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.
3A. Moha ben Driss and Ensemble. (El Hajeb, Middle Atlas, Beni Mitr Tribe) Amimmi
Recorded in Aïn
Diab, Morocco on August 1, 1959 by Paul Bowles
antiphonal nature of this piece is difficult to hear, since
sing the same notes in the same register.
The Ain ed Diab
two excessively hot sultry days, and the tent in which they took place,
although open to
was low-ceiling and made of a heavy, soft material, so that the air inside was
stifling. Both spectators and performers
were crowded tightly together among divans and piles of cushions, and there
the strenuous dancing which took place.
Blocking the entrance was an unmoving mob trying to peer into the tent . Perhaps because of
all t his, my
general impression of the sessions was that everything would have been better if
been a little air
breathe. The music itself seem to
muffled and lifeless sonority, an impression I cannot guarantee, of course, to
be entirely objective."
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