7. Conclusion

In parallel to the process of individualization of Moroccan women and their increasing ability to find certainties and self-assurance - not solely limited to one's socio-domestic circle - women also emerge in the world of show business, where they struggle to be acknowledged for their artistic qualities beyond their clichè roles of mere objects of fun.

In Morocco, the arrival on the scene of the female musician is the result - possibly even slightly inflated, considering the tens of chanteuses promoted by the record companies, radio and television - of "modernity". The B'net Houariyat, who to the present day have not yet had the opportunity to perform on a public stage in their country, are the bearers of a musical tradition which contributes to create a bridge between the past and present of Moroccan society; the acknowledgement abroad of their artistic qualities offered an opportunity to make women in traditional Islamic cultures "visible", as, opposed to the "symbolic violence", segregation, and the subaltern condition to which they have been relegated for centuries.

The human and professional growth of the B'net Houariyat was clearly favored by the introduction of the group into the World Music circuit and the public acknowledgement of their albeit marginal condition and role. Their participation in tours abroad enabled the emphasis on a part of the musical heritage of Moroccan women, providing - as well as unhoped for earning opportunities - the compensatory possibility to travel outside the boundaries within which their condition as third world women appeared to have definitely locked them. Their encounter with the 'Other' was an occasion to express a part of themselves, and the game shared with musicians of different backgrounds and nationalities has offered new stimuli for creative elaboration.

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