Morocco is undergoing a remarkable transformation in its cultural identity, with initiatives ranging from the UNESCO-recognized caftan to the development of video game studios in Rabat. As the honored guest at the upcoming Festival of Art History in Fontainebleau from June 5 to 7, 2026, the Kingdom is showcasing ambitions that extend far beyond merely displaying its rich heritage. In an insightful conversation with Mohammed Mehdi Bensaid, the Minister of Culture, a deeper understanding of Morocco's cultural evolution emerges.

At the heart of the Moroccan desert lies the Mohammed VI Polytechnic University in Benguérir, which is not just an educational institution but a burgeoning city in its own right. With research laboratories, dedicated spaces for artificial intelligence, and students navigating between durable buildings, the campus embodies the essence of human capital and long-term vision. It is here that one can grasp the full scope of what Morocco is striving to achieve.

In just a few weeks, Morocco will take center stage at the Festival of Art History in Fontainebleau, where a diverse program will include lectures on medinas, calligraphy, and Islamic arts. Yet, behind this rich cultural display lies a more profound ambition that aims to redefine Morocco's role in the global cultural landscape.

Culture as a Strategic Asset

Bensaid candidly states, "The stability of Morocco is undoubtedly an asset. It allows, under the leadership of His Majesty King Mohammed VI, for public policies to be sustained over time, to anticipate economic and technological transformations, and to undertake projects that sometimes require ten to fifteen years to bear fruit." This perspective is rarely articulated by a Minister of Culture; it indicates that cultural development in Morocco is being approached with the seriousness of an industrial policy, complete with long-term horizons and strategic bets on the future.

Evidence of this vision can be seen in the ongoing restoration projects at historic sites such as Chellah in Rabat, Volubilis, and the Portuguese city of El Jadida, as well as the historical ensembles in Marrakech. While urban pressure in Casablanca threatens its Art Deco heritage, the Ministry is actively engaging in its preservation. For Bensaid, these investments are not mere nostalgic endeavors; rather, they are integral to a broader economic strategy focused on cultural tourism, regional enhancement, and job creation.

The Cultural and Creative Industries: An Economic Priority

Morocco's cultural project takes an unexpected turn as Bensaid emphasizes the role of culture as a form of soft power on the global stage. He describes it as cultural diplomacy and underscores that it has evolved into a fully-fledged industry. The partnership between Morocco and France, he argues, serves as a model for a troubled world, reminding humanity that creativity is essential for a peaceful future.

Current statistics lend weight to this assertion: the cultural and creative industries now constitute 2.7% of Morocco's GDP, providing nearly 140,000 jobs. The goal is to elevate this figure to 5% by 2030, aligning it with levels seen in mature European economies. Among the most ambitious initiatives is the Rabat Gaming City, a dedicated cluster for the video game industry aimed at attracting international companies and nurturing a new generation of Moroccan developers. Morocco, which once exported carpets and studio films, now aspires to export entire universes of creativity.

Bensaid emphasizes the need for new narratives, reflecting on how Moroccan citizens have consumed Western imaginings for too long. He cites the global influence of Korean cinema and gaming as a model for what Morocco aims to achieve—a unique cultural identity rooted in its heritage, yet resonant on the international stage.

Art and creativity are also taking on ambassadorial roles. At Fontainebleau, choreographer Fouad Boussouf will showcase _Näss_, a performance blending hip-hop and Moroccan rituals, embodying the coexistence of tradition and modernity. For the first time, Morocco will have a national pavilion at the Arsenale in Venice, where artist Amina Agueznay will present _Asǝṭṭa_, a monumental installation created with over 120 artisans, highlighting the memory of weaving and the transmission of Moroccan women's craftsmanship. Such projects reflect the long-term commitment to cultural development.

Recently, the caftan was inscribed as part of the UNESCO intangible cultural heritage, symbolizing the continuity of Moroccan culture as both a legacy and a resource. Bensaid succinctly encapsulates his philosophy, stating, "For us, culture is not only a public service but also an economy and an industry." This definition indicates that cultural engagement is intrinsically linked to employment, training, and inclusion. The more Morocco succeeds in developing its cultural industry, the greater its potential to serve culture as a common good for all, particularly for the younger generations.

As Morocco prepares to share its narrative at Fontainebleau, it does so with a profound conviction: culture is not merely a heritage to be preserved but a strategic infrastructure that will shape its future.

As reported by timefrance.fr.