Vintage Moroccan posters poses unanswered questions
Historians predict that Morocco’s retro travel posters were used for other intentions, according to government friendly Yabiladi on the 1st June. Recent speculation suggests the posters helped to create a timeless and original depiction of Morocco. However, historians predict that this covered the experiences of colonial rule to European audiences.
Originally, the posters were used for various industries such as railway, tourism and shipping. The bright and engaging signs were used to attract sightseers around the world. This helped advocate Morocco’s numerous landscapes, cities and history. Famous artists like: Jacques Majorelle, Joseph de La Nézière and Maurice Romberg, participated in the advertisements.
In Morocco’s Protectorate period (1906-1956), hundreds of posters were crafted. Around three-quarters of the art was connected to travel and trade. Underneath the creative masterpieces, a stronger purpose was rising. A specific image of Morocco was being produced to the public.
Historian and author, Pascal Blanchard, stated about the true reasoning behind the advertisements. He argues that they helped Europeans dream about the thrill and mysterious ambiance of Morocco. Blanchard said ” The primary mission of the poster on Morocco was to make people forget that the country was a colony.”
A part of the perception was that the country was not involved in politics or control. This differs in Algeria, whilst the French power was frequently celebrated. Uniquely, the posters intended to promote unity and belonging to tourists, Blanchard supported.
Although behind the artwork, another agenda appeared. The imagery emphasised the specific parts that wanted to be shown, like Morocco’s authentic perception.
Another historian named Aomar Boum has also debated the poster’s true purpose. He thinks the advertisements were used to promote Moroccan culture and cultivate European audiences. French authorities did this by including: kasbahs, medinas, landscapes and traditional Moroccan art. Boum writes “The idea was to redefine traditional Morocco for tourism, conserve it, and promote it for French and foreign tourists.”
As a result, the imagery of Morocco was created. One that romanticised its centuries long culture and history. The art work helped bewilder tourists to the region and venture into its traditions. Only now, are historians wondering about the advertisements’ true purpose.
Yabiladi/Maghrebi
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