By: Amruta Holavanahalli
A day in my life as a student in Morocco begins with waking up to the sound of traffic outside the medina walls, grabbing breakfast that my homestay family made for me, and heading outside to class or to explore on the weekends. As I moved through the medina, I saw fountains in various shapes and sizes, and each had its own colorful geometric design. Eventually, I learned that this was another one of Morocco’s art forms, called Zellige. My first exposure to Zellige started in the medina, but as I explored what was outside, I noticed it everywhere—from monuments and government buildings to mosques. This art form has been around since the 10th century and originally started in Fes before spreading throughout Morocco. Zellige is made by laying cut and colorful terracotta pieces on mortar. The pieces are perfectly cut and shaped, so they harmonize geometrically with one another and contribute to the symmetry of the whole piece. In this way, Zellige has been preserved and heavily incorporated into Morocco’s contemporary society by generations of artists continuing their craftsmanship.
I think embracing traditional art forms is something I do not usually see in the United States. Clothes and items are often mass-produced in factories with synthetic materials, and the home renovation industry often replaces traditional handmade wood and glass in homes with a more minimalistic and uniform style. In Morocco, I saw a contrast with the contemporary styles found in the States, and I appreciated how this art form has lasted and evolved. Using a more instant technique, we had the opportunity to make our own Zellige tiles while we were here.
On the table lay glazed pieces of clay in different colors and shapes. The pieces were very sharp since they were split and hit in the same spot with an axe-like hammer. For my Zellige tile, I assigned a color to a certain shape, so the composition would be harmonious. To assemble the tiles, the pieces were placed glazed side down on the bottom, starting with the central piece first and building around it using the remaining pieces. Once we finished our foundation, we used the wooden planks to shape and bring them closer together, and used a popsicle stick to make sure there was some space between them for the next step. A plaster mixture was created and poured on top of the pieces to join and create the tile itself. After waiting for the plaster to harden, the tile was flipped to reveal the medley of united pieces, creating a beautiful geometric pattern. The excess plaster was scraped off the top with a metal rib to reveal the pieces more clearly. The wooden planks were tapped off the tile, and the remainder of the plaster was left to dry. There is a moment when the plaster reaches a certain consistency, and we had the opportunity to engrave the back of the tile. Using a needle tool, I signed my name on the back of my tile. My new handmade token was ready, and I was able to bring it back to Philly.
Having the opportunity not just to learn a traditional Moroccan art form, but being able to create it, made me appreciate more the time and skill it takes to make Zellige on a larger scale. Choosing our own colors and composition for our tiles made me realize how powerful creative authority is and why it should be continued. The value of a craft being passed down from generation to generation is priceless and proves that traditional art can adjust through contemporary techniques.
