Author Jamal Eddine Naji has presented his latest work, “Galerie marocaine. Portraits,” a collection designed as a symbolic gallery of the men and women who have shaped the collective memory of Morocco.
The work compiles several decades of journalistic writing, spanning from the first chronicles published in the 1970s through to 2025. According to moderator Narjis Rerhaye, the book offers a “dive into the memory of a living Morocco,” with a particular focus on Casablanca and its popular neighborhoods.
A Mosaic of Social and Cultural Memory
The collection highlights a diverse array of figures, including educators such as Guy Martinet and Jean-Pierre Koffel, and artists including Ahmed Bouanani, Mohamed Kacimi, Abderrahmane Rahoule, and Tayeb Saddiki.
The “gallery” also features human rights activists Driss Benzekri and Mustapha Iznasni, as well as other prominent figures such as Paul Pascon, Larbi Messari, and Noureddine Sail. Rerhaye noted that these often-overlooked figures are given a central role, testifying to an “indelible” and “vibrant” social memory.
The Concept of the “Missing River”
During the presentation, Naji introduced the concept of the “missing river” within Moroccan culture. He described chronicles, portraits, short stories, and novels as tributaries that should flow into a larger river: a collective gaze on social and cultural history.
Naji argued that Morocco currently lacks this “river” due to various obstacles, including past restrictions on freedom of expression, cultural disappropriation, and self-deprecation. He expressed regret that his students often fail to cite Moroccan authors in their bibliographies.
Using a strong metaphor, Naji stated that describing others is a way of learning about and constructing oneself, asserting that a society cannot govern itself without a reflective gaze upon its own identity.
Journalism in the Digital Age
The discussion also addressed the evolution of journalism amid the rise of digital media and misinformation. Naji emphasized that the “sacerdoce” of the engaged journalist is the fact and the truth, which must be rigorously documented to avoid a lack of objectivity.
Reflecting on his early days at Maghreb Informations, Naji recalled a time when archives were neglected—describing them as a “paradise of rats and mice.” He contrasted this with the modern era, where journalists have access to a vast market of sources that can be either reliable or “spoiled.”
Naji warned that some contemporary journalistic practices have devolved into “venting” rather than reporting. He advocated for a return to critical thinking and the preservation of values such as human dignity and truth, regardless of shifts in international law or media benchmarks.
Future Outlook and Transmission
To address these challenges, Naji suggested the implementation of new forms of knowledge transmission, such as masterclasses. While maintaining a cautious optimism regarding media ethics, he warned that a decline in ethics could lead to increased judicial intervention, potentially resulting in a “government of judges.”
Naji urged readers to use these portraits as a lens to observe the broader evolution of Morocco’s intellectual, cultural, and social history.
Frequently Asked Questions
What is the primary focus of “Galerie marocaine. Portraits”?
The book is a collection of portraits of men and women who have marked the collective memory of Morocco, specifically focusing on the social and cultural history of the country and the popular neighborhoods of Casablanca.
What does Jamal Eddine Naji mean by the “missing river”?
He uses the metaphor to describe the lack of a collective, overarching look at Moroccan social and cultural history, which he believes should be fed by smaller literary forms like chronicles, portraits, and novels.
What are Naji’s views on modern journalism?
Naji believes that while digital sources are now abundant, the priority must remain critical thinking and the documentation of truth. He cautions against the loss of objectivity and the trend of journalism becoming a means of “venting.”
How does the preservation of individual portraits contribute to a nation’s overall understanding of its own history?
