In the postcolonial era, Arab societies have been ruled by a variety of authoritarian regimes. Focusing on his native Morocco, Abdellah Hammoudi explores the ideological and cultural foundations of this persistent authoritarianism.
Building on the work of Foucault, Hammoudi argues that at the heart of Moroccan culture lies a paradigm of authority that juxtaposes absolute authority against absolute submission. Rooted in Islamic mysticism, this paradigm can be observed in the drama of mystic initiation, with its fundamental dialectic between Master and Disciple; in conflict with other cultural forms, and reelaborated in colonial and postcolonial circumstances, it informs all major aspects of Moroccan personal, political, and gender relations. Its influence is so pervasive and so firmly embedded that it ultimately legitimizes the authoritarian structure of power. Hammoudi contends that as long as the Master-Disciple dialectic remains the dominant paradigm of power relations, male authoritarianism will prevail as the dominant political form.
"Connecting political domination to gift exchange, ritual initiation, social loyalty, and gender reversals, "Master and Disciple" is nothing less than a thoroughgoing revision of our understanding of authoritarian rule in Morocco and in the Arab world in general."--Clifford Geertz, Institute for Advanced Study

Each year, in a solemn Sunni Muslim feast, the Ait Mazine of northern Morocco reenact the story of Abraham as a ritual sacrifice, a symbolic observance of submission to the divine. After comes a bacchanalian masquerade which seems to violate every principle the sacrifice affirmed. Costumed men sing and dance and torment villagers, their wild activities centering around a mute figure sewn into the skins of sacrificed animals. This character is attended by several others who keep up a constant patter that mocks the social order, especially marriage, women, older men, and the Qu'ran. Because of the apparent contradiction between sacrifice and masquerade, observers have described the two as entirely separate events. Abdellah Hammoudi's study reunites them as a single ritual process within Islamic tradition. Working with metaphors of stage and play, Hammoudi details the festival from the rituals of makeup and costume through the final spectacle. Each part of the ceremony denies and at the same time conjures up the other. The contradictions inherent in social and religious life are vividly enacted; sacrifice and masquerade appear.

Challenges to ethnographic authority and to the ethics of representation have led many contemporary anthropologists to abandon fieldwork in favor of strategies of theoretical puppeteering, textual analysis, and surrogate ethnography. In "Being There, "John Borneman and Abdellah Hammoudi argue that ethnographies based on these strategies elide important insights. To demonstrate the power and knowledge attained through the fieldwork experience, they have gathered essays by anthropologists working in Morocco, Saudi Arabia, Syria, Tanzania, the Canadian Arctic, India, Germany, and Russia that shift attention back to the subtle dynamics of the ethnographic encounter. From an Inuit village to the foothills of Kilimanjaro, each account illustrates how, despite its challenges, fieldwork yields important insights outside the reach of textual analysis.

Each year, in a solemn Sunni Muslim feast, the Ait Mazine of northern Morocco reenact the story of Abraham as a ritual sacrifice, a symbolic observance of submission to the divine. After comes a bacchanalian masquerade which seems to violate every principle the sacrifice affirmed. Costumed men sing and dance and torment villagers, their wild activities centering around a mute figure sewn into the skins of sacrificed animals. This character is attended by several others who keep up a constant patter that mocks the social order, especially marriage, women, older men, and the Qu'ran. Because of the apparent contradiction between sacrifice and masquerade, observers have described the two as entirely separate events. Abdellah Hammoudi's study reunites them as a single ritual process within Islamic tradition. Working with metaphors of stage and play, Hammoudi details the festival from the rituals of makeup and costume through the final spectacle. Each part of the ceremony denies and at the same time conjures up the other. The contradictions inherent in social and religious life are vividly enacted; sacrifice and masquerade appear.