SUMMARY / RELATED TOPICS

Moroccans

Moroccans, ancient names Spanish: Moros and English: Moors and Moorish People, are a Maghrebi nation inhabiting or originating from the modern day land of Morocco and who share a common Moroccan culture and ancestry. The overwhelming majority of Moroccans are of Arab-Berber descent. In addition to the 36 million Moroccans in Morocco, there is a large Moroccan diaspora in France, Israel, the Netherlands and Spain, a smaller one in Germany, the United Kingdom, the United States, the Arabian Peninsula and in other Arab states. A sizeable part of the Moroccan diaspora is composed of Moroccan Jews; the first anatomically modern humans in North Africa are the makers of the Aterian, a Middle Stone Age stone tool culture. The earliest Aterian lithic assemblages date to around 145,000 years ago, were discovered at the site of Ifri n'Ammar in Morocco; this industry was followed by the Iberomaurusian culture, a backed bladelet industry found throughout the Maghreb. It was described in 1909 at the site of Abri Mouillah.

Other names for this Cro-Magnon-associated culture include Oranian. The Epipaleolithic Iberomaurusian makers were centred in prehistoric sites, such as Taforalt and Mechta-Afalou, they were succeeded by the Capsians. The Capsian culture is thought to have arrived in Africa from the Near East, although it is suggested that the Iberomaurusians may have been the progenitors of the Capsians. Around 5000 BC, the populations of North Africa were descended from the makers of the Iberomaurusian and Capsian cultures, with a more recent intrusion associated with the Neolithic revolution; the proto-Berber tribes evolved from these prehistoric communities during the Late Bronze to Early Iron Age. Moroccans are of Berber origin, like other neighboring Maghrebians; as such, Berbers are descendants of the prehistoric populations of Morocco through the Iberomaurusians and Capsians. The Afroasiatic family may have originated in the Mesolithic period in the context of the Capsian culture. By 5000 BC, the populations of Morocco were an amalgamation of Ibero-Maurisian and a minority of Capsian stock blended with a more recent intrusion associated with the Neolithic revolution.

Out of these populations, the proto-Berber tribes formed during the late Paleolithic era. Berber-speaking groups include the Riffians and Zayanes. Arabic-speaking groups include Sahrawiyin in the southeast. A small minority of the population is identified as Gnawa; these are sedentary agriculturalists of non-Berber origin, who inhabit the southern and eastern oases and speak either Berber or Moroccan Arabic. Between the Nile and the Red Sea were living Arab tribes expelled from Arabia for their turbulence, Banu Hilal and Sulaym, who plundered farming areas in the Nile Valley. According to Ibn Khaldun, whole tribes set off with women, ancestors and camping equipment. Through Moroccan history, the country had many cultural influences; the culture of Morocco shares similar traits with those of neighboring countries Algeria and Tunisia and to a certain extent Spain. Morocco influenced modern day Europe, in several fields, from architecture to agriculture, the introduction of Moroccan numbers used now in the world.

Each region possesses its own uniqueness. Morocco has set among its top priorities the protection of its diversity and the preservation of its cultural heritage; the traditional dress for men and women is called djellaba, a long, hooded garment with full sleeves. For special occasions, men wear a red cap called a bernousse, more known as a fez. Women wear kaftans decorated with ornaments. Nearly all men, most women, wear balgha; these are soft leather slippers with no heel dyed yellow. Women wear high-heeled sandals with silver or gold tinsel. Moroccan style is a new trend in decoration, it has been made popular by the vogue of riad renovation in Marrakech. Dar is the name given to one of the most common types of domestic structures in Morocco. Most Moroccan homes traditionally adhere to the Dar al-Islam, a series of tenets on Islamic domestic life. Dar exteriors are devoid of ornamentation and windows, except occasional small openings in secondary quarters, such as stairways and service areas; these piercings provide ventilation.

Moroccan cuisine consists of a blend of Berber and Arab influences. It is known among others. Spices such as cinnamon are used in Moroccan cooking. Sweets like halwa are popular, as well as other confections. Cuisines from neighbouring areas have influenced the country's culinary traditions. Additionally, Moroccan craftsmanship has a rich tradition of jewellery-making, leather-work and woodwork; the music of Morocco differs according to the various areas of the country. Moroccan music has a variety of styles from complex sophisticated orchestral music to simple music involving only voice and drums. There are three varieties of Berber folk music: village and ritual music, the music performed by professional musicians. Chaabi is a music consisting of numerous varieties which descend from the multifarious forms of Moroccan folk music. Chaabi was performed in markets, but is now found at any celebration or meeting. Gnawa is a form of music, mystical, it was brought to Morocco by the Gnawa and became part of th

Silje Aker Johnsen

Silje Marie Aker Johnsen is a Norwegian soprano and dancer. She is a member of Ensemble neoN, a former member of Det Norske Solistkor; as a singer she has been named Performer of the year twice by the Norwegian Society of Composers: individually in 2013, with Ensemble neoN in 2017. With Ensemble neoN she was awarded Spellemannprisen in 2016. Silje Aker Johnsen hails from Tønsberg, holds a PhD degree from the Opera Academy at the Oslo National Academy of the Arts. Aker Johnsen is a classically trained singer, has worked as a contemporary dancer, in the Polish Dance Theatre, her current activity reflects this versatile background, as some of her more recent work can be classified as contemporary opera with an extended physical interpretation. The contribution of Johnsen to Ensemble neoN is more inclined towards experimental vocalizing within the contemporary classical realm. Silje Aker Johnsen appeared in Korall Korall, a "baby opera" aimed at toddlers, with music by Maja Ratkje. In 2017–2018, Aker Johnsen starred three times at the Norwegian National Opera and Ballet: in Synne Skouen's opera Ballerina, based on a play by Arne Skouen, in Femte Rad Produksjoner's Simon, in the autobiographical Her, a solo performance considered to be a combination of theatre dance and contemporary opera.

2008: Fartein Valen scholarship. 2013: Norwegian Society of Composers' 2013 Performer of the Year 2016: Awarded Spellemannprisen for the album Neon 2016: Nominated for Spellemannprisen for the album Ophelias: Death By Water Singing 2017: Norwegian Society of Composers' 2017 Performer of the Year Official site

A Lucky Day

A Lucky Day is a 2002 Argentine-Italian drama film directed by Sandra Gugliotta, in her feature film debut, written by Gugliotta and Marcelo Schapces. In Argentina it's known as Lo que buscas es amor; the executive producer was Marcelo Schapces, it was produced by Sandra Gugliotta and Fernando Merinero. It stars Valentina Bassi as Elsa; the theme of this docudrama is the economic turmoil and unemployment among the young population during the Argentinian economic crisis. The film won two awards at the Berlin International Film Festival, winning the Caligari Film Award and the Don Quixote Award. In 2000, Elsa, a 25-year-old woman who makes a living as a promotional girl on the streets in Buenos Aires, commits minor crimes, like stealing from her boss' wallet, in order to survive; as a promotional girl, she does what can be considered humiliating work: handing out flyers for "anti-stress" tablets for motorists and pedestrians, dressing up in odd outfits for fast-food restaurants, the like. During the film, protests take place in the streets of Buenos Elsa ignores them.

Included are documentary-like scenes of the 2001 riots. She dreams of fleeing her impoverished country and traveling to Italy where a former "boyfriend", whom she had a one-night stand with several months before, left for better opportunities; this is ironic because her anarchist grandfather left Italy and came to Argentina to escape poverty years ago. Her boyfriend Walter protests the trip, her grandfather urges her to follow her heart, her dream is a fantasy she has in order to ameliorate the stress of surviving during Argentina's economic troubles. Valentina Bassi as Elsa Claudio Gallardou as Alejandro Fernán Mirás as Walter Lola Berthet as Laura Darío Víttori as Abuelo Jesús Berenguer as Franco Damián De Santo as Toni Nicolás Mateo as Erasmo Claudia Lapacó as Madre Luis Luque as Hernando María Laura Cali as Claudia Mario Paolucci as Arístides The film's backdrop is the economic crisis Argentina faced from 1999-2002; the poverty rate of Argentina grew from an high 35.9% in May 2001 to a peak of 57.5% in October 2002.

In addition, the May 2000 unemployment rate was 15.4%. Un día de suerte was shot in Buenos Aires during the riots of 2000 when political unrest was at its highest. Blackouts were a common occurrence and street crimes occurred often; the film was first featured at the Berlin International Film Festival on February 22, 2002. It opened in Argentina on April 25, 2002, it was screened at various film festivals, including: the Buenos Aires International Festival of Independent Cinema. Clare Norton-Smith, writing for the BBC, liked how the characters were developed by Sandra Gugliotta, wrote, "Although Elsa endures grim circumstances and resorts to desperate measures, the spirit of conviction and a belief in oneself, make this a warm, life-affirming film; as Gugliotta says, her film'speaks of dreams, of the possibility and the struggle to fulfill a dream. And it speaks of good people, of social barriers, of roots.'"Some critics felt the film's theme, that is, economic deprivation, did not go far enough.

David Walsh, writing for the World Socialist web site wrote, "Again, without being given some sense of the historical circumstances which account for the present state of mind, one cannot go far. The film lacks the'pathos of distance.' A Lucky Day raises interesting questions, but does not go deeply into them. The scenes of the working class kids strike one as a bit false and stereotyped, a middle class notion of what such young people are like." WinsBerlin International Film Festival: Caligari Film Award. Ankara Flying Broom International Women's Film Festival: FIPRESCI Prize. NominationsArgentine Film Critics Association Awards: Silver Condor. Buenos Aires International Festival of Independent Cinema: Best Film, Sandra Gugliotta. Goya Awards: Goya. Miami Latin Film Festival: Golden Egret Best Film. A Lucky Day on IMDb Un día de suerte at the cinenacional.com Un día de suerte film trailer on YouTube