We soak up the fuels, those of motorbikes from medina streets and powerful female voices of Kasba Houariyat.

Sounds of cars and motors are passing by very closely, almost rubbing the skin. This irritating proximity; it leaves a scent of danger on the tissues.

The houariyat music feels equally irresistible. It produces an euphoric feeling momentarily. Multiple voices and percussions complementing one another. Like one organism. Communal consciousness and togetherness embraced in each song. We learn cha’abi and houari rhythms – houarii takes us in a circular motion, cha’abi is the one that goes forward. Complex rhythm makes for energy. Speeding up. Voice that penetrates and enlarges the space and bodies. The voice is ready. It has always been.

video by Witold Roy Zalewski


Khalini Awa
Khalini nrta7
Khalini Awa
(e)allahla ndawi ljra7

Leave me
Let me rest
Leave me
Heal my wounds

Khalini Awa
hadi ou touba
Khalini Awa
Ana wlit 3jouba

Leave me
I will never make this mistake again
Leave me

I became the outsider

Houariyat music is primarily learnt through the matrilineal route from grandmother, to mother and to daughter…”

It is “performed by women, usually with six females in a circle, with the incorporation of call and response singing, and the use of a variation of hand percussion and drums. (…) the houariyat perform with up to 5 or 6 different types of drums and percussion at any one time: the t3rija, tara, d3dou (large clay drum darabuka-shaped and provides the clave rhythm), the sinia (metal tray) and finger cymbals (played together) and the ni9sat (metal bit in the middle of a car wheel).

Although houariyat is considered traditional music, it goes beyond this concept as the melangé (mixing) of different styles, demonstrates their ability to adapt and incorporate more modern styles and transform the music in a semi-improvisatory way. They perform up to five different styles of music in their repertoire and although they sound similar to the untrained ear, there are differences in rhythm, tempo, structure and singing style. The repertoire that they play include the styles houari, hamada, houzi, cha’abi, and ‘aita.”

workshopS with Kasba Houariyat at Cafe Clock



“Kapchan describes the musical expression within celebrations “coded as feminine” and “relies on a recognition of feminine difference and desire.” Kapchan’s research discusses the notion of “nashat” – “a recognised performative response to a collective ambiance created in a musical environment.” And a “participatory state [that requires] interaction and openness.

Nashat, which directly translates to the word “party” (…) relies on the “ambiance created in a musical environment”, therefore nashat is not possible without music, and the level of nashat is dependent on how matluqa” you are, meaning “free-flowing” and loose…”

“Whereas in Standard Arabic, nashat means liveliness, energy and activity, in Moroccan Arabic it has acquired a multitude of different meanings, all of which refer to an uncannily ambiguous semantic core. In fact, nashat has become a notion belonging to a social discourse whereby the community comments the different behaviors, actions and attitudes of its members. However, nashat refers to different forms of behavior that are not readily observable to the naked eye of the objective social scientist. For example, it may denote a psychological state of mind, like having fun or enjoying oneself. As such, it refers to a temporary state of being that is not necessarily recurrent.”

“In fact, what happens is that the body moves and writhes to the sound of music in such a way that it would not be misplaced to say that nashat is a form of music of a body in a pseudo-state of trance.”

“The ambivalence of nashat shows how a supposedly conservative society not only domesticates the profane but allows for ways to celebrate it within confined space and according to strict rules. As used and appropriated by women dancers for their own sake as well (in addition to catering to the male’s desire), nashat becomes a way for women to express a burgeoning consciousness of their body beyond the commodification entailed by the role of courtesans that the traditional entertainment industry confines them to. As such, nashat is a key social concept that, if studied in connection with others of the same constellation, would shed light on the dynamic and dialectical nature of Moroccan culture in its relation to social change.”

concert of Kasba Houariyat at Cafe Clock

THE EROTIC AS POWER how acutely and fully CAN we feel in the doing?

“There are many kinds of power, used and unused, acknowledged or otherwise. The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling.

For the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing.

The erotic functions for me in several ways, and the first is in providing the power which comes from sharing deeply any pursuit with another person. The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling.”


Fascia is our bodily connective tissue, which extends from the outer epidermis through all skin layers into the depths of our bodies. Fascia tissues envelope muscles, organs, bones, and nerves, thereby forming ‘a continuous tensional network throughout the human body’. This extensive interconnectedness results in a fascinating three-dimensional network, a living matrix, which forms a bodily support structure, an internal ‘soft skeleton’. At the same time, it transmits information inside the body as a communicative continuum. (…) Together with the nervous system, fascias form a body-wide mechanosensitive integrating signalling system. Most importantly, the fascia tissue-system is an amazing viscoelastic continuum with both/and qualities. Viscoelasticity means fascia is both viscous, so resistant to deformation, and elastic, so able to adapt and resume its shapes after stretched or compressed. Both/and means fascia combines qualities commonly perceived as opposites, as it is, for example, both liquid and solid, made of fibre and fluid.

Fascias are intelligent-adaptive and respond to the way a person lives and moves by becoming more or less permeable or solid. (…) In specialist terminology, fascias are relevant to interoception, the sensorial relationship people have with their own body, and proprioception, meaning how a person senses where their body is in space.”

“The term technogenesis describes the understanding that humans evolved with their technologies. Said another way, our original technologies, techme in Greek, are our senses, our sensorial capacities. Types and practices of sensory perception are socio-culturally distinct and cannot be understood or defined universally. For example, the five senses model (touch, taste, smell, sound, sight) dominant in Europe, Northern America and other parts of the world, is not universal. Most cultures have more than five senses, and cultures can have up to 29 senses, including for example the above-mentioned proprioception and interoception, or a distinct sixth ‘sense of balance’.

It has been suggested to theorize fascia as a social network metaphor, but the viscoelastic qualities of bodily connective tissues, which are always moving-adapting and never the same, precisely deny being turned into a model or metaphor. As I suggest, both with regard to scientific research methodologies and fluid ontologies, and with regard to lived life, the fascial qualities of shifting-sliding  and tensional responsiveness can become a deep, quotidian, processual inspiration, especially when asking what if and what else.”




tools: rhythmic vocalization,Bodies in Pulse/Pulse in Bodies – rhythm embodiment method, written scores



aUditial traces

composition, texts and vocals:

Doom Mood

recordings OF THE SONGS “Moul Atay”, “Hazin”, “Khalini Awa” by


Hassan Larsson

Michael Castalan



we are


in between soft flesh fumes from motorbikes belly button

imagining luscious air

just behind the surface of the skin

I’m sucking on the air when i sing

while soft tissues are giving support

the diaphragm

keeps us going

immortal jellyfish

relaxed and strong

free-flowing and loose

all my membranes getting irritated

day by day

i’m growing a new skin

a new microbiome

assisted by oregano, thyme, verbena, mint and wormwood

singing about the tea to express all my love, all my longings

excess of fluids



what does it mean to party?

liquids and spirits in motion

call it up

call it up

call it up