National Multicultural Festival of Canberra Celebrates Moroccan Traditions – Morocco World News

The 24th annual festival welcomed more than 200,000 people.

Rabat – Morocco was one of many countries represented at the 24th National Multicultural Festival of Canberra, Australia’s capital city, from February 22 to 23.

More than 200,000 festival-goers enjoyed music, dance performances, parades, and delicious food from around the world at the largest cultural event in Australia. 

The Embassy of Morocco in Canberra secured the country’s participation and used mint tea, Moroccan food, and art to illuminate Moroccan culture.

The Moroccan station featured a traditional lounge adorned with Moroccan crafts and artifacts that highlighted the artistic, cultural, and gastronomic diversity of the country.

The Chief Minister of the Australian Capital Territory (ACT), Andrew Barr, visited the Moroccan station along with other members of the government and accredited ambassadors to Canberra. 

After devastating bushfires destroyed more than 3,000 homes, burned nearly twelve million hectares, claimed dozens of human lives, and killed one billion animals in Australia, the National Multicultural Festival of Canberra is a much-needed celebration of life.

“This flagship event celebrates Australia’s cultural diversity and represents a hymn to the joy of life and to hope after months of anxiety and worry,” said the ACT Minister for Multiculturalism Chris Steel, adding that the dark summer, however, “proved our patriotic character and our determination.”

“Thanks to the contribution of accredited diplomatic representations in Canberra and the efforts of local government, civil society actors and volunteers, we were able to offer the residents of the city, as well as its hosts, a brilliant and joyful celebration to forget the bush fire season that affected thousands of families,” noted the minister. 

The two-day festival hosted more than 330 stands of national organizations and foreign embassies.

Launched in 1996, the National Multicultural Festival of Canberra aims to celebrate diversity, promote equal opportunities and inclusion, share traditions, and help attendees discover other cultures.

The National Multicultural Festival is one of the most emblematic festivals of Canberra, a city that is proud of its diversity.

Read also: 10 Good Reasons to Visit Morocco

Grimes still queen of other-worldly pop on last ‘earth album’ before AI – The Sydney Morning Herald

Grimes, who writes, sings, produces, plays all instruments and engineers her own music, has always been a renegade; the good news is that her romance hasn’t dampened her creativity.


Her fifth album is her darkest yet, introduced by the gorgeous downtempo ballad So Heavy I Fell Through the Earth. But it’s a shape-shifting journey, from Delete Forever, a country-tinged ditty featuring Wonderwall-like strumming, to 4ӔM, switching between gentle tribal rhythms and frenetic drum and bass beats, to My Name Is Dark, a nu-metal/emo-pop hybrid.

Finale IDORU is one of the more conventional tracks, with buoyant keys and birdcalls accenting what might be a love letter to Musk, while Grimes’ ethereal voice, delivered in sighs or an airy, pretty falsetto, is the record’s only constant. She has called it her last “earth album” as she pivots towards AI-assisted art.

For now, the futurist is still the queen of other-worldly pop.



LOOK AT US NOW DAD (Cascine/Dot Dash) ★★★½

Melbourne-born Banoffee performs in Arizona in 2018. Credit:Getty Images

The last release from Melbourne-born artist Banoffee – an EP of on-trend, lo-fi R&B – came out way back in 2015.


Although it generated hype at home, Banoffee (the now 30-year-old Martha Brown) went to ground, quietly moving to LA where she set about building industry connections. In 2018 she joined Taylor Swift’s Reputation tour as a member of Charlie XCX’s live band, an experience that she later told VICE was “like going to school”.

Brown’s debut album has clearly benefited from this understudying. The melodies are punchy: sugary hooks underscored by warped, skittering production and confronting lyrics.

In the past Brown has described Banoffee as a “lifeboat” keeping her afloat in trying circumstances. Here she picks over poisonous relationships, sexual abuse and a fractured family life, in tracks ranging from the stark Permission (“I didn’t want you in my body … you never asked permission”) to the feather-light This Is for Me.

As her skills have developed, Banoffee has become an act of self-delineation – a vehicle for play and experimentation as much as catharsis. The result is a convincing first chapter from a budding crossover pop star.


East of West


This debut release by Brisbane trio East of West evokes, as the title promises, the experience of meandering through the back streets and alleys of a Mediterranean port city, where a moment of solitude and tranquillity can suddenly be replaced, as one turns a corner, by bustle, debauchery and danger.

East of West’s Little Harbour album cover.

Bosnian-born bandleader, bassist and composer Goran Gajic, with oud player Philip Griffin and percussionist Malindi Morris, have crafted an album brimming with subtle touches and details, and replete with storytelling and imagery that’s effective both mentally and viscerally.

The compositions are inspired by varied sounds, textures and rhythms from around the Balkans and the Mediterranean, with elements of funk and jazz (on the closing track Sleepy Giant, for example) and space for improvisation.

Several pieces, like the potent Fields and plaintive title track, completely change mood halfway through, adding to the overall sense of drama.

Gajic’s rich, warm bass sound drives the music, but the playing from all members is impressive, and exemplifies Brisbane’s being a fertile environment for creative multicultural music. Accessible in the best sense of the word, this is very easy to enjoy.


Jo Berger Myhre/Olafur Bjorn Olafsson
LANZAROTE (Hubro) ★★★★½

If you only ever bought music on Norway’s Hubro label you’d still possess an improbably broad collection.

Jo Berger Myhre/Olafur Bjorn Olafsson’s Lanzarote album cover.

At the same time that Lanzarote was released, for instance, out popped a bizarre album from drummer Oyvind Skarbo’s band, Skarbo Skulekorps (which races between surf music, the Caribbean, free improvisation and material akin to early Frank Zappa), and also the latest instalment of Lumen Drones’ jazz-goth nightmares of eternal winter.

Lanzarote, another dark, brooding affair, emanates from the imaginations of Jo Berger Myhre (double bass, electronics, synths) and Olafur Bjorn Olafsson (piano, organ, drums, percussion).

Their sparse, multi-tracked dialogues initially hypnotise you with their textural ingenuity, then draw you into a vision that is as bleak as a Cormack McCarthy novel, yet flecked with moments of such transcendental beauty (often from Myhre’s bowed bass) that you never feel abandoned in the doldrums.

Yes, you are taken to a place of unsettling portentousness, but one that always insinuates a light of hope. Although guest brass players broaden the palette here and there, Myhre and Olafsson can exercise the hairs on the back of your neck all by themselves.


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Czechoslovak Australian Association celebrates 25 years of the National Multicultural Festival with 220kg of potatoes – The Canberra Times

The Neighbourhood (La Boite Theatre Company & Multicultural Australia, in association with Empire Theatres) – Limelight Magazine

La Boite opens its 2020 season with The Neighbourhood, a companion piece to its 2017 production The Village and a co-production with La Boite’s community partner Multicultural Australia, exploring the complex stories and shared experiences of First Nations individuals, migrants, and refugees. Co-created by Todd MacDonald, Aleea Monsour and Ari Palani with an ensemble of local storytellers, The Neighbourhoodis a moving and memorable piece of theatre that sees seven storytellers take the stage to tell their own stories in their own ways, through mediums as diverse as music, song, dance, hip hop, slam poetry and acting.

The Neighbourhood. Photograph © Stephen Henry

Personal experiences were juxtaposed against national and global politics and the work explored a multitude of big ideas about family and faith, gender and sexuality, welcome and belonging, among others. All of the performers addressed ideas of racism and xenophobia in the Australian context and several spoke about colonisation and intergenerational trauma, but also about healing and reconnecting with community, culture, and family. Stories were told with humour, honesty, and open heartedness, sometimes using multiple languages, and there was palpable love and mutual respect between the seven storytellers onstage. Throughout…

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