Tangier was a magnet for artists, writers, musicians, and political exiles throughout the mid-20th century, amongst them the writers Paul Bowles and William Burroughs
From 1924 to 1956 the city operated as an international zone under the joint administration of several European powers. This status created an environment of legal ambiguity, which, combined with the city’s strategic location at the crossroads of Africa and Europe, made it a haven for those seeking escape from the constraints of conventional society
The zone had a sense of lawlessness and freedom, attracting a diverse mix of expatriates, spies, smugglers, and avant-garde intellectuals. The city’s permissive attitude towards drugs, homosexuality,and radical political thought made it a particularly alluring destination for members of the counterculture.
Composer and writer Paul Bowles, settled there and drew members of the Beat Generation to the city to be inspired, to complete their projects and to live the Moroccan dream. Few lived in human dialogue with the locals, operating rather as economically priveleged colonial bohemians
William Burroughs' time in Tangier in the 1950s deeply influenced his novel Naked Lunch. Burroughs saw the city as a place where the constraints of Western morality could be discarded in favor of a more experimental and uninhibited lifestyle.
He christened it THE INTERZONE
Although the Tnagier International Zone officially ceased to exist in 1956, its mythos lived on in literature, music, and the enduring image of Tangier as a place where the world’s outsiders could find a home
Multimedia artist and curator Abdelaziz Taleb, director of The Arab Media Lab Project has taken a deep dive into the Interzone - both its reality and its myth, exploring the blurred line between the two. He came to the Bureau to talk about it, the often untold influence of Moroccans on the Beats, and the mystery of Tangier.
For more on Aziz and the Interzone Project and
Here
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