Fasi only seven (1.20%) were

women-poets; moreover, none of their biographies exceeded two lines of text, see

biographies: numbers 195, 218, 220, 229, 393, 523, and 524 in al-Fasi 1992. The reasons behind this extremely small number of malhun women-poets and the obscurity shrouding their biographies is beyond the scope of this article.

7 For a detailed ethnographic account on Moroccan music, including griha (malhun), see Aubin 2004: 327-336, see also Le Toumeau 1987: 561, 564. 8 For more details on the mechanisms of transmission and preservation of malhun, see Pellat 1987: VI, 252-254.

9 See al-FasI 1992: 54-61. 10 Aubin 2004: 333-336. El Fasi (1965) translated another of Muhammad Ibn c All's poems,

al-tarshun (from Spanish Torzuelo, young hawk). For a recent, more poetic translation of several poems of malhun, see Guessous 2003, 2004.

72

and Communication and Technologies (ICTs), malhun is transmitted mostly on a

digital format (on CDs and as MP3 files).11

2. Archaeology of space in malhun poetry A. Genres

Malhun poetry deals with a variety of topics ranging from panegyrics of the

Prophet Muhammad to erotico-bacchic (al-khamriyyai) poems, but the amatory

elegy (ghazal), often with erotic overtones, is the malhun subject matter par excellence.12 To explore the archaeology of space in malhun poetry, I will limit my discussion in this article only to genres dealing specifically with space in a

geographical sense. First, I will briefly describe the genres in which space is a

structuring element, then I will analyze the different "layers" of space and their

meaning, and finally, I will explore the urban anatomy of the cities of Fez and

Meknes as poetically portrayed in the dl-damllj (bracelet) of al-clsawl al-Fallus (d.

1955) and al-khdtam (ring) of Hammud ibn Idris (d. around 1969), two of the best

examples for the topic. A preliminary survey of malhun poetry shows at least four genres in which

space is a determinant element for the overall structure of the poem: 1) Travel, 2)

Quest for a Lost Pet, 3) Quest for a Lost Object, and - to a lesser extent 4)

Tattooing and Blood-Letting Ceremonials.

1) Travel: This genre consists of listing, at times complete with descriptions, of

a number of places (e.g., countries and cities) visited or simply crossed during an

actual or imaginary journey of the poet. A good example in this regard is the poem of al-tumubil (Automobile) of Muhammad ibn CAH al-MasfiwI (d. 1934).13 In some

cases, the poet would describe certain places as seen through the eyes of an

emissary, often a bird, which he would dispatch for these imaginary journeys. The

places portrayed in this genre are usually of strong emotional or religious

significance to the poet (e.g., the home place of the beloved one, a saint tomb, Mecca and Medina). The poem of al-warshan (a bird) of al-Jllall Mtird (d. mid

1800s)14 is a good example.

2) Quest for a Lost Pet: In this genre the beloved one takes, affectionately and/or

11 Many poems of malhun chanted by al-Tuhami al-Harushi (of Fez) were collected by his

family, from the national audio archives at the Societe Nationale de Radiodiffusion et de Television (formerly known as RTM), and transformed into MP3 format (M'hammed Chraibi, personal communication); several audio recordings were also produced by the

organizers of the annual malhun festivals in Fez in 2001 and 2002. 12 For a detailed discussion and listing of malhun genres, see al-Fasi 1986: 35-67; 1982. 13 Al-Fasi 1992: 267-268. 14 For a full biography, see al-Jlraril970: 147, 611-616; al-Fasi 1992: 148-154.

73

allegorically, the form of a pet, usually a bird or gazelle, that has gone away leaving the poet in desolation; the poem is essentially a travel log for all the places the poet has visited searching for his beloved one. The poem of the al-tarshun (from Spanish Torzuelo, young hawk) of Muhammad ibn cAli al-Sharif Uld al-RazIn (d. 1822)15 is a good model.

3) Quest for a Lost Object: The premise in this genre is centered on the quest for an object of strong emotional value to the poet. In its most basic form, the poem would start with the beloved one entrusting the poet with an object, usually a piece of jewellery (e.g., poems of al-duwwah, silver earring and al-khalkhal, anklet) or

even a braid from the woman's hair (e.g., poems of al-dafira and al-salaf) as a

souvenir of a romantic encounter. The poem is essentially a narration structured

around the long and painful quest and ultimate recovery of the lost object with the

lovers' reunion in guise of a finale. As in the preceding genre, the poem is basically a travel log for all the places the poet has visited searching for the lost object. The

earliest poem in this genre is khalkhdl cAwisha (anklet of cAwisha) of al-Jilali

Mtlrd (d. mid 1800s);16 the poems of al-damllj (bracelet) and al-khdtam (ring) are

true models of this genre.

4) Tattooing and Blood-letting Ceremonials: Poems of this genre are usually known as al-hajjam (tattoo-maker) or al-fssada (blood-letting or venesection). Unlike the genres discussed above, in tattooing and blood letting ceremonials the

representation of space is more of a secondary layer to the structure of the poem. In

al-hajjam poems the beloved one takes center stage in a colorful tattooing ceremony vividly and minutely described within a variety of themes including, the

ceremony setting (e.g., interior decoration, types of furniture and utensils, etc.), the tattoo-maker's tools and, most importantly, the signs (mostly prophylactic) and

imagery used as facial and body tattoos. It is this last theme that is of interest to us

since it shows how space is represented/imagined by the poet. The scenes depicted include imaginary and/or actual landscapes and landmarks of cities, rivers,

legendary battles, lush garden with birds, etc. The al-hajjam of Muhammad ibn CA1I

al-Masfiwi17 and Hammud ibn Idris are two very good examples.18

B. Layers and Landscapes

To analyze how space was represented/imagined in the above genres, I adopted

15 For a French translation, see El Fasi 1965. 16 al-JTraril970: 614-615. 17 al-FasI 1992: 267-268. 18 For other examples, see al-fssada of Muhammad Ibn Friha (al-FasI 1990: 315-318) and

al-fssada of al-Jilali Mtlrd (al-FasI 1987: 161-172); for a detailed discussion of the al

hajjdm poetry see Acmar 1994.

74

an archaeological approach by looking into a space, be it a country or a street, as it

relates to what lies beneath, above and next to it (i.e., looking at space strati

graphically as series of layers and typologically as categories of landscapes). In

terms of layers, one can easily detects in the poems of al-tumubil (Automobile) of Muhammad ibn cAlI al-MasfiwI, al-damlij (bracelet) of al-clsawl al-Fallus, and al

khdtam (ring) of Hammud ibn Idris, a hierarchical order moving from the world as a

whole (macro-level) in al-tumubil to a detailed street map (micro level) in al-damlij and al-khdtam. In al-tumiibil, Muhammad ibn cAli al-Masfiwi "inventoried" no less

than 54 countries (in four continents) and 17 cities, a true tour de force. Al-damlij listed 32 toponyms of streets and neighborhoods in Fez (see Table 1) and the same

for Meknes in al-khdtam (see Table 2).19 In all these genres, the poem's characters are not confined to the borders of one particular landscape. Instead, they move

freely across a multitude of landscapes both real and imaginary:20 1) Natural Landscape: mountains, plains, forests, rivers and oceans, deserts,

fauna/flora,21 etc.

2) Politico-military Landscape: world countries and capitals, royal palaces, fortresses and fortifications, etc.

3) Urban-Aesthetic Landscape: descriptions of cities complete with neighbor hoods and streets systems, architectural decoration of monuments and interiors,22 etc.

4) Religious-Mystical Landscape: This is a landscape with a strong religious and/or mystical significance to the poet. The holy cities of Mecca and Medina are

the religious-mystical landscapes par excellence. They are either mentioned by name or alluded to as dX-hurm, al-maqdm, al-qubba, marsam al-habib, etc. Other

types of religious-mystical landscapes include mosques, saint tombs, sufi zawiyyas, etc. In al-tumubil (Automobile) of Muhammad Ibn CA1I al-Masfiwi, religious

mystical landscapes act as structuring elements in the narration; the itinerary's

points of departure, arrival and major "stops" are all loci of religious and/or

mystical significance. Muhammad ibn CAH al-Masfiwi sets outs his journey from

the shrine of Mawlay Idris in Fez and ends it at the tomb of the Prophet in Medina

where, moved by the religious feel of the place, he decided to spend the rest of his

19 Nadia Yaqub identified similar examples in Palestinian wedding songs (e.g., hidaD) with onomastic and toponymic information (Nadia Yaqub, personal communication); see

Yaqub 2006:16-30; 2007. 20

Al-Buyahyawl al-ldrisl (2004) adopted a relatively similar categorization in his study of two poems on Meknes.

21 See al-hajjam poems for a rich lexical inventory of plant and animal names in Moroccan dialectal Arabic.

22 See al-fssada and al-khamriyat (erotico-bacchic) poems for descriptions of Moroccan interiors evoking orientalist paintings.

75

days in piety and worship. The journey is also punctuated with a number of

religious and/or mystical landmarks such as shrines of members of the family of the

Prophet (AM al-Bayt), e.g., al-Husayn and Zaynab in Cairo and the shrine of cAbd

al-Qadir al-JIlanl in Baghdad.

5) Historico-mythical Landscape: This landscape draws its matter from Arab

heritage in all its varieties, Islamic vs. pre-Islamic, documentary vs. oral, historical vs. legendary, etc. The historico-mythical landscape is populated with legendary and/or historical figures, e.g., Sayf ibn Dhi Yazan, cAntara ibn Shaddad, Qays (the

Madman of Layla) in epic scenery complete with armies of men and genies. From a purely anthropological point of view, the representation of space in

malhun poetry is determined by the same factors as those identified by Boughali in

his study of space representation among illiterate Moroccans23 (La Representation de Vespace chez le Marocain illettre). In this study, the subjects (both males and

females) were asked to graphically and physically recreate the world around them on a sheet of paper. Boughali was able to identify a tripartite dynamics based on 1) professional ("espace vecu", i.e., space as lived by the subject), 2) affective and 3) symbolic ("magique") considerations; all three acting simultaneously.24 For

example, the sketches of Marrakech, show several categories of space, with different levels of abstraction and detail, including public spaces (e.g., subject's home, subject's workshop, public bath, Jamac al-Fana3 (Jmaa El Fna), Gueliz, Mausoleum of Mawlay Ibrahim, etc.). More importantly, Boughali noticed that when it comes to places of strong affective significance to the subject (e.g., Mecca, a local saint tomb), spaces tend to be compressed and distances reduced to make these places closest to the subject's home.25

Along the same lines, in malhun, the poet's frame of reference is determined by 1) places of everyday life, work and leisure, e.g., streets and neighbourhoods in al

damlij and al-khdtam; 2) places of affective and/or emotional significance, such as his hometown,26 home of the beloved-one, tomb of a local saint, etc., and finally, 3) places imagined as mysterious, exotic or magic. In his al-tumuhil (Automobile), Muhammad ibn cAli al-Masfiwi conferred exotic appellations to places that he must have considered as foreign and mysterious, e.g., Ard Ben Zwilla (literally, the Land

of the Son of Zwilla or less poetically Venezuela!), Lkdnddd (Canada), Ldnddul

(Anatolia) Bldd al-Suddn (literally, the Land of Sudan or Sub-Saharan Africa), etc.

23 Boughali 1974. Boughali uses the term illiterate to mean country dwellers, artisans, unskilled workers, etc., Boughali 1974: 4 note 2.

24 Boughali 1974: 162, 186. 25 Boughali 1974: 169-173; 188-189.

26 In the poem of al-khdtam, the journey starts at the Qasbah, the place of residence of the poet.

76

C. Urban Anatomy

In this section, I will analyze the urban anatomy of the cities of Fez and to a

lesser extent Meknes as described in the al-damlij (bracelet) of al-cIsawi al-Fallus

and al-khdtam (ring) of Hammud ibn Idris respectively. Al-cIsawi al-Fallus, also

known as Muhammad al-Mdaghri, was one of the prominent shaykhs of malhun .

He was the head of the weaver's guild in Fez. He died in 1955.27 Hammud ibn Idris

al-Qasbawi or al-SusI originates from the al-Sus region (Souss) in southern

Morocco but lived and died at a young age in the Qasba of Hadrash in Meknes (d. around 1969). He was a traditional mason (macallem). Hammud ibn Idris poetry date to the 1960s; most of it known only to malhun enthusiasts in Meknes.28

Material for both poems was transcribed from audio recordings29 and completed by material from kunndsh (notebooks) of local malhun enthusiasts since malhun poetry collections are not as widely published as poetry in classical Arabic. The al-damlij

(bracelet) and al-khdtam (ring) poems pertain to the third genre discussed above

(i.e., Quest for a Lost Object). Both poems were inspired by the much earlier

khalkhdl cAwisha (anklet ofcAwisha) of al-Jilali Mtird (d. mid 1800s).30 To analyze the urban anatomy of the city of Fez as described in the al-damlij

(bracelet), I used an earlier ethnographic account of the city as a reference. At the

beginning of the 20th century, Eugene Aubin provided a detailed description of the

urban and administrative organization of the city in Le Maroc dans la tourmente, 1902-1903.31 According to Aubin, Fez is made of three large quarters ('qesma' or

'ferqa') each enclosing six sub-quarters, altogether adding up to a total of 18

residential neighbourhoods ('hawma') (Figure 1). Le Tourneau proposes more or

less the same administrative division which he dates, based on documentary

evidence, to the 17th century.32 The residential neighbourhoods of Fez as listed by Aubin are as follows:33

27 For a detailed biography see al-Fasi 1992: 333-336; al-JIrari 1970: 671-673. 28 Abdellah Ramdani (artist and malhun enthusiast in Meknes), personal communication, 2006. 29 Material for al-damlij was transcribed from Tichkaphone audio recordings No. TCK892

and CD892, and from Tichkaphone audio recording No. TCK992 for al-khdtam. For a

poetic translation of al-damlij, see Guessous (2003: 31-43). 30 See al-JIraril970: 147, 611-616 and al-Fasi 1992: 148-154. El Fasi attributes khalkhal cAwisha to al-Jllali Lahlu of Fez, a contemporary of Mawlay cAbd al-Rahman (1822 1859) and Sid! Muhammad (1859-1873), see al-Fasi 1992: 164-165. Material for khal khal cAwisha was transcribed from Tichkaphone audio recordings No. TCK937 and CD937. There is also the khalkhal ofYamna of cAbd al-Salam al-Zafii (al-JIrari 1970: 159). 31 Aubin 2004: 298-299 note 3.

32 LeTourneau 1987: 115-121. 33

Toponyms between quotation marks show transliteration in original.

77

1st qesma: al-cadwa 2nd qesma: al-Andalusiyym 3rd qesma: al-Lamtiyyin

The hawmas of al-cAdwa:

al-Kaddan

al-Aqwas "Lagouas" al-Gzira

al-cAdwa34

al-Makhfiyya "El Mokhflya" Sid al-cAwwad (Sid El Oued)

The hawmas of al-Andalu

siyym

al-QalqaliyyTn "El- Qalqaliyin" Ras al-Jnan

Lacayun "el-Oyoun" Garnlz

al-Qattanin "El-Kattaniyin"

Swlqat Ben Sail35_

The hawmas of al-Lamtiyyin

al-Talca36

cAyn Zliten37 "Ain Azliten"

Zqaq al-Rruman "Zqaq Erro

man"

Funduq Lihudi

Blida

al-Sagha "Essagha"_

In Table 1,1 present the toponymic inventory of Fez as extracted from the al-damlij

(bracelet) of al-cIsawi al-Fallus. For each toponym, be it a street, a monument or a

landmark, I provided its map coordinates and the neighborhood (hawma) where it is

located - as listed by Aubin and Tourneau.38 On the map in Figure 1,1 recreated the

itinerary, exactly as described by the poet, complete with all the stops (toponyms) he has made looking for his al-damlij and a grid showing map coordinates. I

adopted the same methodology for the urban anatomy of Meknes as described in the

al-khatam (ring) of Hammud ibn Idris (Table 2 and Figure 2). Figures (1 and 2) and

Tables (1 and 2) show clearly the wealth of toponymic data in the poems of al

damlij and al-khatam. Al-damlij for example provides an even finer grained

representation of Fez than the ethnography of Aubin since it went from

neighborhood (hawma) level to street level.39 It is a snap shot of Fez prior to 1955

(poet's year of death). The khalkhdl cAwisha of al-Jilall Mtlrd (d. mid 1800s), lists

the toponyms of hawz madlus, hawz al-Lamtiyyin and al-cadwa.40 Interestingly, these are the same three large quarters (qesma or ferqa) of Fez as recorded by

Aubin in the early 1900s (i.e., al-Andalusiyyin, al-Lamtiyyin and al-cAdwa). The

quarters of al-fakhkharin, al-dduh, al-zanjfur (shown in Italic in Table 1) are not

found in Aubin's list because they were built between 1899 and the beginning of

the French Protectorate in 1912.41 Al-khatam of Hammud ibn Idris, inspired by the

34 Darb al-Shaykh ("Derb ech-Cheikh") in Le Tourneau 1987: 121. 35 Al-TaTa in Le Tourneau 1987: 121. 36

Swiqat Ben Safi in Le Tourneau 1987: 121. 37

Al-Shrabliyyin (slippers' market or "Chrabliyin") in Le Tourneau 1987: 121. 38 Aubin 2004; Le Tourneau 1987. 39 For a detailed discussion of the street system and access regulation in pre-colonial Fez,

see Ennahid 2002. 40 In addition to the name of a local saint near al-fakhkharln quarter (Sidi [c Ali] Bu Ghalib). 41 Le Tourneau 1987: 119, 156.

78

al-damhj and the earlier khalkhal cAwisha, provides a detailed representation and

toponymic inventory of the city of Meknes in the post-colonial period up to late 1960s.42

Conclusion

The main objective of this article was to offer an archaeological reading of

malhun poetry. In other words, to read and appreciate malhun with the eyes of an

archaeologist. Hence, it was of a particular interest to us to see how malhun poetry

1) complemented and confirmed the ethnographic record, and 2) gave valuable

insight on the urban history of cities such as Fez and Meknes. Also, malhun poems

proved to be true lexical inventories of plant and animal names in Moroccan dialect

in addition to their value as repositories of a wealth of hagiographic and onomastic

data.43 This article, however, does not claim to exhaust all the empirical potential of

malhun poetry, and oral tradition in general, for archaeologists and urban historians.

Instead it proposes a methodological and interpretive approach that future research

could refine and apply to other facets of popular culture in Morocco (e.g., Amazigh

poetry) and elsewhere.

AL-AKHAWAYN UNIVERSITY IN IFRANE - MOROCCO

SUMMARY

Malhun poetry is an essentially oral form of Moroccan popular memory

expressed in a melodic dialectal Arabic. It offers valuable insight into the

archaeology of space at all its hierarchical levels (i.e., from the domestic space to

the city and the world). The archaeology of space as perceived by the poet of malhun transcends the confines of one genre of this artistic expression to manifest

itself in a variety offorms; the poet "maps "

the world around him while looking for a lost object given to him by the beloved one or through the tattoos on her body, etc. This article describes the malhun genres in which space is a structuring element and explores the urban anatomy of the cities of Fez and Meknes as

recreated in the al-damlij (bracelet) of al-cIsawi al-Fallus and al-khatam (ring) of Hammud ibn Idris. It also proposes a methodological and interpretive approach to

benefit the most from the empirical potential of malhun poetry for archaeologists and urban historians.

42 For a study of the architectural history of major monuments in Meknes, see Barrucand 1976. 43 For example, names of local saints such as Sidi Sacid Abu cUtman al-Khassal and names

of local figures such as Qabbaj, head of jeweler's guild in Meknes (in the al-khatam).

79

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List of Figures (see pp. 81-82): Fig. 1 Map showing the city of Fez and the itinerary of al-Tsawi al-Fellous in al-damlij (bracelet). Fig. 2 Map showing the city of Meknes and the itinerary of Hammud Ibn Idris in al-khatam (ring).

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Table 1 The Toponymy of Fez in al-damhj (bracelet) of al-Tsawi al-Fellous

TOPONYMS* MAP COORDINATES** NEIGHBORHOODS*** (Hawma)

Bab al-Khukha M.4 al-Fakhkharine

Knif K.3 al-Kaddan

Hawz al-Kaddan K.4 al-Kaddan

al-Saffah K.4-5 al-Kaddan

al-Aqwas J.K.5 al-Aqwas

al-Gzira J.5 al-Gzira

al-cAdwa J.K.L.M.3-8 al-'Adwa (Andalusian Quarter)

Ahwaz al-Makhfiyya J.6 al-Makhfiyya

Bu cAjjara IJ.7-8 al-Qalqhyyin

al-Wad "el Oued" J.6-7 Oued Fez

Sfifah IJ.6 al-Qalqhyyin

Ras al-Jnan 1.6 Ras al-Jnan

al-Dduh F.G.6-7 al-Dduh

Salaj G.6 al-Dduh

Darb al-Sarraj F.6 al-Dduh

al-Talca al-Sghcira F.G.H.5-6 al-Tal'a

Darb al-Hurra G.H.5 al-Tal'a

SiyaL H.6 Swiqat Ben Safi/La'ayun

al-Qattanm 1.5 al-Qattanin

Hawmat al-Blida J.4 Bllda

Darb al-Mitr J.3/I.3 Blida/Funduq Lihudi

al-Zanjfur 1.2-3 al-Zanjfur

al-Haffann 1.3-4 Funduq Lihudi

Zqaq al-Rruman H.3-4 Zqaq al-Rruman

Bu cAqda H.4 Zqaq al-Rruman

Zqaq al-Ma H.5 Swiqat Ben Safi

Rhat al-Shams al-Fuqiyya G.5 al-Tal'a

Darb Bin cAzahum G.5 al-Tal'a

Ahwaz al-Talca G.5 al-Tal'a

Trig al-Sinlma (Bu Jlud?) F.6 al-Tal'a

Jnan al-Sbil D.E.7-8 Bu Jlud Gardens (Qasbas)

al-Sahnj al-Kabir D.E.7-8 Bu Jlud Gardens (Qasbas)

As listed in the poem of al-damllj (bracelet) ' Based on master map in Berrada (2004); see Fig. 1

*** As listed in Aubin (2004: 298-299 note 3) and Le Tourneau (1987: 115-121). Toponyms in Italic refer to

quarters built shortly after Aubin's visit to Morocco.

83

Table 2 The Toponymy of Meknes in al-khatam (ring) of Hammud Ibn Idris

TOPONYMS* MAP COORDINATES* NEIGHBORHOODS**

Bab al-Qasba al-Qasba of Hadrash

al-cArasi Gardens north of al-Qasba of Hadrash

Bin al-cArasi D.6-7 Qac Warda

Hamriyya "Ville-Nouvelle"

Bu cAmayar F.l-2 Bab Bu cAmayar

Lahbul C.D.E.4-6 Lahbul

Qac Warda C.D.6 Qac Warda

Swiqat (Jbala?) D.7-8 Qac Warda

Darb al-Jnan C.D.7-8 Tizimmi Sghira

Tizimmi B.C.8-9 Tizimmi Sghira

Jnan al-Aman C.D.E.9 Jnan al-Aman

Bin al-Macasar D.8-9 Jnan al-Aman

Barraka D.8 Jnan al-Aman

Darb Gannag E.9 Jnan al-Aman

Tuta F8 Tuta

Farran Ba c Allal F.9 Anwar

Jutiyya F.10-11 Jutiyya

al-Sabbaghin G.8 al-Sabbaghin

al-Najjann G.8-9 al-Najjann

Sidi Sacid Bu cUthman al-Khassal Qasbat SidT SacId

al-Sakkakm H.7-9 al-Sakkakm

Riyad al-Jamici G.7 al-Hdim

al-Hdim H.6-7 al-Hdim

Bab al-Mansur H.6 al-Hdim

al-Sittiniyya H.5 al-Sittiniyya

Dnba (Lacamra) G.2-4 al-Dar al-Kbira

al-Dar al-Kbira 1.4 al-Dar al-Kbira

al-Najjar H.2 al-Dar al-Kbira

Sidi cAmar H.2 Sidi cAmar

Rwa Mzin F.2-4 Rwa Mzm

Bab Gnawa E.5 Bab Gnawa

Darb al-cAyn (Fuqi) F.G.2 Rwa Mzin

* As listed in the poem of al-khatam (ring) ** Based on master map in Berrada (2005); see Fig. 2

*** Outside of map area

84