Michael A. Toler has been the Archnet Content Manager since September 2012. Since July 2018 he has been Interim Program Head of the Aga Khan Documentation Center at MIT (AKDC@MIT). Prior to that he served as the program Director for the Al Musharaka Initiative of the National Institute for Technology and Liberal Education. Michael was responsible for development of content for the Arab Culture and Civilization Online Resource, and for coordinating inter-institutional, collaborative endeavors of faculty, librarians, and technologists using technology to enhance teaching and research on topics relating to Islam, the Middle East, and North Africa.
Michael received a PhD in Comparative Literature with a Certificate in Translation Studies from Binghamton University (SUNY), after teaching in Morocco at L'Ecole Supérieure Roi Fahd de Traduction and Al Akhawayn University in Morocco. He also holds an MA and BA in English from New York University and Virginia Commonwealth University, respectively. He has published and lectured extensively on digital pedagogy and scholarship, as well as the literature, history, cinema, music, and cyberspace of the Maghreb, and the Middle East more widely. Michael is Board Member and Secretary of the Tangier American Legation Institute for Moroccan Studies.
2A. Moha ben Driss and Ensemble. (El Hajeb, Middle Atlas, Beni Mitr Tribe) Abou ou Harrak
Recorded in Aïn
Diab, Morocco on August 1, 1959 by Paul Bowles
comprised six men and twelve women. The leader of the group, (who should rightly be called Cheikh Moha ben Driss, save that he never referred to himself as Cheikh) played no
and occasionally clapped his hands. The other
men sang and played on
benadir, with the exception of the kamenja player, who did not sing.
The selection begins ith a female voice singing a solo of four strophes, (the mouwal). This is followed by a short kamenja solo stating the theme, which is then taken up by male voices. (The kamenja was a violin, rested on the knee and played upright like a viola da gamba.)
The point where the dance begins is in idated by the kamenja, which bids the singers to be silent, and takes over by itself, accompanied only by the benadir.
Source: Bowles, Paul F. "Ain ed Diab." in Folk, Popular, and Art Music of Morocco.
The Paul Bowles Moroccan Music Collection. Washington,
DC: American Folklife Center, Library of Congress, 1959-1962.
The Paul Bowles Moroccan Music Collection (AFC 1960/001), American Folklife Center, Library of Congress, Washington, D.C., Courtesy of the Paul Bowles Estate and Irene Hermann / Tangier American Legation Institute for Moroccan Studies