The streets of Essaouira came alive as the 27th edition of the Gnaoua and World Music Festival opened with its signature parade of Gnaoua brotherhoods, celebrating a musical tradition deeply rooted in Africa’s history and cultural heritage.
The annual procession through the UNESCO-listed medina marked the beginning of one of Morocco’s most renowned cultural events, drawing thousands of music lovers from around the world. Founded in 1998 by producer Neila Tazi, the festival has grown into an international platform showcasing Gnaoua music while fostering dialogue between African and global musical traditions.
For Tazi, Africa has always been central to the festival’s identity.
“Africa is part of the festival’s DNA,” she said. “At the heart of the project is Gnaoua culture, which draws its roots from different countries in sub-Saharan Africa. It carries a long history of displacement and of artists descended from former slaves. It was important for us to highlight this aspect, which was overlooked for decades—a culture that was marginalized for far too long, despite having an extraordinary story to tell the world.”
Gnaoua music, with its hypnotic rhythms, spiritual chants and ritual performances, traces its origins to communities descended from enslaved people brought to Morocco from sub-Saharan Africa. Today, it is recognized as an important element of Morocco’s cultural identity and is listed by UNESCO as an Intangible Cultural Heritage of Humanity.
One of the highlights of this year’s festival was the return of internationally acclaimed Cameroonian bassist Richard Bona, who performed in Essaouira for the first time in eight years.
Bona said African musical traditions share a common language despite their regional diversity.
“Our African music has always shared common roots,” he said. “Whether it’s Gnaoua, Sabar, Bolobo, or any other African tradition—if you understand the grammar, you can easily read or understand the music. It all comes back to rhythm. Rhythm is something that is never foreign to us as Africans.”
The festival is known for creating unexpected collaborations between artists from different musical backgrounds, and this year’s edition continued that tradition.
Young Gnaoua master Mehdi Qamoum joined forces with the Harlem Spirit of Gospel choir, bringing together two musical traditions linked by shared African ancestry and spiritual expression.
“Morocco and all Africa—we’re trying to bring all this music home, to play it with Gnaoua music,” Qamoum said. “And this is the definition of the Gnaoua and World Music Festival.”
Over nearly three decades, the festival has evolved into far more than a music event. It has become a celebration of African identity, cultural memory and artistic innovation, offering a space where musicians from across the continent and beyond explore their common heritage through performance.
Organizers say preparations are already underway for the 2027 edition, which promises new collaborations designed to further strengthen the connections between Gnaoua music and other African musical traditions.
Credit: Africa News
The annual procession through the UNESCO-listed medina marked the beginning of one of Morocco’s most renowned cultural events, drawing thousands of music lovers from around the world. Founded in 1998 by producer Neila Tazi, the festival has grown into an international platform showcasing Gnaoua music while fostering dialogue between African and global musical traditions.
For Tazi, Africa has always been central to the festival’s identity.
“Africa is part of the festival’s DNA,” she said. “At the heart of the project is Gnaoua culture, which draws its roots from different countries in sub-Saharan Africa. It carries a long history of displacement and of artists descended from former slaves. It was important for us to highlight this aspect, which was overlooked for decades—a culture that was marginalized for far too long, despite having an extraordinary story to tell the world.”
Gnaoua music, with its hypnotic rhythms, spiritual chants and ritual performances, traces its origins to communities descended from enslaved people brought to Morocco from sub-Saharan Africa. Today, it is recognized as an important element of Morocco’s cultural identity and is listed by UNESCO as an Intangible Cultural Heritage of Humanity.
One of the highlights of this year’s festival was the return of internationally acclaimed Cameroonian bassist Richard Bona, who performed in Essaouira for the first time in eight years.
Bona said African musical traditions share a common language despite their regional diversity.
“Our African music has always shared common roots,” he said. “Whether it’s Gnaoua, Sabar, Bolobo, or any other African tradition—if you understand the grammar, you can easily read or understand the music. It all comes back to rhythm. Rhythm is something that is never foreign to us as Africans.”
The festival is known for creating unexpected collaborations between artists from different musical backgrounds, and this year’s edition continued that tradition.
Young Gnaoua master Mehdi Qamoum joined forces with the Harlem Spirit of Gospel choir, bringing together two musical traditions linked by shared African ancestry and spiritual expression.
“Morocco and all Africa—we’re trying to bring all this music home, to play it with Gnaoua music,” Qamoum said. “And this is the definition of the Gnaoua and World Music Festival.”
Over nearly three decades, the festival has evolved into far more than a music event. It has become a celebration of African identity, cultural memory and artistic innovation, offering a space where musicians from across the continent and beyond explore their common heritage through performance.
Organizers say preparations are already underway for the 2027 edition, which promises new collaborations designed to further strengthen the connections between Gnaoua music and other African musical traditions.
Credit: Africa News
