Slamming the “Continuing” Moroccan Revolution: Noussayba Lahlou’s Bittersweet Verses

Author(s) Maha Tazi
Contact Maha Tazi, Concordia University, 7141 Sherbrooke St W, Montreal, Canada. E-mail:
Issue CyberOrient, Vol. 14, Iss. 1, 2020, pp. 4-43
Published June 30, 2020
Type Article
Abstract In this article, I am interested in looking at women‘s current mobilization techniques in Post-Arab Spring North Africa. To do so, I draw from the existing literature on the case of Egypt which identifies women’s contemporary resistance in creative disobedience patterns – that is women’s art activism that advocates, concomitantly, for social justice and gender equality. In my attempt to fill an existing gap in the literature, I investigate the existence of such resistance patterns in Morocco, as well as their main characteristics and country specificities. Because (slam) poetry is a traditionally resistant genre in the Arab region, I take as a case study Noussayba Lahlou’s slam poetry to explore the political potential of women’s slams to advocate for women’s rights and sociopolitical liberties in post-Arab Spring Morocco. To do so, I conducted a virtual interview with the artist by administering a structured online questionnaire, alongside a content analysis of eight of her most recent and salient slams. A 24-years-old slam poet from Morocco, Noussayba’s revolutionary verses tackle widespread regime abuse and corruption, alongside women’s rights and many other social woes in the country.
Keywords Arab Spring, Gender Paradox, Subaltern Counterpublics, Creative Disobedience, Art Activism, Social Justice, Gender Equality