IN FOCUS
promoting, restoring, and upgrading existing ones. The aim is to build a more balanced museum map, gradually and sustainably. Maintaining existing spaces and ensuring their long-term viability is essential to this approach. A museum network cannot grow sustainably unless investment in new projects goes hand in hand with sustained efforts in conservation, maintenance, programming, and professional development. Our ambition, therefore, is to continue developing and strengthening existing institutions while gradually expanding the network’ s geographic reach. This vision, grounded in fairer access to culture and in ensuring museums are present in every region, guides our thinking and future projects.
Cultural Decentralization
In a recent interview, you spoke of the need to create regional museums“ with local populations, territorial authorities, and local cultural actors.” Where does this approach stand in practice today, in Fez, Tangier, and Tetouan, or in the country’ s interior? Is it still largely a principle awaiting implementation, or are there projects already underway?
This principle remains central to our thinking. For the National Foundation of Museums, a museum cannot be viewed merely as a space within a city. On the contrary, it must be designed in close connection with its surroundings, taking into account the place’ s history, heritage, identity, and people. For every museum project, we consult and dialogue with territorial authorities, cultural actors, heritage specialists, and local stakeholders. The aim is to develop projects that genuinely respond to each region’ s unique character and needs. This vision is part of a gradual approach that tailors our methods to each place’ s unique characteristics. We are not seeking to replicate a single museum model nationwide but to create spaces that reflect Morocco’ s cultural, historical, and heritage diversity. The participatory approach is therefore both a principle and a reality on the ground. It takes time because a museum is a long-term undertaking. But it is precisely this dialogue with the regions that will enable us to create living institutions that their audiences feel belong to them and that become true spaces for encounter, knowledge transmission, and the promotion of local heritage.
What are the main financial or human challenges holding back decentralization today: funding, a shortage of qualified professionals in the regions, or other factors?
At this stage, I would rather speak of“ challenges” than“ obstacles.” We are engaged in a far-reaching process that includes structural projects, and these take time to come to fruition. Decentralization is a long-term undertaking, and it calls for a gradual evolution in practices and organizational structures. It is only natural, then, that questions arise about financial and human resources and the expertise available. These are not necessarily obstacles, however, but practical realities that we take into account as we carry out decentralization.
The goal is to allow each project to develop under good conditions and to deliver its impact over time. That work requires continuity and coordination. We must therefore avoid judging results only in the short term. What matters most is sustaining the current momentum and gradually consolidating what has already been set in motion.
Digital Transformation and Access to Culture
Digital transformation is often presented as a key way to make culture accessible to all. How would you assess the digital presence of the institutions in the National Foundation of Museums network today, including their websites, social media, and digital content? Where do you see the greatest opportunity for growth?
In the age of new technologies, a museum is increasingly defined by the experience it offers. We are witnessing a profound shift as the boundaries between the physical and the virtual fade, giving rise to a“ connected” culture. In this context, the National Foundation of Museums and its museums have significantly expanded their digital presence, particularly through social media, our website, virtual and guided tours, and other digital experiences. These tools now enable us to showcase collections, exhibitions, events, and activities more effectively. Above all, they extend the museum experience beyond the physical visit, giving audiences access to content, artworks, and stories from home. We are already seeing strong enthusiasm for these new formats, especially among younger generations, who are very comfortable with them. The greatest opportunity for growth, then, lies in building a robust digital strategy that delivers richer, more interactive educational content and greater accessibility. It also entails presenting our collections more effectively online and developing new immersive experiences. This is an important area of work for us, aimed at making digital technology a practical tool for expanding access to culture and cultural mediation and for extending our institution’ s reach.
II. FLAGSHIP MUSEUMS OF THE NATIONAL FOUNDATION OF MUSEUMS
The Foundation’ s network includes the Mohammed VI Museum of Modern and Contemporary Art, the Museum of History and Civilizations, and the Dar El Bacha Museum, among others. Which, in your view, is the least understood or least visited by the public, and why?
I do not believe there are“ less visited” or“ less understood” museums, to use your terms. Each museum has its own mission, identity, subject matter, and scholarly and cultural approach. All our museums attract genuine interest from visitors, including Moroccan audiences( young people, families, and schoolchildren) and international visitors. Naturally, some museums enjoy greater visibility because of their location or reputation, but that in no way means the others are less important or less valuable. I think it is more useful to approach this question through the
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